Going to Goa: On the Beach

Sharing a few photos from our recent trip to Goa, a former Portuguese colony in west/south India.  One of the things tourists love about the beaches here is how clean they are.  Whether it’s the currents, the population size or some other reason, we can definitely say there is a huge difference between what we experienced in Goa and what we experienced in Chennai.

Beach

Photographer on the Beach

Sea at south Goa

The beach goes on endlessly, and given its westward orientation, has great sunsets.

Fishing Boat

And like everywhere we’ve been so far in India, cows are a common sight. These two came out for an evening stroll.

Cows on the Beach

Finally, a different sort of sunset. If you’re in an air-conditioned room and want to take your camera outside for photography, you need to leave 20-30 minutes for the camera to warm up to the temperature of the outside air. While that is happening, all of the lenses fog up. This was the result of trying to take a photo before the fog finished clearing.

Sunset

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Ayudha Pooja in our Community

The other day a group of colleagues living close together and all of the domestic staff they employ came together for an annual tradition called the “Ayudha Pooja.”  This is something which Hindus, especially in South India, have celebrated as long as anyone can remember.  Traditionally it is observed on the final, or ninth day of the Navratri festival, which would have been Sunday, October 14th this year.  However, in our neighborhood, it has been customary for us ex-pats to be invited to take part (and help finance) the observance, and we had to make do with Friday, six days afterward, in order to accommodate all schedules.

What is Ayudha Pooja?  As an outside observer, I would describe it as giving thanks for the implements one uses in their daily work – for a driver this would be the automobile, for the gardener, the garden tools, and so on.   However, the pooja itself follows a deliberate ritual involving specific items and acts – prayer, use of fire, breaking of coconuts and melons, that sort of thing.  Each act and item has a particular significance, and results in a blessing being bestowed upon those items (if I have understood correctly!)  And it culminated in the sharing of traditional snacks, and the giving of small gift items between everyone involved.

To prepare for the event, all of the items to be blessed are cleaned and decorated.  In our case, the cars were all washed, decorated with flowers, and placed in a line:

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Our staff had worked all day to cover the area with traditional kolams, hang streamers (both the colorful plastic kind and streamers made from “scratch” – string with leaves folded over and the stems tucked in:

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A sort of outdoor temple was created with all the items involved in the offering placed in accordance with tradition:

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…and then all of the families were gathered (barefoot) to take part in the rituals.  An interesting annual tradition in our community and a great way to promote fellowship!  To learn more about Ayudha Pooja from an “insider” perspective, click here.

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Going to Goa: Sahakari Spice Plantation

One thing you can do when you’re visiting the Indian state of Goa, on the south/western coast, is to stop by a spice plantation.  Presumably the spice plantations that dot Goa and other parts of India are remnants of the once-extremely-profitable spice industry which drove Europeans farther and farther across the globe in search of new riches.  One such spice plantation is Sahakari Farms, near Curti, just west of center of the state.

Supposedly most of these spice plantations are run according to similar models.  You pay a fee, get a tour of a small part of the farm and see how many different spices grow and what they’re used for, and finish with a buffet lunch.  At Sahakari, as at many others, you can also ride an elephant.  Not only can you ride and feed an elephant, but you can also bathe an elephant.  And vice versa!

Our tour at Sahakari Farms was led by a particularly enthusiastic and entertaining tour guide. Be sure and try and get him if you go:

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Don’t believe me? Check out some of his work:

The spice farm staff will do their best to convince you of all of the allegedly curative properties of their spices, and prescribe specific recipes to be used for maladies such as diabetes, high cholesterol, and other conditions which confound modern medicine. And I don’t dispute whether they work – just that some of the “cures” require a paradigm shift – such as the oil they sell for impotence. Instructions for use: rub three drops into the, er, “affected area” for about five minutes. Guaranteed to work!

Be sure and stop in next time you’re in Goa. And the food is delicious!!

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Going to Goa: Shri Mangeshi Temple and Procession

We recently took several days to visit Goa, a small state and former Portuguese colony on the western coast of India.  For one of our outings, we hired a local driver, “Seby”, to take us around for the better part of the afternoon, to see some of the local sights.  One of the places we stopped was the Shri Mangesh Temple – which we discovered later, “has recently banned entry of foreigners into the temple citing objectionable dressing and conduct as the reason” (Wikipedia).  Though we didn’t know this at the time, we thankfully did nothing to exacerbate this situation further.

Approaching the pink gate (photo below), we passed a crowd of people outside the gate looking like they were preparing to conduct a procession through the town.  But more on that later!

Shri Mangeshi

Given that this was an important day in the festival of Dasara, the temple was apparently much more crowded than normal.  Elderly ladies were lining the street on the approach to the temple selling plates with typical offerings for the “pooja”: flowers, a few bananas, a coconut, and some incense.  There was also a small square of cloth folded into a triangle, and several packets wrapped in newspaper: uncooked rice and a pinch each of yellow turmeric and red kumkum.

Entering the gate (photo above), one passes the tank (below), thought to be the oldest part of the temple.  After this is the magnificent white “deepsthamba” or lamp tower which stands seven storeys tall.  We did not photograph the temple itself, having been warned earlier that this was not permitted, but a photo can be found here.  At the entrance to the temple, a guard, seeing our large cameras, gave a stern warning that the deity was not to be photographed, so probably photographing the temple would have been fine.

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Deepsthamba

So we finished with the temple itself, and as we came out and made our way around the crowd gathered outside the gate, the musicians at the front of the group suddenly started to play and we found ourselves in the middle of a temple procession carrying a deity through the village.

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We let them go on their way but enjoyed seeing the colorful processional  move through the streets of the village which had been decorated for the occasion with kolams and other decorations.  At each house they would pause, the musicians would take a break, and the family at the house would place offerings on the chariot carrying the deity while the area was bathed in incense smoke.  A short barrage of firecrackers would follow, and then the processional would move on to the next house.

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Checking  the Ember

 

The whole village was involved in this event.  The video below gives more insight into the procession, which we just happened to catch at the right time during our visit.

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Street Photography: Is Black and White Best?

A few days ago, I came home from work and sat down at the computer to see what folks were up to on Facebook, and I saw the “Photographic Society of Madras” was hosting a talk by an American street photographer, to start in 15 minutes – and it was only a mile away!  So off I went.

I enjoyed a three-hour presentation by Craig Semetko, who shared some of the photographs from his first book, “Unposed”, as well as some of the stories behind the picture – what was going on, how he spotted it, and how he got the shot.  He also shared some of the photos from his upcoming book, “America” – which  are the ones you see when you first go to his website, above.  I thought the roller coaster in the ocean was especially good – but unfortunately out of my price range for the time being.

Semetko’s earlier work is in black and white, while later photos are more and more in color.  He shared a few recent photos from India that would have been a shame to take in black and white, given the bright colors here.  But personally I thought the black and white work, as a whole, was much more striking than the color photos.  I asked him how he decides whether to use black and white or color.  As a part of his answer, he offered an interesting quote by Ted Grant: “When you photograph people in color, you photograph their clothes. But when you photograph people in Black and white, you photograph their souls!”

