Alice Tay

Quentin Shih a.k.a Shi Xiaofan is a fine art photographer who focuses on portrait, fashion and commercial photography. Shih started out taking photographs of his musician friends and artists before gradually moving into fashion and commercial photography. He is a self-taught photographer and he currently lives and works between Beijing and New York. His visual style is often dreamy and bleak at the same time, with a focus on storytelling as he believes readers should always read beyond what is seen in a photograph.

This work, Yiwen & Graig, is from a project with fashion designer Liulu for her label Luvon.

This post was contributed by Alice Tay.

Zhang Jingna was born in the suburbs of Beijing, to a sporting family. At the age of eight, she moved to Singapore with her family and attended the prestigious Raffles Girls’ School. She left two years later to pursue a degree in fashion design and got acquainted with photography. Within a year, she was approached by Ogilvy & Mather to do a shoot for Mercedes Benz Taiwan and became a regular contributor for Haarpers Bazaar Singapore. She went on to become the youngest recipient of Fellowship in the Masters’ Photographers Association (UK) in 2009. Her clientele includes Montblanc, Canon, Elle and various international publications. She is currently represented in Toronto and North America by Suzy Johnston & Associates.

Kevin Ou is a celebrity and commercial photographer, originally from Singapore, but now based in Los Angeles. He has shot for a wide range of clients, including Rolling Stone, People, Surface, Entertainment Weekly, Lego, BMW and General Motors.

How would you describe your photography journey to date? Where do you see yourself moving forward?
‘My photography journey has definitely been a fun and challenging one. The successes don’t come without failures. Before I made it to this stage, I spent many years working overtime just to get my work out and there were many times I’ve come close to being broke. It was not an easy journey, but it was definitely worth it. Now, as I move forward, my head is in creating a legacy to leave behind. I am embracing my talents as an entrepreneur more. I am focusing on my business venture (Modern Home + Living). I am starting to move into directing music videos and commercials. I am expanding to work more in Asia. And I am looking to do more non-profit projecs to give back to the community’.

Being a commercial/celebrity photographer, how do you balance the demands of the client with your personal vision?
‘Every photo shoot with me is a collaboration. That means being open to ideas and building upon the ideas the team around me have. I have learned to put aside my ego, so it doesn’t just have to be me conceptualizing the images. If the celebrities or clients are into the idea, they usually give so much more during the photo shoot. They take ownership and the images come out a lot better’.

Can you share some of the most interesting and satisfying projects you have worked on so far? Which celebrity shoot made the biggest impression on you?
‘There are so many amazing moments that I have been through in the course of my photography career. From shoots at the Playboy Mansion, working with the Mayor of LA, a yacht full of models off the Coast of Miami, to hanging out with rappers with bottomless wallets, it definitely has been a crazy journey. One of the shoots that I did most recently was with Vanessa Williams. The entire shoot consisted of hanging out with her and her new Maserati Gran Turismo S. Definitely not something I thought I would get to do, so I treasure every adventure that comes my way’.

What is your most prized camera for work and personal projects?
‘Believe it or not, out of all the fancy hi-tech photo equipment and gizmos, my true love still remains my Sinar 4×5 camera. It is old school, it is clunky, and moves slower. But that slowness means taking more time to compose and think of the shot before executing it. Because I was a broke student, and every sheet of 4×5 film was so expensive, I had to make every shot count. That trait still sticks with me even when I am shooting with my 35mm or Hasselblad. I take my time to make every shot count instead of snapping wildly’.

Kevin WY Lee is a street and documentary photographer and founder of Invisible Ph t grapher Asia. Kevin is also Creative Director/Partner at SPOON, a creative studio in Singapore.

You mainly focus on documentary and street photography. Can you share with us why do you choose to specialize in these genres?
‘I like two things – the image and the story. And to me, the most personal, honest and immediate are those two genres. I don’t work on big stories or ones with an obvious social angle. I lean towards fragments, observations, and moments, so street photography appeals very much to me at the moment. I work on commercial commissions in a design/branding agency, so focusing on photography without a commercial brief is a very healthy breath of air’.

