Note: This post is written and all photos by Rocco Paduano who attended both our Street Photography and Cambodia workshop over a period of two weekends. Rocco is partial to film cameras as well as his digital M9, this trip he took both, this is his story. - Gary Tyson, Director F8 Photography.

(Playful children jump onto our Tuk Tuk, Leica M9, 35mm)

It was with great anticipation that I awaited being able to spend five full days in Phnom Penh along with Gary Tyson from F8 Photography, Ranjit, and Trevor Smith on a travel photography workshop in Phnom Penh, Cambodia.

(The author, Rocco Paduano in Phnom Penh)

As a veteran of the Hong Kong Street Photography workshop, which Gary organised with Eric Kim, I could not wait to put some of the knowledge gained to test in and around Phnom Penh. However, I did not want to just document random images of life in such a colorful city. I wanted to be able to tell a ‘story’, and somehow begin to build some consistency in the types of pictures I was producing therefore I am hopeful that I am moving in the right direction.

(Taking a break from reading lessons at a local Wat for a photo, Leica M9, 35mm)(Giving back pictures was priceless, Leica M9, 35mm)

Cambodia is a daunting place to say the least. As one of the poorest South East Asian nations, ravaged for the better part of the 20^th century by different conflicts, it was witness to one of the single most brutal acts of genocide humans ever inflicted on each other. One reads about the rule of the Khmer Rouge between 1975 and 1978, and one can only imagine what the Cambodian people had to endure in the name of totalitarian ideologies.

(Pictures of genocide victims at Tuol Sleng S-21, Leica M9, 35mm)(Interrogation room at Tuol Sleng S-21, Leica M9, 35mm)(Confinement cells at Tuol Sleng S-21, Leica M9, 35mm)

However, today the country is young (approximately 50% of the population is below 22 years of age), full of hope, and full of smiles. As photographers seeking to hone our skills and to explore a life beyond our own, we were always welcomed with a smile and a “hello”, mostly by people living on the fringes of society.

(Young child from a poor neighborhood near Phnom Penh train station, Leica M9, 35mm)

I originally envisioned doing most of my shots in black and white, in good old ‘street photography’ style. However, I soon realized that ‘street photography’ takes on a whole new meaning in Phnom Penh. People pose for you. They want their picture taken, thus making the whole notion of ‘street photography’ much harder to define in the usual context. We migrated towards a photographic style that was more ‘documentation’ (or as Gary would call it, ‘environmental portraiture’), than candid ‘street photography’.

(Street fruit vendor, Leica M9, 35mm)

Amazingly, while shooting in poor neighborhoods, we all realized that we were inundated with color. From the shadows cast in tight alleyways, to the color of the unpaved roads, and that of the clothing worn by the people, it did not seem as if we would be doing any justice by capturing these images in black and white. I shot digital with an M9, and film with an FM3a. Although I took many shots with the M9, I found that the pictures that talked to me the most came from the FM3a. Color slide and black and white films have characters of their own and add a unique personality to the image (assuming the exposure is correct).

(Making sarongs the old fashioned way, Nikon FM3a, 50mm, Kodak BW400CN)

(Old villlage woman, Nikon FM3a, 50mm, Kodak BW400CN)(Ferry boat hand, Nikon FM3a, 50mm, Kodak BW400CN)

Our trip started out just right, as we congregated at the Foreign Correspondents’ Club along the Mekong River; a place that has hosted numerous war photographers as they documented Cambodia’s turbulent history. There was no shortage of inspiration as the walls of the FCC are covered with past and present images of Cambodia and its people, through war and peace.

(The author Rocco (right) with RJ in the Tuk Tuk out looking for photo opportunities)

(Gary and Ranjit taking a break with the Captain whilst crossing the Mekong, Nikon FM3a, 50mm, Fuji Velvia 50)

With that, we embarked over the next five days into outings that would surround us with a reality somewhat foreign to us. Between poor city neighborhoods, Wats and Buddhist monks, villagers and farmers on the outskirts of the capital, there was no shortage of smiles, new friendships, and plenty of experiences. There was, however, a shortage of photo paper and photo ink, which was rectified by a quick visit to the local Canon supplier. Being able to give an instant print of the pictures we were taking allowed us to give something back to the very same people that gave us so much visual inspiration. It brought them closer to us, and allowed us to establish a connection with them even through our language barriers.

