#its like past phos and present phos are meeting or something

[four-eyed-floozy]

Houseki spoilers, you know the deal

[chifuyuzu]

leap of faith — sano manjiro x reader.

word count — 1.3k.

genre — fluff fluff fluff, i love sweet mikey.

contains — cursing, timeskip SPOILERS present, reader is gender neutral.

description — sano manjiro is in love with you, and he realizes how much he loves you at the ass crack of fuckin' dawn.

author's note — hey besties, this is my first published fic here, kinda short but mikey brain rot is heavy. i hope you enjoy this cute fic before i rip your hearts out with some angst in a few days :^) reblogs and likes are always appreciated! and please give me feedback in my inbox! hehe, enjoy.

“it’s late.”

you know. but you still wanted to hear the sound of his voice before bed.

“mm… i missed ya’, is that a crime?” your voice echos through the receiver, the sound of your duvet crinkling in the background as you shift in place. sano manjiro was a busy man. always has been, always will be. being the leader of a biker gang was never easy—let alone some “new age” criminal organization.

you didn’t understand why manjiro persisted to play this game of russian roulette with his life. but it was never your place to overstep, especially since this was his life. it was all he knew, all he understood. you’re not sure what he’s doing, or if he’s even allowed to talk on the phone at this hour, but you still wanted to hear him. just so you know he’s alive and well.

you hear him chuckle, the sound of his feet scurrying against whatever floor his sandals were clacking against. the background noise that accompanied him earlier has dissipated; you realized he probably went outside to hear you better.

“your crime is loving a fool like me way too much. don’t think you’re sane.” he’s right. you’re actually crazy for even pursuing him. there was a lot of push and shove in the beginning, both parties scared of being hurt and getting hurt. but you were always there, even when manjiro went through whatever darkness was eating at his soul.

“crazy for you.”

“corny.”

“you love me.”

a pause. eerie enough to send shivers down your spine. why wasn’t he responding? did something happen? did you smother him too much? is he regretting—

“marry me.”

… not what you were expecting. especially not over the phone.

“sano manjiro, did you just propose over the phone? what kind of shitty rom-com are we in?”

“is that a no?”

“... never said that.” you wanted to marry him. but you wanted him to put that lifestyle behind, for the sake of the family you might have in the future. kids, dogs, cats, etcetera. you wanted him to be in, one hundred percent. but you knew he was too deep into this world to run now—especially since he’s so well-known as the ‘invincible mikey.’ you still longed for a happy home with manjiro, and a normal life.

“maybe you’re right. it’s not my style to ask you this over the phone.”

“try again later. when you’re really ready.”

the gag is, he is ready.

manjiro hurries home, blond locks hidden underneath a thin, black hoodie. he’s shaking, like a pomeranian in the presence of fireworks. his hand meets the left side of his chest, back pressed up against the grey colored wall of your shared apartment as he slides down to sit on the floor. it was four in the morning, and manjiro was about to shit himself.

he gulps, eyes peering around for you, double checking that you were fast asleep before he makes a phone call. his fingers tapped the back of his iphone, impatiently waiting for the other caller to answer. though it was the crack of dawn, he still needed some moral support.

“mikey? fuck you callin’ for at this hour? haven’t heard from you in mo—”

“ken-chin. i’m proposing.”

a loud ‘flop’ rang through the receiver, accompanied by the bedsheets seemingly slipping underneath draken’s feet. it was a huge bomb to drop, especially when the duo has been separated for months on end. manjiro hears more shuffling, followed by a few curses. “you’re fucking lying. the one you’ve been one since—?”

“yeah. i’m crazy as hell. but i love them. head over heels. i’m a goddamn simp.”

“why the hell am i the first to know, man?”

“you’re m’best friend, even if i need to stay away from you. and, also… you’re not the first to know. i asked them already.”

“you WHAT? don’t fuckin’ tell me you did it some dumb way like over the pho— you did. you’re impulsive enough to do it like that, too.” regardless of how long it’s been, draken still knows and understands manjiro like nothing ever happened.

“yeah… not romantic. but i can’t see myself with anyone else. i trust no one else. but i… am…”

“scared? man, you’re the head of a criminal organization. ‘course you’re scared. you don’t want the love of your life… to get hurt…” his voice trails off and manjiro’s heart tenses even more. the memories of the past still felt fresh. all the people they lost in tokyo manji… could never be replaced. not in a million years.

but the living must live.

“i love y/n. never felt like this before. i’d quit everything. but i would have to make sure they’re safe and whatever future we have together is secure. i know i promised takemichi that i’d protect everyone and that future he worked so hard to save… but what about mine?”

manjiro really did sacrifice everything for his friends. being the type of person who carries everyone else’s burdens takes a toll on his mental. he felt selfish for wanting to leave it all behind. but maybe being selfish was beneficial once in a while.

“listen—”

“do you think i’m stupid?”

“mikey. you’re not stupid,” draken sighs, shuffling again in place. “you just want to love someone and be loved in return. nothin’ stupid about that. what is stupid though, is you proposing over the damn phone.”

he’s not wrong. it was a spur of the moment decision that could drastically change his life forever. but with you, he doesn’t care. as long as you’re his, forever.

“how do you think i should do it?”

“well. i guess, tell me some sappy shit. how do you feel about them, and whatnot.”

“i don’t think i could ever imagine me with anyone else. a lot of people have tried to grab my attention but i only have eyes for y/n. sometimes when shit gets real hard…” manjiro takes a deep sigh, fingers threading through his hair, tilting back the hood to let it fall onto his back. “i think of y/n and i remember that even in this shit world, someone is here for me. someone cares about me. they make me feel like i’m not alone anymore.

i have dreams ‘bout us, y’know? me and y/n… kids running around. a little mikey clone. pissin’ them off because we want little flags on our meals. going to the park and letting kids be kids. maybe i’ll teach ‘em at a dojo like gramps did for me and my siblings. maybe i’ll teach ‘em about bikes—with your help, of course.”

draken laughs, letting his friend continue his little speech as he gets comfortable in bed again. don’t think i’ve ever seen mikey like this, ever, draken muses.

“man, we can own a whole zoo if we wanted. chifuyu could hook us up, in secret, of course. still have to protect everyone,” manjiro is grinning from ear to ear, head resting against the wall. “i wanna grow old with them. honestly, i didn’t think i’d make it to my twenties. more so, i didn’t want to live past twenty-something. but now… things are different. wanna be old and gray. see grandkids terrorize our children. die together.”

the tension in manjiro’s chest has faded away, only left with warmth that only you could bring him. his free hand reaches into his pocket to fumble with a small box, snapping it open to reveal the engagement ring his grandfather handed down to him.

he wasn’t the marrying type. but for you, he was.

“that all? you sound good like that, man. make an exception and let us come to the wedding.”

manjiro wants that more than anything. his friends, you... all safe. all happy. but again, the fear creeps up. he doesn’t know what to do with himself if any of you get hurt.

“... how do i tell y/n that?”

“you already have.” your voice makes him jump, knocking the velvet box out of his fingers and onto the hardwood floor. his face pales, followed by a huge lump forming at his throat when he sees your figure emerge from your shared bedroom.

“i-uh… i thought you were a-asleep.” manjiro mumbles, earning a huge laugh from draken on the other side. he hears him say something along the lines of ‘my cue to leave. good luck. send me an invite.’

“i was waiting for you.” 

he’s sweating now, a small bead forming at the base of his neck. his phone is now at his side, the screen flashing from draken’s caller id to the lockscreen photo of you on your first date together, a few years back. your eyes zone into the box, though.

“i was going to do this… better. god, i fucked up, huh?”

you’re laughing now, rubbing your tired eyes before you join him near the wall, picking up the box. “what makes you think that, dummy?”

now he’s confused. you wanted him to ask when he was serious, but in his head, serious meant rose petals, candles, someone singing celine dion in the distance.

without a word, you slip the ring onto its appropriate finger, holding up to the small rays of sunlight that peaked through the window from the approaching sunrise. manjiro’s hands fly up to your face, holding his whole world in his hands. his eyes are shiny, on the brink of tears. you nudge your noses together, foreheads connecting tenderly. your hands hooked onto the hem of his hoodie, bringing his frame closer as you whisper a soft ‘yes.’

“yes?”

“yes, i’ll marry you.”

manjiro’s lips curl up into the silliest grin you’ve ever seen him sport, before he presses a soft kiss to your lips. now he’s kissing you quite desperately. as if he’s trying to make sure you’re real, that this isn’t a dream. you feel his words vibrate against your lips, “gonna make you so happy, i promise. i love you. i love you so, so much.”

“forevermore.”

“forever yours.”

[rutilation]

hi I have some theories about the Problematic Rock

In my essay for chapter 82, I said that I had settled on a theory of What The Deal Is With Cairngorm.  My thoughts on the subject are a bit all over the place, so in the hope of presenting things in a coherent manner, I’ve laid out my thought process from the past eleven months or so in roughly chronological order, beginning with the nitpick that started it all.  Welcome to my twisted mind, and all that.

For the most part, the way the series applies fantasy concepts to actual geology has been fairly sound.  For example, tourmaline generates an electric charge when heated, so Melon radiates electricity when upset.  Cinnabar the rock often comes out of the ground covered in native mercury, so Cinnabar the character is surrounded by magical floating mercury.  Alexandrite turns red or purple in incandescent light, so the light the Lunarians give off changes Alex’s color and gives them a mood swing to boot.  It’s exaggerated and fantastical, but it’s nonetheless grounded in some nugget of geology trivia which one might find on the back of a Snapple cap.  But, Ghost and Cairn’s condition in the story does not line up with how phantom crystals work, even within the science-fantasy framework we’ve got going here.  At first, I just filed it away next to other inaccuracies such as Antarc shouldn’t be able to trudge through snow without dissolving in a puddle of their own brine, much less dive into the ocean unscathed.  However, if my theory(s) is correct, then this apparent lapse in the internal logic of the story might have in fact been deliberate foreshadowing.  But I’m getting ahead of myself.

First, some context. Phantom crystals form by way of two distinct but related processes:

During a crystal’s formation out of a solution, its growth is temporarily halted for one of any number of reasons.  During this time, dust falls onto the surface of the crystal.  As the crystal begins growing again, these tiny debris become trapped within, and if the rest of the crystal is sufficiently transparent, the included material appears from the outside as the outline of a crystal within a crystal.

The other process to which this term applies involves color zoning, and is a bit easier to explain.  During a crystal’s formation, the chemicals that make up the solution change slightly, and these impurities cause one part of the crystal to become a different color from another part.  If the color zoning is concentric, and the different colors in question are visible from outside the crystal, it can be labeled a phantom crystal.  Ghost and Cairn appear to be this second type.