Can you tell us about some of the more interesting and satisfying projects you have worked on so far?
‘I have yet to commit myself to what I would call a ‘real’ project. I’m still searching for a story that will compel me long-term. Meanwhile, I’m collecting fragments of Singapore and Asia through my own observations and photographs. To answer your question, though, my most satisfying project experience was actually not a photography one. It was writing a feature film script a few years ago that almost got made. But having said that, every trip onto the streets is interesting, even if I return without a shot’.

What qualities do you need to be a good street photographer?
‘There are no hard rules, and there will always be exceptions, but here are a few traits that I’ve noticed:

Life Experience
Good life experience allows a photographer to connect to all walks of life and empathize with their griefs and glory. Life experiences are unique to each individual, so photographs drawn from it will be original.

Curiosity
Having child-like curiosity is important because street photography is, by nature, voyeuristic. If you’re bored with the world, you’ll be blind to her magic.

Hunger
Street photography is much like hunting. You must be hungry to go out there and hunt until you get that shot. Good hunters stalk their prey very patiently before sniping.

Good Taste
Understanding what makes a good photograph helps you execute better photographs and tell better stories. It helps with editing, too.

Invisibility
Having a certain calmness and quiet about you helps you blend in. When you’re invisible, your subjects disarm and reveal themselves.

Wit
A good sense of humor goes a long way towards spotting opportunities. Fortunately, good wit is universal.

Humility
Great street photographers are almost always humble, modest people. They brag about life, not about themselves and their work.

Can you talk about the different cameras you use for your work and discuss what cameras work best in specific situations?
‘I’ve shot with all kinds of cameras and formats but my current cameras of choice are Rangefinders. I use a Mamiya 6 for medium format and Leica M9 and M4 for 35mm. I shoot both digital and film. Digital is great, but It’s hard to ignore the beautiful, organic way film renders light, shadows and everything in-between.

‘I use a 35mm camera for most of what I photograph. I like the 3:2 frame and the 35mm resolution. A medium format camera is great for capturing photographs with a hyper sense of reality. My main reason for using these cameras are portability and handling’.

Invisible Photographer Asia (IPA) started in April 2010 as a platform for photographers in Asia to showcase their works. Can you explain the mission of IPA and also discuss your long term goals for the blog?
‘Invisible Photographer Asia was born out of a personal interest and passion for Asian photography and stories. We don’t have any mission statements. We’re a small set up, so it’s important to be flexible, fluent and organic. IPA has since grown into a pretty sizable community, so it’s rewarding to know we’re doing something right.

‘In regards to goals, we’re photographers, so we look near not far. Moving forward, we’ll continue propagating street photography and visual journalism in Asia. Our mid-term goals will be to look at ways we can grow and engage our community further, extend what we do to beyond the online platform, and most importantly, bring richer visibility to emerging Asian photographers and their work’.

What are some of the challenges and highlights in starting Invisible Photographer Asia and how did you grow the site to be as influential and popular as it is today?
‘The first challenge was content. Finding photographers, building rapport with the community, soliciting and curating the work we feature takes time and effort, especially when starting out. With growth, the other challenge is resourcing. We’re a small independent outfit, so we’re limited by our resources. IPA is currently funded by our own shallow artist pockets. We’re now officially looking for like-minded partners and sponsors.

‘The highlight in doing all this is discovering and meeting talented ‘invisible’ photographers and artists, and sharing their work with the world. It is very rewarding when we get feedback that IPA has helped some in one way or another.

‘Aside from hard work, good curation and having a unique Asian identity and focus, we have to credit the Internet and social media with how rapidly IPA has grown’.

Alvin Tang is an advertising photographer based in Singapore. He is represented by Stone Camera Management, with clients including Asia-Europe Foundation, Ministry of Manpower, Playeur Journal and Men’s Folio.

Your works are often intimate portraits against stark environments, which in turn creates a surreal mood. Can you share your photographic vision and direction?
‘The majority of my works circle around my past memories. Music plays a huge part in my influences, as well. In fact, I will probably be playing music if I did not get into photography. I came from a fine arts and film background, therefore it was only natural for me to throw in notions of narrative and semiology in my works. I always like to read my works as pieces of music. It can be a short burst of energy, like a 30 second hardcore punk anthem, or it can be a ten minute long dreamy sound-scape of night sounds’.

