101 Things to Shoot Before I Die: 2009 Recap

•December 22, 2009 • Leave a Comment

No, it’s not the same dreadful Things to do Before I Die screenplay I wrote when I was 23. Thankfully, only 4 people ever read that before it met the Christmas fireplace.

These are the things I’ve ticked off my photographic list this year. The text, as always, was written before the trip. You know, dichotomy and all that.

I know, not many. But the list is pretty darn selective. I mean, there’s only 101 things on it, for crying out loud. I’ll start off 2010 with a bang, though, getting a chance to shoot 4 more in SE Asia. And, as always, I’ll add the destinations that should have been on the list as well.

Great Wall of China.

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COMPLETE: October 3rd, 2009

The Wall doesn’t hold the same cache as a global mystery that it once did, since everyone and their uncle Doug has been to China in the last decade, but it’s still one of the greatest wonders of the human age. Anything that takes 500 years to build and kills three million citizens in the process is worth a look.

Thrills – ****

Cost – **

Difficulty – *

BDS – *

Photo – *****

Forbidden Palace. Beijing, China

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COMPLETE: October 2nd, 2009

I’ve always been a little leery of China. I think I watched too many 1980s action flicks growing up, and my views on communism were largely shaped by the politics of Stallone and Norris. Not that that’s a bad thing. Beijing, however, is one of those cities that has to be experienced, like the durian fruit, and to me the Forbidden Palace is the epicentre of all things epically awesome about ancient Chineses (!!) culture.

Thrills – ***

Cost – **

Difficulty – *

BDS – *

Photo – *****

Oh, and since we’re making lists… my favorite movies of 2009.

1. Bad Lieutenant

2. The Hurt Locker

3. Up!

4. Law Abiding Citizen

5. Zombieland

6. The Hangover

7. Inglorous Basterds

8. Taken

9. Funny People

10. Watchmen

… this list has little, or nothing to do with photography.

Flashtown: Sindorim Station

•December 21, 2009 • 1 Comment

I had it in my head that action in the Seoul Strobist Club had been lacking. We hadn’t had a proper group shoot since September, the chatter was at an all time low and people’s cameras were hibernating along with them.

I had the bright idea to get out and do a workshop. At Sindorim Station. In December. On the coldest day of the year.

I’ve had better plans.

Despite my complaining (I did a lot of complaining) the day ran smoothly. We did a little beginner flash work as a crash refresher for some of the rusty folk who showed up before moving on to more advanced colder techniques up on the platform. I have to give our fantastic model Cassie a lot of credit here; she braved the cold like a trooper. I would have wound myself into a ball and cried in that cold.

Part 1: Headshots

Cassie Wells. All fun and games until we went outside.

We took the less is more approach with our portraits; a single softbox as key camera left and a reflective umbrella camera right throwing rim/hair light back on our model. Shot with a large aperture to blur the background and make life on the strobes a little easier.

Nick Plott. E-sports superstar.

Nick needed a few new headshots done, so I was happy to give him a hand. We didn’t get around to anything more creative than the plain background stuff this time ’round, but there’s always tomorrow. Simple 3-light set here; key in a softbox high left, reflective behind and to the right for rim, and a little bit of fill from a gold reflector from below. Simple Simon said the Pie Man.

We started simple. Headshots in the Colosseum department store. What we didn’t do was lock our cameras down at f/8, juice the flashes through white umbrellas and have our model stare into the camera. That’s Strobist 101 stuff. We went large aperture, dramatic lighting angles and worked on composing decent headshots when the background isn’t offering a whole lot of anything. The guys put together some nice stuff from what I saw, so drop by the Seoul Strobist Club and have a look see.

Part 2: Filling The Ambient Outdoors

We got silly and moved aboveground for part two of the workshop. We had some amazing light thanks to the setting sun between the westbound tracks and we used it to our advantage. We created a couple of drastically different looks using a single strobe each time; we went to the high key for a light, chilly look then came back with dramatic, darker light letting the sun act as a huge rim/wrap light for our model.

The power of the fill.

Same location, same model, same ambient light conditions. What changed from one to the other? The fill light. In the top frame we used a single diffused strobe, very close camera right, which allowed us to lower the ambient exposure to give the scene a dark, moody tone. In the second frame we went to the high key and used all that nice diffuse ambient bouncing off the buildings surrounding the station. And the reflector helped, of course. But it goes to show that sometimes simplicity is the key and you don’t need to roll out a half dozen lights to melt every frame.

We finished in the bitter cold trying to work out long exposure portraits, but the sun was working against us and it was just too chilly to wait for it to drop. Plus we wanted to get some galbi into our bellies. The whole day was a way to get everyone pumped about The Metro Project so I’ll be revisiting the long exposure train portrait in the weeks to come. After some time on the beach, of course.

This is not exactly what I had in mind when we started doing long-ish exposure shots with a train backdrop. So I’ll spare you the commentary here and just add this as a reminder of what could have been… I wear my shame on my sleeve.

- Flash

How Flickr makes you a better photographer

•December 9, 2009 • 2 Comments

No, just wait!

It’s true! Trust me!

Really! Really.

Flickr can actually make you a better photographer. Flickr has made me a better helped me become a less crappy photographer. Sure, Flickr has warts; half of the community lives for HDR, another quarter want their Safe Search filters off all the time (if you catch my drift) and the rest have their strobes stuck so far up their own…

Getting way off topic here. Flickr, in the right doses and when used the right way, can help you become much better than you were/are, if you’re willing to shut your mouth and swallow your pride.

Consider this case study.

The Case of the Empty Mountain

Flash Parker v. the Seoul Photo Club

Once upon a time, Flash Parker took a photograph of a hill. He thought it was a nice photograph; a sunset that turned the sky a striking ruby red (or thereabouts) and a silhouette of a tree. Who can go wrong with a silhouette of a tree?

He thought he had a winner on his hands. A simple, clean shot, unlike many of the complicated flash photographs he had been throwing at the internet in previous weeks. So Flash posted this photo to the Seoul Photo Club:

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Expecting hoping for a warm response. But the response was not that warm. While his friends were too kind to come right out and say that he missed the mark, Flash’s contacts did have things like this to say.

From Helje:

“…great painterly colors here. Sure would be nice to have a person in that silhouette…”
A dagger to the heart. Over the course of a few days Flash received more comments in the same vein “…a silhouetted person would work a treat here,” and “…a group of people walking will probably make a great silhouette,” and so on and so forth, before the photo sunk deep into his stream to be forgotten for all time.

At first, Flash was indignant.

“But this is a nice photo!” he said to himself. It’s simple, clean, different… I don’t get it. These guys don’t know what they’re talking about.

But after marinating on these words of wisdom, these helpful bits of advice, Flash gradually came to realize that indeed the photograph was missing something. He hadn’t seen it. He had settled on the first thing he had seen, in fact. But the Flickr faithful had seen it and pointed it out to him, even if he didn’t want to hear it believe it for himself.

Looking back at the photo a few days later, Flash brain said to him;

“Yup. Nice photo. Nice and boring.”

And he began to think. He spun the gears. He went and sat down with his notebook and looked at the photo and wondered how he could make it better. Nothing came to him initially, but coming back from the kitchen with a glass of water while editing some of the less boring parts of his new novel he tripped over the monopod in the doorway and it hit him…

MONOPOD!

Flash raced back out to the hills with a sack of gear, tore off his shirt and set about making it rain. The result, while not technically perfect, is wholly different from the original photo.

Dust Country

Different? Yes. Better? Undoubtedly.

Because neither photo was in explore the stats are comparable, and they tell much of the story;

Crappy shot: 49 views, 2 favorites

Less crappy shot: 623 views, 23 favorites

Would it have happened naturally? Maybe. Flash likes to play in the woods with his shirt off, so there’s a chance this photo gets made eventually. But it wouldn’t have happened this way without flickr and the Seoul Photo Club. So the next time someone slams one of your “favorite” photos, or something you spent days and days composing and processing, don’t take it personally. Most of the time, people are just trying to help. Sometimes, your contacts will hit one out of the park – like they did here. Sometimes, they will be way off the mark. But it’s important to listen during those times, too. Maybe more so.

And that’s how Flickr can make you a better less crappy photographer.

Breakneck Beijing 2009

•December 2, 2009 • Leave a Comment

Beijing.

A city of contrasts…

… thus begins every travel essay ever written. Ever. This is the way Ancient Rome welcomed visitors from Florida two thousand years ago; “lo, ye wearer of white belts and Bermuda shorts, bear witness to the splendid slaughter of Christians! Rome – a city of contrasts.” Rest assured the Romans spoke in the Middle English tongue.

Day 1, Thursday October 1
It’s hard not to get excited about a trip when flying out of Incheon International (인천국제공항). Korea boasts a lot of “world class” and world’s greatest/longest/fastest/hardest attractions and facilities – kimchi, the KT Express, COEX Aquarium, ajumas and soju cocktails all come to mind – but Incheon actually lives up to the billing. Sparking facilities, efficient systems, adequate transportation routes and trace elements of konglish make jaunts in and out of the Morning Calm hassle-free. This is what you need when setting out for Communist China.

But I digress. I promise to spare you the socio-political commentary and delve into the heart of this voyage.

Eventually.

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Incheon rolling sidewalks. 500km long and counting.

My flight was originally scheduled for 9 a.m. Thursday morning, but due to the massing of masses in the capital for the 60th anniversary of Communist Repression (celebrate good times! Yah! Come on!), my flight was bumped to 12:30. Fine and dandy – I caught a few hours sleep before popping up to the airport on the express bus from Osan. I clear customs in record time (no deep cavity search this time!), and settle in for a relaxing 90 minute excursion over the Yellow Sea.

Predictably, my flight is delayed on the tarmac more than an hour and a half, so by the time I land in Beijing it’s nearly 4 p.m. local time and I’m so frazzled that not even Horatio Caine can shake me out of my funk (everyone in the world needs an Ipod touch, by the way). Bad omens mounting on top of bad omens, I hit immigration hard and fast to get the inevitable over with. I negotiate the crowds with deft skill, my passport in one hand, Swine Flu Acceptance Speech in the other, and make the counter. The customs agent, young and pretty, surely hiding a heart of stone cold communism, looks at me, smiles and asks where I’m from. “Toronto by way of Seoul,” I tell her, sure that the ruse is over. She tells me she went to school at the University of Toronto, that Niagara Falls is romantic and Algonquin Park is majestic and wishes me a safe trip. I stare at her for a moment, not sure what exactly she means by that, suspecting that Algonquin is Chinese code for cavity search. But no sirens go off, no guns are drawn and I am handed my passport. The exit, unassuming, unguarded, is near. Once again, Homeland Security has screwed with our heads so severely that we truly believe a single wrong answer at the airport will result in harsh probing. Harsh, steel probing. At least that’s what I’ve been led to believe. Screw you, Paul Greengrass.

Digression:
Tom – my intrepid travel partner/fellow expat – and I booked separate flights into Beijing because one or both of us are lazy. We planned to meet on the ground, though we didn’t really specify a time or location. Simple, in theory, though things turned out to be more difficult to pull off in practice, the busiest holiday of the year in Beijing interfering and all that. Did you know that Korean cell phones will only work in Korea? Same goes for most Korean bank cards. I didn’t. Take care of these things before you leave the country, ladies and gentlemen. My Canadian Blackberry does little good tucked in a drawer in my room in Osan. Tom and I did not plan for these things – or anything, really.

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Here’s a quarter.

I spend two hours scanning the flight boards at Beijing Capital. I have Tom’s flight information written down on a napkin, but how reliable are flight numbers, really? My own flight changed names three times before I hit the tarmac. I spend a great deal of time sampling the best that Beijing Starbucks has to offer. A grande in Korea is a Grande in Toronto is a Grande in Beijing. And they are all nine dollars.

Interesting fact: Flights from Air Koryo Korean Airways (formerly Chosŏn Minhang (조선민항) routinely fly in and out of Beijing Capital to Pyeongyang. Air Koryo also flies into Toronto. There’s something about that that’s wholly unsettling. Banned from flying into the European Union and the USA because the airline does not meet a number of airline safety standards, Toronto’s Pearson International welcomes, with open arms, a fleet that the Wright Brother’s would be embarrassed to command. I watch a number of the Air Koryo flights taxi in and hope to catch at least a glimpse of Kim Jong-Il as he deftly maneuvers his air bus. You didn’t know Kim Jong-Il could fly? He can. He can also kill leopards with his bare hands and once impregnated Janet Jackson simply by singing the North Korean national anthem.