He went on to explain that color can be trickier because invariably there will be a color in the scene that takes away from the scene by distracting the viewer from the subject they ought to be focusing on.  Which is an interesting point that says a whole lot about photography in general.  Too often, a photo misses the mark because there is simply too much going on, and the viewer doesn’t know quite where to focus or what is the photographer’s message.

This is why Ted Grant’s quote, while it may seem hyperbolic, makes sense.  In a black and white photo of a single person, you automatically go to the face – especially the eyes, first.  And if the person you’re photographing is the main subject you’re trying to capture, the lack of color makes it easier for the viewer.

A few photo pairs are interesting to consider in light of these statements:

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Night Chef

Selling Smoke for Luck

Selling Smoke for Luck

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Watcher in the Temple

Which is better, the color, or the black and white? I deliberately selected photos I think illustrate Semetko’s/Grant’s point – of course there are plenty of times the color version will be superior. But I suspect in all three pairs, the first place your attention went was to the eyes of the subject.  Something to think about the next time you’re out snapping photos.

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The Ansco Craftsman Camera: Should I Build It?

I recently came into possession of an Ansco Craftsman Camera Home Construction Kit, and I don’t know what I should do with it.

These kits were introduced in 1950 and marketed through magazines like “Boys’ Life” to try and recruit schoolchildren into photography, presumably to make them lifelong consumers of Ansco film.  The idea appears to have been to help kids and teens understand how cameras operate.

Through eBay, I received a complete kit, plus an incomplete kit (mostly incomplete), and now the question is, should I build it?

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Somewhat surprising given the apparent simplicity of these box cameras, the box comes with about a million pieces inside it – many of them still sealed in paper envelopes.  This was before the age of plastic, so everything is made of wood, cardboard and metal.  Some of the metal bits are corroding a little after 60 years in a box.

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There is a little packet of glue, cardboard sections, nails, rivets, and even (lining the bottom of the box) a sheet of black covering material for the outside of the camera.  And in addition to the easy-to-follow instructions, there is a little flyer for “Ansco all-weather film” which is pretty cool in its own right!

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In its current, unassembled form, this camera is worth two to three times as much as it would be assembled – and there’s a certain charm to having this kit in its original form.  But a big part of me wants to travel back in time 60 years and actually put this thing together, and snap a few photos.  But that would irrevocably spoil the kit.  Maybe document the process with photos?

It seems a shame to “destroy” the kit, but also a shame to just carry the box around without ever building it.  What would you do?

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Chennai Photowalk Part 3: Kapaleeshwarar Temple

…as far as this particular photowalk goes, I’ve saved the best for last.

We initially went into the less-trafficked entrance entrance to this amazing temple, following the lead of the Indians in our group, and after a few photos, were ushered out and told to come in the other entrance.  But not before I scored this gem of a photo:

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The interior courtyard was full of people of all ages – listening to the live Carnatic music being performed, engaging in religious ritual and prayer, and socializing.  We were struck by the fact that everyone seemed so happy – compared, for example, to the mood inside a Christian church, which can be stuffy at times.

Inside the Kapaleeshwarar Temple

A group of singers was performing, accompanied by what sounded like an accordion – a horizontal keyboard played with the right hand, and bellows being opened and closed with the left hand.  Have a listen – the first part of the clip below is from the entrance where we were ushered out, also with live music – and then it switches to the Carnatic singers.  At the end, a young girl performs – quite remarkable as Carnatic music is serious business, and it takes years to be good enough to be able to perform:

At a certain point, a procession came from the back end of the temple and the singers paused while the drummers and the procession below made their way through the temple. As noted in previous posts, the statue being carried is surrounded by fresh flowers which provide the color around the edges:

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Kapaleeswarar Temple

Kapaleeswarar Temple

Meanwhile, a number of priests were resting nonchalantly off to the side:

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While this was all going on, there were people in different nooks and corners doing the sort of thing one normally expects people to do in places of worship.

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It was an amazing experience, not one we’ll soon forget.  In parting, I’ll leave you with a photo of the temple from across the tank (a square body of water behind the temple).

Kapaleeshwarar Temple at Night

 

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Chennai Photowalk Part 2: Streets at Night

It seems strange to think that, after 2 months living in this city, we haven’t really been out at night.  I’ve been out very early and there are a surprising number of people up and about – this is the time when the trucks are unloaded bringing new stock to the shops.  But in the evening,  I assumed people generally were at home and the shops were closed.  This is definitely not the case – in fact, it may be even more crowded in some places than during the day!

As noted in the previous post, this photowalk took place in the vicinity of the Kapaleeshwarar Temple in Mylapore.  The size of the temple (many people attend after 6 pm) and the fact that the “festival of dolls” (Golu) is ongoing may account for some of the extra traffic, but all over Chennai people are preparing and serving food from roadside stands, selling fresh fruits and vegetables, selling strands of flowers, and many of the small shops are open for business.  Here’s a sample of what I’m talking about:

It turns out that this makes for great street photography, depending on your camera. Most vendors have some sort of light, which affects some of the photos – but a little post-processing can keep the lights from being too harsh. Here are some of the favorite photos we took.

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Wanted to buy from this guy just because he seemed so sad…

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Woman

The woman above was sitting next to her cart, which was filled with Golu dolls and small knick-knacks.

Vendors

Some photos are better in black and white, but the one above is definitely best in color!

Bus Stop

The folks getting on the bus don’t seem to trust the white guy with the big camera, do they?

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People heading home on a crowded bus. In Chennai, the buses don’t have windows.

Selling Smoke for Luck

This man goes to different vendors and to passersby, and exposes them to the smoke (smells like incense) wafting from his burner. For this he expects a few rupees. The Indian photographers walking with us told us the smoke brings luck. Well, it seems to work for this man, anyway…

Fruit Stands

Amazing colors at night.

Frame and Picture Shop

This man sells religious photos.

Streets at Night

Hole in the Wall

This couple is visiting a real “hole in the wall” restaurant. Literally, the family in the home inside is selling prepared meals to passersby. I wonder how the food is? Below another “hole in the wall” – the Indian equivalent of a 7-11, where goods and money are passed through a small hole in the wire.

Convenience Store

Selling Trinkets

This man is trying to persuade the woman to buy one of his little toy swings.

Golu Doll Salesman

This man stops me and insists I take a photo of him with one of his dolls.

Taking Home the Groceries

Her shopping done for the night, this woman heads to the bus stop. Barefoot.

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Chennai Photowalk: In Search of Golu

Golu, also known as Kolu or Bommai Golu – the “festival of dolls” – has come to Chennai.  Golu is celebrated during the festival of Navratri in southern India.  I find the background of the festival confusing, not knowing many of the stories relating to Hinduism, but the festival manifests itself in southern India in the form of doll displays for women and girls – with other traditions of course.  Consequently, however, the streets are filled with entrepreneurs selling a wide array of dolls to be displayed in the home.  Which means one thing for us: time for another photowalk!