Can you share some of the most interesting and personally satisfying projects you have done so far?
‘I always hope my next project will be my most satisfying and intriguing. Therefore, I am always pushing things a little further than the initial brief. The most interesting one I have done would have to be my collaboration with Hooked Clothings titled, HEAD. It was the first time seeing my work being printed on shirts. We are currently working on an exhibition to be launched with a special collection later this year, which is something I find really satisfying as well’.

Being an advertising photographer, how do you balance your photography artistry and the commercial demands?
‘Initially, it was pretty hard for me to draw that line because I kept myself in an artist mindset. But as I continue to shoot more, I have started to understand where the creatives and clients are coming from. There are times when briefs can be brought to a new level, but there are also situations where time and budget just doesn’t allow me to. I guess this is where personal projects come in. I always try to work on my personal works to satisfy my artistic needs’.

Your website shows both commercial and personal work. What value do you think the personal work adds to the site?
‘Constantly producing personal work is a great way to keep me sane and my momentum going. It also acts as a great self-marketing tool, and it helps show a particular style and a fresh viewpoint. When I first got started, I was told by an art director to include more personal work in my book because they will help demonstrate my train of thoughts as well as personal influences. It does get pretty stale to look at a book or site filled with ads after ads’.

Alecia Neo graduated from the Nanyang Technological University, School of Art, Design and Media with a major in Photography and Digital Imaging. With a great love for people and cultures, her work is often about common human experiences of alienation and loneliness, dislocation and belonging, and the search for self. Portraiture is the main focus of her work. Her latest body of work, Home Visits has received a Honorable Mention in the 2009 Berenice Abbot Prize by juror Tim B. Wride, Curator of the Department of Photographs at the Los Angeles County Museum of Art. Presently, she is working on a collaborative book project on Paralympics.

What motivates you to take up photography as your first degree, a course that’s decidedly different from the mainstream in a pragmatic environment like Singapore?
‘I’ve always been a visual person, learning faster and more instinctively through images and making things. When I had to decide what journey to take academically, I chose art school. The decision was made easy by the support of my parents, who believed that learning can only be hastened by interest. I decided on photography, even when I started out not able to expose properly. As naïve as it sounds today, following my gut has been the best advice I‘ve been given’.

Let’s talk about Paradise Lost, the exhibition to which you have contributed some works. Paradise Lost is about conformity, truth, fiction, and reality in life. How do your photographs reflect the theme?
‘For Paradise Lost, I contributed a few images from my series, Home Visits. Often, Singapore is closely associated with the new, malleable youth, its limitations, and horrifyingly, its monotonousness. There seems to be an uncomfortable tension within the Singaporean identity that is torn between conforming to the rapid changes in expectations of its society and holding on to its history.

‘My work reveals a side of Singapore that is familiar, yet not completely embraced in a country that is constantly renewing and upgrading itself. I photograph people in the neighborhood that I grew up in. Being one of Singapore’s oldest housing estates developed by the government’s public housing authority, Queenstown is populated with curious characters. The homes depicted in my images are often small and messy, and we are given clues about the sitters’ backgrounds through their possessions. In their homes and workplaces, they appear as they are, unpolished and charming. My camera operates as a kind of license.

‘The people I photographed have given me a great gift by allowing me to photograph them, and while photographing, I often find myself in the midst of discovery’.

What are some of challenges you face having to take photographs of people in their most private space? Any lessons you have learned in the process?
‘Photographing strangers is difficult because they have no reason to allow you that access. However, I realize that once they are agreeable, photographing people in their homes makes the session more personal and comfortable. One of the participant’s mother was finally convinced to be photographed too, after which she began sharing so much of her own stories, bringing out old photographs. I asked her why some of the people were cut out from the photos and she revealed that it was a custom to cut out people who had passed on. That is what I enjoy the most about photographing – the exchange of lives. Even though you can never get a complete picture of a person through their portrait, the camera is a very revealing tool. It often reveals the unexpected’.

In addition to your portrait and documentary work you also shoot a good deal of fashion. Is this due to commissions or mainly for fun?
‘When I first started working on a fashion portfolio, I did the work to get work. Fashion allows me to practice technique, experiment with ideas and it also helps to formulate a style, which fed into how I made my personal projects. It is also a great way to get to know people, and I enjoy seeking out models that are different and who are very aware of their bodies. Most recently, I worked with a fellow photographer, Samuel Woo, on a couple of commissioned projects that involve collaborations with hairstylists’.