So here’s what I’m getting at: a phantom crystal is not two separate crystals, in much the same way that the rings in a tree trunk aren’t a bunch of separate trees.  Therefore, it doesn’t make sense for Ghost and Cairngorm to be two separate people, and if they are actually intended to be examples of this phenomenon, it raises some questions.  For one thing, watermelon tourmaline forms via the exact same process of concentric color zoning I described in example number two; since you usually can’t see the pinkish part from outside of the green layer of crystal, it’s not often labeled a phantom crystal, but it’s the same phenomenon nonetheless.  So, why is it that Cairn and Ghost are two different people, but the green and red parts of Melon aren’t?  For that matter, why aren’t the two halves of Euclase two separate people? There’s certainly more of colorless-Euclase than there is of Ghost.  If mere color zoning were enough, then why are Ghost and Cairn the only examples of highly-conjoined-twins amongst the cast?  Unless of course, we weren’t given an accurate picture of how these two came to be, and there’s something fishy going on.

Of course, whether or not this little contradiction is actually meaningful wholly depends on if Ichikawa was even aware of the distinction as she was writing.  As I recall she once said in an interview that she wasn’t very familiar with geology in the first place before she started writing hnk.  But, like I said at the beginning of this essay, this is what got me started down the rabbit hole.  From this observation arose two different trains of thought.   One came to me pretty quickly, but the other took a few months to materialize.

The first idea that popped into my head when I realized that this inaccuracy could have been deliberate was that Ghost and Cairngorm might not be separate people, and there was some split-personality shenanigans going on.  I’ll quickly list the things I think this theory has going for it with some bullet points.

Remember that one time, when Cairngorm referred to Ghost as their “former self?”  And that other time, in the official translation of volume 6, when they referred to Ghost as their “other half?”  That is rather curious terminology for referring to one’s sibling.

That one time in chapter 39, where Cairn repeated Ghost’s sentiment about being “tired of praying” verbatim, and the composition of the panels seemingly called attention to it.

It would serve to explain a certain contradiction in Cairn’s personality: despite their aggressive—and at times violent—demeanor, they nonetheless act like a total doormat in all the ways that really matter.  They live their life according to someone else’s wishes, they’re quick to pass off decision making to others, and they fold under pressure pretty easily.  What if Cairngorm is, in fact, Ghost’s idea of what being assertive is like, without any understanding of what it means to actually be independent or confident? 

A common critique of the story is that Ghost’s character was rather perfunctory, and their death felt like a second-rate retread of Antarc’s fate.  Well, if Cairn and Ghost are the same person, then they weren’t actually unceremoniously dropped from the story after all.  Come to think of it, right before they were supposedly taken, Ghost said they wanted to change; what if they actually did?

As many of you have noticed, Ghost is one of the few characters who isn’t ProblematiqueTM .  Doubtlessly, Ichikawa now regrets killing them off before they could do something kinda nasty.  Even Antarc got the chance to cluelessly trample over Phos’s self-esteem before getting turned into road salt.  But, if it were revealed that Ghost was actually the same character as creamed corn, then Ichikawa could drag their good name through the mud with one fell swoop.  (I’m just trying to think from her perspective, guys!  Her cruel, sadistic perspective…)

But ultimately, when I got around to wondering why on earth they would have a split personality in the first place, I found that this line of inquiry raised more questions than answers.  Unlike my second theory, which mostly just raises answers.

(I know I just dumped a big tinfoil hat at my readers’ feet like a cat gifting its owner a decapitated bird, but please keep bearing with me, I’m not even halfway done.)

The idea that I’ve found to be the most fruitful came in the weeks following chapter 75.  I’ve brought up this line from Aechmea multiple times (probably to the point of redundancy,) because it’s the biggest hint we’ve gotten so far that there’s some Cairn-related context we’re not yet privy to.  And the more the narrative keeps reminding us of it—usually by way of Cairngorm bringing it up with varying levels of anxiety—the more it seems to be alluding to something important.  So I got to thinking that whatever my little plot twist was, it would have to account for Aechmea’s cryptic bullshit.  I put forward a couple preliminary ideas in my essay for chapter 75, but I’ve since discarded those in favor of my second theory.

So, somehow Aechmea knew Cairngorm before they came to the moon, and neither Cairngorm, (nor Ghost for that matter,) remembers meeting him.  When I tried to think of how this could be possible, while also keeping in mind my little bugbear about phantom crystals, I developed a theory that’s much more pedestrian by the standards of the hnk fandom.  I am of course, talking about the mysterious artificial gem experiments that the Lunarians conducted.  That sure is a plot element which has been left dangling, huh?  And since no one, least of all myself, believes Stinkmea when he claims that the experiments were a complete failure, it has been a favored pastime of people who write walls of text to speculate on who amongst the cast might have been planted on earth by the Lunarians; e.g. Obsidian, Antarc, new Morga and Goshe… I imagine someone at some point has even postulated that Phos themselves is from the moon.  But, if you pay close attention to how Aechmea, and later, Barbata describe the process by which they attempted to create artificial gems, it lines up strikingly well with what we know about Ghost and Cairngorm, and it also serves to explain the geological inaccuracy I was talking about earlier.

Aechmea describes how the Lunarians tried to create their own gems by grafting pieces of gems they had captured from earth onto artificial bodies, and that they were dumped on earth before being retrieved after they showed no signs of life.  Barbata also mentions it later, in more oblique terms.  He’s speaking vaguely, but his warning to Phos feels a bit odd in its specificity. The use of the phrase “emotionally delicate” also raises my eyebrows a bit.  I may be reading too much into this, but I feel that his hypothetical example is less hypothetical than he’s letting on.  Perhaps, he is in fact referring to a certain someone in particular, who is emotionally fragile, and subsequently lost their sense of self after being subjected to this experiment.  Hmmm…

So here’s what I think went down: once upon a time, probably before the current generation of gems had been born, there was a gem on earth who was just plain old colorless Quartz. I’m going to call them OG!Quartz.  One day, OG!Quartz is captured by the Lunarians, and Aechmea uses them for his little gem experiment, probably with Barbata being the one to carry it out.  He shaves off the outermost layer of OG!Quartz and discards the rest of them. Then, he grafts those pieces onto an artificial body made of black Quartz.  The inclusions from OG!Quartz permeate into the artificial material, and thus Cairngorm is born.  The Lunarians subsequently dump them on earth, at which point Kongou, who may or may not realize what’s going on, picks them up and names them Ghost Quartz, despite the fact that they didn’t come about via that process.

This would explain a lot of things.  If so little of OG!Quartz was used to make Ghost Quartz, they would likely be unable to remember their previous life, or the ensuing events on the moon, for that matter.  And since Cairngorm would be a newborn at the time, they wouldn’t be able to remember Aechmea either, thus solving the riddle of how Aechmea knew Cairngorm before they came the moon.

It would also clue us in to what Aechmea meant by love, why he was quick to swoop in and take advantage of Cairn, and why he kept Cairn’s original arm around.  If they were the one success after a series of failed experiments, it’s possible that Aechmea feels a sense of ownership over Cairn, as if they’re his accomplishment.  (Yikes.)

It would also explain another thing that has stuck in mind.  The way Ghost was taken was kind of weird, wasn’t it?  At the time, the Lunarians were being oddly particular about nabbing Ghost instead of Cairn.  Usually, the Lunarians try to shatter the gems and be done with it, not shave a bunch of little pieces off the outside.  Furthermore, Cairngorm was thoroughly wrecked by the end of that fight.  The Lunarians could have easily grabbed them both and gotten away before help could arrive, but instead, they pushed Cairn off of the vessel and only took Ghost.  If we assume though that Ghost and Cairn are the result of one of those gem experiments, the Lunarians actions during that battle start to make sense.  Perhaps the Lunarians wanted to see if Cairngorm was alive in their own right, or if the pieces of Ghost were just dragging the rest of the body around.  They wouldn’t be able to tell the difference from their distant vantage point.  So, they nabbed Ghost and intentionally left Cairn behind in order to further observe their experiment.  

(I should point out that when I say “the Lunarians,” assume I’m referring to Aechmea, Barbata, and perhaps a handful of other unnamed extras.  Aechmea probably doles out knowledge of his obtuse schemes on a need-to-know basis, and I doubt people like Cicada, or Quieta, or Goshe’s gnarly skater friends know anything about this.)

Going back to this page, Cairn’s expression has stuck in my mind.  They’re trembling, and have a fearful look on their face.  By all accounts, even if what Aechmea just said was confusing, it should still be something Cairn would be happy to hear.  But their immediate reaction is one of understated horror.  It’s almost as if they intuited that there was something very wrong with that statement, even if they can’t put their finger on why. This leads us into another question that’s been on my mind which this theory might serve to explain.

In my very first essay about Caringorm, I ran into a bit of a wall when trying to figure out why Cairngorm’s personality is the way it is.  I figured at the time that Cairngorm’s issues arose from having no agency for most of their life, and that their relationship with Ghost was perhaps much less amicable than we were lead to believe.  And while it’s hard to argue that being a prisoner in their own body for most of their life hasn’t messed them up, I don’t think that’s the only thing going on here.  Furthermore, as far as Cairn’s relationship with Ghost was concerned, we haven’t heard anything about it since, which leads me to believe that it’s not where the trouble lies.  While I still stand by most of what I said in that essay—particularly about how Cairn’s dependency complex compels them to treat themselves as a vehicle for someone else’s desires—there’s a major aspect to all of this that I overlooked at the time.  During their brief tenure in the series, Ghost exhibited a lot of the same issues that Cairngorm does now.

The way they talked about living life following Lapis’s orders—as if they were Lapis’s lackey rather than their partner, the way they latched onto Phos so strongly after they showed them the barest hint of interest, their abysmal self-esteem… It all seems eerily similar to Cairn’s issues, even if it manifested in a more muted fashion.  So, why is it that Ghost exhibited some of Cairngorm’s maladaptive coping mechanisms, despite the fact that Cairn should have been the only one of the two who needed to develop them in the first place?

I haven’t exactly put too fine a point on it since I don’t live with the condition myself, and thus don’t want to risk putting my foot in my mouth, but I can’t really elucidate on this in a concise manner while dancing around the subject.  Ever since chapter 68, I’ve been looking at Cairngorm through the lens of borderline personality disorder.  Since they seem to check more and more boxes off the symptom list with each new chapter, I think it’s a useful lens through which to view them, whether or not it’s one that Ichikawa had in mind.  But, BPD generally arises from trauma, to the extent that many psychologists see it as an alternate manifestation of PTSD.  So, for the longest time, I’ve wondered how it was that Cairn and Ghost ended up the way they did.  There’s no clear answer in the narrative at this point.

This brings us to what Barbata alluded to, that the process of trying to create an artificial gem was damaging to the minds of the those who were subjected to it.  If Ghost and Cairn were (re)born as the result of something terrible, something that destroyed their sense of self, it might explain why they both have mental issues that are indicative of past trauma, despite those issues not having any obvious source.  The only other possible source of trauma I can come up with is that the relationship the two of them had with Lapis might have been an abusive one.  But if that were the case, then there should have been some buildup for it in the chapters following 67.  And while Lapis and Ghost have barely been mentioned in the interim, there’s been a whole lot of incremental reminders that Aechmea’s a shady bastard who’s hiding something from Cairn.  Where there’s smoke, there’s probably a fire.