We visited the streets surrounding the Kapaleeshwarar temple in Mylapore, a section of town just north of us.  These streets are normally very active to begin with, and the doll salespeople took the buzz to a whole new level.  [It was also our first night photowalk, and we had a fascinating visit to the temple itself – but that will be a different post.]

Here are a few shots showing what the streets were like:

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Above, some of our fellow photowalkers try their hand at haggling for a better price.

Golu stalls

This little fella was bored – he was just sitting there making silly faces nonstop! Below, more haggling:

Haggling over Golu Dolls

Golu stalls

To see more Golu-related photos on Flickr, check out this group.

And to read a blog post by someone who understands the holiday and its traditions much better than I, check out this link.

 

 

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From the Township to the Championship: The Amazing Story Behind One Photo

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This is Sofia Simon, a fifteen-year-old, in Giza, Egypt.  She’s on a layover in Cairo, on her way to compete in the World Biathle Championships in Cyprus.  Never heard of biathle?  Eighteen months ago, neither had Sofia.  Eighteen months ago, she couldn’t swim, either.  And tomorrow she will represent her country in a sport that consists of running, swimming, and then running once again.

Sofia lives in Katutura, the low-income section of Namibia’s capital Windhoek.  Namibia  grapples with the world’s largest income disparity, divided largely along racial lines.   In Katutura, most people struggle to put food on the table as security guards, fruit stand sellers, taxi drivers, housekeepers or casual laborers.  After work many of them retreat to one of a staggering 5,000 “shebeens”, or makeshift bars that litter the community.  Young children, often supervised by an older sibling, wander the streets barefoot and in shabby clothes, avoiding the stray dogs that roam everywhere.

Meaning “the place we do not want to live,” Katutura was created in 1961 to conform with South Africa’s apartheid policy.  Thousands of Windhoek’s black residents were forcibly relocated to the north side of town where they could be kept as a ready work force, but far from the city’s much wealthier white community.   Today, Katutura is a colorful and energetic ramshackle of overcrowded cinderblock houses, ringed by improvised sheet metal and tin shacks stretching far into the bush.  Despite the end of apartheid in Namibia more than two decades ago, Namibians continue to segregate themselves in the communities built by the South African government years earlier.

Enter Marie-Jeanne Ndimbira and her after-school program, “Physically Active Youth”, or “PAY”.   Sofia was drawn to this program and the supportive, and nurturing environment it provides.  She joins dozens of other teens who daily attend programs at the center, study, or socialize with friends, and maybe get a peanut-butter and jelly sandwich.  At PAY, teens like Sofia are able to explore their own interests.  They have a quiet space to study – away from younger siblings who need supervision, away from uncles and cousins who have come to the city in search of work. As Ndimbira once told me, at PAY, kids are given the space to be good at something.  They discover self-esteem, and they allow themselves to succeed at schoolwork, and ultimately wind up making better decisions.  Virtually all of them pass their tenth-grade exams – in a community where the average pass rate is 35 percent.

In early 2012, South African expatriate Anton Swart arrived in Windhoek.  He had come to practice physical therapy, but he had also been tasked with bringing the sport of biathle to Namibia.  Biathle is a feeder sport for modern pentathlon, combining the relatively accessible swimming and running legs in a short, intense race in the hopes of gradually introducing modern pentathlon’s other disciplines – fencing, horse jumping and shooting.  I had come to a couple of biathle races, but was mystified by the lack of black participation in a country that is less than 7 percent white.  So I introduced Anton to Physically Active Youth.

The 40 or 50 teens who came to hear our talk listened attentively.  I explained that the newness of the sport to Namibia offered great opportunity.  Somewhat unconvinced myself, I told them that a lucky few might even participate in the world championships one day.  The kids were interested but skeptical.  One girl (Jenny) – who at the time could not swim a single stroke but would later become one of the group’s most graceful swimmers asked, “Will we be swimming against professionals?”

At the time I was unsure what she meant, but I realized that in Windhoek, swimming is a sport for the wealthy.  Swimmers spend significant portions of their lives in pools, starting from a very young age.  This requires club fees, access to an indoor pool, transportation, equipment, and money – all things in short supply in Katutura.   Katutura’s excellent municipal pool offered not a single organized swimming program.  What Jenny was asking was, “Do we stand a chance?”

Initially, no one – including the kids – thought we could succeed.  Sofia was among the first few kids who turned up, but she refused to leave the shallow end.  A handful of kids could swim 50 meters, if pushed.  We brought a half dozen of the best swimmers to a biathle competition – I bought them all running shoes and lent them my running shorts and swimsuits.  The running went great, but the first swim was a disaster, and I worried we had pushed too hard, too fast.  But instead of giving up, the kids asked if we could train them.

It was winter in Windhoek, so we needed to find an indoor pool they could use.  Jordan Frost, an intern from Toronto, and Ester Hilundwa, a PAY volunteer and graduate of the program herself, and  I approached a local swim team, the Namib Swimming Academy.  We persuaded them to let us use their pool for two hours on Saturdays.  We would pile kids into an SUV for the drive from Katutura to Olympia and back – a 40-minute round trip, and I would provide swim goggles while Jordan provided snacks.  Within a few weeks, we had two dozen regular swimmers and were joined by Julia Mushimba, who would take over the beginning swimmer program with a no-nonsense style (and continues to run the swim program to this day).

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Once the weather warmed, we convinced the City of Windhoek to let us use the Katutura municipal pool after hours twice per week.  We set up a free swim program for the community but quickly had to cap participation at around 35.  A core group of kids came religiously and within six months, Sofia and the other beginners doing workouts of up to 1000 meters.  The growing sense of pride was almost palpable – we talked the top swimmers into entering local kids’ triathlons and biathle competitions.  And some of them started to win races.

In late 2012, Sofia was set to enter her first open water competition.  I worried that the kids would panic in the open water, I took them for a “test swim” the week before the competition – Sofia was joined by five male swimmers, and I would row in a rubber dinghy with two at a time, to ensure they could swim 700 meters comfortably.  The first surprise came when we entered the grounds of the Lake Oanob reservoir, which also offers game drives.  “Giraffes!!”  the kids shouted.  And I realized that these kids, who had lived in an African country their whole lives where a million tourists visited every year to see elephants and lions and zebras – these kids from Katutura had never seen a giraffe.

A week later, these kids who had never swum in a lake in their lives completed their first open water swim.  For weeks afterward, someone would always be wearing the t-shirt from this event. Then in early 2013 they entered one of Namibia’s major triathlons.  Sofia and fellow swimmers Martin Sheya and Peter Mawano would take home top prizes in the men’s and women’s open categories.  The swimmers from PAY were the only people of color to participate in the event.

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In July 2013, Sofia was preparing to enter her second Namibia National Biathle Championships.  In 2012, she had started the run too fast, and panicked when she hit the water out of breath, like most first-timers to biathle.  But by July 2013, Sofia was a completely different person – confident, strong, and sure of herself.  And this time, the outcome was different.  Sofia won her age group handily – and qualified to represent Namibia in the World Championships, along with two other Katutura swimmers, Ronaldo Uirab and Martin Sheya.