While scouring an airport for lost souls you’re invariably likely to run into someone you recognize. I’ve run into people who went to Laurier all over the world – on a beach in the Bahamas, on a mountain in Jeju. It happens. It only bothers me when I can’t place the face I recognize. Standing impatiently amidst stacks of battered travel gear housing hundreds of thousands of dollars of musical equipment, displeased [to say the least] with their Chinese guides, I spy Bret Michaels – I’ve seen commercials for his VH1 show, I guess – and decide to strike up a conversation with his band. My 90 minute flight has turned into a five hour adventure, so I’m starting to look a bit like a haggard rockstar myself.

I chat it up with Scotti Hill – a Wikipedia search tells me that he’s the co-guitarist for Skid Row, not Poison, and that the Haggard One is Johnny Solinger, not Bret Michaels. Same hair, same cowboy hat. Forgive my mistake. Scotti invites me to the band’s Friday gig and asks me to bring my gear; I’m loaded with camera equipment and look like a Japanese tourist. I tell him that I’d love to, that a photo shoot with heavy metal rockstars in a foreign city is on my list of things to do, and we part ways with an awkward handshake (I don’t know the secret code). I leave the band to their travel predicament; it’s good to see that even rich and formerly famous Rock Gods have trouble pulling a cab on a holiday in China.

I give up on Tom and decide to cab it into the city. With quotes ranging from ridiculous to you slimy bastard, I decide on a bus instead. En route, I meet a friendly American couple who teach in Korea. We decide that three is company, and set out to grab a bite and some drinks and, if we can, a glimpse of Tiananmen and the 60th Anniversary celebration that we can hear thundering 5km away.

A quick note on taxis.
I had heard, from numerous people, that the taxi is the public transport of choice for foreign folks visiting Beijing. Most drivers speak a little English – they have their dictionaries from the Olympic Games handy – and rides to and fro are cheap as chips. Popular opinion holds that the subway is crowded and not user-friendly and that buses are a good way to get lost and/or crushed.

Balderdash.

The subway system is clean, efficient, ultra modern and the buses run like clockwork and at half the speed of the death canisters that roar through the streets of Korea. The taxis are a whole other matter. My new American friends and I hit the taxi stand just outside the airport drop and work our way through the drivers. Not one of them will turn on the meter for us, and we’re quoted a number of insane prices to get to the hotel. Not knowing exactly where we are, we finally agree on a 100 RMB (about $20 bucks) fare. The drive takes less than two minutes. I could easily throw a baseball from the taxi stand to the entrance to the hotel and I don’t have a strong arm. The first and last time I plant my foolish ass in the back of a cab in China.

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Beijing Metro. Safe and comfortable. As long as you don’t mind the assault rifles.

My first taste of real Beijing is a stroll around Jingshan Park (景山公园), a bohemian little hotspot alive with noodle-chomping locals, hacky sack shagging foreign beatniks and a trillion camera totting tourists. Alas, we don’t spend much time here. We’re famished, and I still haven’t found my hotel. For fear of taxi hooliganism we jump on a bus [in the wrong direction], jump out when it feels like we’re in Mongolia and settle on an American hotel buffet for dinner. The beer is Chinese, though, so that makes it authentic. I think. It could have been Budweiser. During dinner we watch the military parade at Tiananmen via the 70-inch Panasonic television hung on the wall. We’re only 2km away, but there’s no way to get closer. Beijing celebrations for the people: not open to the public. I’m already wishing I were back at the park.

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Nope. This isn’t scary. Not. At. All.

The subway.
I am no stranger to the subway. Like a tramp criss-crossing the Midwest, I ride the rails of Seoul Metro daily, my comings and goings dictated by the muffled voice of the conductor, the pushy old ladies and the signs in Konglish. I’m working on a book, that’s how much time I spend on the subway. Beijing Metro is, in many ways, the spitting image of the Seoul system. Stops are announced in English, the young are expected to concede their seats to the old (I never do; I like to feign injuries and cling to my seat with aplomb) and almost everyone is asleep. Security, though, is tight. You could sneak a bomb in a beer keg onto the Seoul Metro and no one would notice. Not in Beijing. Here you slide your gear through the x-ray machine before you climb aboard. Invasion of privacy? Whatever. At least no one is going to Jack Bauer our ass on the rails. This must be what it’s like to go to high school in America.

On my own, my new friends working their way northward to their own hotel, I step out onto the platform of what I believe to be Beijing Railway Station (北京站). Immediately I am underwhelmed; I expected a little more pomp and circumstance from the city’s oldest station. Instead, it’s as sterile as Osan College Station, the three-year-old junction planted in the center of my modern suburbia back on the peninsula. There’s a reason for this.

I’m tired. I want to find the hotel. I’m anxious. I don’t know where Tom is. There’s no one in the station. The exit is chained and locked. Ill omens to anyone paying attention, but I figure it’s late; everyone else is under state-enforced curfew, so the city is mine!

Not so much.

I turn tail and work my way to the opposite end of the station. I’m greeted on the platform by the business end of two assault rifles, aimed at my face by severe looking SWAT officers, and three members of the military. Without weapons, the military forces are twice as scary as the SWAT soldiers. They shout at me, wave me over, lead me out of the station and stuff me into the back of a Hyundai police cruiser. Looking out the window, I realize my mistake. I’m a stop away from Beijing Railway, at restricted access Hepingxiqiao Station, Line 5. No time to plead my case; the hurricane is upon me. This happens fast. Scary fast. Abducted-in-broad-daylight-in-the-movies fast. I’m wishing now I had done a few things differently. Written a will. Been nicer to people. Packed a clean pair of underpants.

Sitting in the clean, bright cell at the station – I won’t go quite so far as to call it cozy, but it’s not Tropic Thunder, either – I watch the police banter back and forth over what to do with me. I have long joked about crawling out of an opium den ala Alan Quartermain and spending a night in a Chinese prison, but I was only half joking. I’m starting to wonder if I’ll ever be let out of this place. Not that it’s that bad. I’ve had a coffee, some orange slices and a piece of cake. But my god, the bureaucracy. Chinese water torture would honestly be a welcome reprieve from this. Finally, after nearly 90 minutes of bickering, I meet a police captain, a man I refer to in my mind as The Disapearer. Knowing the Chinese are renowned for their efficiency, I place the over/under on the decision to execute me by firing squad at 10 minutes. Now I’m just like Rambo, being interrogated by the Viet Kong in First Blood: Part 2. If they hit me with leeches or electrodes of any sort, I will sing like a canary. Nuclear codes, the position of the hostiles, anything they want to hear. ANYTHING.

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I keep getting older. They stay the same age.

Things don’t go as badly as I expect them to. After the interrogation I sign a few “official” documents about my trespassing and largess and have my passport copied 200 times. I am not a terrorist, I am not carrying explosive, and I am not here to take down the regime. Then it’s picture time. I figure it’s going to be a mugshot and I’m going to get flagged at customs on the way out on Monday, but when The Disapearer throws up the peace sign and a big grin I feel like I’ll be ok. With his arm around my shoulder he barks at his minions and within minutes I’m back in the police cruiser en route to the hotel, which I wouldn’t have been allowed to get to on my own for all the security at Beijing Railway. Bonus? There’s an air of trepidation as I enter the hotel. They know who they’re dealing with. I’m a hardened criminal. Hard as steel. Got my stars in the joint.

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The hotel staff dress funny in Beijing.

I sorta kinda forgot all about Tom during my ordeal and I’m trying to track my friend down via the internet when he wanders in – Tom, you’ll remember, is the friend I was supposed to meet at the airport what feels like a week ago. He’s met with his own trials on this journey, including a rerouted flight to an indiscriminate international destination, but that’s a story for him to tell. Unpacked and relaxed, we head out on the town for Second Supper. The theme of this week being, of course, excess.

We finally find an authentic eatery off the Laoqianju Hutong northwest of Beijing Station. We enter to cold shoulders, indifference and wary glances. Our pretty waitress who would rather be anywhere else in the world right now slams down a 50 page menu and takes our drink order. We’ve heard nothing but good things about Tsingtao, but this place only serves up Snow brew. Snow has a 15% stake in the Chinese beer market, is smooth and crisp and even tastes good coming out of old dirty bottles with rusty caps. Served up in chipped, gnarled glasses, it’s a delight. Authentico! We jab at the pictures on the menu and we’re served something that vaguely hints at meat meets newspaper shreds in a heavy molasses. I watch a man dunk his feet into the dish washing tub and without missing a beat the woman scrubbing porcelain wipes down his peds before returning to the dishes. A man to my right burps, his friend farts and they both laugh. Suddenly full, we pay our bill and make haste for the comfort of our hotel room at the Zhong An, where 57 channels of thundering state propaganda await.

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I went to University. I know what catfood looks like. You can’t fool me.

Beijing Hotel Television
Channel 7 features Looney Tunes (in Chinese, and dubbed in Chinese) on loop. Heavily edited, they’re still something to see. The blackface crows, Bugs the cross dresser and Daffy the Nazi are all present. I suppose this is where the episodes go when they’re no longer deemed acceptable for North American viewing audiences. The other channels are a mix of state-first propaganda, athletics and coverage of the 60th. At least Korea has the Discover Channel. Gosh.

Day 2, Friday October 2
We went to bed without setting alarms, believing in the myth of the internal clock and trusting that eight Chinese beers (low alcoholic content, 3.2%!) won’t have any negative effect on our ability to wake. Yet it’s noon now, and half the day is gone. Not a big deal if it’s Monday and you’re late for work, but this is Beijing, and I haven’t seen much more than the inside of the airport and a jail cell. We shake free the cobwebs, throw down some instant coffee and make haste drag our carcasses down to the lobby. We plot some of our comings and goings for the next few days with the Zhong An booking agent; a night out with the acrobats and a long, long bus ride to The Great Wall at Simatai, where we can finally become real men. While plotting our adventures, we also come to realize that the air in Beijing really messes with Korean cell phones. It’s not noon. It’s 8:00 am, and we’re up ridiculously early. What to do now?

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The Night Market; catering to foreign expectations since 1991.

Wangfujin, The Night Market (王府井)
Wangfujin is one of those “authentic” spaces, a place that seems built to accommodate tourism from the ground up. Thousands of hawkers pushing the same junk on you for miles in the same direction – how many times can you ask “where’s it made?” and snicker at the answer and have it remain funny? Our destination on this morning is Tian’anmen Square (天安门广场), so we meander through the Night Market (during the day, how rebellious), haggle over some Ray Ban shades, snap photos of the scorpion/starfish/lizard skewers and begin the search for a crystal ball – a tool I intend to use to bust up a friend’s photographic good time – with no luck. I make a few portraits, Tom is pulled out of the alley to pose with a half dozen pretty Chinese girls (I’m not jealous… not jealous at all) and finally, an hour and 2km later, we pop out the western exit of the market and take the long, slow route towards the Forbidden City. In other words, we get very, very lost.

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Scorpions are high in protein and a source of 17 essesntial nutrients. I’m not so sure about the seahorse.

It has been said that 50% of something is better than 100% of nothing, though I’m not exactly sure of the context this was first used or if Chinese landmarks were a part of the equation at the time of print. When Tom and I do finally arrive at The Gate of Heavenly Peace, we’re thrilled and disappointed at once to see the place crawling with people. The causeway is an undulating mass of humanity for hundreds of meters, people lining up to line up, camera shutters snapping everywhere, constantly, unrelenting, unending. I’m happy to join the fracas – it adds a little character to the photos, I figure – though Tom is anxious to jaunt across the square itself. Like a slow boat on the Mekong, we snakes through the crowds, underground through the serpentine connection tunnels and up onto the square itself. We clear another security checkpoint and join the masses who are, sadly, more interested in the gaudy floats and exhibition pieces than they are the towering monoliths, though I suppose the Monument to the People’s Heroes (人民英雄纪念碑) and the Great Hall of the People (人民大会堂) are just as extravagant in their own way. We want to kneel before the sacred remains of Mao, bask in the iconography of the May Fourth Movement of 1919 and retrace the bloody steps of the 1989 protestors (we don’t say this out loud), but we can’t. Everything is closed. We settle for photos of soldiers and floats and the crowds, but it’s just not the same.