Well, that’s about it.  Thanks for sticking with this to the end; hopefully, I didn’t make too many flagrant leaps in logic.  Ichikawa, if you would be so kind as to confirm my theories, and also let Phos peacefully live out the rest of their days with their snail friends, I would really appreciate it.  See you all in the essay for chapter 83.

[fraink5-writes]

Human Qualification- Chapter 14

December 24

The day after this chapter takes place I would publish the first chapter—wild. When will the chapters catch up? Hmm...

I would like to thank my beta-readers ( @missmizpah @gracieuxetoile and @deathly-oreos) once again for all that they do!

Summary: To slowly lose all your functions until you are nothing but a trapped mind in a deteriorated shell, that’s what it means to be ‘No Longer Human.’

This chapter can also be found on Ao3 here. Without further ado, please enjoy!

“It’s Christmas. What do you want for dinner?” Chuuya nudged at Dazai’s head, which was resting on his chest. The boundaries of personal space and of who claimed what (the bed or the couch) had blurred over the past week. With his legs stretched across the couch, Dazai could have been sleeping. He hardly moved—which was okay with Chuuya; it would have been uncomfortable otherwise.

Dazai responded without missing a beat (“KFC”); he must have been awake.

“Since it is Christmas, I could make something special—what do you mean ‘KFC?!’”

“It’s Christmas, so KFC.”

“You just don’t want to eat my cooking!”

“You put those words in my mouth,” Dazai peeked up at Chuuya briefly before turning away. “But, no, I don’t.”

“It’s gotten better—I fucking swear! If you actually ate it, you would know!”

Dazai quickly pulled away from Chuuya in order to avoid his wrath “Chuuya, I’m forced to eat your cooking every day.” He sighed. “Anyway, it’s Christmas, so why can’t we have KFC?”

“They’re probably out by now,” Chuuya spat.

“I already ordered one.”

“YOU DID?”

“Yeah. As you said, they sell out fast, so I ordered one a while ago.”

“Wait, what did you order?”

“PARTY • BARREL • PARTY • BARREL • PARTY • BARREL...” Dazai continued to chant even as the words garbled together. There was a childlike glimmer in his eye, which Chuuya couldn’t ignore.

“Fine,” Chuuya sighed. “But that’s a lot of food. You better actually eat some of it.”

“The only reason I don’t usually eat is because of your cooking.”

“Fucker!” Chuuya stood up from the couch, slightly miffed. “Alright, I’m going to pick it up then.”

“Wait,” Dazai’s hand clamped around Chuuya’s arm. “I want to come too.”

“Are you sure? Are you up for it? It’s just KFC. I’m just going to go and come back.”

“But. It’s Christmas.” Still hanging onto Chuuya’s sleeve, Dazai averted his gaze.

“Yeah, so? It’ll be a little crowded, but I’m sure they have it under control with staff. This does happen every year.”

“But, the lights. We’re a couple. I thought Chuuya would want to see them. Together.”

Honestly, Chuuya had seen the lights so many times on his commute—he didn’t need to see them again. “Aah, that’s embarrassing. How did you know?”

“It was just a guess.” Dazai smirked, standing up by Chuuya’s side.

After throwing on his coat, Chuuya met Dazai by the door. “Oh, yeah, since you’re leaving the house, you should use this.” Chuuya handed Dazai the walking stick which had previously leaned by the door, unused. Dazai grimaced. “Use it.”

“I hope this isn’t your gift for me. I don’t need it.” Despite his gripes, Dazai took the cane. He clutched it almost desperately with both hands as though if he used only one hand, it would be too difficult to hold. Even with the support of the stick and Chuuya, Dazai, quaking violently, threatened to fall with every step.

“Are you sure you’re okay?”

“I’m just cold. I’m fine.”

Dazai wouldn’t accept an argument from Chuuya, so Chuuya just let the subject fall silent, although it never left his mind. As they slowly walked, Chuuya couldn’t look away from Dazai, making sure he was alright.

Dazai, for his part, had quickly moved onto other things. His attention lingered at each decorated storefront. The strands of colored lights seemed to twinkle in his deep brown eyes. Even as his mouth hung slightly agape, he was awed to silence. Maybe it wasn’t a mistake to bring Dazai along.

The walk back wasn’t nearly as pleasantly surreal. Dazai had surrendered to exhaustion; the walking stick became ineffective—thus, Chuuya had to drag him home. For the most part, Dazai was silent except for the occasional shiver or grunt.

When they arrived back at the apartment, Dazai immediately flopped onto the couch, his eyes flickering closed.

“Aren’t you going to eat, Mr. KFC?” Chuuya called from the table.

“Later...”

Chuuya stomped over. “Are you really sleeping now? I got this bucket just for you.”

“I’ll eat it… later...” Dazai yawned. “Wake me up… for presents.... I have something to give you...” With that, Dazai’s head hit the cushion, and he was still. It was impossible for Chuuya to wake Dazai up when he was sleeping so peacefully—not after the nights when Chuuya had to coax Dazai into sleep, not after the restless moments when Dazai jolted from his sleep, gasping.

Chuuya waited a few minutes, watching Dazai’s labored breaths lull, then headed to the table. He would enjoy the chicken at least. As much as he hated to admit it, it was probably better than his own cooking.

After finishing his fair portion of chicken (there was still too much left), Chuuya sauntered into the living room. For a moment, he deliberated letting Dazai sleep but decided against it—Dazai would be annoyed if he woke up the next morning. He ruffled the brunet’s hair.  “Hey, idiot, time to get up.”

“Nnn… oh, is it present time?” Dazai peered at Chuuya through his half-lidded eyes before forcing himself up. “Lemme get yours.”

“Are you sure? You can sit still. I can get it.”

“No, that’s no fun! I don’t want you to spoil it!” Dazai left the couch on shaky footing and hobbled into the bedroom. On his way back, he took a detour into the dining room and inspected the chicken. “Hm, it’s warm enough.” Shoving a wing into his mouth, he returned to the couch. “I’ll eat more tomorrow.”

“You better.” Chuuya grin was menacing under its sweet facade.

“Okay, I guess I’ll present mine first.” Dazai beamed and thrusted a sparkling bag into Chuuya’s hands.

“Hmm… knowing you, you probably got me fake booze.”

“Maybe I did. Open and find out.” Dazai’s smirk neither confirmed nor denied the truth.

Challenged by his partner, Chuuya tore out the tissue paper and peeped inside. His eyes widened before he snatched the disk from the bag. “Moroi Saburou? A vinyl copy?” He stared at Dazai for a solid minute. “Holy shit.” With an irrepressible grin, he threw his arms around Dazai.

Dazai returned Chuuya’s affection with a soft smile. “Merry Christmas, Tsuuya.”

‘Tsuuya?’ Since when? Dazai’s voice had always been so clear and articulate; it flowed from his lips like a song—an extremely attractive melody at that. So when had his voice become so foggy? When did the words start blurring together? Why hadn’t Chuuya noticed earlier?

Without thinking, Chuuya recoiled. Concern was painted over Dazai’s previous smile. “Ts—Chuuya?”

“Oh, sorry,” Chuuya laughed (which was only half-fake). “I forgot to give you my gift! I should do that now. Yeah.”

“Okay.”

“Here.” Chuuya handed Dazai the box he had neatly wrapped in shimmering green paper with red ribbon. It nearly fell through Dazai’s grip, so Chuuya decided to place it on his lap. “Be careful.”

Dazai picked at the paper, but his progress was too slow—practically non-existent—even for the pace he was working at. His trembling fingers just couldn’t get a solid grip on the edges of the wrapping.

Chuuya didn’t want to rush his partner, but he could tell even Dazai was growing impatient—gritting his teeth and muttering frustrated comments under his breath. “Did you try just tearing at it?” Chuuya suggested.

Dazai shook his head, resigned to his inability to open the gift.

“Do you want me to open it then?”

As if powered by spite at Chuuya’s offer, Dazai forcefully tore at the paper, creating a large hole in the wrapping. “See? I donneed you tado it.” Dazai grinned in his forced pride, but Chuuya couldn’t help but wince. He couldn’t hear the meaning over the jumbled sound. Each slur seemed enunciated as to remind Chuuya of his recent discovery.

“A camera?” Dazai’s gasp drew Chuuya back from his thoughts.

“Yeah, you seemed to take an interest in photography, so I thought you would appreciate an actual camera.”

Dazai delicately placed the box back into his lap, staring down at it with dejection. Although his eyes held such longing, his words said otherwise. “I can’t use this.” The silence which overtook his words spoke loudly of his sorrow and regret.

“Well, I can take the pictures, if you want. Just consider me an extension of your camera. Of course, they’ll be your photos.”

Dazai’s smile was hollow. “Then whowill take pho tosof you?”

“Oh, I, uhh..” Chuuya’s face lit up brighter than his hair. In an attempt to calm down, he cleared his throat and gulped down whatever embarrassment remained. “Actually, I also bought a tripod… I didn’t wrap it though—fuck.” He shuffled away from the couch and grabbed the tripod in order to redeem himself.

“Shall we uze it?”

“Do you want to? Because sure.”

“Ya, in fronnof the deccerations. That seemz like a good place.” By ‘decorations,’ Dazai was referring to the tiny tree they had bought and decorated for the hell of it. After draping it with garland and so many lights it could be considered a fire hazard, Chuuya put a drunk Colonel Sanders decoration on top, and then it had been forgotten until that moment.

“Mm, it is Christmas, after all. We should light that thing at least once.”

“Hopeflly, we don cause a power outage alover the city—or worz, a giant fire.”

Ignoring Dazai’s sinister predictions, Chuuya lit up the tree, pulled over chairs for Dazai and himself, then went to work setting up the tripod. “You ready? 30 seconds.” He hurried back to his chair, but when he was sitting, Dazai pointed at the ceiling with a large grin on his face. Hesitant and seriously confused, Chuuya tilted his head up. A few green, leafy branches were dangling from the season.

What the fuck.... When did that get there… Meeting Dazai’s eyes, Chuuya understood.

“Mistletoe,” Dazai said with a smirk. For some reason, that word was as clear as day.

“You piece of shit.” Chuuya rolled his eyes before leaning in to kiss Dazai.

“Mmhmm.” Dazai smiled into his kisses, and it contagiously spread to Chuuya and erased everything else from his mind: the presents, the fire hazard behind them, the—click.

Chuuya’s eyes fluttered open, and his gaze drifted towards the camera before he finally separated himself from Dazai. Well, slightly—he was a breath away. “You fucking tricked me. I can’t believe I fell for such a basic prank.”

Dazai only grinned. Eyes still closed, he was waiting to return to their merriment.

“Don’t you think we should take a fucking decent photo?”

