Finding Cameron’s “Titanic” Mountains in China

With filmmaker James Cameron in the news following his solo dive to the Marianas Trench and the re-release of Titanic, in honor of the 100th anniversary of the ship’s collision with an iceberg, I’ve been reminded of his 3-D eco-extravaganza, Avatar, and its amazing scenery.  I was lucky enough to shoot the mountains that were the inspiration for the floating peaks of the movie’s Pandora. They’re in Wulingyuan National Park in Zhangjiajie of China’s Hunan Province, a 266-square- mile preserve that includes a stone forest of 3100 quartz sandstone pillars, lush valleys, dense forests, a mountain lake, caves, waterfalls and streams.  Even without the help of CGI and 3D, it’s easy to see why Avatar’s set designers chose Wulingyuan as the model for the fictional world of Pandora.

The most memorable of the peaks, the one featured in the posters for Avatar, seems to be floating in space.  As part of a move to capitalize on the huge popularity of Avatar in China, this 3544 -foot tall pillar of sandstone was recently renamed the Avatar Hallelujah Mountain.  “Pandora is far, but Zhangjiajie is near,” goes the marketing slogan. And lest anyone forget the movie, huge billboards and flat-screen tvs blast reminders of Avatar at the entrance and throughout the park.

©Michael Yamashita

A forested island in a sea of mist, formerly known as the Southern Sky Column, is now Avatar Hallelujah Mountain.

©Michael Yamashita

©Michael Yamashita

©Michael Yamashita

©Michael Yamashita

©Michael Yamashita

©Michael Yamashita

©Michael Yamashita

More otherworldly pictures from Wulingyuan

©Michael Yamashita
©Michael Yamashita
©Michael Yamashita

The world’s longest cable car carries would-be Pandorans up into the Tianzi mountains in the park.

©Michael Yamashita
©Michael Yamashita
©Michael Yamashita

Winter snows add an even more mystical element to Wulingyuan’s eerie landscape.

©Michael Yamashita

Baofeng Lake is surrounded by lush foliage, and its emerald waters reflect the wild scenery surrounding it.

©Michael Yamashita

The world’s highest outdoor elevator, dubbed Hundred Dragon Elevator, emerges from a stone cavern into the sandstone mountains. The rice paddy in the sky (seen in foreground) is tended by local farmers.

©Michael Yamashita

The photographer aboard a model of a Pandoran banshee, courtesy CGI at the Park’s Photo Booth. Though the Navi tribe preferred getting around Pandora by banshee, Avatar’s designers used radio-controlled drone helicopters to photograph the eerie peaks of Zhiangjiajie.

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Posted in China, Photography, Uncategorized | Tagged , , , , , , | 2 Comments

Datuk Chachar: Penetrating the Surface of a Subject

When my teenaged daughter asked me if I had any pictures of Hindu practices that she could take to her next yoga class, I was taken off-guard.  Though I have plenty of frames of yogis and aesthetes, naked sadhus and countless celebrations in honor of deities, the first Hindu tradition that came to mind is the Datuk Chachar in Malacca.  This particular celebration is about as far away from the soft flute playing, incense burning, tree-posing of my daughter’s class as you can get, definitely not for the faint of heart or stomach.

The festival is dedicated to the goddess Mariamman, and though on the surface it’s a grueling, stomach-turning ordeal, it’s actually a raucous and joyous event.  I got to witness it at the Sri Poyyatha Vinayagar Moorthi temple, the oldest Hindu temple in Malaysia.  Datuk Chachar is unlike the typical religious festival as its devotees give thanks to their gods for answered prayers by skewering their flesh with needles and fish hooks big enough to snag a shark, all done in a trance and supposedly without pain.

The festival was the perfect way for me to show the Chinese diaspora that was a key part of a story I was working on.  Instead of seeing Indian faces, as you’d expect at a Hindu celebration, most of the participants looked Chinese.  They are, in fact, so-called Straits Chinese, descended from Chinese settlers who sailed through the Straits of Malacca during the expeditions of the great Admiral Zheng He and landed in Malaysia.  Here, the Chinese culture melded with the local traditions, and many of the offspring of overseas Chinese grew to embrace Indian Hinduism, some with a fervor bordering on fanaticism.

