Many of you will know Paula Sweet’s photography in the travel section, ‘Volante’, of Lucire, but her talents go well beyond photography. She created the Muslin Mink, iconic enough that the Metropolitan Museum of Art in NYC has a three-quarter-length one in its permanent collection. In an ongoing weekly series, we present Paula’s humorous observations on the world of fashion.
 

 

A wonderful collectors’ item: get Paula Sweet’s Couture Comix book from Amazon!

Chongqing – On January 12, the “Chongqing Moments • 2024 New Year Cultural Bazaar” unveiled its cultural tapestry on Jiefangbei Pedestrian Street, the heart of Chongqing. Central to this cultural confluence was the “Chongqing Through Images: Past and Present – Hi, I’m Chongqing” sharing salon held from January 13 to 14.

The event “Chongqing Through Images: Past and Present – Hi, I’m Chongqing” sharing salon was held from January 13-14 in the Jiefangbei Pedestrian Street in Chongqing. (Photo/The event organizer)

Curator and Chongqing image researcher Wang Yuanling, when talking about the changes and constants in Chongqing, said that the unchanging aspect of Chongqing is due to its terrain, which shapes its form. What changes is the attitude of the people here, who have always been hardworking, optimistic, and resilient in building the city? The mechanism remains the same, but its form is constantly changing.

Wang believes that the people of Chongqing have a tender heart and are outwardly enthusiastic, and this duality makes them more inclusive. As a curator focused on imagery, Wang evaluates the publication of “Hi, I’m Chongqing” as not only using images to showcase history and present a beautiful Chongqing to readers but also introducing them to a culturally rich city. 

Photographer Si Qi from the Planet Research Institute shared his most impressive experiences photographing Chongqing, saying, “I started by documenting the city, then capturing urban landscapes, and now I also pay attention to people and events that have a point of view. Sometimes, you see warm scenes, the kind that really resonates emotionally. These images sometimes make you feel that Chongqing is such a city full of sentiment.”

Li Yinfan, a highly skilled Chongqing city image photographer, shared stories that left a deep impression on him during his photography of Chongqing. He believes that the photos selected by the Planet Research Institute reflect Chongqing’s historical development and cultural heritage. He also shared some tips for photographing this magical city.

On January 13, the salon was hosted by James Alexander, a foreign anchor from the Western China International Communication Organization. The event invited special photographers Fan Xiaodong and Chen Liang from the Planet Research Institute for a discussion. They shared photography anecdotes, interesting stories in Chongqing, photographs used in “Hi, I’m Chongqing,” and techniques for photographing Chongqing.

Fan shared that his main profession is English teaching, and photography is his side job. Since his first photograph of Chongqing in 2009, he has persisted until now. He mentioned that photographing Chongqing requires emotional and cultural depth. He feels a deep connection to Chongqing but admits that he lacks cultural depth related to his profession and lacks time to explore Chongqing. He said, “Only after accumulating more cultural depth can one truly capture the elements representing the people of Chongqing. That is also the direction of my future photography.”

Chen spoke about the challenges and techniques of photographing Chongqing, mentioning the city’s frequent fog, hot summers, and the need to constantly climb slopes. Despite these, photographers enjoy capturing the morning and evening glows of Chongqing’s summer, the city’s lighting, and the dreamy winter fog. Chen believes that the biggest challenge would be if there were no scenic views to capture in Chongqing. He thinks the title “8D Magic City” best represents Chongqing’s character, as it offers different landscapes and beauty from various angles.

The event “Chongqing Through Images: Past and Present – Hi, I’m Chongqing” sharing salon was held from January 13-14 in the Jiefangbei Pedestrian Street in Chongqing. (Photo/The event organizer)

On January 14, the “Hi, I’m Chongqing” sharing salon was again hosted by James Alexander, who invited notable photographers Yuan Chenxi and Tan Xiangjun from the Planet Research Institute to share their experiences. Yuan shared the stories behind three of his photography works, which were selected by the Planet Research Institute and included in the book “Hi, I’m Chongqing.” As a university student and a native of Chongqing, Yuan has witnessed significant changes in the city over the past 20 years. He wants to use imagery to record these changes and preserve memories, believing that the impact of these images is precious. His current focus is on capturing the relationship between people and the city, documenting the preservation of old things and the emergence of new ones.

Tan, also a native of Chongqing, shared his insights on photographing the city. He emphasized the need for good physical strength to carry photography equipment and traverse challenging terrains, choosing between high-angle or low-angle shots. He also highlighted the importance of considering the weather, as Chongqing is known for its fog. He aims to capture Chongqing as a city surrounded by mountains and rivers.

Tourist Zhang from Guilin also shared her impressions, praising Chongqing’s hospitality, unique landscape, and exquisite cuisine, notably the hotpot.

China Post offered visitors the opportunity to purchase “Hi, I’m Chongqing” and enjoy the fun of custom stamping. (Photo/The event organizer)

In a special showcase, China Post offered visitors the opportunity to purchase “Hi, I’m Chongqing” and enjoy the fun of custom stamping. This initiative provided a tangible memory of Chongqing’s rich cultural heritage.