As a result, Sofia is now on the biggest trip of her young life – on her way to Cyprus, with a stop in Cairo.  In 18 months, she has made it from the township to the championships.

And so it happened that Sofia Simon, a fifteen-year-old from Katutura, with big hopes and dreams, and more stubborn than just about any other fifteen-year-old I’ve ever met, ended up in a picture with an Egyptian pyramid.  Sure, she got some help along the way – some pointers here and there, a few lucky breaks, some generous sponsors, the PAY program, whose staff would donate their stipend to help finance the trip.  But the most important elements of the equation were provided by Sofia herself – hard work, determination, and most of all, heart.

If you’re interested in seeing how Sofia, Ronaldo and the entire team from Namibia do at the World Biathle Championships, you can check out the Championships’ website here.

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Crater Lake and the Art of Motorcycle Maintenance

I just finished “Zen and the Art of Motorcycle Maintenance” – probably the only person to have never read this book.  The characters follow almost the exact same route through Oregon and northern California as we did on our very own “Chautauqua” last summer.  I have always been drawn to Crater Lake – I’m not sure why.  But the following passage from Pirsig’s book has ruined it for me forever.

 

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We arrive at the turnoff to Crater Lake and go up a neat road into the National Park – clean, tidy and preserved.  It really shouldn’t be any other way, but this doesn’t win any prizes for Quality either.  It turns it into a museum.  This is how it was before the white man came – beautiful lava flows, and scrawny trees, and not a beer can anywhere – but now that the white man is here, it looks fake.  Maybe the National Park Service should set just one pile of beer cans in the middle of all that lava and then it would come to life.  The absence of beer cans is distracting.

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At the lake we stop and stretch and mingle affably with the small crowd of tourists holding cameras and children yelling, “Don’t get too close!” and see cars and campers with all different license plates, and see the Crater Lake with a feeling of “Well, there it is,” just as the pictures show.  I watch the other tourists, all of whom seem to have out-of-place looks too.  I have no resentment at all this, just a feeling that it’s all unreal and that the quality of the lake is smothered by the fact that it’s so pointed to.  You point to something as having quality and the Quality tends to go away.  Quality is what you see out of the corner of your eye, and so I look at the lake below but feel the peculiar quality from the chill, almost frigid sunlight behind me, and the almost motionless wind.

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“Why did we come here?” Chris says.

“To see the lake.”

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Found Film: 110 “Pocket Instamatic”

One of those small 110 cartridges people used to put in “pocket instamatic” and other miniature cameras in the 1970s and 1980s came into my possession the other day.  All twelve pictures had been taken.  No idea whose it was originally – it was probably found in an old camera picked up at a garage sale somewhere, and then someone decided they could get a couple of bucks for it on eBay – which is how it came to me.  I am always curious to see what comes out of “found film” rolls, though I tend to prefer older ones.  I believe 110 film is still being produced for “lomography” enthusiasts, and there are posts on the internet saying that Walgreens and a few other remaining film developers will process this type of film.  That doesn’t help me though, as I’m not anywhere near one of those.

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One of the main drawbacks of 110 film is that it’s so small – meaning that it can capture limited detail which becomes grainy when enlarged.  The negatives are just over half the length and width of a standard 35mm frame, which makes them good for use in a model rocket, but generally the cameras that used this film were not of the best quality.  I broke open the cartridge inside a changing bag, not knowing what I would get, and found (by sense of touch) about a 14-in strip of negatives, rolled up with backing paper inside one end of the cartridge.

Now the question was how to develop it.  I have an old tank that is resizable to different film sizes, but the smallest size it can hold is 35mm.  So I got some copper wire (from the inside of an old coaxial cable) and made little brackets, spaced out far enough so that I would be able to push the film through them in a spiral shape, by sense of touch, inside a changing bag.  This is what it looks like:

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It turns out that the copper reacts with something in one of the color photo processing chemicals – it turns black – so no telling if the chemicals are still good.  I used them toward the end of their shelf life.  Suffice to say, despite some struggles inside the changing bag, it ended up working – I had clearly visible images on the negative!  Next, I had to figure out how to scan it – nothing too difficult, just some work with masking tape.  You have to tape it where the holes are, as the film is so small there is no real edge to use – but the holes line up with the gaps between exposures.  Here you can see it mounted on a holder for 35mm film, which also gives an idea of the relative film size:

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The images themselves are interesting – a bit morbid as graves feature on a number of the photos – mostly blank –  but there is a WWII grave on one with a name I can’t quite make out.  It’s hard to say what year this roll was taken, as I have not been able to figure out when Kodak stopped making “Kodak Gold” without any ASA markings, and only 12 exposures – the most common was Kodak 400 24 exposures.  So if anyone wants to help narrow this down or has any feedback on the content, that would be great.  I’ve posted all 12 photos in the order they appeared on the roll in case it helps solve any mysteries.

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The International Coastal Cleanup: Chennai, India

DSC06678aToday we joined thousands of Chennaiites in taking part in the 2013 International Coastal Cleanup.  Regular readers in this blog will recognize that Chennai struggles to maintain clean beaches and waterways, like many large urban areas on the coast.  It was impressive to see the number of people involved and active in this annual event.  Early on a Saturday morning, the beaches were covered with roaming groups of people carrying trash bags and doing their part to beautify the city’s coastline.

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We were briefly held up by speeches by the Chennai organizers and dignitaries including the city’s mayor (where we received event t-shirts!), but soon there were group leaders handing out plastic gloves and trash bags.  Biodegradeable plastic trash bags!

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According to information we were given, India’s military is very involved in this event.  In fact, if I understood correctly, the country’s entire coast guard was deployed this morning in the trash gathering area.  Protecting the country’s coast from more than just military threats….

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The Army was well represented as well, and as the speeches finished and we headed out on to the beach, not only were we accompanied by a half dozen press people with cameras eagerly snapping photos of the (obvious) foreigners picking up trash, we also had some Army cadets insisting on carrying our trash bags for us.  They were very interested in talking about American beaches, the U.S. military and other topics.  The common refrain we had from everyone, however, was gratitude (and a little surprise) that foreigners were willing to come out and clean the beach in Chennai!

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At one point a helicopter was zooming just over the heads of those on the beach:

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After some time, our military escorts were summoned by their bosses and we grabbed a group photo:

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There were also other civic groups participating in the cleanup, including several schools, who spent some time working with one of my colleagues:

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All over Chennai on any given day, there are squads of women employed sweeping the streets and the sidewalks, clearing them of both dirt and trash in general.  On this day, they watched us nervously/curiously on the nearby beach.  When we asked, they were excited to have their pictures taken as fellow cleaner-uppers!

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This event was short, and it only happens once a year.  But the curious stares and comments we got suggest that today was not only about physically picking up trash – it was also about changing a mindset.  And the fact that so many people were involved means that change is happening steadily.  And this is good news to everyone.  Except for the crows.