Impossibly loud drumming signals the beginning of the ceremony. Smoky incense billows from inside the temple.  Men in trances stare bug-eyed off into the distance, as temple elders poke long needles through their flesh. There’s no blood, but the whole operation looks very painful.  It’s surely painful to watch.  Next comes the procession – a three-mile walk to a sister temple.  Some of the faithful pull chariots carrying images of gods, using ropes attached to their bodies by hooks imbedded in the angry red flesh of their chests or backs.  Hooks and ropes tether other marchers to handlers, who hold onto the celebrants as if they were dogs on a leash.  Still others stagger down the road with pierced cheeks, tongues and lips.

Happy I could accommodate my daughter’s request, I offered to present my Datuk Chachar photographs to her class. She politely declined (actually, her exact response was “Ewwww!”), then said she’d go with a shot that she found online — of Jersey Shore’s Snooki doing yoga.  Namaste.

©Michael Yamashita

Most of the festival devotees are Chinese, descended from settlers who arrived with Zheng He's fleet. These Peranakan (Straits-born Chinese) have adopted many of the local customs and religious practices.

©Michael Yamashita

In Malacca's biggest Hindu festival of the year, Datak Chachar, celebrants give thanks to the gods for prayers answered by parading with spikes and hooks driven through their skin.

©Michael Yamashita

In the most extreme form of body piercing, a Malaccan kavadi bearer wears this cage of spikes and fishhooks as reparation for answered prayers.

©Michael Yamashita

At the peak of the Datak Chachar festival, the procession of penitents, skin punctured with fishhooks, passes through Malacca.

©Michael Yamashita

Malacca, Malaysia was China's first large-scale overseas settlement and now home of the Peranakan, or Straits-born Chinese.

©Michael Yamashita

The wounds inflicted by the spikes and hooks do not bleed, and participants claim not to feel pain while in their trancelike state.

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The Wedding Crasher

Who hasn’t shot a wedding?  On Geographic assignments, it’s hard to think of a story where I did not shoot one as part of my coverage, sometimes by plan, but mostly by accident — you’re in a small town out in the middle of nowhere and a procession is coming your way from down the street.  What celebration/ceremony says more about a culture than an old-fashioned wedding, the ultimate cultural photo op? Everyone loves a wedding. On these joyous occasions, everyone welcomes a photo, not to mention the photographer taking them. But unique to China is the wedding studio, where the real wedding takes place before the actual wedding ceremony.  Here the couple can have their choice of any of several wedding scenarios, with sets and costumes to match.  A Japanese wedding at a shrine, a western church wedding, a cruise ship wedding, a Shanghai 1920s wedding, or an outdoor wedding – whatever the bride and groom’s preference.  Wedding packages $5000 and up include a video as well as stills.  Here’s a sampling.

©Michael Yamashita

Orange Photography Studio, wedding photos and video - Shanghai, China

©Michael Yamashita

Orange Photography Studio, wedding photos and video - Shanghai, China

©Michael Yamashita

Orange Photography Studio, wedding photos and video - Shanghai, China

©Michael Yamashita

Orange Photography Studio, wedding photos and video - Shanghai, China

©Michael Yamashita

Orange Photography Studio, wedding photos and video - Shanghai, China

©Michael Yamashita

Orange Photography Studio, wedding photos and video - Shanghai, China

©Michael Yamashita

Orange Photography Studio, wedding photos and video - Shanghai, China

©Michael Yamashita

Orange Photography Studio, wedding photos and video - Shanghai, China

©Michael Yamashita

Orange Photography Studio, wedding photos and video - Shanghai, China

©Michael Yamashita

Orange Photography Studio, wedding photos and video - Shanghai, China

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Beauty Before and After the Flood

Michael Yamashita Blog

At first glance, I thought I was looking at a scene from one of Thailand’s famous floating markets.  It was a picture of a street in Thailand’s former 15th-century capital and current World Heritage site, Ayutthaya, one of the more popular tourist attractions within two hours of Bangkok. It’s a place I know well, having photographed it on a number of occasions for several different clients, and I marveled at how beautiful and unfazed the giant reclining Buddha looked in the shot, in spite of being partially submerged and reflected in floodwaters as a small boat with three people, one holding a red umbrella, floated past.  In another picture, Sampo temple with its golden spires looked like a tranquil island standing sentry over saffron-robed monks wading past — through waist-high waters.