“We don’t need to. We tested it, and it works.” With a whisper, Dazai pulled Chuuya closer and played beckoningly with the curls of his hair.

“Alright, fuck it.” Chuuya brought his lips right up to Dazai’s, but then he paused again. “Can we at least go to the fucking couch?”

Chuuya turned off the blinding Christmas tree then escorted Dazai, who wouldn’t stop teasing at his neck. They soon made themselves comfortable, Chuuya wrapped in Dazai’s arms, on the couch that was no longer Chuuya’s alone, and time flew by thoughtlessly until the good times had to end.

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[harmongracie]

The Beauty of Humanity Movement Notes

This book was phenomenal. 

“The history of Vietnam lies in this bowl, for it is in Hanoi, the Vietnamese heart, that pho was born, a combination of the rice noodles that predominated after a thousand years of Chinese occupation and the taste for beef the Vietnamese acquired under the French, who turned their cows away from the plows and into bifteck and pot-au-feu. The name of their national soup is pronounced like the French word for fire, as Hung’s uncle explained to him long ago”

“Hung is a man governed by such principles rather than any laws...” I feel like this reflects the traditions of an earlier, simple life. People were guided by inner principles that are long lost. “The challenge for hung now has less to do with the availability of ingredients than with the need for restraint...”

“The comforting clatter of metal spoons against porcelain...” “the foreman thrusts those chopsticks to the bottom of the bowl and lifts the noodles into the air, creating a wave that plunges the herbs to the bottom before they float back to the surface, infusing the noodles in the broth, just as every mother teaches her child...he slurps broth from the spoons, lifts up a few more noodles, tweezes a piece of basil from the broth and paces it on top of the beef, then puts this perfectly balanced combination, thus yin and yang, into his mouth.”

“ ‘Yes, yes,’ and Tu will nod and smile because he does not want to speak a truth they will find complicated or disagreeable. This is what it meant by saving face.”

“The censors literally cut the names of dissident artists out of registries and publications. They’ve been systematic and thorough revisionists, leaving a history full of holes.”

“A pond has its own ecosystem, largely unobserved by humans, except when their lives come to depend upon it.” (Hung)

“Sharing stories of the past, tales of where they’d come from, seemed an unnecessary expenditure of energy when survival in the present demanded such effort.” Talking about sitting with his neighbors outside their shacks, him distracting them from the traffickers who would come to their slum.

“However people might regard her, Maggie has to content herself with the knowledge that her roots are here, the family stories, as remote and inaccessible as they might be.” She was a “foreigner” to the Vietnamese, and not fully “American” to the Americans. Later the text mentions, “It cast doubt on all her relationships, forcing her to wonder what she represented to other people, whether people saw her at all.”

“Its one of the uncomfortable truths of working in a hotel like this that the doormen are under instruction to clear the street of beggars and the homeless. The official line is that its done so that guests don’t feel uncomfortable, but its part of both the government’s efforts to promote tourism and a wider Party policy that sweeps the streets of humanity periodically.”

When Hung sees MTV for the first time- “Where is the Bureau of Social Vice Prevention now? Busy arresting people for making jokes about the Party when naked ladies are dancing in the rooms of the Metropole?”

“In Vietnam, you are with family from childhood to death, and when family and neighbors are not watching? You can rest assured the government is.”

When Maggie is learning to cross the street, “‘It’s almost like floating, like waking on water. ‘Look straight ahead, he says, ‘and whatever you do, don’t hesitate. You need to find the quiet inside’”

“...along the paved path that circles the lake while young couples share secrets on park benches, men lean in over chessboards, an old married couple plays badminton, rackets in each hand, and middle-aged men and women march past them swinging their arms in the air like propellors. 

“To change one’s name is to defy the parents.” -Tu mentions this when they meet a new, modern, artist. 

“But Tu would feel embarrassed if his need was obvious. He needs a pretext for an unexpected visit” -culture!!

“The old man has special power-he is the heart of this place, the heart of the Beauty of Humanity Movement- he brings people together, keeps them fed.” 

When Binh, sets out to find Hung after not seeing him/being allowed to see him, for year- “I do not quite know how to put the feeling into words, but it was like arriving at the place where a river finally floods into the sea.”

“A mans worth is principally his worth as a son, and this is something Tu recognizes his father has been denied.”

“‘Maggie, do you not have an altar for your father? But who is listening to him in the afterlife? Who is feeding him?’ Maggie’s mother didn’t have a shrine in his honor either...but then its not a wife’s job. A shrine is a descendant’s responsibility, it’s Maggies.”

“This way of tackling things so directly, without apology or ritual, seems a but reckless to Tu, but it certainly does move things along. He can just imagine what happens when deals go sour, though- no blessing to protect you, no Buddha or ancestor to make things right. This is one obvious downside to capitalism.” 

“He’ll eschew the common trend of plastic tables and stools in favor of the old heavy teak furniture that tells people you are welcome here as long as you like.”

“Buddha is no help with matters of money. Consult Buddha on matters of the heart. Ask the ancestors for help with business. This is responsible capitalism.” 

[marketingadvisorvietnam]

American photographer’s debt of honor to Vietnam

Marketing Advisor đã viết bài trên http://www.ticvietnam.vn/american-photographers-debt-of-honor-to-vietnam-62/

American photographer’s debt of honor to Vietnam

Long-time resident Justin Mott cannot thank Vietnam enough for welcoming him and showing kindness, and is now showcasing its splendors to the world.

Justin Mott is an American commercial photographer based in Vietnam. He is also a travel photographer and the resident professional photographer for Photo Face-Off, a photography reality TV show broadcast on the U.S’ History channel.

His photos have been published on National Geographic magazine and the website of Hasselbald, the Swedish digital medium format camera manufacturer.

Mott is now working on a personal project, “As above so below”, which aims to showcase the beauty of Vietnam’s nature and people to the world.

This is his way of saying thanks to the country that has shaped his life.

On the street during Hanoi’s 1000 years anniversary.

The road to Vietnam

At 21 Mott moved to San Francisco from his hometown, Rhode Island. The excitement of traveling, moving to a city and having new experiences sparked a passion for travel in the young man.

He enrolled for a class in photography during his time there. This gave him an opportunity to further explore the city, meeting new people and experiencing a different culture. Photography became the passion of his life.

Mott said: “I get to travel and meet new people all the time. Thirteen years later I still enjoy it just as much as I used to.”

Travel is a way for him to never “grow up” and get to know and photograph people. It enables him to constantly learn, to explore and experience new things; it gives him freedom.

“I loved the feeling when I just moved there (San Francisco). And I wanted that again. I got it when I moved to Vietnam. It was even more exciting, newer because it was a different culture, different people, a whole different country.”

His first project in Vietnam was about Nu, a victim of Agent Orange. Saddened by the images captured by Welsh photojournalist Phillip Jones Griffiths of the aftermath of Agent Orange in Vietnam, he set out to investigate for himself.

That was the start of his long journey in Vietnam.

Ladies playing volleyball after work. 

During his early days in the new country he was greatly helped by Thuy, an English teacher. He recalls how Thuy invited him for dinner at her house the night they met.

She was the one who helped him find his first home, buy his first motorbike. She also assisted him on his project, communicating with Nu.

Mott’s interaction with Thuy, with whom he still has a bond 13 years later, showed him how welcoming and friendly Vietnamese were. It played a big part in his decision to remain in the country.

“She’s like my Vietnamese mother… She was the first person to make me feel welcome in Vietnam. I think without her, I probably wouldn’t have stayed.”

Since then he has been living in Vietnam, doing various kinds of photography: commercial, wedding photo shoots, photojournalism…

As Above So Below: a tribute to Vietnam

Though Mott does enjoy his commercial work, it is no longer fulfilling. The work is always done for someone else, meaning it feels like it is never from his heart. Now, at the age of 40, he wants to create his own legacy, something that he will be known and remembered for, something that represents who he truly is.

“I started my career with a personal project about Agent Orange. And since then I’ve turned it into work, commercial work. Just working, making a living and trying to get by…

“Now I’ve been here for so long, I have nothing to show. I have my work but I have nothing that is truly me.”

He feels he owes a debt of gratitude to the country that has welcomed him in and let him build his life and career and a debt to himself creatively. The As Above So Below project combines both his passions in life: photography as a means of self-expression and Vietnam.

“So I think, ‘what should I do? What should the story be? Should it be somewhere else?’ But I thought ‘no, it has to be Vietnam. This is my home, I owe this country… I moved here, I’ve lived here, I’ve met people, people let me in their homes to photograph their grandmother, their kids. It has been such a welcoming country.’”

Through the project, Mott wants to showcase the diverse beauty of the landscapes, people and culture of Vietnam. He expects it to take three or four years to complete, but has not set a time limit for it.

Since it is all about expressing who he really is, he’s determined to capture the pure and real beauty of everyday life without or with minimal setting up.

“I’ve always done it quick, but this project is for me. Slow down and wait for the light to be how I want it to be. Slow down, work on portrait works and all of these different areas of photography. Slow down, think, write and capture the way I want.”

Mott has opted for diptych-style photos, presenting two together, to tell the stories of Vietnam. As the style suggests, one picture will be an aerial photo, showcasing the landscape from above, and the other will capture what exists below on the ground.

The idea is to show the connection between people and the environment around them.

“Sometimes, the connection could just be the composition of the field, it could be as simple as this is where people work… or this is where they play on this land, this is their home.

“Sometimes it’s (because) I love the pattern here and I want to find something with a pattern that matches below. For example, the riverbed and the wrinkles of the rippled water and I connect that to a wrinkled face of someone old who lives off that land.”

Another reason why he chose diptychs for his project is because it was a unique style and something he had not done before.

At the same time Mott wants to engage with audiences, make them think about how the photos are connected to each other.

Helping him with his project is a Vietnamese drone pilot, Nam. Mott directs what he wants in the picture and Nam flies the drone and looks at locations. Mott thinks it’s a great thing to have an American-Vietnamese collaboration like this.

Both men want the project to be a tribute to a dear mutual friend, Khanh, who died of cancer. He hopes that somehow this project will also be a legacy for Khanh and that Khanh’s daughter, who lost her father when she was just a few months old, can appreciate it.

“Khanh was on all of my Vietnam adventures with me. And he helped Nam get the drone working. He connected the two of us. Without Khanh, I wouldn’t know anything about aerial… I hope his daughter, when she grows up, will get to see and appreciate this, and remember her father and something special about him.”

Mott said when the project is complete he will give the Vietnamese the right to use his images for whatever they want for free if it is for the purpose of promoting the country.

High hopes, big ambitions

A farmer spreads out peppercorns to dry in the hot sun at a plantation on Phu Quoc island, southern Vietnam. 

Though not finished yet, As Above So Below has already achieved recognition. One of its photos, an aerial shot of a farmer drying peppercorn, was chosen as the editor’s favorite submission of the week in National Geographic’s 2018 Travel Photographer of The Year Contest.

