PTS 011 – Hin Chua

Hin Chua

With years of street photography under his belt, Hin moved on to another form of photographic art. We are discussing his transition and the reasons for it. We also talk about the role of travel and finding good scenes, the importance of leaving room for interpretation in your images and our mutual love for South Korea. Later, in a classic rant, Alec Soth becomes a topic of controversial conversation.

Hin’s website

2 Replies to “PTS 011 – Hin Chua”

  1. Hi
    I have enjoyed your podcast very much not only because of its rarity but also because of choice of your guests and how the interviews have been conducted. However your recent “rant” about Alec Soth’s practice and your views about documentary photography veracity and it’s historical role made me thinking about yours ( or maybe mine) understanding what street or documentary photography is. First let’s clear up the terms we are using : walker Evans has named it “documentary style” ( with the emphasis on style) photography i.e. artistic practice what emulates style of documentary photographers ( news reporters, crime scene, military etc photographers ). It is an artistic style ( emphasis here on artistic ) i.e. it is an art form ( good or bad that is different matter ) and artist role is not
    to be accurate historical observer and documenter but something else. Importance of Frank’s The Americans is not in some objective vision of what the US was in mid ’50 ( which was not new and original ) but in his style which was something completely different from then current practice. If photographer makes comment about historical events or circumstances comment is his/hers personal and not “objective” so in the respect there is not much difference between say Jeff Wall’s 1982 “Mimic” and any of winogrand’s Kent State demonstration photos. Yes Winogrand was there but his choice of when to press shutter, angle etc was subjective same as Wall’s “reincarnation” of actual event that triggered Mimic. In both cases we experiencing personal interpretation of the events that has happened in front of camera ( Winogrand ) or eyes ( ( Wall) and how can we say that one is more truthful than other. You have said something about historical responsibly of photographer toward future generation of viewers. For me ( and not only me) best antiwar photograph of all times is Fenton’s The Valley of the Shadow of Death , representing cannonballs scattered in a Crimean valley after a fierce bAttle during the Crimean War. Simple and haunting. But not truthful , because he has asked soldiers to scatter the cannonballs. So it didn’t really happened as it is represented in the photograph but it did happened maybe so where else or differently. Is it absolute historical truth – not, but does it say something about not only that but all wars yes. Artists are allowed to licencia poetica and as as long we accept that street or documentary style photographer are artists they can move chair or tidy up the room before taking that shot.

  2. This is another amazing interview.

    I’m curious if you ever listen to Howard Stern. Obviously his general line of questions and material would never work in a photographic topic sort of setting, but the way he gets information out of people is pretty mind blowing.

    I think one of his best interviews is with Jay Z. I’m not at all a Jay Z fan, but was still incredibly entertained by the interview.

    The entire interview is on youtube if you want to check it out. It’s definitely worth a listen.

    Anyway, thanks for the awesome podcast!

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