I quickly realized that these were not typical pictures of a tranquil temple town; it was Ayutthaya after being ravaged by the worst flooding the country has seen in decades. My admiration for the photographs soon turned to horror as I thought about the misery this unprecedented flooding has created and of the 350-plus people who have died in its wake. And when I came across a picture of an elephant and his mahout swimming in still waters, I began to think about all the goats, pigs and cows, who unlike that elephant, can’t swim. And even if they survived the rising waters, what would there be for any animal to eat when humans are being evacuated, homes and businesses flooded and fields underwater.

The dilemma of covering this kind of disaster lies in the danger that the photographs might make these scenes even more striking and dramatic than they would be during happier and drier times. The temples and the statues, which have presided over this land for centuries, have become beautiful, but silent witnesses to the forces of nature and time, belying the destruction around them.  Though the news is still not good, one can only hope that the waters will soon recede and that there will be no serious permanent damage to this “island” of temples.

 

Below:  Ayutthaya before the flood.  As of last week all these locations were underwater. We heard today the sun is now shining.  Now to get rid of the water.

©Michael Yamashita

Wat Chaiwatthanaram, 16th C ruins

 

©Michael Yamashita

The reclining Buddha at Wat Lokaya Sutha in Ayutthaya is covered in new saffron robes on Buddha's birthday each year.

 

©Michael Yamashita

Wat Phanoan Choeng, dedicated to Ming Dynasty explorer Zheng He is the most popular Temple in Ayutthaya, Capitol of Thailand in 15th C. Worshippers have bolts of orange cloth blessed, then thrown over the Buddha's shoulder and draped over their heads.

©Michael Yamashita

Monks of Wat Phanan Choeng dedicate their prayers to their god of prosperity, San Bao, as Zheng He is known here. He is also known by the names San Po ('three jewels') in Indonesia and Cheng Ho throughout southeast Asia.

©Michael Yamashita

Wat Phanoan Choeng, most popular Temple in Ayutthaya, Capitol of Thailand in 15th C.

©Michael Yamashita

Tourists ride elephants once reserved for kings.

©Michael Yamashita

The gilded ruins of Ayutthaya, like these at Wat Phra Mahathat, which was the capital when Zheng He visited in 1407, hint at its former grandeur.

 

For recent pictures of the Thai flooding please see National Geographic’s; Flood Photos: Water Submerges Thai Towns, Temples and Elephants

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Fixing the Fixer

Driver Huka, Mike Yamashita & fixer Fu Qing

 

It’s been awhile since my last posting, as I’ve been up high up on the Tibetan Plateau for six weeks.  The locale couldn’t have been better for pictures – amazing scapes, colorful Kham cowboys, and a great subject – yartsa gombu, the strange worm with incredible healing properties that is infusing new life into Tibet’s economy. But for my fixer, Fu Qing, the trip was not only scary, but downright life threatening.

 

Fixers are the unsung heroes of photojournalism. They’re a combination of boots-on-the-ground guides/ production  coordinators/researchers/interpreters/secretaries/accountants/restaurant critics/bag carriers and sometime drivers. I like to say that the job of a fixer is to put the subject in front of my lens. And Fu is one of the best – a seasoned mountaineer who is familiar with the harsh terrain of Tibet, as well as a knowledgeable and amiable travel companion.  I’ve been working with him for the last three years.

 

Our trip started out positively, with three days of travel by Land Cruiser to get to our location in Sichuan, near the Qinghai border, an area famous for yartsa gombu and the nomad markets where it’s sold and traded.  We were following a family of nomads collecting this precious commodity worth more than the price of gold.  Yartsa gombu’s scientific name is cordyceps sinesis, and it has for centuries been known as a potent folk medicine.

 

In recent years, thanks to several scientific studies that confirmed its efficacy for certain conditions, the yartsa gombu trade has exploded.  Part of the mystique of this wonder drug is in the way it grows: a parasitic fungus invades the head of a caterpillar, which then hibernates under the snow. The fungus continues to infest it, and by the spring thaw, a brown, gnarly worm-shaped mushroom is what remains.  Eaten whole or consumed in pill or tea form, it’s supposed to cure everything from cancer to impotency.

 

The next day, we hiked all day following twenty of the nomad clan members crawling on their hands and knees over mountains in search of the elusive fungus.  After a heavy spring snow, things began to take a darker turn.  Fu complained of shortness of breath and chest pains, so I told him to rest and take it easy.  But by sunset it was clear that Fu was more than just tired.  An overnight in a nomad tent under falling snow and the incessant barking of Tibetan mastiffs outside didn’t help.

