the transience of walls

one aspect of my abstract wall details project is that the walls change over time; that when i go back to them (as i have, to take additional photographs), i see that someone has added graffiti, the weather has distressed the paint even more, or – sometimes – someone has obliterated the image completely. sic transit gloria muri.

 

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the original wall, circa march 2013

Jazz composition

the artwork

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the wall as of june 2013

going through old photos …

… i came across photos of the southern railways sports association 76th all-india railway men and women’s athletic championships, from 2011. one of my fellow “husbands of chennai” friends invited me along (he knew one of the competitors), so i brought my camera: when else do you get the chance to photograph sports close up? at the chennai tennis open, actually, but what the heck.

the romance of the railroads … the railways are a very big deal in india. indian railways is the largest railway system in the world with 115,000 km of track and 25 million passengers daily, as well as one of the world’s largest public employers with over 1.4 million employees. around chennai there are “colonies” (housing estates) for railway employees and railway manufacturing employees – many state bodies provide living quarters for their employees – so the idea that they have a sports association is not surprising.

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enter the competitors.
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real competition, albeit to an empty stadium.

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a post about photography instead

i was going to do one more post about the kumbh mela, but that probably isn’t going to happen, since i’ve shared all the really good photos already.  instead, i’m going to demonstrate a really obvious point about photography.  in january, abby and i went to thailand, and while she brought along the digital olympus om-d, i brought along the leica m6 and some rolls of ilford delta 400, to do some street photography, because i’m stubborn that way.

my attempts at being garry winogrand and elliott erwitt weren’t particularly successful, so i also took the camera along on our tour day of bangkok, where we visited the royal palace, even though i figured it would be an exercise in futility.  and in some respects, it was.  compare abby’s photos of decorative statues with mine:

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the dimensions are different because the olympus om-d has a micro 4/3s sensor, vs. the 3:2 ratio of a 35mm film negative.

black and white film is perhaps well suited for overcast days (like it was when we were at the palace); nonetheless, it fascinates me to think about the difference between the information that people could share from their travels in the days before digital cameras, or even color film, and what they can share now.

a quickie

i recently bought a diana lens – the same plastic lens as is found on the diana cameras from the ’60s – for my nikon d700. and it just so happened that a procession for the god ayyappam was walking by the house tonight. so let’s see what happens.

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next: amritsar

portraits and construction

a few random shots from james’ and my last photo walk, in pallavaram (near the airport): first, the portraits.

as we crossed the railroad tracks at pallavaram and made our way deep into the village, a few drunk guys accosted us and asked for photos. (the second guy was a tea wallah, not one of the drunk guys.) the kid was someone we met on the train platform. he was fascinated by my olympus om-d, particularly the feature that allows you to scroll through the photos by swiping your finger across the screen. finally, we found a bunch of schoolchildren who invited us into their school to take pictures.

next, the stop at the construction site:

james looked at his photo and said something to the effect of, “we’re pretty conspicuous, aren’t we.” yes, we are.  this wasn’t exactly the sebastião salgado moment i was looking for.

the fourth post about ladakh

our last full day in leh coincided with al quds day, which falls on the last friday of ramadan. al quds day originated in iran in 1979, and its proponents hold demonstrations to show solidarity with the palestinians. naturally, a protest in favor of the palestinian people wouldn’t be complete without anti-israel and anti-america rhetoric and signs.

i came across the children first. they were sitting in neat lines behind a banner that read “we must all rise, destroy israel and replace it with the heroic palestinian nation.” some of them carried their signs with conviction while others looked like they were dutifully attending a school field trip. a few of the boys acted embarrassed when i raised the camera, so i decided to tease them: “if you’re going to carry the sign, be proud of what it says. don’t hide behind it.” a few of the girls sitting near me quietly called across, “yes, don’t hide, be proud.” it probably wasn’t the most politic thing i’ve ever done, but i was annoyed by my suspicion that at least 20 percent of the kids in the demonstration couldn’t have cared either way about the palestinians.

the adults – overwhelmingly men, of course – seemed committed to the cause, yelling along with the megaphones and raising their fists. a small number smiled for my camera as they passed, but the majority either ignored me or looked warily. (by contrast, when i photographed political marches in tirana, the demonstrators threw themselves in front of my lens with huge grins and thumbs up.) the women who watched from the sidewalks and balconies, on the other hand, regarded the whole thing in relative silence.

there was a significant police presence, so i felt no sense of danger, although i did get the sense that if i’d identified myself as american and jewish(ish), it wouldn’t have earned me any brownie points. there was something thrilling about the experience, although it wasn’t a fun thrill – more of a sense that this was real work in real time, and i had to move fast. in terms of the mechanism of photography itself, i used only two lenses – a 35mm and an 85mm – and there is something liberating about going old school and not worrying about how far to twist the zoom, but the accompanying challenge was to frame the shot with a fixed focal length. picking the right depth of field wasn’t always easy, either, and half the time everything was on manual. i’m not ready to go to aleppo yet, but it beat shooting conferences for usaid.

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