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You want to see more than the gate. Buy a map. For the love of God, buy a map.

The Forbidden City (紫禁城)
Visited by seven trillion people (approx.) every year, The Forbidden City is on every list of Things to See Before I Die ever written. Tom and I, being logistically challenged, manage to see about 1/10 of it. I have included a map so that you may see just how stupid we are for yourself. Don’t make our mistakes.

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A. Meridian Gate
B. Gate of Divine Might
C. West Glorious Gate
D. East Glorious Gate
E. Corner towers
F. Gate of Supreme Harmony
G. Hall of Supreme Harmony
H. Hall of Military Eminence
J. Hall of Literary Glory
K. Southern Three Places
L. Palace of Heavenly Purity
M. Imperial garden
N. Hall of Mental Cultivation
O. Palace of Tranquil Longevity

We enter through the Meridian Gate (午门) and are immediately distracted by the massing of soldiers to the east. We head in this direction – it is off the beaten path, through a wooded area and unmarked – thus initiating our Forbidden Palace folly. We encounter all manner of things unimpressive; a food court, a tourism/souvenir kiosk, a picnic pagoda and soldiers on their lunch break. Unimpressed, though undaunted, we make our way north, past the East Glorious Gate (it is glorious!) and towards the Hall of Literary Glory. It is not long before we are lost again. I desperately want to make some photos from Jingshan Hill north of the Forbidden City, but we can’t seem to escape the maze. The city has shrunk around us; we now believe that it is much smaller than it really is. Trusting our instincts, something boys like us should not do, we follow the stream westbound and out of the palace at the West Glorious Gate (soooo glorious!). And that’s that. The Forbidden City, tackled in 30 minutes or less. If you want my advice, and after reading this last paragraph I don’t know why you would, I would get yourself a map if and when you take on Beijing. You might get to see a few things.

We hit Beichang Street Beichang Street (北昌街) and stroll under the canopy of overhanging trees with the intention of finding some grub. It’s been a long day of wandering aimlessly – and we’re going hard on a belly full of Chinese McDonald’s. The rickshaws roar by and after passing on the first dozen I decide it’s time to go quadripedal. Tom has his reservations – he doesn’t want to get scammed, and who can blame him – but I don’t want to continue using my legs. We flag the next driver and he skids to a stop, rickety apple cart bouncing wildly behind his three-speed. We ram ourselves into the back and our driver raises an eyebrow. It’s hot out, maybe 28 degrees, and there’s sweat at the thin man’s temples. He’s just now realizing what he’s got himself into. Tom and I are both over six feet tall and on the northern side of 200 pounds. It’s a miracle that he can move us, let alone do it with any speed. But away we go, northbound on Beichang, racing for the horizon.

Sort of.

A few seconds of peddling furiously and the rube is set in motion. A second driver pulls up alongside our cart and Tom is unceremoniously dumped into his wagon. We’re not so naïve to think that they’re not going to try and stick it to us now, but we don’t really care. We’re roaring down dirty back alleys a major thoroughfare of Beijing, snapping photos and shooting videos under a high noon sun. Who cares how much this is going to cost. Not a chance in hell it’s going to be the three yuan as previously agreed upon, but I don’t care. I’m not afraid to play hardball with a Chinese rickshaw consortium. Unless they have knives.

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Speeding through the streets of Beijing in a rickshaw is really the only way to do it.

We pull over at Tuancheng (团城), near the Northwest Corner. In a flash the drivers are demanding that we pay – they’re not being rude yet, but their aggression is a tactic that must rattle most of their customers into ponying up the dough immediately. We don’t fall for it. I fish in my pocket for the agreed upon fair; three yuan. 60 cents, give or take a penny. My driver throws a fit. He pulls out a fare card that clearly states the ride the price as 300 yuan. I haven’t seen this card before. I would have been insane to get into the cart for 300 yuan. So I stand firm. He negotiates. Meanwhile, Tom’s driver is pulling the same stunt, only he doesn’t have a fare card. He peels back the mat on the floor of his cart to show the listed price. God forbid they ever put anything in plain sight…

Unfazed, I stand firm. A short conversation between myself and 100 pounds of rickshaw moving power:

Driver: “300 RMB!”
Me: “Three.”
Driver: “250 RMB! That good price!”
Me: “Three.”
Driver: “Come on, man! Give me 200.”
Me: “I will give you three.”

Tom has already handed over 10 yuan, so I guess now is as good a time as any to stop playing with these guys and move along. “Look, we agreed on the price before we got into the cart. Take your money now, or you’re getting nothing,” I say, walking away. Our drivers follow us, aggressive now, shouting and pleading their case. They demand their restitution, grab our arms and bags in an attempt to spin us face to face and intimidate us into submission. It’s not fun anymore, and it’s starting to fray my nerves. “Fine. Let’s go see what the police have to say about this,” I say, taking a real chance, pointing at the SWAT team on the corner. For all I know, the cops are at the head of this rickshaw conspiratorial dragon.

These cops standing on the corner with their bean bag shotguns and assault rifles, they aren’t in on the game. As soon as we mention the police the drivers back off. They’re furious still, shouting and swearing at us in what English they know, but they are out of our personal space. They snatch the three yuan from our outstretched hands and scurry off to their rickshaws. Victory is sweet.

I feel for the other foreign folk we see sucked into the rickshaw trap jaw. It happens all over the city, all day every day. We watch a family of six, split into three separate carts, shoot in and out of traffic on the north of the Forbidden City. Will that father really be willing to engage in the same kind of fierce battle in front of his kids that we had to endure? It seems unlikely. Six people, three carts, 1,200 yuan. That’s a lot of green, any way you shake it. You could have bought a new Chinese supercar straight off the assembly line for that price. Or a Ford. A spring time sales event!

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He had a “shop” he wanted to show us where he sells “art,” all we had to do was “follow” him back to his “shop” where we’d be “served” tea and other “things” while we “shopped” for said “art.”

We lunch at a busy little place on Jingshan Front Street (景山前街). We select the restaurants we dine at according to a very particular doctrine. As foodies of the world, we do our best to avoid places with other foreigners; glazed, rock hard examples of the entrees in display cases; anywhere that’s too clean; places with a mascot. We go four for four at our little eatery and settle in for a long overdue lunch at a joint that doubles as a souvenir shop. I refuse to eat in a restaurant that doesn’t sell sweet and sour pork and brass Buddha statues. We’re all the way across town, but we don’t have to be back to the hotel for our ride to the theatre until 4:00 p.m. That means there’s plenty of time for a beer.

We threw down a few bottles of Tsingtao, a medley of chicken and cashews, some noodles and a peppercorn dish that incapacitates my mouth for thirty minutes. I don’t like peppercorns. I didn’t order peppercorns. Tom, with a stomach built from old iron panels dredged up from wreckage on the sea floor, doesn’t like eating peppercorns. Introduce me to someone that likes peppercorns and I’ll give you a dollar.

Chinese Lavatories.
I’ve seen plenty of rank whiz holes in Korea, but the Morning Calm can’t shake a stick at the Republic. Sure, a hole in the ground is a hole in the ground, but finding it in total darkness, tripping over sacks of rice (a good place to store your grains, I suppose) and catching yourself on rusty garden tools makes for one hell of an adventure to the co-ed urine receptacle. No, this is not the community bathroom in some dirty back alley in an ancient hutong. This is the public restroom at the otherwise pleasant restaurant we’re lunching at. If you want my advice, hold it while you’re in Beijing. Just wait to go to the bathroom until you get back to where you came from. A day, a week, a year. You can do it. You want to do it. You don’t even want to read my review on the facilities in the hutongs.

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A single, bare bulb illuminates my favorite Beijing bathroom.

Southbound and Down.
We need to get back to our hotel. We’ve got a little more than an hour to make it across town, and under ordinary circumstances there’d really be no problem. But the taxis aren’t stopping for anyone (when they do it’s Gouge Town, population: foreign idiot) and half of the side streets are still closed for the celebrations. The only option we have is to hump it on foot. So we do. Half cocked and stuffed full of MSG, we hit the mean streets yet again. Keep in mind as you read this that a ride across town to our hotel, even in a slow car in rough traffic, would take less than 20 minutes.

Naturally, we head off in the wrong direction. We know we need to turn right. We want to turn right. But every street southbound is closed off. So we head east, and east, and east. Finally, we come to a stretch of road open in every direction. The only problem is that there are too many directions. The road has the same name from the center of the compass at least six different ways. Perhaps this is the center of the universe, perhaps it is the apex of hell. You’ll forgive us then if we don’t go the right way. You’ll remember that we wanted south. We end of taking SWW. Not smart. Not even a little.

As the Crow Flies.
I am famed for my navigational expertise. World renowned. Legendary. I have a particular penchant for navigating by landmarks as I see them. It’s much easier than using a map. Once, back in high school, a friend and I were on our way to the Sky Dome to see a Toronto Argonauts game. We didn’t bother with mapquest. We didn’t stop and ask for directions. We took it upon ourselves to use the CN Tower as a marker and worked our way south on Highway 400 towards Lake Ontario. How lost can you get in Toronto, right? I mean, there’s a lake at the bottom. You can’t go too far.

Three hours later, lost in Scarborough and out of gas, we had listened to most of the game on the radio. It was a bad idea then. Navigating Beijing by the clock tower next to Beijing Railway Station is a bad idea now. I digress.

When the clock tower finally comes into view it’s 3:59 p.m., we’re exhausted, filthy and sick of the city streets. We’ve been on two buses that went the wrong way, worked through the crowds at Tiananmen twice [by accident] and nearly been run down by every form of motorized transport on the planet. We figure that we’re going to be holding up the entire operation back at the hotel so we work on our excuses en route, but when we crash the threshold we’re told to relax, that we have plenty of time before we have to leave. Our driver is having a beer, so he must not be too worried. I’m a little disappointed. Like Indiana Jones running from the gigantic boulder only to find out it’s made from Styrofoam.

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A lot like Joseph. A little like CATS. Take from that whatever you like.

Beijing Acrobatics.
Our driver delivers us to the theatre, fetches our tickets and shoves us into line with the rest of the patrons. We stock up on beer and snacks in the lobby and saunter down to the front row. VIP, folks. The rest of the foreign section is populated with Korean vacationers traveling with a tour group. We make small talk with the out-of-towners, a little English here, a little Korean there, share some cookies and beer (thank god they didn’t smuggle any soju off the peninsula) and I set up my photography equipment while the curtain slowly reveals the spandex-clad performers. Over the next two hours I will be told to put away my camera a dozen times. It gets so bad that the usher refuses to leave her station to wave at me and instead uses a penlight, aimed at my eyes. My retinas may be irrevocably damaged, but I made some excellent photos.

The show is a cross between a bad Fraggle Rock nightmare and a Lord of the Rings musical starring only Golem. At times creepy, always incomprehensible yet somehow beautiful and terrific, it’s everything I expected the Chinese theatre to be, even if this isn’t the largest or most elaborate production of all time. It’s the first time since my incarceration that I wish we had some opium think I’m on drugs. Oddly feminine men draped in spandex hoola hoop their way across the stage three at a time. Women with muscles bigger than mine – and more facial hair – climb stacks of chairs towards the ceiling because they can. A man dressed as a turtle does what turtles do and stands on a stack of six orange cylinders while two of his friends, also dressed as turtles, tease him. A woman balances a candelabra on her face. I know the last one doesn’t seem that strange considering, but it was.

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I remember this scene from The Devil’s Advocate. It’s the same costume Pacino wears when he reveals to Reeves that he’s the Devil.

We’re the only white faces in the audience so we figure it’s only a matter of time before one of us is called up on stage. Since my lap is home to about 20 pounds of photo equipment, it’s Tom that draws the short straw. Ushered up on stage during the Streetcar Named Desire segment, Tom is told to try and a lift a gigantic flower pot that a burly young woman has been spinning on her feet. But he can’t do it. It takes seven men to do it, to hoist it in the air and balance it on her feet. It takes nine men to get the thing in the air with Tom inside. This is the only time during the show I’m free to snap photos at my leisure, so check out the evidence. That’s real fear in the man’s eyes.