 

The next day we were headed to Serxu at 15,000 ft., way above the tree line.  Unfortunately, Fu was worse. He had awakened from a fitful sleep with a racing heart and was coughing up blood. We knew we needed to head for a lower elevation, so we set out for Yushu, in Qinghai province — a five-hour drive away.  This town, with an elevation of about 12,000 ft., is noted for the massive earthquake that leveled it, turning it into a tent city.  We found the only doctor in town, who had set up shop in a makeshift tent when the earthquake destroyed the city’s hospital.  He confirmed that we were dealing with HAPE (high altitude pulmonary edema), serious and sometimes fatal altitude sickness.  He administered oxygen, but ordered us to descend even lower.  By the fourth day, after driving for 16 hours, we had made it to Xining, where Fu got to a proper hospital.  But even here, at just over 7000 ft., the doctors felt the elevation was too high, so they instructed Fu to head home as soon as possible – but via train, not air, as he was still dangerously sick.  Fu, ever the consummate professional, was reluctant to leave the assignment, but the doctors and I gave him no choice.

 

When the doctors gave the go-ahead for travel, I put Fu on the train, in a soft sleeper car, bound for Chengdu and some much-needed R & R.  Back home, he recuperated quickly, though his enthusiasm for mountain adventures has ebbed a bit for now.  After seeing Fu off, I couldn’t help but notice the irony of the whole experience.  HAPE is a strange condition, as it ironically tends to affect those who are young and fit. So it was Fu, who was younger and an experienced climber, rather than I, who succumbed

 

I was soon back on the road with Michael Deng, another fine fixer from Beijing, in hot pursuit of the yartsa gombu.  Alas, despite the worm’s reputation for curing hundreds of maladies, HAPE is not on the list.

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Posted in China, Tibet, Uncategorized | 1 Comment

Short and Sweet: The Brief Life of the Cherry Blossom

Ryoanji Garden - Kyoto, Japan

 

My arrival in Japan in late March to work on a story about luxury train travel (assigned pre-earthquake/tsunami) felt like the ultimate irony.  Here was a country I know well, experiencing its worst catastrophe since World War II, and yet I was zooming through the southern Japanese countryside at 180 miles per hour (300 km) on the latest Shinkansen Bullet train, far away from the destruction of the quake zone. As soon as I finished my assignment, I immediately headed north to document the painful process of rebuilding a shattered country.

The night before I left for Tohoku, I experienced a 7.4 level aftershock, during which my high-rise hotel swayed like a boat at sea.  It was a bizarre sensation, the first time I had personally sensed that things were still churning below Japan.  Up until then, as far as I could tell, if it wasn’t exactly business as usual in Tokyo, it was certainly close to it — offices were open, trains were running, commuters bustled in and out of the city. But things had definitely changed.  The signature neon lights of Shinjuku were dimmed.  Salarymen headed home earlier than usual, thanks to rolling blackouts and concerns about train cancellations. Elevators in subways, hotels and office buildings were turned off to conserve power.

But one of the most obvious clues that things were radically different was the absence of the usual raucous crowds sipping sake under a cloud of cherry blossoms in Ueno and other parks around the city.  The earthquake occurred just as Japan’s fabled cherry trees had begun to bloom, and the prime minister had called for restraint in celebrating the occasion this year, out of respect for the victims of the disaster. The decision to curtail cherry blossom festivals all over Japan was met with some opposition, as the Japanese have made a ritual of toasting the cherry blossom for a thousand years.

It is tied to Japan’s cultural identity, as much as the samurai or Zen Buddhism. You find images of cherry blossoms everywhere there – in art, poetry, tea cups, kimono silks, and tv commercials.. To the samurai, petals falling at the peak of their short-lived beauty symbolized the warrior ideal. They elevated hanami, or cherry-blossom viewing parties, to a high art. To Buddhists, cherry blossoms embody the spirit of mono no aware (the pathos of things), the Japanese sense that good times and bad come and go; the earth may shake and giant waves may sweep away towns, but somehow, the cycle comes around again, and after the winter comes the spring, and the cherry trees bloom again.  But only for a week.  Until next year.

 

Ueno Park - Tokyo, Japan

A Couple Dances in Ueno Park

Singing Karaoke in Ueno Park

Ueno Park

Early Morning Picture of the Walls of Hikone CastleCherry Blossoms Along the Moat of the Imperial Palace

Fallen Cherry Blossoms Around the Ground of the Silver Pavillion

Silver Pavillion

The cherry trees, unmindful of this sad world,
Have burst into bloom.
Anonymous (14th-century)

Very Brief
Gleam of blossoms in the treetops
On a moonlit night.
Basho (17th-century)

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The Wet Look: Why Rain Makes Great Pictures

©Michael Yamashita

Rain awakens the greens of the garden, enriching the varied hues of moss at Saiho-ji.

