TOP TO BOTTOM, from (“Indian Men“)
© Bharat Sikka, 2002

These environmental portraits are filled with interesting characters – all males of Indian descent, stratifying various classes of society. Set at, what I assume, to be their natural surroundings, we view these moustached men with an eye of curiosity.

What’s his story? He looks rich. Awesome looking facial hair!

These and other thoughts raced across my mind as I looked through the works. Every single person seems to have a story to tell and the photographer has managed to create an air of mystery around them. The series goes beyond what is shown and often, it is the things that are not shown that intrigue me the most.

Bharat graduated from Parson’s and works between Europe and India now. Drop by his website to see his other works.

Su-yeon Choi: Who cries all the time over everything

Ji-in Kim: Who hates to wear school uniform

Na-hee un: Who doesn’t know what to do in the future
TOP TO BOTTOM, from (“colorless“)
© Siyeon Park, 2009

From her statement:

When I was young, I couldn’t even have a meal with my family…so I ate at my mother’s car all the time on the way to the academy. I didn’t know that what am I doing here and why should I do this for 19 years. I just did because everyone was doing the same thing…I was like a robot in a factory. This story is not only mine but of all Korean students.

While it contains elements of teenage angst and feelings of being lost in the world, I’m sure it could easily be applied to most people out there. How many of us know our ultimate destination? We’re all just groping around blindly in this world and most times, we have to fit into the mould that society imposes on us.

TOP TO BOTTOM, from (“Anima“)
© Flanegan Bainon, 2008-2009

Somehow, I particularly like the subjects’ awkwardness. It’s a work in progress and there is promise. Visit his blog to see more of the series.

TOP TO BOTTOM, from (“Women“)
© Jinnine Pak

Jinnine approached strangers to shoot in their bedrooms, a place that is both sacred and intimate. The project was a collaboration between sitter and photographer, much like an assisted self-portrait.

I understand how difficult it is to approach strangers for a portrait. Asking them to take off their clothes for you is really beyond me. Much in the vein of Shen Wei’s Almost Naked, Jinnine displays a flair beyond her years. However, I think that a little more polishing and editing would make the series even better.

Into The Unknown

The Unbridled Freedom After

Slow Moving Train Of Panic

Typing Spaces On Empty

The Book Of Questions

A Part Wants To Stay, A Part Wants To Go, 2008

TOP TO BOTTOM, from (“Future“)
© Ch’ng Yaohong, 2008

Basically, I first interviewed the sitters and found out more about the trials and tribulations in their lives. Next, I went back to work out how I would like to shoot them and returned on another day, trying to get all these ideas/impressions to gel into something coherent. I don’t think I was very successful for all the images. It was definitely a very ambitious attempt! However, would like to thank everyone who helped me out for the project especially the sitters!

I realized how ephemeral projects can get. This is the second iteration of the main basic idea that I’ve been working on since last October. An evolution took place and I’m either going to take this current iteration a little further or stop it out right now (because one should always cut the crap).

Oh and that’s me under Typing Spaces on Empty. I’d be showing this first cut at my school’s Arts Festival this week. Gonna head down to set up the images!

While the subjects’ contemplation seem to reach some sort of philosophic nirvana, I believe that it reflects the photographer’s inner world more than what these people have in their minds. Their thoughts may be more banal than we perceive, perhaps the lonely male is checking a girl passing by, a housewife ponders on what to cook for dinner. A sense of mystery pervades the entire series.

TOP TO BOTTOM, from (“Silent“)
© Muge, 2005-2008

Besides this series, you should also check out Go Home, an unintentional documentation of the transformation taking place in the Three Gorges area. Instead, it was an attempt of remembrance, to keep one’s memories intact. Photography becomes a tool to turn memories into something tangible.

Today, I visited an old street where my grandmother used to stay with some relatives. The changes that have taken place were too much to bear. I could still remember the smells and sounds of the place where I spent some parts of my childhood. It really hurt to see it all forgotten and wiped clean. My cousin lamented that she could no longer recognize the place and wished we had photographs to remember how it used to be.

Visit Muge’s website to see more of his work.

TOP TO BOTTOM
© Ye Rin Mok

Born in Seoul, Rin Mok currently resides in Los Angeles. Her work resonates with uneasiness, light yet heavy at the same time. In an interview, she mentioned that her images conveyed awkwardness, uneasiness, and imperfection – silent moments that people try to avoid.

Some may argue that she doesn’t adhere to the normal notions of good portraiture while others applaud for her style. I find her images interesting and definitely not your typical run-off-the-mill pictures that adorn magazines.

TOP TO BOTTOM, © Ohm Phanphiroj

Ohm Phanphiroj is a well-regarded art and fashion photographer from Thailand. His portraits are highly charged with intimacy and tension. I visited Whitespace Gallery where his Identity Crisis: Transsexual Series was on show. It featured triptychs of transsexuals and a short note on when they underwent their transformation. I found the images something to behold. The before and after effect was rather interesting.

Visit his website to see more of his personal work. [NSFW]

top to bottom, Common People
© Hei Ming

top to bottom, Monks
© Hei Ming

However, I think the pictures of the monks are less interesting than the common folk. The people just appear to be more real and genuine.

Portraits of the common folks can be found here and monks, here.