The show comes to an end with a cobbled together showcase of the key performers (they trot out and repeat their feats momentarily) and the curtains close. Immediately the Chinese constituency clogs the isles and kicks down the doors as if John Wilkes Booth has just popped his head over the balcony to say hello. I’ve read about the mass exodus phenomenon in travel guides, but I never knew a reason for it until now. Immediately after the show the acrobats turn from lithe, limber high wire death-defying magicians into exit-blocking junk hawkers. They swarm the Koreans, peddling their wares furiously. They’re selling DVDs, CDs, masks, sashes, hats, bobbles, trinkets, first born children, the Cup of Christ, Indy’s whip. Anything and everything they can get their hands on. I’m sure I see someone exchange a handful of yuan for a fire extinguisher, but in the mêlée I can’t quite be sure. Impervious, Tom and I take it in; we’ve already got a bag of junk from Tom’s flower pot extravaganza and neither of us need a kitchen sink. The Koreans, though, they’re flustered. Out come the wallets. You really have to admire the aggressive shock and awe tactics of the Chinese. I wouldn’t mind getting in on the action and consider selling some of my photos back to the performers, but Tom wants to leave. Next time.

When our driver dropped us off at the theatre he told us the best way to return to the hotel was to “go in the general direction of south, towards Beijing Station.” Since we already played that game all morning, we’re a little trepidatious. And when we see the spotlights waving at the sky further north, we throw plans to the wind. We have an idea what’s in that direction, but we don’t really know. And that’s the Beijing that we want to explore. We also left our maps at the hotel, so we don’t really have another choice.

We know we’re going the right way because the traffic signs start making sense, billboards are in English and cab drivers are willing to pick us up. We cross the street northbound and enter – through a large security checkpoint, of course – the Olympic Green. Tom’s not very happy about all this. It’s not the park itself. The park is beautiful. Epic in it’s colossality. He’s upset because I have a tripod with me. And a big camera. And some big lenses. We’re going to be out late.

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The bird’s nest, as it appears. No camera trickery whatsoever.

Olympic Green, as anyone who was alive in 2008 knows, is a magnificently gaudy impressive expanse of sterile buildings north of the central core of the city. The Bird’s Nest and the National Aquatics Center are rightly the main attractions. I make photos of the National Stadium until Tom threatens to dump me into the pond before we move on for some meandering. Quizzically, this place feels as wide open as it looks. It’s less crowded than other parts of the city, though there seems to be more to see and do here. The only place that’s unbearably crowded is the Aquatics Center pavilion; the magic fountains attract kids and their shutterbug parents like honey does the fly. I take pictures here, too.

We move along. The fairgrounds, a thrown-together addition to the Green seemingly built to cash in on the bustling crowds, are unnervingly empty, as if a George Romero film is about to be shot and we’re the only ones who don’t know that zombies are going to crack our skulls. In Korea this place would be crawling with kids fired up on squid jerky, people testing their strength on the outdoor punching bags and couples heading to the singing rooms. But not here in stoic-ville. Most people are content to keep to themselves, stroll along on their own. The Ferris Wheel is spinning, though. So that gets made into a photo, too. I’m not sure what type of feeling a rider-less, spinning Ferris Wheel is supposed to illicit within the Chinese people, and I suppose I’ll never know. It’s not like me to speculate.

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National Stadium, the Ferris wheel and some really, really expensive buildings.

We walk. A long way. For a long time. Bejing doesn’t mark their subway system like most cities in the world. It’s like one big secret around here. Signs are covered by shrubbery, posted behind parked vans, turned to face the sky. Unless you know exactly what you’re looking for, and we don’t, you’re kind of up the Yangtze. We ask a half dozen people how to get to the nearest station and choose from the eleven different directions we’ve been given. Somehow, thankfully, we find the tube and rocket south.

I think the Chinese go to bed early. This seems to stand in the face of the bright lights big city policy, but everything in this berg is closed before midnight. Or maybe it’s the soldiers and their large weapons killing the buzz. We decide against the mutton/horse/human meat we were fed last night and take on new digs; a clean, well lit little place with a walkway of 10,000 little red lanterns lighting the night. The sweet and sour pork is a highlight – perhaps the best I’ve had in my life. Think squares of lean pork braised in a sweet, tangy sauce… I could eat it all day. It’s a nice preface and stomach coater for the duckfest that is to come. We sample cashews and chicken (again), braised beef strips in a soy sauce, noodles and Yangjin beer. I don’t know why Tsingtao gets all the hype. Yangjin is where it’s at in the Chinese brew world. Are you listening, Korea? China can brew reasonable beverages. Why can’t you?

The most interesting feature here is the ambiance. Throughout dinner one of our hosts sits at an adjacent table smoking and listening to classic Bryan Adams songs through the tiny speakers on her cell phone. Not that I’m complaining. I’m always down for a little nostalgia, and the Summer of ’69 is a very good vintage.

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The most delicious sweet and sour pork in the history of the world. I would go back for a weekend just to eat at this restaurant. I’m not kidding.

Day 3, Saturday October 3
My alarm goes off at 7am, Monday through Friday. I get up at 8:15. What do I do with those 75 minutes in between? I hit the snooze alarm. What should I be doing? I should be out jogging, like I tell myself I’m going to do every single night before I go to bed. On the off occasion I do find myself outside before the sun comes up, it’s not because I found myself zealous enough to lace my sneakers and pound the pavement. It’s more likely sleepwalking gone awry. I often wake up in the middle of the street not wearing pants. Suffice to say, I am not much of a morning person.

We have to be up even earlier than the crows today. The alarm goes off at 6:15. It’s not as difficult to wrench myself out of bed as I thought it was going to be. The prospect of a three hour bus ride – more time to sleep – is quite inviting. I jump in the shower and pack my gear, pour myself a coffee then wait for Tom to finish his business. And then, and then…

And you’re asking yourself, “who gives a f—?”

No. One. These mundane details are unimportant. These are the things many of us do before we set out for the day. Even a day earmarked for the Great Wall of China. I’m telling you about the things I do do because they do not include the things I don’t do. If you follow me. For example, I don’t root through all the junk I’ve collected so far on this trip looking for a note from the office staff written on a napkin that I didn’t know I was supposed to be looking for. A note telling me and my “party” that we’re due in the lobby at 6:15, not 6:45. I find the note only because it’s tucked under my battery charger. As good a place as any to hide a note…

The staff isn’t the least bit fazed that we’ve missed the bus. They ask us with casual nonchalance to sit, to wait a moment, while they continue counting the cash that’s been dumped on them over the weekend by their foreign contingent. We’re perturbed, but not because we’re out a whack of said cash – the trip to the wall is a relatively cheap one – but because we were anxious to spend a day doing something other than wandering around the city on foot. Personally, I’m devastated that we won’t get to rock the highway in the comfy bus. I have transportation sleep apnea and I would have had my head bobbing in about 35 seconds. These dreams shattered, depression sets in.

We were dangerously close to seeing the Great Wall in postcard format only.

Of course, we’re a couple of whiners. The bus driver, waiting around the corner for us, expecting us to be late anyway, comes back to the hotel to fetch us and loads us into his horseless wagon. The excitement of the day begins to drape over the scene. The music starts, the engine roars. We’re off… to another hotel. We do this five more times. It’s the other side of 9:00 a.m. when we find the highway, and no one has been able to sleep, thanks to the herky jerky route our driver has taken through the entire city. So in my roundabout way, this section has been a lesson for all those intending to travel by chartered bus in Beijing; find out where your bus will be stopping last before making for the country, and meet the driver there. You don’t want to test weekend traffic in one of the biggest cities in the world in a gigantic bus driven by a man with a patch over one eye. You just don’t.

A rough start doesn’t generally mean much in the scheme of things. We met some great people on the way out of town, the way it begins giving us something to connect over. There’s your obligatory American tourists/students that no one really wants to talk to, the girl in sandals that is going to shred her feet to bits and the boyfriend who complains about everything from the softness of the seats to the price of the wicker hats being sold by the hawkers. There’s the hungover European backpackers – they don’t say much now, but they’ll perk up ‘round tipple time. Ivo, the legendary Dutchman whom will later become our guide to the bright lights of the dirty dirty, and finally Jamie and Diane, an energetic couple from Florida here scouting out the city and the country in anticipation of a permanent move across the pond. We wax poetic with our new comrades as the mountains creep in and envelop us without realizing it we’ve traded the oppressive confines of the city for the rugged, ragged countryside. It’s difficult to put into words how drastic, how quickly this change comes about.

The Great Wall of China.
I’ll spare you some of the vague generalities here. This is the Great Wall. Besides the Pyramids of Egypt, likely the most famous structure in the world. I’m not a poet and I’m not going to do proper justice to the ragged, unchanged countryside. The hypnotic, undulating slopes of the meters-wide wall. Not eve going to try. This place must be experienced. What I can offer you are some travel tips to make your adventure more efficient and memorable.
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Tips that could save your life.

 Do not do Balading. The people that tell you that this is the section of the wall to visit from Beijing are liars or working for a travel company. Crowds are never fun. Crowds at the Great Wall are doubly troubling, as are the hawkers. Hawkers are prevalent everywhere, but at Balading they seem to fall out of the sky and into your wallet.
 Don’t book your trip in advance. This is common sense. Save yourself 10-50% booking in person where they’re room the haggle rather than over the internet.
 If touring the Wall from Beijing do the (what section did we do?). Take the info from the photos.
 At (our place) Take the cable car to the “starting gate.” You need to experience this for yourself. I took the cart up on my own to snap photos and was struck by the beauty of the rugged landscape as my line of sight crested the ridge of the mountain plain. The turrets (?) come into view, the sun bathes the spires in golden light, and 3,000 years of history is upon you in an instant. Until I lean against the door of my car and realize that there is no latch. No hook. It swings open, I stagger and shake but do not fall out to my death. I’m glad. Don’t do this.

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Fact: 7 scenes from the blockbuster film “Sin City” were filmed at The Great Wall.

The trek from the cable car drop at ? to the zipline output over the lake is nearly 10km, but the route is smooth and easy in most places – there’s a little scrambling to be had, but anyone with a little outdoor spirit in them isn’t going to have a problem. We do the stretch in sneakers and shorts expecting a more onerous ordeal but you could do it leisurely in sandals if you wanted to. Along the way we’re accosted by all manner of hawker – of course we are – men and women claiming to be farmers living off the land while they try to sell us cans of cola at a 400% markup. I’m not interested in their wares, least of all their repackaged water, so I compromise; for the same price I’ll let them keep their drinks as long as I can snap a few photos. This works out well for everyone in the end, and I make some of my favorite photos of the trip up on the wall, my camera in one hand and my flash in the other, blinding Chinese wall crawlers with fill light. Ecotourism at its finest. Don’t leave a footprint.

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Caption nominees include: Puffy; Puff Daddy; Puff the Magic Dragon; Puffster; Homeless Man

I spend an inordinate amount of time looking for tools, trinkets or toys to ground my photos with foreground elements. Everyone and their uncle has a photo of the Wall. I want mine to be different. I find my differentiator in the form of a lonely, battle worn and broken shovel. I carry the shovel for over an hour in the pursuit of the right shot, but it eludes me for the longest time. Eventually I add a dirty glove to my toolkit and feel a step closer to the photo of photos. Authenticity is everything.

We run into the snarling maw of a zealous hawker at an outpost 3/4 through our trip. Her spies have been sending word ahead of our troupe of the one that walks with the shovel, and she is ready for us. A walkie talkie in one hand and a clipboard in the other she feigns authority when she tries to wrestle my shovel from my hands. I’m not having it at first, refusing to give up on the photo that has not made its way into my camera, but she is relentless. She refuses to allow our party to pass unless I hand over the shovel. I don’t know why she wants it. I don’t think she knows, either. But she is the Queen of the Checkpoint, and I have no recourse. I’m not a pour loser, but I do lay 1000 curses upon her children’s children’s children.

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The shovel. Truly man’s best friend.

The only time we feel crowded on the wall is when we’re waiting in line to tempt fate and take the zipline over the lake.

It doesn’t look safe, doesn’t sound safe, but my lord does it look fun. You know the proprietors of Zip Land aren’t worried about safety they announce to the crowd “if you want to go faster, add two or three people to your harness!” while a sign posted nearby depicts a skull and crossbones over the image of two riders bound together. Really, what do they care? Repeat business is likely not the hallmark of the Great Wall tourism industry. At any rate, we don’t tempt fate on this day; Ivo, Tom and I bound together would likely bring the whole mess crumbling into the water, so we single shot it over the river.

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Goodbye, Great Wall. Now that we are real men I appreciate you even more.