Back in the 90’s,  I did a story for National Geographic on Japanese gardens that became an exhibition at the National Gallery in Washington, DC, as well as a book, In the Japanese Garden, and the beginning of a life-long love of gardens.  It also taught me a valuable lesson about rain and the wet look.  And that is, when it rains, grab the camera.  The details of Japanese gardens, with their elemental designs incorporating stone, plants, water and space, come to life in the rain.

©Michael Yamashita

A stone basin where guests may cleanse their hands and mouths is flanked by a carved lantern at the Yabunouchi Tea School in Kyoto.

©Michael Yamashita

To preserve the precision of the sand cone at Ginkaku-ji gardeners plane the surface regularly with a wooden mason's trowel.

©Michael Yamashita

The precise placement of pebbles and stones in a manmade streambed creates the illusion of the sound and velocity of rushing water st Shinyo-in in Kyoto.

©Michael Yamashita

A stand of swaying bamboo at Saiho-ji creates a natural fence. Rustling stalks add the dimension of sound to the garden's atmosphere.

©Michael Yamashita

Over the centuries, Saiho-ji at times fell into disrepair. Upon restoration, the moss remains as a predominate and identifying characteristic.

©Michael Yamashita

At Sanzen-in in Kyoto, fallen maple leaves on a blanket of sukigoke moss serve as reminders of the cycles of nature.

©Michael Yamashita

Moss, seen at Saiho-ji, adds an aura of age to the garden.

©Michael Yamashita

The care and tending of Saiho-ji involves constant vigilance. Here, a gardener gently sweeps maple leaves from the lush carpet of moss.

©Michael Yamashita

Tufted moss engulfs the gnarled roots of a spreading maple at Saiho-ji, where the optimum conditions of shade, humidity, and moist clay soil cause moss varieties to proliferate.

I photographed Japanese gardens in three seasons, rainy season (one month from early June to mid-July), fall and winter.  My most productive time was the rainy season – tsuyu, as it’s called in Japan. It’s like April weather here only warmer and it will rain without fail everyday.  In fact my book has 200 pictures, and almost all were taken in the rain or on cloudy periods during tsuyu.

Kyoto’s famous Moss Garden, Saiho-ji, is a particularly good example of how rain can awaken a garden. On any day, Saiho-ji is a sea of green.  But with rain, the many shades of its 100 varieties of moss become apparent as it saturates different types to different degrees.  Rain gives glistening green foliage direction in an otherwise flat lit landscape.  Rain beading on the leaves of lotus blossoms and water lilies polishes and animates them. Waters reflection on stone pathways  adds  subtle textures  and intensifies their color. And rain can make the still water of a pond dance.

Japanese gardeners, also aware of how water affects the natural textures, make it mandatory to wet down at the most famous tea gardens before the guests arrival.

My kit; gore tex,  a towel, and an umbrella.

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Posted in Japan, Photography, Rain | Tagged , , , , , | 4 Comments

Matsushima: Swept Away

©Michael Yamashita

Aerials of the pine clad islands of Matsushima which Basho visited by boat. Basho described the islands: countless islands, some tall some lying prostrate on waves in twos and threes some with babes upon their backs

Sunrise on Matsushima's famous pines and pine clad islands

©Michael Yamashita

Matsushima

©Michael Yamashita

Silhouette of Matsushima's Pine Islands

©Michael Yamashita

Sunrise at Matsushima

Back in 1643, a Confucian scholar named Hayashi Razan designated a list of Japan’s top three views, a list that still holds today. One of them, Matsushima (lit. Pine Islands) is actually a collection of 260 islets with windblown pine trees dotting a sweeping bay on the eastern side of Japan.  Matsushima is home to two of Japan’s most famous temples and a thriving oyster industry.  Or at least it was.  As it happens, Matsushima is about 30 minutes from Sendai, the epicenter of last Friday’s monumental earthquake and tsunami.  Sadly, the damage to this special place was extensive, as the tsunami washed over the islands in the bay.