Mott hopes the project will be good enough for exhibiting not just in Vietnam but around the world. He wants to create something that will “make this country proud.” He will love for it to be made into a book as well.

“I have high hopes… I want people to look at the book and say ‘Oh, I want to go to Vietnam.’ I want them to have it on their coffee table and really appreciate the beauty of Vietnam. It’s not to celebrate me. It’s to celebrate this country.”

Since he has been living in Vietnam for a long time, he hopes to be named Tourism Ambassador for the country.

“I love selling this country to people… to come here and to invest, to appreciate Vietnam.”

Vietnam’s tourism has been developing at a rapid pace in the last few years, and he thinks the country’s image has also changed.

In the past people always associated Vietnam with devastation caused by war, but now they think it is a country they want to go to and is safe, he said.

They are no longer going to just popular destinations like Hanoi, Ho Chi Minh City, Ha Long Bay, and Sapa, but also to remote places to explore the true beauty of the country.

Food is another reason Mott thinks Vietnam is attracting visitors.

“People have gone crazy about the food. Now the world has grown an appreciation for Vietnamese food. Earlier people might have just known spring rolls, now (they) know bun cha, pho… It’s become a global cuisine.”

Mott is proud that his work in the past, especially travel photo shoots, is helping spread the images of Vietnam to the world and making people want to explore the country. But he wants to do more.

“I owe Vietnam something. I want to be remembered as this photographer who understood Vietnam the best he could – the best an American could.”

Story by Kieu Duong, Linh Nguyen

Photos by Justin Mott

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[marketerarena-blog]

Beer Pong, River Boats, and Barbecue: The 4-day Weekend in Bangkok

There are certain cities around the world that evoke a sense of place before you even set foot in them. Paris is the city of light (or love, depending on who you ask) and Venice’s canals and legendary piazzas have long inspired lovers and the literati over the years. Bangkok however is not one of those cities. With a population of around 12 million, Bangkok’s frenetic energy can be overwhelming to the most seasoned of travelers.

    While the Thai capital is difficult to define in any exacting terms or catchphrases, it’s a place that is and always will be in the words of the late Anthony Bourdain, “a city that is never boring,” an ideal that travelers have fully embraced over the years. With no shortage of things to do, from one of the city’s best BBQ joints and beer pong bars to an early morning canal ride along the Chao Phraya river, here’s where to spend the ultimate long weekend in Bangkok.

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Where to Stay 

Bangkok’s reputation for being a late-night party destination juxtaposed with its glittering temples and centuries-old palaces have long attracted traveler’s eager to partake in a piece of the action. And while there’s no shortage of accommodations ranging from über luxe to budget-friendly, here’s a look at some of the city’s best haunts.

City View Morning Twilight of Ratchadamri Road Views over the Royal Bangkok Sports Club hongsiri Kittikamhaeng / Getty Images

  For Business or Pleasure

The Waldorf Astoria Bangkok, which opened this summer, perfectly embodies Bangkok’s spirit by blending modernity and tradition. It’s set along Ratchadamri Boulevard in the heart of Bangkok’s fashionable shopping district with direct access to the Bangkok Transit SkyTrain (BTS). The property boasts six bars and restaurants, as well as a beautiful rooftop pool, destination spa, and plenty of conference rooms and meeting spaces. This is the perfect spot for business jetsetter’s looking for a luxurious oasis right in the heart of downtown.

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For Groups, Dining, and Partying

There’s no hotel more synonymous with Bangkok than Lebua at State Tower. Hovering 65-stories above the city, the property’s renowned golden dome made its worldwide debut back in 2011 in The Hangover II. Today, Lebua is home to some of the city’s most notable drinking and dining outposts including the outstanding two-Michelin-starred Mezzaluna, as well as the world’s highest open air champagne bar and whiskey lounge. The hotel, an all-suites property each with its own balcony, is perfect for large groups, friends, and foodies eager to get out and explore the city by day and imbibe with trendy Thai’s, expats, and tourists by night.

How to Get Around Bangkok

Accessible by tuk tuk, Grab (Thailand’s version of Uber), and SkyTrain (BTS), Bangkok has never been easier to navigate. Wherever you go, be prepared to sit in traffic during peak business hours Monday-Friday.

What to Do in Bangkok

Museums & Markets

Jim Thompson’s House

A traditional teak-and-Thai-style home turned museum, Jim Thompson’s House is filled with priceless antiques, pottery, and curiosities. (Fun fact: Jim Thompson, founder of the eponymous silk company, is credited with reviving the dying local silk trade in Thailand.) After touring the house, stop by the Jim Thompson Silk Shop to pick up some beautiful (albeit pricey) handwoven garments and souvenirs for sale.

The Most Epic Outdoor Adventures in Southeast Asia

Patpong Night Market

Set in the heart of Silom near one of Bangkok’s designated red light districts, Patpong Night Market has become one of the city’s best places to pick up everything from knock-off Louis Vuitton to t-shirts, handicrafts to street food.

Siam Square

Set in one of the city’s most fashionable neighborhoods, Siam Square is where young, fashion-forward Thais and tourists come to find the latest trends.

Pratunam Market

Put your haggling skills to use at Pratunam market, one of the largest open-air clothes, shoes, and street food markets in town.

Chinatown

The world’s largest Chinatown and one of the oldest neighborhood’s in Bangkok, Chinatown was first inhabited by Chinese traders in 1782. Today, a walk along the narrow alleys and back alleys of Chinatown feels like stepping back in time and witnessing a bit of Bangkok’s past and present collide.

Chinatown Yaowarat Thanapol Marattana / Getty Images

Nang Loeng Market

One of the oldest markets in Bangkok (if not all of SE Asia). Foodies head to Nang Loeng for the variety of local Thai, Chinese, and SE Asian-inspired dishes.

Pak Klong Talat (Flower Market)

Easily Bangkok’s most colorful, if not most fragrant market, Pat Klong Talat is an effervescent collection of stalls selling flowers and fresh produce. Open 24 hours a day, this is a great place to see the rich variety of locally grown Thai produce while wandering through the maze of stalls.

Temples & Palaces

With an estimated 2,000 wats (temples) in Bangkok alone, here are a few of the best places to wat-hop around town. It’s important to note when touring any religious site in Thailand that covering your shoulders and legs (below the knees) is mandatory. While some wats will have clothing available for purchase, it’s always best to be prepared.

The Marble Temple Pakin Songmor / Getty Images

Grand Palace Complex

Wat Phra Kaeo or the Grand Palace complex is easily Bangkok’s most visited attraction. Home to Emerald Buddha and the former royal residence, you could spend hours exploring the grounds here. Just be sure to get here early to beat the crowds.

Wat Pho

One of the oldest wats in Bangkok, Wat Pho is home to Bangkok’s famous reclining Buddha, measuring in at 150 feet long.

Wat Saket

Wat Saket or Golden Mount is a beautiful Buddhist Temple that sits on top of the Golden Mountain (Phu Khao Thong) inside the Wat Saket complex. As the name suggests, you’ll need to climb some 300 steps to get to the top, so don’t forget your walking shoes.

Wat Arun

Accessible by river boat, Wat Arun is named after the Indian god of dawn, and is ornately covered in pieces of Chinese porcelain and beautiful mosaics.

Iconic Wat Arun bangkok seng chye teo / Getty Images

  Recreation

Canal Tour – Hop on a long tail boat and head down the Chao Phraya river along Bangkok’s back channels and canals. It’s one of the best ways to see how local Bangkokian’s live today. There are several tour operators available, however it’s highly recommended to go early in the morning to beat the heat (and the bugs).

Muay Thai Fight – Rajadamnern Boxing Stadium was the first Muay Thai stadium built in Thailand—back in 1945—and is one of the best places to see the world’s best championship fighters in action. (Lumpinee and Rajadamnern are the two other major stadiums.). If you’re interested in taking your boxing game to the next level, check out one of the city’s many Muay Thai gyms and studios around the city.

The 11 Best Hotels to Visit in Asia

Baan Krua – Bangkok’s ‘Textile District’ dates back to the end of the 18th century. Baan Krua—a canal-side neighborhood known for its historical silk-weaving traditions—was established by Cham Muslims who emigrated from Cambodia and Vietnam. The community flourished in the mid-20th century with the silk trade boom and today the Baan Krua community continues to operate several family-run silk factories that are involved in every step of production, from dying to weaving, using old wooden looms.

Lumphini Park – Considered Bangkok’s version of “Central Park,” Lumphini Park is the city’s largest public green space. It’s a great place to take a stroll or ride a bike. If you’re in the neighborhood, don’t miss a chance to watch locals perform Tai Chi every morning around sunrise.

Bangkok, Lumphini park at morning Sylvain Sonnet / Getty Images

  Where to Eat and Drink in Bangkok

Boasting a wide-range of international cuisines, Bangkok is easily one of the world’s best eating cities. From the world’s only Michelin starred street cart to a trip to the top of The Hangover Hotel for some fine dining, these are the spots you don’t want to miss on your next trip to Bangkok.

Mezzaluna: Set on the 65th floor at Tower Club at Lebua, Mezzaluna is a two-Michelin-starred restaurant that combines French and Japanese cuisine. This is easily Bangkok’s fanciest, most romantic date-night digs.

Supanniga Dinner Cruise: This 40-seat dinner cruise along the Chao Phraya River features a six-course tasting dinner of authentic Thai cuisine.

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Err Bangkok: Run by husband and wife team Bo and Dylan, this local Thai spot is known for their passion fruit cocktails and traditional Thai dishes all served up in a casual setting. If you’re looking for something a bit more upscale, the couple also owns Bo Lan (a hybrid of both owner’s names), which is consistently rated one of the best upscale Thai spots in town.

The Never Ending Summer: Set on the campus of The Jam Factory—formerly abandoned warehouses in Bangkok’s creative district—The Never Ending Summer is one of the city’s most exciting spots to try modern Thai cuisine in a convivial atmosphere.

Issaya Siamese Club: Set in a luscious garden, this elegantly restored 100-year-old villa is a romantic Thai restaurant.

Issaya Siamese Club Courtesy of Issaya Siamese Club

  Jay Fai: This tiny street-side haunt may not look like much, but step inside Jay Fai and you’ll be met with what’s considered the city’s best wok fried crab omelet and tom yum soup in town. Diners beware though, word is out about this Michelin starred street food spot, so get ready to queue up and wait.

Gaggan: One of Asia’s hottest restaurants at the moment, Gaggan has been rated one of the top 50 restaurants in the world for the last four years in a row—and for good reason. Set in a colonial-style, double-story timber, the menu is a mix of “progressive Indian” dishes that’s a journey of the senses from start to finish.

Paste Bangkok: Set in the city’s fashionable Gaysorn Village shopping complex, chef Bee Satongun is serving up some of Bangkok’s most authentic yet modern Thai fare in an upscale setting.