(Young monk, Nikon FM3a, 50mm, Kodak Elite Chrome 200)(Young village siblings, Nikon FM3a, 50mm, Kodak Elite Chrome 200)(Saffron tunics, Nikon FM3a, 50mm, Fuji Velvia 100F)

Shooting in Phnom Penh was a totally new experience as to what I have been used to lately. In Hong Kong people are less likely to pose for you, or even take the time to pay any attention. Thus, ‘street photography’ takes on a different style; furtive and stealthy, candid and more likely to be black and white. There are a lot less smiles in Hong Kong, and a lot more chances of a ‘confrontation’ with someone that does not want their picture taken. It is a stark contrast to what we were faced with in Phnom Penh, where people with relatively little smiled and were happy to share a sliver of their lives with us.

(Old village man, Nikon FM3a, 50mm, Fuji Velvia 100F)(Proud father, Nikon FM3a, 50mm, Fuji Velvia 50) (A great way to end the day! Nikon FM3a, 50mm, Fuji Velvia 50)

As we returned to Hong Kong, I am sure all of us contemplated the past five days. Phnom Penh and its people certainly left a mark, and gave us a different perspective even on our own reality.

Final note from F8:

Gary, the Director of F8 has also written a blog post about his experience, that can be seen by clicking here.

Another of the workshop attendees, Trevor, has also written a blog post about his experience, you can read that here.

Also, Gary's assistant RJ wrote a blog post about the same trip, that can be found here.

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F8 Photography provides commercial photography and training across Asia, with workshops on Street Photography and other photography and video training courses, more details can be found via the ‘courses and workshops’ link and upcoming events via the front page of our website.

Cat Street market stall advertising 'NO PHOTOS'

In recent news here in Hong Kong there has been much controversy about photographers rights to shoot in public places (in particular in front of large branded designer stores, etc). Security guards have been misinformed by their employers about what is 'public space' in front of a shop and therefore this has led to confusion, aggressive and sometimes even violent confrontations between photographers and staff.

These big stores are not the only places that try to 'enforce' a ban on photographers, even small market stalls have signs up saying 'no photos', 'no cameras', or 'photo - $200', etc.

To those of us in the know, this is basically outrageous behaviour on behalf of the shopkeeper, trying to create some kind of martial law around their own property, thinking they can control what you do with your camera in a public space.

Now, I don't want to confuse the issue of photographing people, I am well aware as should everyone be that some individuals do not like having their photograph taken, especially without permission, and I completely understand the issues surrounding that. This is not what this blog post is about, it is purely about having the right to shoot an interesting market stall, a shop facade or interesting building without having to worry about consequences or thinking that you are doing something wrong - you are not, its well within your rights to take photographs.

This short video we shot in an hour or so the other day shows a quick walkaround Central and Sheung Wan in Hong Kong shooting a few market areas where they have these signs. I have heard many people say they get confronted in these places so thought I would try to see for myself if we had similar problems and I highlight in the video the ways in which we shoot to try to avoid confrontation.

This is the first DSLR video that Gurung RJ has shot with very little instruction in advance, so I must thank him for his efforts in helping me put this together.

Also a special thanks to Will Gell who has very kindly allowed me to use his music for various projects, amazing musician, check out his albums here:

Please remember when out shooting that you WILL upset some people sometimes, that's unfortunately the nature of the beast with street photography, some people will always react negatively no matter how polite you are, maybe they just had a bad day, or maybe they just grumpy...thats life, its a choice you make if you wish to become a street photographer, never take it personally, and try not to respond in the same manner, keep smiling, say thank you and continue on your way.

Previous recent blog posts that relate to the same issues are linked below, the first one has an extensive video shooting street photography in Kowloon with a GOPRO camera attached to the top of the Leica M9, linked together with the images that we captured during the walkabout:

HOW WE SHOOT STREET PHOTOGRAPHY IN HONG KONG (VIDEO)

DOLCE & GABBANA PROTEST FOR PHOTOGRAPHERS RIGHTS IN HONG KONG