The boys and I are the first members of our group – and the tail end of our tour troupe – to make it to the dinning hall. Quickly, veraciously, we scarf down the food. Between three of us we demolish what was set out for eight, polish off a half dozen beers and settle into our seats on the bus for the long trip home. It’s during this time that I bear witness to the only particularly impressive sunset that I’ll see in China – from a speeding bus on the highway. Somehow, someway, that seems fitting for Beijing.

We’re dropped off outside the Llama temple and we take in its goodness from the outside. Forgive me if I cant get fully geeked up about temples, but I’ve seen my share in the last year and a half and when it all comes down to it, a temple is a temple the same way a beach is a beach. Only you cant get naked inside a temple. Or you shouldn’t. That’d be terrible for your karma. What I do like to frequent is a place that sells duck and or sweet and sour pork. So the five of us set out – myself, Tom, Ivo, Diane and Jamie – after ditching some of the excess creeper baggage, southbound to the hopping (?) district to get our food on. Ivo cracks out the moon cake, we pour back the beer and cut loose.

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Ivo and the Mooncake. The name of my next alt. rock band.

People let their guard down when they travel, and there’s no better way to make new friends than over a shared smorgasbord of the very best meal a city has to offer. We’re from different regions, different continents, but that only makes things interesting. Ivo, who gives the Dos Equis spokesman a run for most interesting man in the world, tells us about a life spent crusading for workers’ rights in SE Asia; adventures in Thailand, Cambodia, Loas et al. that only serve to fuel my desire to travel constantly, unending. Post dinner, Denise and Jamie head home to prep for their trip to the gorge (I’m jealous of this adventure, too) and we head off for what Ivo has promised to be the best massage China has to offer. Tom has his reservations about this, but I’m ready to go. I’m not going to ask for a happy ending, but I’m not going to spoil their party if it happens, either.*

* Joking. I swear to god I’m joking.

The Chinese Massage.
Paint flakes off the moist, worm holed walls. Spores of mold dot the ceiling. There’s a heavy smoke on the air, like the early morning fog of an overburdened shipyard. You set foot on the creaky floorboards with caution. A woman draped in a red shall peers over her shoulder at you from behind the frame of a beaten door. Old men in dusty overalls toss cards on an apple crate, cigarettes hanging limp from their mouths, dirty glasses and a broken bottle on the floor beside them. Somewhere down the hall, a phone goes unanswered…

This is the massage parlour the movies have conditioned me to expect. The one we get is run more like a four-star hotel than the Maison Derrier. From the lobby staffed with cheerful, helpful young woman (all talking on headsets to fifteen people at once) to the marble staircases and private lounges, the (NAME) is first class through and through. The place is even family friendly; mom and dad can enjoy a rubdown or a hot mud bath while little Billy and Sally play in the kid’s entertainment hall. Somehow, this is a little disappointing. Filth has a little more character.

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The Ultimates version of Dr. Fish. Dr. Fish on steroids.

We’re led to our room – a spacious, grand parlour with three reclining leather chairs and the largest television in China – and settle in for our trip to relaxation town. We have our choice of 1001 beverages, but we all go for green tea. Don’t eat the sprouts and you’ll be fine. Our masseuses leave us to soak for 15 minutes and we do, sinking into our comfortable chairs and reminiscing about a day climbing the Great Wall. Sitting here, in this heady atmosphere, my feet in a bucket of scalding warm water, sipping green tea, watching highlights from the military parade (of course) on TV, it’s almost difficult to remember. The girls return and beat our feet and calved into submission for 90 minutes – 30 minutes free! – their hands as adept at doling out torture as their small leather hammers. But they work wonders on our tired feet, on our shin splints. They don’t speak a word of English though communication goes on unabated. Ivo, though, our veteran travel partner, charms them with the “little Chinese that he knows…” His modesty clearly baseless, as the man speaks as much as any of the three girls. Leave it to the Euros to understate things. Sadly, these things must end. We recover our dirty socks and shoes, surely a crime, and pay our bill. Expecting a king’s ransom we hand over a peasant’s pittance; 88 RMB for the experience. Immediately we book a return trip for tomorrow night.

Day 4, Sunday October 4
We’re up early on the International Day of the Backyard BBQ, hoping that the world of Beijing is a quieter, more easily navigated space. At the desk we order a pair of Armstrong specials, but our speed machines leave a little to be desired – even for the deposit of 300 RMB. Tom’s bike shoots springs into his ass every time he hits a bump and mine has a wonky pedal that’s about to fly off – while we’re 40km from the hotel, no doubt – but they have baskets and bells and that’s all you need at the end of the day. We’re blending in with the homegrowns now, indiscernible from the rest of the Chinese population. We weave in an out of traffic like we’re pixels in a Frogger sim, dodging buses, rickshaws, angry women, SWAT soldiers. We are acclimated.
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Tom rides a lot slower than I do. A lot slower.

The first time we saw (glitzy area) we were racing through en route to the hotel, late to meet the acrobats. We decide to give it a more thorough walkthrough this morning, parking tossing our bikes on a heap with a thousand others beforehand. Neither Tom nor I are shopaholics. We kind of hate it, in fact. But we like to barter and haggle and watch other people spend too much money on junk, so we persist. Immediately we realize the main strip isn’t the place to experience Beijing. Vendors of Louis Vuitton, Nike and Feragamo aren’t exactly native China, so we leave the mid-range to upscale shopping to the people with too much money and too few brains for the heart of the matter, the huttongs west of the strip. The shopping district here is as alive and bustling as Wangfujin, though foreign visitors are more prevalent. You are safe in assuming that this means a substantial price increase for goods and services; a scorpion on a stick in Wangfujin sets you back a measly 5 yuan. Here? Double that. I don’t know how I’m going to get my protein with these exorbitant prices…

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Glitz, glamor and portraits of the police at the market.

We continue our individual searches for junk. Tom’s still after a tea set and I will do just about anything for a glass orb of power, though I won’t pay a lot for it. I do have my limits. And a little bit of dignity. In the end we leave with a few trinkets, the hallmark a silk Chinese shirt that I’ll never wear. We corral our bikes for further adventuring and head south in the “general direction” of the Temple of Heaven.

The Temple of Heaven. Eventually.
We have bikes, to hell with maps. We meander south on our one-gear racers, off the main drag and into a gated hutong community somewhere between Heaven and Tiananmen. More of the “Beijing we wanted to see,” though this is becoming a cliché in and of itself now.

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Blistering sun and ten trillion temples. A deadly combination.

We discover quickly that this place doesn’t get a lot of outside visitors or we’re not supposed to be here, as we’re greeted with the same sort of general disinterest usually reserved for the streets of Seoul. The streets are dirty, buildings decrepit. But that authenticity you want, that realness that’s feigned at the markets, it’s here. It’s dripping down the old brick walls of the burned out communal toilets. It’s the men playing cards on the corner, the women drying vegetables on planks strew across drums of still water. It’s the gigantic Persian cat strutting down the alley that’s gathered a crowd of children. It’s the sweet smell of fresh oil sizzling in old skillets. It’s all these things, and we claim each one in turn as a memory as we rocket along.

Our trek through the Temple of Heaven begins with a security forces photo shoot at the Palace of Abstinence (宫禁欲). Before Beijing I had heard that Chinese forces are notoriously difficult to photograph. In short, they will pound you with heavy sticks if you stick a camera in their faces. Nothing could be further from the truth. Not only are most of the guys willing to stand in for a photo, they are more than happy to check out my work post-snap and stand in for a second if it doesn’t feel right. That, my friends, is how you serve and protect.

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Serving. Protecting. Generally being awesome.

After observing abstinence we find a map and begin criss-crossing the grounds. We are determined not to miss what the Temple of Heaven has to offer the same way we missed 99% of The Forbidden City. We stroll slowly through the garden, through the beautifully planned and manicured forests, past men and women practicing Tai chi chuan (太极拳), past the old folks trading crickets, past the hawkers and past the kids flying kites.

We climb the Circular Mound Altar (圜丘坛) and feel a little guilty that we just don’t get it. We don’t understand enough of the history to know why people are clamoring over this little mound at the top of the steps, why there are a million photographs being taken here, why old women are crying and why children are quiet. I know, like anyone else who can read, that past emperors prayed here for favorable weather, but there’s certainly more to the story. I’ll be back in Seoul when I finally sort that story out. I won’t spoil it for you here.
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Awkward smiles. The hallmark of good travel photography.

After the Circular Mound we traverse the Vermilion Steps Bridge on our way to The Hall of Prayer for Good Harvests (祈年殿). We make more photos here under the scorching early afternoon sun, most of them including a member of the military forces in some incantation or other. It’s here that we run into the unexpected; a man (American) and a woman (Chinese) have just been wed somewhere in the city and they’ve come to the temple to take photos post-nuptials. The groom, sweating under his heavy tux and looking like he’s been run roughshod, strikes up a conversation with me while the bride goes over the logistics of the shoot with the photographer and her team of maids. They’re from LA and in the film business, he tells me. A long way from home, they’re heading back tomorrow morning before setting off for Hawaii for their honeymoon. I start to see why the man is frazzled; I’d be cantankerous if the month ahead included sunny LA and the white sand of Hawaii’s tropical islands…

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I was served up a crash course in wedding photography. I did not pass.

Anyway, the photographer, “one of the best in the city,” I’m told, begins shooting the couple in front of the Hall of Prayer for Good Harvests with his 50mm lens and on-camera flash. For those not well versed in the world of off-camera portrait photography you won’t really understand why this makes me so man. For those that are… you understand my hurt all too well. I make a few photos of my own and wonder if I can charge a fraction of the $9,000 this clown is charging the couple for prints before joining Tom at the precipice to look out over the city. It really is a beautiful skyline when the crop dusters blow the clouds and smog to Venus.

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“Don’t worry, kids. Take all the pictures you want. Grandpa is going to rest over here for a while.” – genius

We make a few stops on our way out of the complex. First we collect in the temple’s dustbowl, The Imperial Vault of Heaven (皇穹宇), a place with more foreign photographers per square foot than anywhere else on the planet. Interesting close up? Sure, if you’re a sucker for temples. Getting close enough to appreciate anything here, though, without getting knocked over or pushed down the slippery marble steps, is a whole other matter. We don’t spend a lot of time here before moving on the to The Rose Garden (玫瑰园), where the practitioners of Tai chi are out in force. I take a few photos of the roses here, because it seems like something you do in the Rose Garden. But don’t let the marketing machine fool you; there are maybe 50 roses strewn about the place. Slightly underwhelming by grandiose Chinese standards. The people, though, they’re fantastic here. The Rose Garden at the Temple of Heaven is easily the third most chill place in Beijing. You can work out the other two.

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The Rose Garden. High on the elderly. Lacking in roses.

We hook up with our bikes once again and set out in search of more hutong action. We’ve heard rumors of the bombastic spaces where silk is shorn from great towers of fabric by tiny acrobats, where snakes are skinned live for your boot-adorning pleasure, where you can buy any herbal medicine ever concocted as long as it contains a tiger’s tooth or macaw’s maw, but we haven’t found it yet. So after an hour and a half biking in circles – we find ourselves at Ritan Park and the Ferrari dealership more than once – we settle in for lunch at a nice little café north-east of The Forbidden City. It’s at this nice little café where we meet a pair of “hardened” foreign expats – American’s, I assume – that put on those all too familiar airs. Allow me to offer a traveling tip; if you live somewhere for an extended period of time and allow yourself to become jaded and believe that you know everything about everything, try and keep this attitude to yourself. When I ask you, politely, what they serve at the restaurant, and you reply “food,” I am going to think you are an asshole, no matter how cool you think you are. When I roll my eyes, crack a joke to lighten the mood and ask how the food tastes and you reply, “like food,” you deserve a kick in the teeth. Or perhaps I’m just too sensitive.

After lunch – it was another big one, I’ll spare you the details – we finally rumble into Di’anmen Inner Street (地安门内大街) with ten trillion other foreign shopper/diners/cravers of decent coffee. The shopping here is eclectic, though overtly commercialized; it’s more than disheartening to find that the charming, “hand crafted” leather journals and notebooks sold in one little boutique are the same ones sold in every other boutique along the strip. About the only thing that isn’t packed and sold off to proprietors along the road is the aggressively non-Chinese vibe spilling out of Ned’s Place out onto the street. If you find yourself perusing the shops along Di-anmen someday, you owe it to yourself to stop in and grab a beer with the Kiwi’s who will almost certainly be watching a rugby match on the big screen while dressed in their All Black uniforms. Not kidding.