Smokin Pug: Bangkok’s barbecue scene has come a long way over the years, and it doesn’t get much better than Smokin’ Pug. Set along Langsuan Road, adjacent to Bangkok’s Lumphini Park, this is one of the city’s go-to spots for baby back ribs, pulled pork, and brisket.

Somtum Der: This Michelin-rated restaurant’s specialties include Som Tam (spicy Papaya Salad) as well as an epic tasting platter.

Suppaniya Eating Room: Afternoon tea is a must at this charming riverside locale, as is the home cooked pad Thai, Isan steak and Tom Yum Goong—a traditional hot and sour soup simmered and served to spicy perfection.

Eathai: Thailand’s version of Eataly, Eathai offers a variety of local street food vendors and restaurants on the ground floor of a Central Embassy shopping mall.

Silom Village: Set in the Silom Village complex, featuring nightly performances, this Thai dinner theater has been a BKK mainstay for years.

Yaowarat Street (Chinatown): Bangkok’s Chinatown, known locally as Yaowarat, is an absolute must for foodies and intrepid eaters alike. There’s a steady mix of culinary influences; get the dim sum, Peking duck, and freshly grilled seafood.

3 Trips You Need to Take in Your 20’s

Nightlife

Bangkok has a reputation for being an all-night party town. From mega clubs and cabaret to a stroll down Khao San Road, these are a few standout spots for adrenaline seekers and party-goers alike.

Beer Belly: Tonglor Soi (street) is BKK’s unofficial party spot featuring two of the city’s best beer bars. The first is Beer Belly, which has jenga, beer pong and more than 20 beers on tap. Around the corner you’ll find Atomic Bangkok—a giant beer pong bar that hosts nightly tournaments and casual table games.

Teens of Thailand: Set along Soi Nana in Chinatown, TOT is a cozy gin-based cocktail bar serving good drinks and fresh beats to Thai hipsters and expats alike. Hot tip: If you want to keep the party going late-night, head directly next door to 23 Bar & Gallery where a local DJ spins some classic hits and Leos and Changs are $2 all night long.

Tep Bar: Another hidden gem set along Soi Nana, this local speakeasy can be tough to find if you don’t look closely. Once inside, you’ll be transported to a bygone era for their decadent tapas-style bites and selection of Thai-infused herbal liqueurs, rums, and whiskey drinks.

Maggie Choo’s: Set on Silom Road and inspired by 1950’s Shanghai nights, Maggie Choo’s is Bangkok’s perennially popular party spot offering swanky drinks and décor.

Alfresco 64: Alfresco 64 is the highest outdoor whisky bar in the world offering connoisseurs and jetsetters the ultimate whisky drinking experience up on the 64th floor of the Tower Club at Lebua.

Khao San Road: Backpackers have been flocking to Bangkok’s Khao San Road for years in search of cheap drinks and cheaper thrills. If you really want to see the street in action, make sure you head here late at night when street vendors and bars are in full swing.

Calypso Cabaret: Calypso is a Vegas-style Cabaret show featuring an eclectic mix of beautifully adorned lady boys singing everything from Elvis and En Vogue to Hava Nagila.

Indonesia’s Anambas Archipelago Is the Desert Island Fantasy of Your Dreams

Day Trips from Bangkok

Hua Hin

Considered to be Bangkok’s version of the Hamptons, Hua Hin is a chic beach resort town featuring dozens of trendy restaurants and beachside hotels, including Baba Beach Club (the Bangkokian version of Surf Lodge.) Accessible by car or train, it can take around three hours (depending on traffic) to get here, so plan accordingly. There are no shortage of beautiful places to stop along the way, including Tham Khao Luang, a Buddhist temple and cave with friendly wat monkeys just waiting to be fed.

https://askfitness.today/beer-pong-river-boats-and-barbecue-the-4-day-weekend-in-bangkok/

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Bayern Munich v Actual Madrid

Bayern Munich v Actual Madrid

Bayern Munich v Actual Madrid

Bayern Munich defender David Alaba will face a late health check following a thigh damage

BBC protection

How one can comply with:

Hear on BBC Radio 5 dwell and BBC native radio; textual content commentary on the BBC Sport web site

Bayern Munich defender David Alaba will face a late health earlier than the primary leg of their Champions League semi-final towards Actual Madrid on the Allianz Area.

Alaba sat out Bayern’s last coaching session on Tuesday with a thigh pressure, however coach Jupp Heynckes says a choice will likely be made early on Wednesday as as to whether he will likely be within the squad.

Midfielder Corentin Tolisso can be a doubt whereas Brazilian defender Rafinha is more likely to change Alaba if he fails to make the squad.

On-loan Actual Madrid midfielder James Rodriguez may begin after getting used in its place within the 3-Zero victory over Hannover on Saturday.

Madrid haven’t any recent damage considerations.

MATCH PREVIEW

Bayern Munich coach Heynckes helped re-establish Actual Madrid’s status as kings of Europe by successful the Champions League in 1998 after a 32-year drought.

However his recollections weren’t fond ones as he was sacked eight days later when his facet completed fourth within the league throughout his single season in cost.

Now Heynckes’ former membership stand in the way in which of his bid to grow to be solely the third coach alongside Carlo Ancelotti and Bob Paisley to win Europe’s greatest prize 3 times.

Bayern, who’ve already received the Budesliga title and the German Cup, are hoping to finish the treble in Heynckes’ fourth spell in cost.

However this time Bayern are the underdogs as 12-time champions Actual Madrid wish to win their third successive Champions League trophy beneath Zinedine Zidane.

“You must look again to final October,” stated Heynckes. “We didn’t assume we have been going to be champions with 5 video games to spare and to be semi-finalists (in Europe).”

“These are two groups with an excellent custom in European soccer, who play and love enticing soccer.

“It is a tough draw for each side,” he added.

Cristiano Ronaldo scored a late penalty to win the quarter-final second leg towards Juventus

The Bayern coach additionally performed down the specter of Actual Madrid high scorer Cristiano Ronaldo, who has scored in all 10 of their European matches this season – taking his tally to 42 objectives in all competitions.

He scored 5 objectives over two legs in Madrid’s 6-Three mixture win over Bayern within the 2017 quarter-finals.

“After all, he is a giant subject for us within the recreation evaluation,” stated Heynckes.

“However remember we have now Robert Lewandowski, who has scored 39 objectives. So you must ask, how are you going to cease Lewandowski?

“There are world-class gamers on each side.”

Madrid coach Zidane stated his facet have been going “to assume positively” regardless of coming beneath criticism in current weeks for lacking quite a few clear goalscoring possibilities.

“I am not nervous,” stated Zidane. “It is true that within the final two video games we have now had possibilities and we have now not taken them however now we’re going to have a recreation on Wednesday away from residence.

“We’re going to attempt to rating and realise that that is soccer something can occur, irrespective of who’s enjoying on the pitch.”

Evaluation

German soccer author Raphael Honigstein on the BBC Radio 5 dwell’s Euro Leagues Soccer Present

“Actual Madrid are favourites, I feel it is a 60-40 scenario. However Bayern will take a look at the opposite semi-finalists and assume ‘they’re all there as a result of they upset the percentages alongside the way in which. Why cannot we do it?’

“I feel James Rodriguez will play – he did not begin on the weekend at Hannover which I feel was a transparent indication he’ll begin.

“Bayern have proven little or no of the fluidity and out-of-this-world soccer we have grow to be accustomed to on this spell however they’ve nearly grow to be the Bayern of outdated – they in some way discover a approach of successful video games.

“The mindset has modified and grow to be extra environment friendly and within the second. They do not dominate video games just like the unbelievable soccer of Guardiola, however they’re simply nearly as good if not higher at making probably the most out of the important thing moments.

“They are going to take some perception from what Juventus have performed. Heynckes won’t ever go all out. He’ll say ‘let’s hold it actually tight and never concede if doable.”

Former Actual Madrid boss Jupp Heynckes (left) may grow to be the oldest supervisor to win the Champions League, at 72

MATCH FACTS

Bayern Munich and Actual Madrid will meet for the 25th time within the European Cup/Champions League – it’s already a file for the most typical fixture within the event. Both sides has received 11 of their conferences.

This would be the third time since 2011-12 that Bayern Munich and Actual Madrid have confronted one another within the Champions League semi-finals, with the Germans progressing in 2011-12 and the Spaniards in 2013-14.

Bayern Munich have misplaced every of their final 5 video games towards Actual Madrid within the Champions League, with all 5 of these coming within the knockout rounds (three within the semi-finals and two within the quarter-finals).

Bayern’s run of 5 consecutive Champions League defeats towards Los Blancos is their worst dropping run towards an opponent in competitors historical past.

Jupp Heynckes has received 14 of his 16 residence video games on the Allianz Area within the Champions League (D1 L1), with Bayern scoring 48 objectives and conceding simply 10 in return.

Of managers to have taken cost of a minimum of 20 video games within the Champions League, this match options two of the highest three managers when it comes to win proportion – Jupp Heynckes (71%) and Zinedine Zidane (67%). Solely Luis Enrique (73%) has the next win ratio within the competitors.

Cristiano Ronaldo has netted a minimum of one objective in every of his final 11 video games within the Champions League (17 in whole); the longest scoring streak in competitors historical past.

The 33-year-old has scored 9 objectives towards Bayern Munich within the Champions League – the one participant to have netted extra objectives towards a single opponent within the competitors is Ronaldo himself, scoring 10 v Juventus.

This recreation will characteristic the 2 high scorers in Champions League semi-finals historical past – Cristiano Ronaldo has netted 13 objectives at this stage, whereas Robert Lewandowski has scored six occasions.

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American photographer’s debt of honor to Vietnam

Marketing Advisor đã viết bài trên http://www.ticvietnam.vn/american-photographers-debt-of-honor-to-vietnam-60/

American photographer’s debt of honor to Vietnam

Long-time resident Justin Mott cannot thank Vietnam enough for welcoming him and showing kindness, and is now showcasing its splendors to the world.

Justin Mott is an American commercial photographer based in Vietnam. He is also a travel photographer and the resident professional photographer for Photo Face-Off, a photography reality TV show broadcast on the U.S’ History channel.

His photos have been published on National Geographic magazine and the website of Hasselbald, the Swedish digital medium format camera manufacturer.

Mott is now working on a personal project, “As above so below”, which aims to showcase the beauty of Vietnam’s nature and people to the world.

This is his way of saying thanks to the country that has shaped his life.

On the street during Hanoi’s 1000 years anniversary.

The road to Vietnam

At 21 Mott moved to San Francisco from his hometown, Rhode Island. The excitement of traveling, moving to a city and having new experiences sparked a passion for travel in the young man.

He enrolled for a class in photography during his time there. This gave him an opportunity to further explore the city, meeting new people and experiencing a different culture. Photography became the passion of his life.

Mott said: “I get to travel and meet new people all the time. Thirteen years later I still enjoy it just as much as I used to.”

Travel is a way for him to never “grow up” and get to know and photograph people. It enables him to constantly learn, to explore and experience new things; it gives him freedom.