Matsushima has a special meaning for me, as I spent time there for a story on Matsuo Basho, Japan’s acclaimed 17th-century haiku master.  Basho was so in awe of the view of the bay that he claimed to be speechless.  When he tried to compose a verse that would describe what he saw for a poetry contest, all he could come up with was the now famous:

Oh, Matsushima,

Oh, Matsushima,

Oh, Matsushima.

Basho’s was the winning poem.

Now, as I check out the images of the devastation of northeastern Japan, I have to second Basho’s emotion.  Seeing roads, shops and houses swept off the map, ancient temples that have withstood centuries of storms cracking and crumbling and the livelihoods of farmers and fishermen washed away, I’m left just as speechless as Basho when he tried to record the beauty of the scene.  Sometimes words are just not enough — one of the reasons I’m glad to be a photographer.

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Posted in Japan, Tsunami | Tagged , , , , , | 2 Comments

Shooting the Breeze

Looking out my window here in rural New Jersey (yes, there is such a place), I can tell it’s March by the trees being buffeted by the raw wind.  It has me thinking about the irony of shooting something that isn’t visible itself, but that can make for dynamic effects in photographs.  From sandstorms on the Tibetan Plateau, enveloping everything and everyone in a haze of yellow dust, to the swaying of fall foliage in Vermont or the patterns cast on the surface of a pond, winds have the power to alter a scene adding motion to an otherwise static situation. A few favorites …

©Michael Yamashita

Sandstorm in Gansu, China.

©Michael Yamashita

Separating the seed from the chaff in Badakhshan, Afghanistan.

©Michael Yamashita

Sailors create their own form of shadow play, silhouetted by the sun on the Sanjeeda's sails, just off Lamu Island, Kenya.

©Michael Yamashita

Rain-washed and windswept, sumac brightens as it nears peak season, Vermont.

©Michael Yamashita

Hotel spas, Beppu Onsen, Japan.

©Michael Yamashita

Patterns formed by underwater rocks then blurred by surface winds, Jiuzhaigou, China.

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Net Scapes

©Michael Yamashita

Tending to their own businesses, oyster farmers in Maluan Bay cultivate private profits. China's pursuit of "market socialism" has spawned similar opportunities in Xiamen, the special economic zone on the horizon, where workers compete for attractive jobs in Taiwanese-owned factories. Xiamen, China.

©Michael Yamashita

Zheng He may have passed nets like these on his way to the South China Sea.

©Michael Yamashita

Aquaculture in China, here in Maluan Bay, was described by Marco Polo in the 13th century.

©Michael Yamashita

The last rays of the day are reflected in oyster beds off Xiamen.

©Michael Yamashita

Women do the dirty work of harvesting the oysters

I’ve just returned from Xiamen, in Fujian Province, China – a coastal city overlooking the Taiwan Strait, a little more than 200 miles from Taipei. I tried Tweeting about my experience as a guest at the China launch of BMW’s Mini Countryman, but unfortunately Twitter was blocked, so I thought I’d make Xiamen the subject of this blog. I’d been looking forward to returning to this bustling seaside city for awhile — Xiamen has mild, spring-like weather in winter, as well as beaches, palm trees, and the feature I appreciated most  — a major aquaculture industry.  China has the longest history of aquaculture in the world, and much of the country’s farmed fish production happens around Xiamen. As I drove into town from the airport, across gleaming bridges, I craned my neck, looking for the photogenic “fields” of nets and posts that look like a plate of Chex cereal laid out on the water that I remembered from my last trip.

On that trip I arrived in Xiamen after days of driving along the Fujian coast, starving for something that would make a good picture. I finally found a worthy subject there — acres of oyster, crab and fish farms.  I spent two days shooting the light reflecting off the water and the graphic lines made by floats, fishing nets and the lattice-like oyster beds.

However, I knew that when my picture editor saw my massive take on oyster beds, her first question would be  – so what does this have to do with our story? In my style of working, if it makes a good picture, I generally shoot first and ask that question later. I can usually build a case for using it in a story. The piece I was working on happened to be about a 15th-century Chinese admiral, so I was trying to evoke a feeling of the past.  Since aquaculture has been practiced in China for over two thousand years, I figured that was justification enough.

On this latest trip, though, I was surprised not to see those graphic patterns of nets and oyster beds.  I later found out that most of the aquaculture production has been moved, to a location where the fish farms will have less environmental impact. But what I did see was a vivid reminder that time moves at warp speed in China, and how, in the course of a year, the face of an entire city can change.

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