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Vintage Photos with the Agfa Billy Record I

Here’s another post about vintage cameras from this blog that doesn’t know what it wants to be.

Agfa’s Billy Record I was produced from 1950 to 1952 in the U.S. Zone of post-World War II Germany.  The export model (to the U.S.) was known as the Ventura 69.  It shoots at 3 speeds (1/25, 1/50, or 1/200 second, plus “bulb”) through a 105mm f/6.3 3-element Agnar lens and a Vario shutter.  The aperture settings are f/6.3, 8, 11 and 22, which keeps things simple for a novice.  This particular camera has shiny, pristine bellows, almost as if they were replaced at some point, and the body is completely clean and it seems to work perfectly.  When it arrived in the mail, the lens was stuck, meaning it was impossible to focus.  This is a common problem in this type of camera as the lubricant in the threads gunks up.  There are a number of suggestions out there on how to solve this problem – in my case I just twisted until it came loose.

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Now the only problem I seem to have is that I can’t turn the focusing ring farther than 15 feet or so.  The way these things tend to work, you are basically (partly) screwing and unscrewing the outer lens element from the camera, moving it closer/farther from the film, which focuses the image.  To approach infinity, you tighten the lens, but when mine hits 15 feet, it’s screwed all the way in and won’t turn any further.

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Oddly, none of the pictures I have taken with the camera have been out of focus, however.  I do have odd edges along the negatives which are interesting and as of yet unexplained, but nothing that suggests an actual light leak.  I almost suspect there may have been a problem handling the film as it was being processed.

Anyway, I think the photos turned out very interesting and I look forward to taking more shots with this relatively easy to handle and sturdy camera from the early 1950s.

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And a final photo – probably the last on the roll – with the most damage. It makes the photo more interesting; you can see the backing paper through the photo – but it makes me wonder whether it got that way because the Indians insisted on x-raying it when I brought it (still undeveloped) into the country.

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For more photos from this camera, check out this set on Flickr.

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Passing Out in India (It’s Not What You Think)

I had the honor and pleasure of attending the Passing Out Parade at Chennai’s Officers’ Training Academy (OTA).  To “pass out” of a military academy means, in a number of countries, to graduate, or move on.  In the case of this particular passing out parade, 350 graduates went from being cadets, to being junior officers in the Indian Army.  Sixty-nine of the graduates were women.  Twenty of the graduates were cadets/officers of the Afghan National Army.  In the photo below, the cadets march past the stand where the parents and relatives sit to watch, on their way to march past the ceremony’s reviewing officer – a Lieutenant General (if I remember correctly).  The OTA has graduated 25,900 officers since 1963, including 2,500 women.  It is located very close to St. Thomas’ Mount, the site where the disciple St. Thomas is thought to have been martyred in 72 AD.

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For me, it was an emotional ceremony that reminded me of my own commissioning, years ago, in 1989.  Memories started with the parents all standing and leaning to get a good photo.  The cadets marched proudly, and in perfect step.  The academy’s adjutant, below, is responsible for ensuring drill is performed correctly.

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The remarkable ceremony in many ways resembled ceremonies for similar occasions in the U.S. Army.  I suppose they are all alike in many ways – there is a shared military culture that transcends all national boundaries.  And after all, both India and the United States were British colonies!

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The presiding officers came to the ceremony in splendid horse-drawn carriages, with horse riders to the front and rear.  For the inspection of troops, this modified pick-up truck, with every millimeter polished to a high shine, was slowly driven around the parade field.

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At the completion of this part of the ceremony, the cadets all combined to form one large formation, and then marched slowly, to the tune of “Auld Lang Syne” in a column six across.  As they reached the presiding officer’s stage, they split into two columns of three, passing to either side and to the rear, where they marched under an archway marked “Serve With Honour” and engraved with the names of those fallen in combat.  As they marched, an extract of Rudyard Kipling’s poem, “If” was read, and the final thought the cadets were left with was, “Make history if you can, make a difference, which you can.”

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Infantries the world over have much in common.  This statue and its motto, “Follow Me”, greatly resemble the U.S. Infantry’s statue which currently stands in front of the Infantry School in Fort Benning, Georgia.  The U.S. infantry’s motto is also “follow me.”

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After a short tea break to give the new officers time to change into their uniforms, we were invited to the “pipping ceremony.”  “Pips” are the rank insignia on the shoulder.  In the United States military – for ROTC graduates, anyway, parents or close friends/designees are invited to pin the new officer rank on the recently graduated cadets.  In the Indian Army, the rank is worn, but covered up by a small sleeve on the epaulet.  In any military, it’s a proud moment as parents who have raised their children the best they could, and watched them overcome the many hurdles which brought them to this point, now get to participate in this important part of the ceremony.

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Very nice guy, with proud parents and brother.  We chatted for a bit – he will become an ordnance officer, but first everyone serves with the infantry for a couple of years, before branch-specific training.  This is part of an “everyone an infantryman first” ethos we were recently working to recapture in the U.S. Army.  Below, a photo of my own “pipping ceremony” for comparison.

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After the pipping ceremony, the new officers were once again assembled in the central area to take the oath of office – once again, very similar to the American oath.  One difference was that they included four clerics in the ceremony, one from each of India’s major religions – Hindu, Christian, Sikh and Muslim, at the front.  Once this was complete, hundreds of balloons were released, along with confetti fired into the air.  Previously the tradition had been to throw their service caps into the air, but this had recently been discontinued.

I also had a brief opportunity to chat with some of the Afghan graduates, where the atmosphere was a little different – these graduates were heading back to their own country to serve in combat.

I very much appreciated the opportunity to witness this important event and wish the young officers all the best in their new careers.

And to close things out, a photo of the ubiquitous Hindustani Ambassador – the vehicle of choice for government officials.

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My photos are a bit grainy – they were taken on older film and processed at home.  Plus I didn’t have as good a vantage point as the professionals.  Some really great photos are provided by photojournalists at the New Indian Express – check them out by clicking on this link!

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Ganesha Chaturthi, Chennai Style (Part 2: Video)

Yesterday I explained a bit about the festival currently ongoing in Chennai (and across India) – Ganesha Chaturthi – and posted some photos.

It’s hard to really capture the atmosphere of the event with photos only – a video in this case is much more helpful.  After watching this video, if you think this is a lot of Ganesha idols, check out this guy’s amazing collection in Hyderabad.

Also, you can check out this article in the Hindu about the events of the same day.

Although it’s important to remember this is a religious celebration, it seems to be a great way for the community to get together and have a great time.  And coming from a different culture, where alcohol consumption is often a key basis for “having a great time” it’s also nice to see tens of thousands of people having a great time without a single bit of alcohol.