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Everyone needs a teapot. You should have a teapot. For the love of God please buy a teapot.

We buy ironic t-shirts “I climbed the Great Wall!” boxes of matches, notebooks (I know, I know…), and Chinese hooch. Tom finally finds a tea shop to his liking, so while he’s busy haggling I make my way over to the strips only thrift shop in search of a used Chinese film camera. Whenever I do things like this I can’t help but think of Jaffar from Aladdin singing Jewel in the Rough. Or however it goes. The thrift shop has a few things of interest, including slabs of jade and battered and beaten Mao trinkets, but since the proprietor styles himself somewhat of an antique collector and not a junk mover the prices are exorbitant. I don’t find a camera, either, so I spent most of the time photographing the owner’s prized crickets. He tells me they sing differently than other crickets, and that’s why they are so special. I don’t have the heart to tell him that they are grasshoppers.

Our last stop on Di’anmen (after the tattoo parlor where we come dangerously close to making some bad decisions) we settle in at the Tibet Café, one of those fabulously relaxed spaces I mentioned. The Chinese seem to avoid it, and since raucous Ned’s Place is thumping with rugby and stout ale across the road, most of the foreign contingent miss it, too. We order up some yak jerky, yak tea (I guess the milk is from a yak? Not sure how that works…) and I sample Tibet Beer. Tibet beer which is bottled in China. Sigh. But while the beer is Chinese and the tea is horrible the ambience is indeed relaxing. So relaxing that I forget my entire bag of junk when we leave. It’s a crying shame when a man is forced to carry an empty communist satchel around Beijing. Crying shame.

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Everyone needs a kite. More than you need a teapot, at any rate.

We do Beihai Park (北海公园) by bicycle, bringing my trip full circle. Despite the proliferation of tourists, sadistic rickshaw drivers and peacocking tea-room girls Beihai is an awesome place with a million things to do. If I didn’t have all my camera equipment strapped into the basket of my bike I would join the old folks for a swim across the channel or get in some intense kite flying time with the kids scurrying between the waterfront restaurants. You owe it to yourself to do a half day here – preferably as the sun goes down. Get yourself a patio seat and a bottle of wine and watch the sun glow over Qiónghuá Island (琼华). Sometimes the crowds don’t seem so bad.

There’s a heaviness rolling in with the dusk air but photography at Beihai is a bust; there’s really no way to get a good angle on the sun. We work south again, joining the other tourists, all ten million of them, to photograph the Northwest Corner Tower at The Forbidden City. I try to work in a little originality, though. I snap off my frames while trying to balance the bike along the cobblestone path. It’s not a talent thing per se, but it’s something. From here we jet back towards Tiananmen – the traffic is horrendous as people clamor over one another to get to the South Gate for the Full Moon Party, but we make a good old time of bobbing and weaving out of traffic. Allow me to reiterate something; if you visit Beijing, you need to rent a bicycle. Not a car. Not a helicopter. A bike. Hit the pavement.

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Bubba Gump Shrimp Co.

We dine at the Night Market, but it’s not the best idea either of us have ever had. We had no idea that Wangfujin is the biggest night time tourist destination in the city. Trying to get a table anywhere is next to impossible. This is particularly crushing to Tom, who had his heart set on dining at Quanjude (全聚德) and stuffing his face full of duck. Our substitute is a cafeteria style eatery just south of the major night market itself. The duck, the corn soup, the sweet and sour pork and the glazed chicken are all a disappointment. Even the beer tastes a little too watery here. Not the best way to dine on my last full night in Beijing. Plan ahead.

We’re feeling a little down after dinner, upset that we couldn’t get a table at a nice restaurant and even more harangued that we missed our full-body session at the massage parlor. Until we remember that we don’t know how to tell time. We make our appointment with time to spare and the night is salvaged from the pits of despair by the single greatest massage in the history of the world.

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The eighth best 20 dollar cocktail I’ve ever had. I don’t think that’s something to brag about.

Day 5, Monday October 5
Up and after it on my last day in Beijing. Pack up, steal as many toiletries as we can get our hands on, check out, pick up our deposit and check Tom into a hotel across the street (he has one night left in the city before he’s off to Hawaii. Jerk.). We take one more crack at Wangfujin and finally cash in. Tom’s going to get his duck, and eat it, too.

Quanjude, the most famous of the famous Peking Duck restaurants in Beijing, sells two million roast ducks and serves five million customers annually. A three hour (??!) wait for dinner on Sunday night is a 10 minute pittance Monday at 11 a.m. Why? Because no one eats roast duck for breakfast. Unless you’re Tom and I. Then you have two.

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If anyone knows the name of the crazy Swedish chef from The Muppets, insert joke here.

Our chef wheels the bird out to our table on his stainless, impeccably clean cart and takes it to pieces before our eyes. Glistening, golden, fat-drenched duck for brunch. A note on the menu says that there’s very little “bad fat” in the duck served at Quanjude, but we know that can’t be true. But even if it were, the mashed potatoes, creamed corn soup, pork and chicken sides more than make up for it. It is the breakfast of champions. It goes down well with beer. It is a heart attack in the making. Good thing we got a lot of exercise yesterday.

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Back to the Night Market to dine on scorpions. You know you wanna.

The rest of the day’s events are trivial. I buy some hooch to replace what I lost yesterday, though it’ll be confiscated at the airport. I don’t replace my Great Wall t-shirts. The hurt is just too much. Tom and I part ways early in the afternoon; he’s off to get swindled by the tea house girls/hookers while I’m off to Beijing Railway Station to transfer to the airport line. Five dollars for a ticket and no cab drivers to deal with. It’s a no brainer.

Just like Beijing. Put it on your list.

Seoul Strobist Club Shoot #7: The Metro Project

•November 27, 2009 • Leave a Comment

Seoul Strobist Club
“Strobist: The Metro Project” – SSC Shoot 7

Date: Sunday, December 20th, 3:00pm

Shoot Description:
We haven’t gone out and done any strobist work in a while, so I thought we should get one more in before everyone splits for the holidays. With a lot of action this fall concerning the Metro Project, I thought it would be nice to get together and help each other get creative in and around the tube.

Shoot Objectives:
-    Learn how to effectively balance difficult lighting situations indoors and outdoors
-    Learn how to use strobes and small aperture photography together
-    Gelling for dramatic effect

These are the three areas that I’m going to focus the workshop on, but obviously we’ll get through a whole lot more action on the day of. If there’s anything anyone wants to try or practice, by all means, let me know and we’ll get to that, too.

Meet-up Point:
Sindorim Station
Exit 1, 3:00 pm – (?) 7:00 pm
* Subject to chance. I want to do this at a large, outdoor station with some character. If anyone has a better idea for a station, let me know please.

Shoot Leader(s):
Shawn Parker        parker.shawn@gmail.com         010-5824-2632

Shoot rental fees, etc.:
None.

Models:
I think we’re past shooting each other over and over – I know I’m sick of seeing my own face in the group photos – so I’m going to ask a couple of models that I’ve worked with in the past to come along. It’ll be cold and a chunk out of their day, so I’m asking anyone who is interested to fork over 10,000 won to cover the cost of the models’ time. Payable day of.

Food & Beverage:
Not too worried about this pre-shoot. We’ll figure out a place to have a bite once we’re done.

Emergency Backup Plan:
We should be fine indoors or outdoors – the only thing that will really hinder these plans is rain. But pray for snow…that’d be awesome! Just pack a garbage bag to cover your gear.

Gear Inventory:
When you post your interest, please list what strobe-related gear you’ve got and are willing to bring to the event. We will do our best to pare down the inventory this week so you don’t have to lug all the stuff you own out of the house.

For example, we’re usually not going to need more than 4 strobes for a single shot. That means four flashes, preferably two light stands, a monopod, a trigger and one or more receivers (depending whether the flashes can be triggered wirelessly or not). SB-26s, SB-800s and (I THINK) SB-600s and SB-28xs have this function built in. I don’t know about non-Nikon gear.

I’ll pack most of my stuff so we can run a couple of crews at the same time.

Flashing on Film

•November 15, 2009 • 3 Comments

Flashing on Film

IlfordHP5_18-2This guy loves flash. Plain and simple.

 

Flash photography and film is no new thing. People have been doing it for a long, long time – in some cases, hundreds of years. But for those of us weaned on the digital sensor, flash and film together is as foreign as a kimchi Christmas in Times Square.

Though it need not be so.

Many people believe that flashing with film is prohibitively difficult; conventional wisdom dictates that you need an expensive light meter, powerful strobes, costly, low grain/low ISO film and a fully manual, archaic film camera to get the job done. Where’s the fun in that? After all, the strobist mantra states that the quickest, simplest solution is often the best one, and what’s so simple about doing more work and carrying more gear than you want to? And why would you want to do it, anyway? Where’s the benefit?

The answer to that one is easy. Flashing with film is all about the look. The look and feel of a film frame is unique and unmistakable and difficult to replicate with a digital camera. And I’m telling you right now, contrary to popular belief, getting the look is easier than you might think.

Using off-camera flash and digital cameras together is so easy because you can preview what you’re doing as you go – the LCD has made everyone and their uncle a professional photographer. That’s impossible to do with analogue; no one wants to waste expensive film trying to get the light right. But if you’ve already got a digital camera with a hotshoe (I’m presuming you do, since you’re reading this article) then you’re fully capable of flashing with film.

Here’s the skinny.
Compose a shot as you would normally, using your lights and your digital body. You can run all the trial and error you want here; digital frames are free. When you’ve got the photo set up the way that you want it, go ahead and switch your trigger over to your film body and fire away. Your digital body is effectively your light meter; you can use it to build up the light into your scene before you start blasting roll after roll of film.

Yes, it’s that simple. There’s no trick to this. I do it the same way all the time. No light meter, no super strobes. Just my Nikon F100, bevy of flashes and Flashwaves Triggers. Exactly the same stuff I use when shooting digital.

Take these shots.
They were taken within seconds of each other. Same light, same location, same model, same clothes, same photographer. Different camera. Unique, unmistakable looks.

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The digital frame.
Nikon D90 | f/6.3 | 15mm | 1/60 sec. shutter speed | ISO 500
Flashes:
SB80 DX @ 1/4 power, shoot through, camera right
SB80 DX @ 1/16 power, gridded, camera right
Silver reflector, camera left

Clean, smooth, polished. No post work done here; this is how the digital computer renders the image. And this is, for the most part, how most digitally flashed shots “look” straight out of camera. There’s nothing wrong with it – I love it – but it’s not particularly challenging to do.

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The analogue frame.
Flashes:
SB80 DX @ 1/4 power, shoot through, camera right
SB80 DX @ 1/16 power, gridded, camera right
Silver reflector, camera left

Rough, raw, evocative. The look is wholly film, wholly unique. Amarisse changed the pose and I changed cameras. That’s it!

OK, that’s not totally it. I did have to line a few things up before taking the shot. Like shutter speed and aperture. It’s important that they stay constant from camera to camera if you’re going to do this.

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The digital frame.
Nikon D90 | f/10 | 16mm | 1/40 sec. shutter speed | ISO 100
Flashes:
SB 80DX @ 1/2 power, shoot through, camera right

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The analogue frame.
Nikon F100 | f/11 | 50mm | Kodak Portra 160 NC ISO
Flashes:
SB 80DX @ 1/2 power, shoot through, camera right

You’ll notice the aperture is f/10 in the digital shot and f/11 on film. Why? Because I was using a slightly faster film speed with the analogue camera, so I needed a little less light out of my strobes. And since we know that aperture controls flash exposure, I dropped down 1/3 of a stop. This is very important. This tells you that you don’t need to shoot your digital and film at the same ISO to get the results you want. You just need to understand a little light. This means that you don’t need to waste half a roll of expensive ISO 50 film if that’s what you have in your camera just because your digital body only drops as low as ISO 50. Do a little math, drop a stop, and fire away. Simple as pie.

Leave your digi in the bag.
You don’t always need to test or meter your scene with your digital body before you shoot. Sometimes, it’s better, and more rewarding the fire away on film and see what you come away with. Getting back a roll of processed flashed film is like opening up a Kinder Egg; whatever you get out of it is going to be sweet.