“I loved the feeling when I just moved there (San Francisco). And I wanted that again. I got it when I moved to Vietnam. It was even more exciting, newer because it was a different culture, different people, a whole different country.”

His first project in Vietnam was about Nu, a victim of Agent Orange. Saddened by the images captured by Welsh photojournalist Phillip Jones Griffiths of the aftermath of Agent Orange in Vietnam, he set out to investigate for himself.

That was the start of his long journey in Vietnam.

Ladies playing volleyball after work. 

During his early days in the new country he was greatly helped by Thuy, an English teacher. He recalls how Thuy invited him for dinner at her house the night they met.

She was the one who helped him find his first home, buy his first motorbike. She also assisted him on his project, communicating with Nu.

Mott’s interaction with Thuy, with whom he still has a bond 13 years later, showed him how welcoming and friendly Vietnamese were. It played a big part in his decision to remain in the country.

“She’s like my Vietnamese mother… She was the first person to make me feel welcome in Vietnam. I think without her, I probably wouldn’t have stayed.”

Since then he has been living in Vietnam, doing various kinds of photography: commercial, wedding photo shoots, photojournalism…

As Above So Below: a tribute to Vietnam

Though Mott does enjoy his commercial work, it is no longer fulfilling. The work is always done for someone else, meaning it feels like it is never from his heart. Now, at the age of 40, he wants to create his own legacy, something that he will be known and remembered for, something that represents who he truly is.

“I started my career with a personal project about Agent Orange. And since then I’ve turned it into work, commercial work. Just working, making a living and trying to get by…

“Now I’ve been here for so long, I have nothing to show. I have my work but I have nothing that is truly me.”

He feels he owes a debt of gratitude to the country that has welcomed him in and let him build his life and career and a debt to himself creatively. The As Above So Below project combines both his passions in life: photography as a means of self-expression and Vietnam.

“So I think, ‘what should I do? What should the story be? Should it be somewhere else?’ But I thought ‘no, it has to be Vietnam. This is my home, I owe this country… I moved here, I’ve lived here, I’ve met people, people let me in their homes to photograph their grandmother, their kids. It has been such a welcoming country.’”

Through the project, Mott wants to showcase the diverse beauty of the landscapes, people and culture of Vietnam. He expects it to take three or four years to complete, but has not set a time limit for it.

Since it is all about expressing who he really is, he’s determined to capture the pure and real beauty of everyday life without or with minimal setting up.

“I’ve always done it quick, but this project is for me. Slow down and wait for the light to be how I want it to be. Slow down, work on portrait works and all of these different areas of photography. Slow down, think, write and capture the way I want.”

Mott has opted for diptych-style photos, presenting two together, to tell the stories of Vietnam. As the style suggests, one picture will be an aerial photo, showcasing the landscape from above, and the other will capture what exists below on the ground.

The idea is to show the connection between people and the environment around them.

“Sometimes, the connection could just be the composition of the field, it could be as simple as this is where people work… or this is where they play on this land, this is their home.

“Sometimes it’s (because) I love the pattern here and I want to find something with a pattern that matches below. For example, the riverbed and the wrinkles of the rippled water and I connect that to a wrinkled face of someone old who lives off that land.”

Another reason why he chose diptychs for his project is because it was a unique style and something he had not done before.

At the same time Mott wants to engage with audiences, make them think about how the photos are connected to each other.

Helping him with his project is a Vietnamese drone pilot, Nam. Mott directs what he wants in the picture and Nam flies the drone and looks at locations. Mott thinks it’s a great thing to have an American-Vietnamese collaboration like this.

Both men want the project to be a tribute to a dear mutual friend, Khanh, who died of cancer. He hopes that somehow this project will also be a legacy for Khanh and that Khanh’s daughter, who lost her father when she was just a few months old, can appreciate it.

“Khanh was on all of my Vietnam adventures with me. And he helped Nam get the drone working. He connected the two of us. Without Khanh, I wouldn’t know anything about aerial… I hope his daughter, when she grows up, will get to see and appreciate this, and remember her father and something special about him.”

Mott said when the project is complete he will give the Vietnamese the right to use his images for whatever they want for free if it is for the purpose of promoting the country.

High hopes, big ambitions

A farmer spreads out peppercorns to dry in the hot sun at a plantation on Phu Quoc island, southern Vietnam. 

Though not finished yet, As Above So Below has already achieved recognition. One of its photos, an aerial shot of a farmer drying peppercorn, was chosen as the editor’s favorite submission of the week in National Geographic’s 2018 Travel Photographer of The Year Contest.

Mott hopes the project will be good enough for exhibiting not just in Vietnam but around the world. He wants to create something that will “make this country proud.” He will love for it to be made into a book as well.

“I have high hopes… I want people to look at the book and say ‘Oh, I want to go to Vietnam.’ I want them to have it on their coffee table and really appreciate the beauty of Vietnam. It’s not to celebrate me. It’s to celebrate this country.”

Since he has been living in Vietnam for a long time, he hopes to be named Tourism Ambassador for the country.

“I love selling this country to people… to come here and to invest, to appreciate Vietnam.”

Vietnam’s tourism has been developing at a rapid pace in the last few years, and he thinks the country’s image has also changed.

In the past people always associated Vietnam with devastation caused by war, but now they think it is a country they want to go to and is safe, he said.

They are no longer going to just popular destinations like Hanoi, Ho Chi Minh City, Ha Long Bay, and Sapa, but also to remote places to explore the true beauty of the country.

Food is another reason Mott thinks Vietnam is attracting visitors.

“People have gone crazy about the food. Now the world has grown an appreciation for Vietnamese food. Earlier people might have just known spring rolls, now (they) know bun cha, pho… It’s become a global cuisine.”

Mott is proud that his work in the past, especially travel photo shoots, is helping spread the images of Vietnam to the world and making people want to explore the country. But he wants to do more.

“I owe Vietnam something. I want to be remembered as this photographer who understood Vietnam the best he could – the best an American could.”

Story by Kieu Duong, Linh Nguyen

Photos by Justin Mott

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[marketingadvisorvietnam]

American photographer’s debt of honor to Vietnam

Marketing Advisor đã viết bài trên http://www.ticvietnam.vn/american-photographers-debt-of-honor-to-vietnam-59/

American photographer’s debt of honor to Vietnam

Long-time resident Justin Mott cannot thank Vietnam enough for welcoming him and showing kindness, and is now showcasing its splendors to the world.

Justin Mott is an American commercial photographer based in Vietnam. He is also a travel photographer and the resident professional photographer for Photo Face-Off, a photography reality TV show broadcast on the U.S’ History channel.

His photos have been published on National Geographic magazine and the website of Hasselbald, the Swedish digital medium format camera manufacturer.

Mott is now working on a personal project, “As above so below”, which aims to showcase the beauty of Vietnam’s nature and people to the world.

This is his way of saying thanks to the country that has shaped his life.

On the street during Hanoi’s 1000 years anniversary.

The road to Vietnam

At 21 Mott moved to San Francisco from his hometown, Rhode Island. The excitement of traveling, moving to a city and having new experiences sparked a passion for travel in the young man.

He enrolled for a class in photography during his time there. This gave him an opportunity to further explore the city, meeting new people and experiencing a different culture. Photography became the passion of his life.

Mott said: “I get to travel and meet new people all the time. Thirteen years later I still enjoy it just as much as I used to.”

Travel is a way for him to never “grow up” and get to know and photograph people. It enables him to constantly learn, to explore and experience new things; it gives him freedom.

“I loved the feeling when I just moved there (San Francisco). And I wanted that again. I got it when I moved to Vietnam. It was even more exciting, newer because it was a different culture, different people, a whole different country.”

His first project in Vietnam was about Nu, a victim of Agent Orange. Saddened by the images captured by Welsh photojournalist Phillip Jones Griffiths of the aftermath of Agent Orange in Vietnam, he set out to investigate for himself.

That was the start of his long journey in Vietnam.

Ladies playing volleyball after work. 

During his early days in the new country he was greatly helped by Thuy, an English teacher. He recalls how Thuy invited him for dinner at her house the night they met.

She was the one who helped him find his first home, buy his first motorbike. She also assisted him on his project, communicating with Nu.

Mott’s interaction with Thuy, with whom he still has a bond 13 years later, showed him how welcoming and friendly Vietnamese were. It played a big part in his decision to remain in the country.

“She’s like my Vietnamese mother… She was the first person to make me feel welcome in Vietnam. I think without her, I probably wouldn’t have stayed.”

Since then he has been living in Vietnam, doing various kinds of photography: commercial, wedding photo shoots, photojournalism…

As Above So Below: a tribute to Vietnam

Though Mott does enjoy his commercial work, it is no longer fulfilling. The work is always done for someone else, meaning it feels like it is never from his heart. Now, at the age of 40, he wants to create his own legacy, something that he will be known and remembered for, something that represents who he truly is.

“I started my career with a personal project about Agent Orange. And since then I’ve turned it into work, commercial work. Just working, making a living and trying to get by…

“Now I’ve been here for so long, I have nothing to show. I have my work but I have nothing that is truly me.”

He feels he owes a debt of gratitude to the country that has welcomed him in and let him build his life and career and a debt to himself creatively. The As Above So Below project combines both his passions in life: photography as a means of self-expression and Vietnam.

“So I think, ‘what should I do? What should the story be? Should it be somewhere else?’ But I thought ‘no, it has to be Vietnam. This is my home, I owe this country… I moved here, I’ve lived here, I’ve met people, people let me in their homes to photograph their grandmother, their kids. It has been such a welcoming country.’”

Through the project, Mott wants to showcase the diverse beauty of the landscapes, people and culture of Vietnam. He expects it to take three or four years to complete, but has not set a time limit for it.

Since it is all about expressing who he really is, he’s determined to capture the pure and real beauty of everyday life without or with minimal setting up.

“I’ve always done it quick, but this project is for me. Slow down and wait for the light to be how I want it to be. Slow down, work on portrait works and all of these different areas of photography. Slow down, think, write and capture the way I want.”

Mott has opted for diptych-style photos, presenting two together, to tell the stories of Vietnam. As the style suggests, one picture will be an aerial photo, showcasing the landscape from above, and the other will capture what exists below on the ground.

The idea is to show the connection between people and the environment around them.

“Sometimes, the connection could just be the composition of the field, it could be as simple as this is where people work… or this is where they play on this land, this is their home.

“Sometimes it’s (because) I love the pattern here and I want to find something with a pattern that matches below. For example, the riverbed and the wrinkles of the rippled water and I connect that to a wrinkled face of someone old who lives off that land.”

Another reason why he chose diptychs for his project is because it was a unique style and something he had not done before.

At the same time Mott wants to engage with audiences, make them think about how the photos are connected to each other.

Helping him with his project is a Vietnamese drone pilot, Nam. Mott directs what he wants in the picture and Nam flies the drone and looks at locations. Mott thinks it’s a great thing to have an American-Vietnamese collaboration like this.

