Vaut le voyage: Berlin

No picture to stake my claim—sorry for that, folks! But my visit to Berlin this week was only for a meeting. The meeting was long, the stay was short, the weather was bad and the camera was at home. Yet even from the bus between the airport and the city centre it was more than obvious that this is a place for great photography of different types. Modern architecture on a grand scale, to begin with, of course! And many photographers know that, for in the regional competition, there were photos from the Sony office in Berlin by three contestants (one of them was awarded—too much competition for the others). The grey November day was a good backdrop for the buildings with the lights on everywhere, taking you just this step beyond standard architectural photography. Dreary days may make for good photo opportunities! And then of course the people in the streets and their ways to protect themselves from rain and cold, made up another bunch of objects for pictures.

Maybe I'll be more lucky when I go there next—or my camera club should make a trip there. Obviously, many others have done so already, but that still makes one's fingers itch: by pointing my camera a little different, by finding that great light, by releasing the shutter at exactly the right moment... We might shoot that wished-for winner!

Pioneers of Travel Photography – Vaut le détour

The Teylers Museum in Haarlem has an exhibition of 19^th century travel photography, bringing together photos from the national Rijksmuseum (still in a state of mess due to over-long reconstruction works) and its own collection. The collection of tremendous, detailed, purely registering, photos is worth going to Haarlem for if you happen to be in Holland—'vaut le détour' in terms of the Guides Michelin. You have time to make the detour until the turn of the year; the exhibition lasts until 4 January 2009. As I happen to live in that country, I went to see the exhibition.

'Purely registering' I said, thinking back to the comments from Frank Boots. These pictures had no pretension to make an impression as artistic images, but only to show those back home the exotic world beyond one's own town and region. And we should remember that until the mid-20^th century for most Europeans town and region made up the ambit of their geographical and cultural knowledge. Alright, the bourgeoisie, the intended audience of these photos, may have travelled a little further: I'm still impressed with the stories from late-19^th century novelists who took up residence in Southern France or even Italy for the winter and coming home to northern Europe only when the weather was supportable there, in summer. Or who made their career in the colonies. Those people travelled, spoke their languages (at least French), and had a broad view on cultures and cultural differences. Those differences must have been much larger than now, with our globalised culture: whether they call it MacDo in French or MacDonald's in English, you find the same fast-food counters everywhere, the same fashion shops, etc. Alright, there are some variations in the fast food assortment per country, and size schedules for fashion differ a little depending on the usually wider shoulders and hips in e.g. Germany compared to Southern Europe. But those are details, compared to the wide variety of local food, local dress, etc. of the 19^th century.

But even then: to see photos from other continents must have been a stunning experience in itself to the 19^th century audience. No need to do anything artistic; these pictures brought Das Andere suddenly close to many people. 'Registering' that was more than enough. Everyone knew about the hardships of the audacious men (and a few women) who made expeditions to wild places—they could read that from the pictures just by seeing the exotic buildings, landscapes, ruins and—a little later—the 'types' of the peoples from those world regions in their typical state of (un)dress. So 'registering', 'documenting' was what they did in tremendous detail. What a richness of grey tones (of all shades from cold to warm/sepia)—no graphic blacks and whites! What a cornucopia of details in every picture—no cropped buildings or portraits for them, but full shots!

Do the photos show European superiority as it was believed in during the 19^th century? It was the time of establishment of vast colonial empires by European countries, after all. In a way, the pictures cannot but be a show of European superiority: Europeans took those pictures—they had the technology, they looked through the viewfinders (or how do you call it with those big glass plate cameras?), they released the shutters. And yes, there were some indications of Western supremacy in some photos. Not that there were any hunting scenes, with the white man standing proudly with a foot on the killed tiger, elephant or hippopotamus. But it was revealing enough to see "our camp" as the caption of a photo of tents among the ancient ruins. Or to see the new railway bridge, with a steam train running over it, above the old and decrepit rope bridge deeper in the valley of the Padanger highlands on Java. Yet for the most part, it was not superiority, but astonishment at the diversity, the other-ness that struck me in those pictures. They were an effort, according to me, to show those back home how strangely beautiful the world was.

Forced by the technique, no doubt, but fitting in that idea of showing in as few hard-to-come-by photos as much as possible, they not only show a number of details that we now would divide up across half a dozen of pictures at least, but they also were sharp from front to horizon, a depth-of-field that we almost find overwhelming.

In short: have a look if you can, also at the amazing stereoscopic pictures in the Kaiserpanorama.

By the way: the picture in this entry of Gizeh in the late 19^th or early 20^th century was googled from the Internet, and I believe it to be not copyrighted.

Flooding around Hanoi

Heavy rains led to floodings in Northern Vietnam and Southern China, maybe you heard it in the news. In the Hanoi area, around 50-60 people lost their lives. When I landed at the Hanoi airport, just after the weekend, the rain had stopped (more or less), but along the road between the airport and the city, flooding was only too visible: rice fields were drowned, people were fishing where they ought to be tending the rice.

This is cause for documentary photography! The facts must be made known, esthetics should be second-place considerations.

Still, esthetic questions do turn up: the facts should be put into pictures that are remembered as pictures. One of mine is a clear failure--it is so bad I hardly dare show it, but since it is the only one of the occasion, still I leave the picture here where behind the motorbike two men are lowering a net into the water (the last photo in this entry).
Documentary photography is often black-and-white. Black-and-wite is associated with misery, apparently. I tried, quickly, to see if the following pictures were better in black-and-white, but to my mind the (subdued) colours do not detract from the message.
Since these were all made from the car driving by, I did not hesitate to use cropping to these pictures, and I even burned the sky in the first picture shown, one with the two guys wading through the water to their chest (great tool in Lightroom, this graduated filter!). It may be getting to the limit of keeping truth in documentary photography...



I'm glad I saw nothing worse than this. Wouldn't make a good journalist, would I?

New slideshow

OK, it's not a major contribution, but I have changed the slideshow in the sidebar to another album. This month, it's travel photography you can see, made earlier in 2008 in Taiwan (cities of Taipeh, Tainan and Puli with the Sun-Moon Lake).

For major contributions, I need more time off from work. Stay tuned, it'll come...