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The digital frame.
Nikon D90 | f/7.1 | 11mm | 1/50 sec. | ISO 200
Flashes:
SB-80DX 1/4 power, high camera right, shoot through umbrella
SB-28 1/8 power, gridded, pointed at the background

A carefully thought out setup for this shot. Left nothing to chance, made all the test frames on digital when I was building our light and worked towards the finished product.

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The analogue frame.
Nikon F100 | f/2.8 | 105mm | 1/100 sec. | Fuji Superia 200 ISO
Flashes:
SB-25 @ 1/32 power, bare, pointed back at Jill

I threw a light on a stand, asked the boys in the background if we could get them into the shot and fired off a few frames on film, not knowing how they’d turn out. I metered for the light in the distance – knowing this would help silhouette the sprayers – and lit up the rest of the scene with flash. I knew through trial and error (mostly error. A lot of error) that a wide aperture, like f/2.8, doesn’t require a lot of light from the flash to exposure the scene, so I dropped the SB-25 way down to 1/32 and popped off. Same goes for this shots.

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Use the cheap stuff.
Want a really different look? Pick up a few canisters of cheap film from the corner store and get to work. The imperfections in the film will give your frames a distinct look and feel.

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The digital frame.
Nikon D90 | f/1.8 | 35mm | 1/200 sec. | ISO 125
Flashes:
SB80DX @ 1/64 power, small softbox, high camera right
SB80DX @ 1/128 power, shoot through umbrella, high camera left
SB28 @ 1/64 power, reflective umbrella, hair light

Clean, light, airy, bright. I love the high key, and I used it for a very polished look here. When I went analogue, the story read very differently.

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The analogue frame.
Nikon F100 | f/2.5 | 50mm | 1/125 sec. | $2.00 corner store BW film ISO 100
Flashes:
SB80DX @ 1/64 power, small softbox, high camera right
SB80DX @ 1/128 power, shoot through umbrella, high camera left
SB28 @ 1/64 power, reflective umbrella, hair light

Is it better? No, not in this case. But it’s different. Very different. All because of the film. I didn’t know how this shot was going to play out using the crummy film, and it came out a little underexposed for my tastes, but that’s half the fun of not being able to see your shot on the back of the camera after you’ve taken it. But it was easy to do. And it was fun. So go dust off that film camera that’s lodged behind your guitar and cowboy boots in the hobby closet and get to work. Make a little light, get down tonight.

- flash

Poster Express – DJ Ross MacKay

•November 5, 2009 • 2 Comments

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Shooting on location is sweet. Working on location with friends is more fun, especially when they have a cool job like being a DJ. My pal Ross called me up a couple months ago on short notice asking if I could help him whip up some images for a promo poster. I said sure. Pack your headphones.

The original concept called for Ross, calm and peaceful, amid a sea of life. You know, like when he’s up on stage doing his thing, right? So we tried to be a little experimental and do it at Nandaemun Market. The only thing, we did it too early, and the sun didn’t let us get as edgy as we wanted.

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A slow shutter speed lets the background move with a little fluidity while a single strobe – camera left through an umbrella – freezes Ross in place and lights him against the drab colours.

We moved around the corner to put Namsan in the background and do some ultra-wide light work – the distortion fits the motif and the concept, so we went high and tight. Like Roger Clemens on Mike Piazza.

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A single strobe again, high camera right through an umbrella. Strobe work with ultra wide lenses in your model’s face give a very distinct look, but there’s a certain time and place for it.
The poster, if you can’t put together the pieces of Korean, is for a gig Ross played in Busan last month.

We ran through a few rolls of film during this shoot as well. I’ll be posting a blog on strobing with film – why you would want to do and how – in a few days.

- parks

Dust Country – An Excerpt

•November 5, 2009 • 2 Comments

Dust Country – An Excerpt

Dust Country

I’ve spent almost two years working on my second novel. It’s been a long haul, this process. The first one came naturally, and the process was generally fluid. This one has been different for a number of reasons. First, I’ve never attempted anything this ambitious. The project is way out of my comfort zone, but I went in knowingly. Second, photography and some screenwriting commitments have dominated my time in the last year. My writing has certainly influenced the photos I’ve taken, but I wonder just how much the opposite is true…

I digress. To celebrate the completion of draft two and the start of the onerous editing phase, I went out into the hills to make a few frames. I don’t have a giant stone hammer, but I do have a monopod.

Finally, here is an excerpt from the novel.

———————

The air is heavy. The air is full of dust.

There’s a fire in the farmer’s eyes. He can’t wipe them, his hands too dirty. He knows. This is something he does with unmitigated frequency.

The only cover on the lane is the oak tree and it could fall any moment. He’s in the open, the barrow and his cargo at the mercy of the dust, the wind. The tree is a hundred years old, maybe more. It was tall when the farmer was a boy. Tall and strong and he climbed it with the miller’s children, his friends, children from their neighbourhood. When the others were scared he was brave. Always the bravest. His father taught him well. Brought him up strong, sure, kind. His father was there that day, watching, watching from the house with the miller, proud. He climbed the tree and tied the rope to the strongest branch. He did it when all the others were afraid. They begged him not to. He’d fall, he’d die. That’s what they said. Half way up they were still afraid.

Now they’re gone. All of them like the rope, gone. Two meters of it cut away. As high as someone could climb. Frayed, three strands from one. The tire is gone. The rope swings in the wind, a whip as thick as a man’s wrist. The farmer drives the barrow to the tree. The wind howls. The sky is so many grays. Lightning. He stops. He can’t breathe. Bent double, coughs into his cotton mask. Blood and phlegm, mucous. Three days now, it’s been the same. No clean water. The dust in the air moves fast. Too fast. Razors in his lungs. His face is bleeding. His neck, his hands. He looks to the sky. Rain? Rain will bring grenades. There’s no water left in the rain. When the rain falls it’s tar.

The house is close. He checks his cargo, lifts the blanket. The wind kicks off the lane, swirls, pulls the blanket from his hands. He needs it. Chases it, catches it. Covers his cargo, the face and the torso. The legs he can do nothing about. They hang out of the barrow and dangle over the ground. Skinny, a scarecrow. At least his cargo still has shoes. Worn, old. They’ll have to last. There will never be new shoes again. The wind changes. Not much time but the house isn’t far. He can make it. They’ve come far, they can make it. Their closest neighbour not so far at all. The freedom of the country, the doom of the distance. Barrow is heavier now, but he can make it. He pushes up the hill, past the oak tree and into the open. The grass is still green in spots, mostly yellow. Some grey. It’s happening faster than they said it would. On the TV and the radio. TV doesn’t work. Radio picks up a channel or two, but it’s always the same. They’re liars.

His cotton mask is blown away. He can’t stop. Won’t stop. Lets it go. Catches on a rose-bush in the garden. The thorns are sharp, the petals dry and dying. No more moisture in the air. The rain will kill them all. The wind blows mighty, dust burns his throat, his eyes. There’s one step at the door, concrete and strong. The barrow bounces and strikes the door. Door swings open, farmer drives the barrow inside. He knows the house well, knows the miller and his wife are in the sitting room. He hears footsteps. They appear in the hall. The miller in front, shotgun in his arms. He’s seen him use it, hopes against home. The miller’s wife recognizes the farmer. She’s thinner. Older. Old as the oak tree, but stronger. It’s only been a few months. He stares for a moment. She’s tough. She’ll be the last one of them all. The miller takes him by the arm, just above the elbow. The miller’s face is thinner, the rest the same. His beard is long, thick, wild, eyes heavy, red. So old. Crooked hands, claws. A gnarled spine.

“Jesus,” the miller says. He doesn’t realize it. It’s just a thing to say.

The farmer coughs into his fist, doesn’t look at the mess, wipes it on his pants. Pulls the blanket off his cargo, lays it on the floor. The miller’s wife’s hand goes to her mouth, her eyes go wide, red. The old man in the barrow looks dead. He’s not. He coughs violently. Too weak to cover his mouth. Blood on his shirt. Crimson at it’s deepest. A bib of haemoglobin. His eyes are open but he’s not seeing. He’s covered in dust. The blanket was good for nothing at all.

“They say on the radio the hospital is full,” the farmer says. “Said so on the TV, before she went. And there aint no money for fuel.”

“How long has he been like this?” the miller’s wife asks.

She brushes past her husband. He doesn’t move. No expression on his face. He stares at the old man. The farmer stares at the miller. The miller looks up, past the farmer.

“Few days. Worse now. He aint said nothing since he started coughing.” The farmer’s eyes fill up quickly. He wipes at them, smears blood across his face. He doesn’t notice. He doesn’t care. “Can’t get a thing from the tap and the store in town been all torn to shit. Couldn’t afford no water even if we could find it anyway.”

The miller’s wife looks at her husband, he won’t look back. “Get him out of there and into the sitting room,” she says, taking hold of the skinny legs. They set the old man on the sofa. It’s just long enough, he’s stretched out. Still coughing, blood everywhere. The miller’s wife sets a pillow under his head, another under his knees. She whispers to him. The farmer doesn’t wipe the tears from his face. Not this time. They flow freely now. He looks at the miller. Older by the second, staring out the window. The wind howls, the dust crackles against the windows. The air is full of sound now. It’s dark. The miller’s wife disappears, comes back with a candle and a towel and a bottle of water.

“They can’t afford no fuel they can’t afford no water,” the miller says. He never once looks at the farmer, keeps his eyes on the old man.

The farmer squeezes the wetness out of his eyes. “Please,” he says, the word so dry it’s barely there. The tears race down his cheeks, mix with the dust, become mud, fall to the floor.

The miller’s wife kneels next to the old man. Another fit. She puts her hand on his chest, whispers to him. It’ll be alright. She lies. That’s all they can do. The truth is there, on the other side of the glass for all of them, plain. The coughing subsides, a momentary reprieve. The miller’s wife wets the towel, wipes at the old man’s face. The blood is dried, caked hard. She scrubs. About to use the water again the miller grabs her by the wrist.

“Damnit, you know there’s not enough to spare,” he says. She spins up from the floor, fast, slaps her husband on the face. He looks at the farmer’s eyes for the first time. Walks away,  curses, slams a door somewhere in the house. The old man coughs, she kneels again, washes his face. The farmer pulls up his trousers, leans in, hands on her shoulders.

“Thank you,” he says.

The miller’s wife doesn’t answer. Her husband’s words in her mind. He’s wrong. There’s always a little more to spare. Something extra to give. Even when it seems the opposite. Especially. She sets to ordering the farmer, eases both of them, something to do. No idle hands. Remove his shoes, check how swollen his ankles are. Pull him down a bit that way, get his feet up. Stop the blood from pooling. Send it back towards his heart. Listen to the chest, tell me what you hear. She sets the bottle to the old man’s lips. Won’t drink. Can’t. She offers it instead to the farmer. He takes it, lips touch the plastic. He tastes it. Allows himself a mouthful, no more. Spins the cap back on, sets it between his knees.

“You need more,” the miller’s wife says. She takes the bottle, starts to remove the cap. The farmer puts his hand on hers, stops her. Looks at his father.

“No. That’s enough,” he says.

“When’s the last time you drank something?” she asks. Angry.

“I ate this morning,” the farmer says.

“That’s not what I asked.”

“I’ve had more than my share.”

Tears stream down her face. She pulls the bottle away, throws the cap on the floor, shoves the bottle at the farmer. “Now you take this and you drink,” she says, shaking her head. It’s easier to be mad. Like any good neighbour. Mother. “We’ve got the well and there’s plenty of water for us and then some. No one near to come and take it from us and this storm can’t last forever. You’ll see,” she says. Her hands bite into the farmer’s flesh while she speaks. Her talons. Her tears run while he drinks. Her tears are clear, clean. He’s never seen her cry before. Never in his life. Her own children, gone a month now. Not a word. She didn’t cry. Now she does. The farmer finishes what’s in the bottle. He does it for her as much as anything. The old man coughs, gasps. Can’t breathe. They fuss as much as they can, do as much as they can. They don’t hear the miller. He tosses the bucket on the floor between them. It splashes on the floor, on the sofa, on the farmer. It’s not water. Couldn’t be. Thick, black, engine oil. Dirty. The miller’s covered in dust. His surgical mask is supposed to be white. They didn’t know he went outside.

“That’s what’s left in the well,” he says.

To Flash or Not to Flash?

•October 29, 2009 • Leave a Comment

To Flash Or Not to Flash?