Photographer Joel Meyerowitz has a brand new exhibit that photographers won’t want to miss — and that many may even take for granted. In the artistic sense, color photography never used to be taken very seriously. But Joel Meyerowitz is one of the first that started to change the minds of so many people. To that end, he paved the way for so many of us who otherwise just come to expect something to be the norm. His color photography is the focus of a new gallery exhibit at Huxley Parlour, where it can be studied and looked at for what it is — a pioneering take on fine art photography.

All images by Joel Meyerowitz. Used with permission of HUXLEY-PARLOUR. Please be sure to visit the gallery exhibit from January 18 to March 24, 2024. Check out Joel’s website as well.

The Joel Meyerowitz: Dialogues Exhibit at Huxley Parlour

The exhibit looks at some of his street photography and his Cape Light series work. In it, you’ll find photographs that Huxley Parlour describes as having an American aesthetic. While it doesn’t feel very Americana, it surely feels like scenes that you only see within the USA. But more importantly, it shows how color is used strategically to tell a story — and many of the images are of scenes that we’d probably just mull over or take advantage of today.

Joel’s work follows a simple formula of photographing scenes with simple colors. In several photos, there are no more than three primary colors, making it easier for the human mind to take in the scene. It’s a tactic mirrored by so many photographers even today. The images also have a very painterly aspect to them, using techniques like a Dutch angle that make us stare even more at the photographs. Because of the Dutch angle perspective, lots of the images don’t meet the contemporary mental model. This means that our mind tries to straighten the scenes to make some sort of order of it. Call it an OCD tendency, but that’s how the human mind works. Instead, the angles lead to chaos that causes us to pay attention to something as if it were right in front of us.

At Huxley Parlour, we’re told that you’ll see lots of Meyerowitz’s more famous works alongside lesser-known photographs of his.

What You Don’t Put in the Frame Matters

We’ve featured work from Joel before in the past, and here are some lessons that we’ve learned from him

It’s easy to see how what you have in your frame is largely what comprises your photograph, but don’t be quick to dismiss what you chose not to include in it as well. “What you put in and what you leave out are what determines the meaning or potential of your photograph,” Meyerowitz reminded. “But you must continue to keep in mind that there’s plenty of stuff off-stage, and what bearing the rest of the off-stage have on this.”

JOEL MEYEROWITZ ON CREATING UNSPOKEN CONNECTIONS IN HIS STREET SNAPS

You can read the rest of that article right here. We’ve also reviewed his Masterclass and one of his books: Where I Find Myself. Transparently, the book is an excellent collection of images put together in a way that’s worth throwing the book into the ocean. That’s because of the various splits down the middle of the images. Thankfully, you won’t get that at the exhibit.

If you’re in London, we strongly recommend that you go check it out while it’s up.

Irvine was immediately intoxicated by the energy and the sense of possibility in Hong Kong upon visiting the city in 1999.

“I was working in London as a freelance photographer after I graduated [from university]. I had some small amounts of success there, but it was quite difficult to really break into the newspaper and magazine industry.

“So I was always thinking about the possibility of Hong Kong and then finally I decided to come back and try to be a freelance photographer here. After staying in Hong Kong for a while, I just fell in love with the place and I’m still here,” he says.

He was initially drawn to human interest and contemporary topics.

But in time, the now 47-year-old became more concerned with conservation and heritage.

“I just find [the historical aspects of Hong Kong] to be the most attractive and most charming for my photography. When I was younger, I did not have much interest in history. But now I enjoy thinking about what’s happened before and things that have gone past and how it affects what’s going on today,” he says.

There are two texts in the book based on interviews with people who lived in the village themselves and with the children of those who grew up in the village.

How does he find all the sites to photograph?

“I would go to the library and look at old historical land surveys and try to find good sites for photographing these ruins. I also use maps online. Even the Hong Kong government’s mapping service has quite a lot of good resources and it will mark some ruined buildings in various villages. So that’s been very useful,” he says.

“It’s just quite eerie when you’re there. You’ve got these kind of slightly spooky houses looking a bit forlorn and forgotten,” he says.

He occasionally takes drone photographs to show the setting of a village.

Irvine believes in preservation through visual documentation.

“It’s part of a documentation of what’s happening in the city and what’s disappearing. So when I’m in villages taking photographs, I wouldn’t ever manipulate the scene. I wouldn’t rearrange any items into style. That doesn’t work for me.”

He adds: “I love the way the Hong Kong landscape is very three-dimensional. So you can go up a skyscraper and have a completely new perspective on a neighbourhood you know really well.

“Then you’ve got the mountains and the countryside. So it’s just incredibly diverse, varied and vibrant. There’s always something new happening around every corner and different to see. As a photographer, it’s very gratifying,” he says.

“Abandoned Villages of Hong Kong,” Blue Lotus Gallery, G/F, 28 Pound Lane, Sheung Wan, Tues-Sun, 11am – 6pm. Until Feb 25.