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Ganesha Chaturthi, Chennai Style

Today was day 7 of Ganesha Chaturthi, the Hindu festival celebrating the (re-)birth of Lord Ganesha, the son of Shiva and Parvati.  To celebrate this festival, many Indian families display a statue of Ganesha in their homes, and after making specific types of offerings and engaging in certain rituals, will immerse the (usually clay) statue in water.  Recently, this has become more of a community affair, in that neighborhoods and clubs will display large statues, and throughout the festival (but generally on the first, 3rd, 5th, 7th, 9th, or 11th day) they will take the statue on a procession and immerse it in a large body of water.  For a coastal city like Chennai, this is the Indian Ocean.

Of course this has environmental implications; and in a country of 1.2 billion, as expected there have been efforts to ensure that the statues are made of biodegradeable materials and use safe paints.  In Chennai, there were designated points where people could go with their statue, police escorts, and people had to sign in, having registered (theoretically, anyway) to be able to participate.  This generates a huge line of trucks carrying these statues and the people (men) who will carry them to the sea, but the large crowds also created a very festive atmosphere.

Over this year’s ten-day festival, it is expected that over 1,700 Ganesha statues will be immersed in the ocean.

We took the opportunity to see what was going on at the southern end of Marina Beach, where most of Chennai’s Ganesha statues are to be immersed in the ocean.  It’s hard to get a sense of the atmosphere just from photographs.  Tomorrow I’ll post a video I put together – check back!

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Just a few of the thousands of Ganeshas that will go into the sea this week.

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Everyone at the beach was in a festive mood, and asked to be photographed, even though they knew we couldn’t provide prints.

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Here, a Ganesha with a boat is prepared to be lifted.  The boat didn’t actually float.

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The Ganesha above, its creators proudly informed us, is made of 500 kg of coconuts.  It is held together with some sort of paste that is edible for fish (the translation didn’t quite work out).

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The family above wanted us to take photos.  They live about 150 meters from the beach.  The kids have their own Ganeshas.

 

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We passed by this truck and the fellow in the center was insistent we take a picture.  He kept telling us, “the eyes, the eyes.”  Finally I realized they had found a way to motorize the eyes so that they would regularly “blink.”

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This is probably the best vantage point to get an idea of the length of the queue.  To the right, it’s about 350 meters to the beach.  Straight ahead, the line stretches well out of the line of sight.  For these policemen, it’s been a very long day…

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Color Film Processing at Home

There are quite a few opinions out there on the ‘net that processing color film yourself is just too darn hard.  I’m happy to report that I managed to do it for the first time – and if I can do it, it’s definitely not that hard.  You do have to be able to keep water at 102 degrees Fahrenheit for a few minutes, but I filled the sink and had no trouble at all – much easier than keeping the water 68 degrees when your tap runs at over 70.

The Jobo C-41 Press Kit and the explanations, both at this website and on the detailed instructions in the Jobo kit, made it easy.  Here are a couple I took with an old Ricoh Super Kr-5.

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And then there’s this one. Hey, it’s in color – that’s all that matters!

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Is There Really Such a Thing as Too Many Cameras?

I was very excited to get a package this week containing twelve new old junk vintage cameras, bringing the size of my collection to around fifty.  Here are the new arrivals:

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And (changing subjects briefly, but I’ll come back to this) India has a lot of monkeys – 13 types, in fact – but we don’t expect to see many in our city of 7 million people or so.  We asked our neighbor if they’d ever seen a monkey in the suburbs (as we often did in Windhoek) and he assured us we’d never see one.  Yet this morning we were getting ready for work, and there he was – a lone monkey walking along the wall separating the two yards.

So I ran in to grab a camera, and ironically, in a room containing fifty cameras, could not find one that was ready to use.  Instead I grabbed my phone, which has a decent camera, ran out, and snapped a couple of shots.

It turns out, however, that the photos are destined to be trapped inside my (work) phone, for policy reasons.  So if you want to see proof, you’ll have to visit in person and look at the phone.  I suppose I could take a picture of the phone and post that…

In the meantime, this is the kind of monkey we saw:

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As a bonus, an interesting article (<-click here) we dug up about our south Indian primate friends:  it turns out they are much more cultured than those monkeys from the north.

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At a South Indian Wedding

We had a unique opportunity to attend a South Indian wedding reception the other night.  And I knew it would be an excellent photo-op, so I brought along my Ricoh with flash and a couple of rolls of film!

As I understand it, a wedding in India used to last several days, but for practical reasons, it has generally been compressed to one day.  In south India, anyway.  Ordinarily, the preparations would begin well before sunrise, and the bride in particular would be likely to be “on the go” for up to 8 hours without a meal by the time the wedding takes place.  The reception would normally take place that evening.

However, again for practical reasons, the wedding reception we attended further compressed the schedule by reversing the reception and the wedding – the reception was held in the evening, and the wedding was to follow the next morning.  This decreases the rental fee for the wedding hall, and also makes things easier for friends and family who may be traveling a long way to participate.

This reception was at the east end of Chennai, toward the airport, and after the 90 minutes it took to navigate the route in stop-and-go rush-hour traffic, we knew we were close, as this was clearly a “wedding hall” area.  We passed one building after another festooned with lights, and ladies walking along the road in their best saris.  After a bit of driving around, we finally found the reception to which we had been invited.

Hundreds and hundreds of people go to a typical wedding.  I had researched etiquette earlier that day, and read that invitations are extended so far and wide that even the groom’s brother is expected to invite his office-mates, most of whom will never have met the groom himself.  Or the bride.  I was told by my Indian-American colleague that the men show up in all kinds of clothes – jeans, slacks, collared shirts with or without ties – but rarely ever a suit.  For the women, however, their fanciest sari is a must – this is a garment consisting of four to nine (sometimes more, I’m told!) yards of fabric, wrapped around the body with the end draped over the shoulder and a partly bare midriff.  I agreed with my colleague, who had like us been previously posted in Africa, that we men would wear our best African shirts, and his wife graciously insisted to equip Anne with a suitable sari.  And gold jewelry, which is a must as well.  Did you know that the people of India collectively own more gold that everyone else in the world combined?  This is what I’m told, anyway.

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So we arrived at the wedding hall and were met by some colleagues from work and immediately whisked upstairs, where we could greet the bride and groom. The reception was all about taking pictures, and I tried my best to capture the mood. The group on the stage all smiled for the photographers, were marched off the stage, and then our group from the Consulate went up for our photo, with another group waiting right behind. The bride and groom looked amazing – especially considering they had probably been forcing smiles for the camera for at least an hour:

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Then we went downstairs for a meal, which was one of the most efficient mass-feeding operations I have come across. The kitchen was preparing about a dozen different dishes to an unspecified headcount. We were all ushered to a long table, upon which was unrolled a long paper tablecloth. A piece of banana leaf was placed in front of each person, along with a bottle of water. The neighbor to my left instructed me to use a bit of the water to “wash off” the banana leaf, which was to be my plate.