Originally published in the Korea Herald on October 22, 2009

No, I’m not talking about what you do from under a trench coat in the mall parking lot. I’m talking about that oft-ignored practice of lighting up the night – or day! – with flash photography.

In recent years, flash photography has gained an undeserved reputation as a last resort, a tool exclusive to the snapshooter. Something we use to blind our friends in dimly lit nightclubs, the resultant photos blanketing Facebook, portraits begging to be untagged. These photos are often characterized by blown-out (all white) facial features and deep, shadowed backgrounds. Not cool.

It doesn’t have to be this way.

The flash, even the built-in version that comes with 99% of consumer cameras, can be a very powerful tool and can indeed help you craft moving images. The trick is understating your light. That’s the light that’s coming out of your little flash and the light that’s already present in a scene (aka ambient light) – be it sunshine, the light of the moon or the hot fluorescent stage lighting at a Wonder Girls concert. What you most often want to achieve with flash is good balance within the scene. Blasting one element of the frame with flash and leaving the rest in darkness isn’t cool unless you’re shooting Levis ads for GQ. Avoiding this is simpler than you might think.

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A little on-camera fill flash never hurt anyone. Except for this cosmos flower. RIP.

Understand that there’s nothing you’re going to be able to do to a dark background with a single, on-board flash. You can control the light you send out to your subject, but in a cavernous club, a church or a Buddhist temple you simply don’t have enough power to bring the whole scene up to proper exposure levels. This is where a dedicated flash unit (or five) becomes invaluable. Using a dedicated unit (often called a strobe), you can bounce light into the ceiling or off of a wall so that it cascades down over your scene evenly, dropping soft, even light on your subject and carving out shadows that will give everything a 3D look. You want to light up the entire room, from front to back? Put two strobes on light stands and place them in opposite corners of the room, trigger them with a radio slave system (Flashwaves and Rembrandt triggers are affordable Korean makes) and delight at the studio-level quality of your light. You’ll be doing celebrity weddings in no time.

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Strobes are doing all the heavy lifting here, bouncing around inside the stairwell and dropping light all over the model.

It’s a myth that flash is best served in the dark. The next time you’re out shooting under the sun and you find the shadows and the contrast too much to deal with, don’t ask your model to rush into the shade so you can fire away in the even light. Your on-board flash unit is plenty strong enough to cut through the hard shadows and you’ll come to realize a facet of photography often ignored by the casual shooter: the beauty of the fill flash. Try it out for yourself. Underexpose your scene by 1-2 stops and hit your foreground subject with fill flash. The resulting scene will showcase an evenly lit subject and dramatic, textured background. Perfect for those ubiquitous temple and mountain shots we all know too well.  Without even realizing it, you’ll have become a strobist yourself.

-flash

Strobing in Seoul: A Beginner’s Guide

•October 29, 2009 • 2 Comments

Strobing In Seoul: A Beginner’s Guide

I went to my first strobist meeting without a clue as to what type of gear people would be showing off. Sure, I had worked my way through Lighting 101, but I had never seen any of this stuff put to work in the field. Pros make everything look easy – who knew how practical/simple/portable it was going to be?

In a word; very.

The great thing about off-camera lighting is you can make it as complex as you want it to be. David Hobby has made some of the most iconic photos in the genre with a single strobe while Joe McNally usually has enough gear strabbed to his back to light up the Parthenon. One strobe, ten strobes – it’s all about what you want to do. There are lighting guides all over the internet, but for the sake of those living and shooting in Seoul, I’ll tell you what we’ve been shooting with the Seoul Strobist Club, where you can find it and how much you can expect to be gouged paying for it.

Cameras: We should probably get this one out of the way, since having a camera is generally recommended if you intent to make photographs. The good news is you don’t need an expensive DSLR to make off-camera flash work for you. If your camera has a hotshoe and a manual mode you’re good to go. It’s as simple as that (even some point-and-shoot digital cameras come with a hotshoe, so if you’ve got a Canon G10 in your bag you’re golden). However, if you’re new to this stuff and looking for a camera to get started with, I suggest picking up a model with the fastest flash sync speed possible. Most of the DSLR models on the market today max out at a shutter speed of 1/200 or 1/250 when used with flash. Nothing wrong with that. There are, however, a few gems out there that will sync at 1/500 of a second or higher. The Nikon D40 is a great example – Nikon’s cheapest DSLR (less than 500,000 won, street) has a max sync speed of 1/500. Ditto for the old D70. That’s twice as fast as the “pro” and “prosumer” Nikons, like the D90, D700 and even the mighty D3. Even better, when using a flash trigger in the hotshoe, you can “trick” the D40 or D70 into shooting at ungodly shutter speeds of 1/1000 or higher. You’ll need a lot of POWER to use these speeds, but it opens up an entire world of possibilities.

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This shot was synced at 1/200 on my D90. A faster shutter sync (1/500, for example) would have let me take the background to black with the sunset and the students steady at their current exposure

Why is this important? It allows you more control over your ambient light levels. That’s really important if you want to light someone on the beach at noon or if you’re on assignment in the Gobi and there’s no shade for 500 miles.

Strobes: These are not of the disco ball variety. Call them whatever you like – speedlights, flashes, flashguns – the terms are interchangeable. For our purposes, strobes are essentially any off-camera light with a hotshoe that we can sync with our camera (more on syncing in a moment).

What strobe should I buy? There are as many strobe brands on the market as there are cameras. Knowing which one to choose can seem a little daunting at first, but making the right call is actually very simple. What your strobe must have, though, is a full manual mode. If it can’t be moved out of auto or TTL/i-TTL/e-TTL you are SOL. You’re also going to want a strobe with at least a four stop power differentiation; this is quite important. Most strobes have power settings of 1/1, 1/2, 1/8 and 1/16. More advanced models will include 1/4 and everything from 1/32 to 1/256. In case you want to light a gnat from an inch away.

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Shooting manual (camera and flash) gives you precise control over your light levels. This shot was made at 1/4 power with a shoot-through umbrella. The umbrella was inches away from the models face, just out of frame

The brand you buy, surprisingly, isn’t important. This might sound sacrilegious to the Canon fans, but your best bet for off-camera work is to pick up some used Nikon Speedlights at Namdaemun (or Yongsan, if you can barter through the BS). Any of the older models will work – SB-24, 25, 26 and 28 are all fantastic and can be had on the cheap, while the 600, 800 and 900 are going to burn holes through your wallet. The best bang for the buck comes in the form of the SB-80DX, but finding one for less than 200,000 won is now next to impossible, thanks to the Seoul Strobist Club.

At one time they were each at the top of the Nikon line, so you know you’re getting quality gear if it’s been looked after. While there’s certainly nothing wrong with a Vivitar 285 or a Metz flashgun, it’s a good idea to purchase the highest quality product when dealing in the same price range. We’re talking “pro” versus “consumer” grade in the strobist world. The best part about the Nikon strobes? They work with virtually every trigger system on the market today. The same can’t be said for the Canon or Vivitar models. Even better? When used off-camera, the Nikon strobes will work with Canon (or Pentax, or Sigma…) cameras. Just remember, if you’re using an off brand flash, NEVER stick it onto your hotshoe. These things are for off-camera work only, unless you enjoy sending your camera for service on a regular basis.

What you should expect to pay: Older (used) Nikon models can be had for between 40,000 and 100,000 won each, though the price has been rising lately. That’s still a lot cheaper than you’ll find them on ebay or in North America. One of the interesting things about the Korean photography market is that everyone wants the biggest and best piece of equipment as soon as it drops – that means a lot of old, barely used strobes are being traded for newer, more expensive models that do the exact same thing. Advantage? Foreign Strobist.

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Made with a 20+ year old Nikon SB-25 strobe purchased for 40,000 won in Namdaemun. That’s half the price of a new Cactus or Vivitar 285 for more features and better build quality

Don’t pay more than 50,000won for a SB-24, 25 or 26 and don’t pay more than 100,000 won for a SB-28 or a new Vivitar/Cactus 285. If  If you can pick up an SB-80DX for less than 150,000, do it. Given your choice between the Nikon models, go for the SB-26 or 80DX. They feature wireless IR support and can be triggered via the flash from another strobe.*

* Sorry, but none of this applies if you shoot Sony out of the box. Sony cameras and flashes work on a proprietary system and are not compatible (in their base configuration) with “regular” strobes or syncing systems. Luckily, hotshoe adapters and PC cords can solve your problem on the cheap.

Triggers and receivers; syncing your camera and flash: If you want to make some light off-camera you need a way to send signals back and forth between camera and flash. Sure, you can use the Nikon Creative Lighting System (CLS) for total wireless control, but the cheapest flash in this line costs 300,000 won and you need a Nikon camera to use it. There are cheaper, easier ways. David Hobby swears by the Pocket Wizard triggering system because it is, hands down, the best remote system on the planet. But David Hobby puts his flashes inside helicopters and fires them from 300 feet away. So, if your designs are a little more modest, you can save the 200,000 won you’d need to spend on each trigger or receiver and invest in a Poverty Wizard system. The market is full of triggering systems at different price points. The two most popular in Korea today seem to be the Flashwaves (I and II) and the Rembrandts. We use both at the SSC and have never had a problem with reliability (we haven’t shot Building 63 from World Cup Stadium yet, so we can’t say just how far these things reach). Triggers slide into the hotshoe of your camera (or connect via PC cord) and receivers slide into the hotshoe of your strobe (or connect via PC cord). Most receivers come with a female tripod mount, too – which means you can set them directly onto your support system.

What you should expect to pay: This one might surprise people. A set of flashwave IIs (1 receiver and 1 trigger) will run you roughly 140,000 won, while a set of Rembrandts will cost about 65,000. To sync my strobe set with Pocket Wizards would have cost me more than 800,000\. What can that extra 670,000\ get you at Namdaemun?***

***You can also consider syncing your flash with a PC cord directly to your camera, but you’re limiting yourself to the length of the cord and a single flash at a time, unless your other flashes have wireless support. Do yourself a favour and pick up the wireless system. It’s more fun.

Support and other gear: You’ve got a camera and a strobe and a way to make them talk to one another. Now you need somewhere to put that strobe, unless you’re into making light happen from your left hand for the rest of your life.

Enter light stands and monopods. 5- and 6- section light stands are great because they are light and portable. They are also cheap. 6-foot light stands sell for about 35,000\ while 8-foot stands can be had for around 60,000. You want some advice? Get the 8-foot stands. If you’re shooting people with a 6-foot stand you’re going to be all over your friends assistants to hold the thing in the air and get that light coming in from a better angle. If you wanted to do that you would have bought a monopod… …

Monopods are fantastic. Basically, they give you a light on a big pole that an assistant can work into a million different angles at a million different degrees. You can also wield the monopod on your own for those times you’re shooting strobist style without the aid of your trusty camera club.

Prices vary like crazy; Manfrotto and Gitzo are popular in Korea, but everything on the market can be had for the right price. One of the key features of light stands is that they can be dressed up with umbrella adapters. These adapters range from 20,000 -40,000 won. They have a slot for umbrella poles and rotate up to 90 degrees, making lighting at angles a snap.

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Lit with a single gridded strobe on a light stand six feet in the air

Umbrellas, softboxes, snoots, grids, beauty dishes, ring flashes, gels and other toys help meld, model and modify your light. If you’re just starting out you can get by with a single shoot-through or reflective umbrella. A shoot-through is simply a white umbrella you point at your subject and strobe through for a soft, even light. A reflective is a silver umbrella (usually with a black cover) that you bounce into for even, harder light. Umbrellas range from 15,000 – 20,000 on the street. Or go to HomePlus, buy one for 2,500 and chop off the handle. Bob’s your uncle.

The great thing about light modifiers is that with the exception of umbrellas, you can make them yourself. You wouldn’t believe how many cereal boxes I’ve destroyed in my quest to build the perfect snoot. My grid spots, by far my favourite strobist tools (what you use to create your wonderfully graduated backgrounds) are made up of little more than cardboard, gaffers tape and black straws. Just remember to wear your running shoes when you’re “borrowing” black straws from Starbucks. They never believe you when you tell them you’ll bring them back.

Hopefully this quickie guide has answered a few questions for the would-be Seoul Strobist member. Though these are the basics, it doesn’t get much more complicated (unless you’re Lee Smathers and can’t find your car in the parking lot without your light meter).

- flash