Can you talk about some of the more interesting commissions you have received and what you look forward to working on in the future?
‘I got to photograph Member of Parliament, Seng Han Thong, for a Singaporean magazine feature. Mr Seng had been attacked and set on fire while on duty, and is still in the process of recovering from burns. In spite of all the controversy about the case, I found him humble and positive, in spite of his age. I’ve always found it interesting to observe a person who is undergoing some form of healing, whether physical, mental or emotional. I took a picture of him engulfed by white curtains, which I felt was very symbolic of this vulnerable period that he was going through’.

Deanna Ng is a freelance photographer specialising in documentary, portraits and off-beat travel photos. In 2006, Ng was selected as an International Participant for the Prestigious Missouri Photo Workshop by the University of Missouri. As she started photography late in her life, she believes in teaching photography to the youth. She has taught in numerous schools in Singapore and also at Objectifs: Centre for Photography and Filmmaking. Her clientele includes Ink Publishing, the Australian High Commission and the Singapore Tourism Board among others. Her photographs have also been exhibited in numerous group exhibitions in Singapore. In 2008, Ng exhibited in her first international group exhibition for The Month of Photography, Tokyo.

You didn’t start out as a full-time photographer. What inspired you to make the leap?
‘I took this workshop called “Shooting Home” at Objectifs in 2004. The workshop challenged participants to find our own story in our backyard. For the workshop, I wanted to shoot Singapore as an accidental tourist. I spent a few days trying to formulate my idea but everything was thrashed by the faculty. In the end, I went down to my neighbourhood market and shot the portraits of the hawkers. I thought if I’m a tourist, I would want to see the daily lives of the locals and nothing was more real than that.

‘Through that experience, it really opened up my mind to how photography can be used as a medium to formulate ideas and tell a story. It is a channel for expressing my ideas instead of a series of pretty pictures that don’t say anything. With that, I decided to become a photographer’.

Let’s talk about your exhibition on your travel series Phsat – Siem Reap in the Month of Photography, Japan 2008. What’s the motivation behind this series?
‘Phsat – Siem Reap was taken in 2007. It’s continuation of my market series. Siem Reap is famous for Angkor Wat but I was also interested in finding out the real life of the locals behind Angkor Wat. The Phsat was an amazing avenue into the Cambodians’ daily lives. The little details of how the girl who ties her money in a plastic money and hangs it on her shirt, the muddy grounds of the market, locals going to their dentist there and when you make a turn in the market, suddenly there was a whole section of goldsmiths – all of which I did not expect to see in a market. There was just so much life in it’.

Your latest work on Hospice patients is a departure from your travel and street photography. What is the goal of this series and what have been some of the challenges you have had to overcome?
‘I was approached by Lien Foundation last April. It was the second time they were doing this campaign. For the first project, the focus was on the hospices and the care hospices provide. When they asked me to photograph for the second project, Life Before Death Campaign, the objective was to create a legacy album for hospice patients. This legacy album would be a memory for the family members. Through this album, they also wanted to get the families talking the inevitable — death.

‘When we started this project, it was the first time we were doing it. In the album, we compiled past pictures from the patient’s collection as well as my pictures. I thought it would be difficult for the families were to see how fragile their loved ones have become. As a photographer, I questioned if I was doing the right thing, too. I was worried that the family member would be sad. But at the end of the day, we did find moments of tenderness that I thought that family members would like to keep.

‘Another challenge for me was to face death. When I first started the project, I was depressed and my earlier pictures in this project reflected that. I couldn’t imagine if I was in their position. In particular, I thought of Mr Phua who was a competitive tango dancer in his retirement years and became bed ridden. He was diagnosed with Lou Gehrig’s disease four years ago. However, I think the one lesson that these families have taught me is to count my blessings’.

Because you are a photography teacher, you see the work of many budding photographers. What qualities make an exceptional student with a promising career stand out from the rest?
‘As a teacher, I look out for their own personal input into their work. It’s hard to come up with an original idea since everything has been done to death but by shooting from the heart, the pictures come alive. I think this is what makes the pictures special and it is something hard to replicate’.