Then a series of young men came one after the other and dished small portions of each item onto the leaf. And then we dug in. Note I did not mention anything about a fork or spoon…

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Eating a dish of rice with sauce, or garbanzo beans with sauce, with only your fingers, is tricky – but actually easier than, say, using chopsticks.  There’s no room for a raised pinky – you need all five fingers for this job.  And it was delicious!  When we were finished, we signalled our satisfaction with the meal by folding closed the banana leaf.  The attendant then rolled up the tablecloth, with the “plates” inside it, and we left as the next group prepared for their meal.  A bit of standing around with some ice cream, and we picked up our “door gift” (a small coconut?), and that was pretty much the reception!

The whole time I kept snapping photo after photo.  At one point I noticed I was on picture number 33, and I thought to myself, “Wasn’t this a roll of 24?”  When I got home that night I reversed the film and realized after a couple of turns of the knob that the film had never caught properly on the sprockets.  And in fact I had zero photos of the wedding.  Argh!

Film photography has its drawbacks.  But then, I’ve shown up at an event and also realized I left my SD card in the computer…

With any luck, I’ll get invited to another wedding someday…

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Reflecting on Afghanistan, 2006

Today, September 11, was a day of service to the local community.  A group of Americans and Indians did some cleanup, painting, and entertaining of children at a local school for the mentally handicapped.  The idea was to get out and do something for the needy, either in honor of those who lost their lives on 9/11 or for other personal reasons.  Returning home exhausted, I was looking for a photo I had taken on September 11, 2006, holding a flag on the runway at Kandahar Air Base.  I never found it, but I did stumble across a video I made reflecting back on the 6-month Army deployment I did there from April to October, 2006.

Things were different in 2006.  Although nearly five years had passed since the attacks on 9/11, everyone was optimistic.  We still lived off the compound, in a lightly secured area behind the Embassy, and were shuttled daily to Camp Eggers in soft-skinned minivans.  We got permission to walk to the camp if we wanted, as long as we were in pairs and wore our helmets and flak vests, and I would laugh at the daily procession of U.S. Air Force personnel wearing their physical fitness shorts/shirts, with a helmet, flak vest and rifle.  We could walk off the camp and talk to the people in town.   You didn’t have to worry about Afghan military personnel gunning you down.

You could take a thin-skinned SUV and go pretty much anywhere in Kabul.  Or you could drive it out to the middle of nowhere and deliver donations to a village, and the elders would roast a sheep for you in thanks.

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NATO had not yet assumed control of the mission when I arrived in April 2006.  General Eikenberry was still in the Army.  General McChrystal had not been fired, and hordes of Colonels had not been brought in to apply the lessons of Iraq.  There were around 35,000 troops in total in Afghanistan.  A team of my soldiers had preceded my deployment by a week, and a lone mortar  landed behind the Embassy shortly after they arrived in Kabul.  This was something that still made the news back then, and my boss instructed me to call all the next of kin and assure them that their kids or spouses were OK.

Suicide bombing was new and foreign to Afghanistan, and the Afghans were notoriously – as if on purpose – inept at it.  Less than 100 Americans had died in Afghanistan when I arrived – now the figure stands at 2,271, or 3,372 of all troop contributing nations.  There were 41 IED deaths in 2006, contrasted with a high of 368 in 2010.  Those deaths were still reported on the news back then.   Back then, we all knew why our troops were in Afghanistan.

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Shortly after I arrived, someone told me, “You go through three stages in Afghanistan:  optimism, realism, and then racism.  You want to try and be out of here before the third stage hits.”  I would return nine more times to Afghanistan in the next five years, and work for every theatre commander up to, and including, General Petraeus.  They all came in bristling with confidence and optimism, and knew what needed to be done, where there predecessors had gone wrong.  Although I often got frustrated or discouraged at the cyclical nature of it all, I never really reached the third “stage” of Afghanistan.

During that first tour, I would often shoot video to send back to my family – I wanted my kids, especially, to have an idea that what I was doing was important, was helping people, and was leading to a positive outcome.  In later years I would explain to them how the war in Afghanistan had come to be, as they grew older and could appreciate why it was necessary to ensure that Afghanistan could never again be a haven for people who would harm us.  Two days ago, my eldest daughter posted a picture on Facebook, where she is proudly wearing her Army ROTC uniform for the first time.

After I returned home in 2006, I cut those longer videos down to a 10-minute retrospective, which is what I watched today.  I noticed there were a lot of kids on the videos I took, and they all seemed full of hope, and they looked to us to help improve life in Afghanistan.

Here’s the final portion of that video.  I wonder where these kids ended up.  I know we’ve done our best, but I hope it was good enough.

Reflections of Afghanistan, 2006 from Tom on Vimeo.

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Success! Processing B & W Film for the First Time

This weekend, I set out to try and cut the expenses  for my hobby a bit by learning to process the film myself.  I ordered the chemicals for both black/white and color film processing a few weeks ago, along with a developing tank from the 1950s I picked up on eBay for 3 bucks.

The question was, should I try and develop some of the rolls I have sitting around waiting to either go out, or go and shoot a few test rolls or two?  I opted for the latter, just in case.  I have a bunch of 120 format, black and white Ilford ASA 50 film lying around, so I grabbed an old (1940s) box camera – an ANSCO B2 Cadet.  This camera is designed to be held with two hands at waist level – with a relatively slow shutter speed, it’s important to hold it steady.  Instead, what I did was to carry it in one hand and flick the shutter with an index finger, pointing the camera roughly in the right direction.  So a number of the photos were either blurry or poorly framed – but the benefit was that I could take pictures without anyone really recognizing that I had a camera – it just looks like a black box in my hand.

Given that background, you can assume there will not be any Pulitzer Prize winners in this batch of photos!  Today was a special day in Chennai, however, and I’ll explain what you’re seeing in reference to today and Indian culture.  For any techies that might be interested in the details of the film processing, I’ll leave that to the end.

The first one I took is also one of my favorites in today’s bunch. Nothing more than a bicycle leaning against the wall.

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This is another bicycle – I’d have preferred it more to the right – with three wheels and a flat “bed” for carrying cargo. They are quite common in Chennai. Yesterday this spot was occupied by a half dozen teenagers who had just used this bike to unload wet clay, which they were dividing into small “portions.”

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Because today is the start of Ganesha Chathurthi, also known as Vinayaka or Vinaygar Chathurthi. This ten- or eleven-day festival celebrates the (re-)birth of Ganesha. Here, a local business owner has prepared a special kolam to wish passersby a happy holiday.

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If you’re wondering what a kolam is, I wrote about it here.  But anyway, as I understand it, many Hindu people will install a Ganesha idol in their home.  They will make offerings to Ganesha for three days (it’s really much more complicated), and typically on day 5, 7, 9, or 11 of the festival (I’m told days 5 and 7 are the most common but everyone seems to have a different opinion) the idol will be immersed in water.  For example, one friend mentioned her family drops him in the well, leading to good fortune at the well, which is key for the family.  For environmental reasons, more of these idols are being made from clay.  Others are made from plaster and can be quite huge – and in cities like Chennai, the procession to bring one of these large community idols to the sea can number in the tens of thousands.

So all of that background will explain why our shopping street was crazy busy today, with many additional vendors selling these small idols.  For example:

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…and even the youngest entrepreneurs get in on the action:

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While I was threading my way through foot- and vehicular traffic, I also snapped a shot of this elderly bearded gentleman:

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And I’ll finish off with my “other favorite” picture from today – from three rolls of 120 film (24 exposures total):

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Now for the technical parts.

Why the box camera, besides the fact that it’s not very obvious?

There’s a “Sunny 16 Rule” in photography that just works out perfectly with that particular camera and the film speed (50) I had available.  The “Sunny 16” rule says that on a sunny day, at f/16, your shutter speed should match your film speed. The camera’s shutter speed is 1/60th of a second, and the film speed is 50 – so on a sunny day f/16 would be the right aperture when the other two (almost) match.  Today was a bit overcast, so the Cadet’s f/11 is just about right. Unfortunately, under the trees it was a bit darker than “overcast”, so the pictures did mostly turn out a bit dark.

The camera should properly be held with two hands at waist height, and the photographer looks down through a finder that reflects through the front – in both portrait and landscape shots. Holding the camera with one hand is more subtle, but over half the shots were blurry.

For developing I used Kodak’s D76 developer, Fomacitro stop bath, and Kodak’s fixer. I used the advice on this guy’s website, along with some of the tables online for Ilford Pan X 50 film.  And I decided to “split the difference” and start out with 7 minutes 30 seconds for the developer, 1 minute for the stop bath, and 9 minutes for the fixer.  The negatives looked like they were producing dark photos (the negatives were very light), so the third roll I cut to 7 minutes.  I realized afterward that I should have gone 30 minutes in the other direction – after all, they’re negatives, and a darker negative equals a lighter photo.  I kept everything at 20 degrees Celsius, but noticed afterward the label on the film actually says ASA 50 / 18 degrees.  Is that a processing guideline?

I’m not really sure why some of the negatives have damage along the left side – could this be from the film touching together when I removed it from the spool?  Or maybe not being spooled correctly?

No one was more surprised than I when the first roll came out and seemed to show decent images.  Next:  color processing.

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Preparing to Process my Own Film for the First Time

It has been about seven months since I started fooling around with film photography again, after a break of decades.  My daughter suggested we try and load up an old folder we had picked up years ago at a flea market in Belgium – I blogged about it back in February.  Today, laughing, she said she wishes she’d never suggested that, because ever since then I’ve been on an eBay buying spree, acquiring an additional 38 in the meantime, with 12 currently in transit.

I’m running up a tab on PayPal, but the real cost we’ve eliminated in the move to digital cameras has been the cost of film, film processing, and printing. I was getting my film scanned rather than printed, and realized I could quickly recoup the cost of scanning by investing in my own scanner. Plus some of the photo shops have been treating my negatives pretty shoddily. After some research, I’ve finally decided to take the next step and process my own film as well. I ordered all of the chemicals from our friends at B&H Photo, and then I paid all of 3 bucks for a Vintage FR developing tank on eBay (still in the original box, with a guarantee certificate and instruction booklet inside!)

Now the big decision – do I develop an existing roll of black and white film, or take a new “practice” roll?  I opted to take a new roll tomorrow – now I need to figure out which camera I’m going to use:

DSC06515

 

I’m going to try black and white first – everyone says that’s less challenging – so I’ll probably grab one of the box cameras because you can hold them waist high and snap photos on the street without people getting irritated – somehow they are more subtle than holding a camera up to your face.  So we’ll see how this goes. The festival of Ganesh Chaturthi is starting – this is one of the biggest festivals of the year, in which likenesses of the Hindu god Ganesha will be immersed in the sea and/or other bodies of water.  I saw some teenagers down the street today with a load of clay presumably working on making water-soluble versions of the elephant-headed deity.  Let’s see how that turns out in black and white, and then try and process it.

Although I hate to take away business from my local photo processing shop.  Especially when they offer innovative services like “digitalizing your memory”:

DSC06516

Of course, this costs extra.  I bought the scanner so I can “digitalize my memory” on my own – and now I will hopefully be able to handle the rest as well.

For what it’s worth, the swastika is a daily feature in India – it’s a symbol of luck, no connection to the folks who appropriated a modified version of the symbol in the 1930s/40s.

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and yet MORE Adventures with Redscale Photography

Yesterday I blogged about redscale photography with 35mm film – i.e. taking a roll of normal film and flipping the film inside the cartridge so that the light passes through the film itself before it hits the emulsion and causes the chemical reactions that produce an image.  The same technique can also be applied, of course, to 120 film.  This is a little bit trickier to accomplish because the film is bigger, and the film is more difficult to control.  Rather than just taking the end of it, taping it to the trailing end of a piece of film in a cartridge and winding it back in, you have to unroll the entire length of film, as well as the backing paper of a 120 roll, separate them from each other, flip the film, and tape it back on so it winds up straight.  You also have to make sure it’s taped in the right place so the numbers on the paper will accurately reflect which picture you’re on.  And you have to somehow roll it back up even though the film “wants” to go the other way.  This all has to happen in complete darkness or, if you can’t guarantee complete darkness, inside a changing bag.

So this is how my pictures turned out – mostly underexposed and therefore somewhat dark and red.  I’ll try different settings next time.

Haight-Ashbury

Barn

San Francisco

UC Berkeley

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More Adventures with Redscale Photography

What’s redscale photography?  I didn’t know either at first – I saw some “redscale film” for sale and started asking about it, and found out that it’s nothing more than ordinary film, but reversed.  Photographic film has layers of chemicals in a certain order to produce the best effect, and as light enters the camera and hits the film it is absorbed in the chemical reactions that take place, from “front to back”.  When you reverse the film, not only does the light have to go through the film itself, but it hits the rearmost layer of chemicals first, and then goes in reverse order from normal.  After you develop and scan the film, remember to “flip” it, as everything will be backward in the end.

So how do you get redscale film?  Well, you can buy it, or you can take ordinary film, put it inside a lightproof bag, and then pull it out of its canister, cut it, flip it, and then carefully feed it back into its canister.  I imagine in confuses the film developers when they open the canister and the film wants to curve in the wrong direction, but life’s hard I guess.

So why take “backward” pictures?  Just for the fun of it – to see what kind of interesting effects you can get.  I suppose you could create this effect using a photo editing program, but I don’t think it would be quite as cool or interesting.  You also get different variants, depending on how much light you let in.  For instance, check out this church steeple, taken in redscale:

San Thome Steeple

and compare it to a “normal” photo of the same steeple:

DSC06288

Or compare this neighborhood scene with one taken using a normal digital camera:

Neighborhood

Beach Homes

And look what happens here to these roofs and sky:

Redscale Roofs

The point is, you don’t quite know how things will turn out until you develop the film.

I find the ones with a bit more red/rust tint to be especially pleasing. Here are a couple of my favorites:

Redscale Street

Gemini Circle

See more redscale photos I have taken in this redscale set on Flickr, or check out the Flickr redscale group, which has some really interesting photos.  Maybe tomorrow I’ll upload / share a few that have a more reddish effect for comparison.

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