Both men want the project to be a tribute to a dear mutual friend, Khanh, who died of cancer. He hopes that somehow this project will also be a legacy for Khanh and that Khanh’s daughter, who lost her father when she was just a few months old, can appreciate it.

“Khanh was on all of my Vietnam adventures with me. And he helped Nam get the drone working. He connected the two of us. Without Khanh, I wouldn’t know anything about aerial… I hope his daughter, when she grows up, will get to see and appreciate this, and remember her father and something special about him.”

Mott said when the project is complete he will give the Vietnamese the right to use his images for whatever they want for free if it is for the purpose of promoting the country.

High hopes, big ambitions

A farmer spreads out peppercorns to dry in the hot sun at a plantation on Phu Quoc island, southern Vietnam. 

Though not finished yet, As Above So Below has already achieved recognition. One of its photos, an aerial shot of a farmer drying peppercorn, was chosen as the editor’s favorite submission of the week in National Geographic’s 2018 Travel Photographer of The Year Contest.

Mott hopes the project will be good enough for exhibiting not just in Vietnam but around the world. He wants to create something that will “make this country proud.” He will love for it to be made into a book as well.

“I have high hopes… I want people to look at the book and say ‘Oh, I want to go to Vietnam.’ I want them to have it on their coffee table and really appreciate the beauty of Vietnam. It’s not to celebrate me. It’s to celebrate this country.”

Since he has been living in Vietnam for a long time, he hopes to be named Tourism Ambassador for the country.

“I love selling this country to people… to come here and to invest, to appreciate Vietnam.”

Vietnam’s tourism has been developing at a rapid pace in the last few years, and he thinks the country’s image has also changed.

In the past people always associated Vietnam with devastation caused by war, but now they think it is a country they want to go to and is safe, he said.

They are no longer going to just popular destinations like Hanoi, Ho Chi Minh City, Ha Long Bay, and Sapa, but also to remote places to explore the true beauty of the country.

Food is another reason Mott thinks Vietnam is attracting visitors.

“People have gone crazy about the food. Now the world has grown an appreciation for Vietnamese food. Earlier people might have just known spring rolls, now (they) know bun cha, pho… It’s become a global cuisine.”

Mott is proud that his work in the past, especially travel photo shoots, is helping spread the images of Vietnam to the world and making people want to explore the country. But he wants to do more.

“I owe Vietnam something. I want to be remembered as this photographer who understood Vietnam the best he could – the best an American could.”

Story by Kieu Duong, Linh Nguyen

Photos by Justin Mott

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[marketingadvisorvietnam]

American photographer’s debt of honor to Vietnam

Marketing Advisor đã viết bài trên http://www.ticvietnam.vn/american-photographers-debt-of-honor-to-vietnam-57/

American photographer’s debt of honor to Vietnam

Long-time resident Justin Mott cannot thank Vietnam enough for welcoming him and showing kindness, and is now showcasing its splendors to the world.

Justin Mott is an American commercial photographer based in Vietnam. He is also a travel photographer and the resident professional photographer for Photo Face-Off, a photography reality TV show broadcast on the U.S’ History channel.

His photos have been published on National Geographic magazine and the website of Hasselbald, the Swedish digital medium format camera manufacturer.

Mott is now working on a personal project, “As above so below”, which aims to showcase the beauty of Vietnam’s nature and people to the world.

This is his way of saying thanks to the country that has shaped his life.

On the street during Hanoi’s 1000 years anniversary.

The road to Vietnam

At 21 Mott moved to San Francisco from his hometown, Rhode Island. The excitement of traveling, moving to a city and having new experiences sparked a passion for travel in the young man.

He enrolled for a class in photography during his time there. This gave him an opportunity to further explore the city, meeting new people and experiencing a different culture. Photography became the passion of his life.

Mott said: “I get to travel and meet new people all the time. Thirteen years later I still enjoy it just as much as I used to.”

Travel is a way for him to never “grow up” and get to know and photograph people. It enables him to constantly learn, to explore and experience new things; it gives him freedom.

“I loved the feeling when I just moved there (San Francisco). And I wanted that again. I got it when I moved to Vietnam. It was even more exciting, newer because it was a different culture, different people, a whole different country.”

His first project in Vietnam was about Nu, a victim of Agent Orange. Saddened by the images captured by Welsh photojournalist Phillip Jones Griffiths of the aftermath of Agent Orange in Vietnam, he set out to investigate for himself.

That was the start of his long journey in Vietnam.

Ladies playing volleyball after work. 

During his early days in the new country he was greatly helped by Thuy, an English teacher. He recalls how Thuy invited him for dinner at her house the night they met.

She was the one who helped him find his first home, buy his first motorbike. She also assisted him on his project, communicating with Nu.

Mott’s interaction with Thuy, with whom he still has a bond 13 years later, showed him how welcoming and friendly Vietnamese were. It played a big part in his decision to remain in the country.

“She’s like my Vietnamese mother… She was the first person to make me feel welcome in Vietnam. I think without her, I probably wouldn’t have stayed.”

Since then he has been living in Vietnam, doing various kinds of photography: commercial, wedding photo shoots, photojournalism…

As Above So Below: a tribute to Vietnam

Though Mott does enjoy his commercial work, it is no longer fulfilling. The work is always done for someone else, meaning it feels like it is never from his heart. Now, at the age of 40, he wants to create his own legacy, something that he will be known and remembered for, something that represents who he truly is.

“I started my career with a personal project about Agent Orange. And since then I’ve turned it into work, commercial work. Just working, making a living and trying to get by…

“Now I’ve been here for so long, I have nothing to show. I have my work but I have nothing that is truly me.”

He feels he owes a debt of gratitude to the country that has welcomed him in and let him build his life and career and a debt to himself creatively. The As Above So Below project combines both his passions in life: photography as a means of self-expression and Vietnam.

“So I think, ‘what should I do? What should the story be? Should it be somewhere else?’ But I thought ‘no, it has to be Vietnam. This is my home, I owe this country… I moved here, I’ve lived here, I’ve met people, people let me in their homes to photograph their grandmother, their kids. It has been such a welcoming country.’”

Through the project, Mott wants to showcase the diverse beauty of the landscapes, people and culture of Vietnam. He expects it to take three or four years to complete, but has not set a time limit for it.

Since it is all about expressing who he really is, he’s determined to capture the pure and real beauty of everyday life without or with minimal setting up.

“I’ve always done it quick, but this project is for me. Slow down and wait for the light to be how I want it to be. Slow down, work on portrait works and all of these different areas of photography. Slow down, think, write and capture the way I want.”

Mott has opted for diptych-style photos, presenting two together, to tell the stories of Vietnam. As the style suggests, one picture will be an aerial photo, showcasing the landscape from above, and the other will capture what exists below on the ground.

The idea is to show the connection between people and the environment around them.

“Sometimes, the connection could just be the composition of the field, it could be as simple as this is where people work… or this is where they play on this land, this is their home.

“Sometimes it’s (because) I love the pattern here and I want to find something with a pattern that matches below. For example, the riverbed and the wrinkles of the rippled water and I connect that to a wrinkled face of someone old who lives off that land.”

Another reason why he chose diptychs for his project is because it was a unique style and something he had not done before.

At the same time Mott wants to engage with audiences, make them think about how the photos are connected to each other.

Helping him with his project is a Vietnamese drone pilot, Nam. Mott directs what he wants in the picture and Nam flies the drone and looks at locations. Mott thinks it’s a great thing to have an American-Vietnamese collaboration like this.

Both men want the project to be a tribute to a dear mutual friend, Khanh, who died of cancer. He hopes that somehow this project will also be a legacy for Khanh and that Khanh’s daughter, who lost her father when she was just a few months old, can appreciate it.

“Khanh was on all of my Vietnam adventures with me. And he helped Nam get the drone working. He connected the two of us. Without Khanh, I wouldn’t know anything about aerial… I hope his daughter, when she grows up, will get to see and appreciate this, and remember her father and something special about him.”

Mott said when the project is complete he will give the Vietnamese the right to use his images for whatever they want for free if it is for the purpose of promoting the country.

High hopes, big ambitions

A farmer spreads out peppercorns to dry in the hot sun at a plantation on Phu Quoc island, southern Vietnam. 

Though not finished yet, As Above So Below has already achieved recognition. One of its photos, an aerial shot of a farmer drying peppercorn, was chosen as the editor’s favorite submission of the week in National Geographic’s 2018 Travel Photographer of The Year Contest.

Mott hopes the project will be good enough for exhibiting not just in Vietnam but around the world. He wants to create something that will “make this country proud.” He will love for it to be made into a book as well.

“I have high hopes… I want people to look at the book and say ‘Oh, I want to go to Vietnam.’ I want them to have it on their coffee table and really appreciate the beauty of Vietnam. It’s not to celebrate me. It’s to celebrate this country.”

Since he has been living in Vietnam for a long time, he hopes to be named Tourism Ambassador for the country.

“I love selling this country to people… to come here and to invest, to appreciate Vietnam.”

Vietnam’s tourism has been developing at a rapid pace in the last few years, and he thinks the country’s image has also changed.

In the past people always associated Vietnam with devastation caused by war, but now they think it is a country they want to go to and is safe, he said.

They are no longer going to just popular destinations like Hanoi, Ho Chi Minh City, Ha Long Bay, and Sapa, but also to remote places to explore the true beauty of the country.

Food is another reason Mott thinks Vietnam is attracting visitors.

“People have gone crazy about the food. Now the world has grown an appreciation for Vietnamese food. Earlier people might have just known spring rolls, now (they) know bun cha, pho… It’s become a global cuisine.”

Mott is proud that his work in the past, especially travel photo shoots, is helping spread the images of Vietnam to the world and making people want to explore the country. But he wants to do more.

“I owe Vietnam something. I want to be remembered as this photographer who understood Vietnam the best he could – the best an American could.”

Story by Kieu Duong, Linh Nguyen

Photos by Justin Mott

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[marketingadvisorvietnam]

American photographer’s debt of honor to Vietnam

Marketing Advisor đã viết bài trên http://www.ticvietnam.vn/american-photographers-debt-of-honor-to-vietnam-56/

American photographer’s debt of honor to Vietnam

Long-time resident Justin Mott cannot thank Vietnam enough for welcoming him and showing kindness, and is now showcasing its splendors to the world.

Justin Mott is an American commercial photographer based in Vietnam. He is also a travel photographer and the resident professional photographer for Photo Face-Off, a photography reality TV show broadcast on the U.S’ History channel.

His photos have been published on National Geographic magazine and the website of Hasselbald, the Swedish digital medium format camera manufacturer.

Mott is now working on a personal project, “As above so below”, which aims to showcase the beauty of Vietnam’s nature and people to the world.

This is his way of saying thanks to the country that has shaped his life.

On the street during Hanoi’s 1000 years anniversary.

The road to Vietnam

At 21 Mott moved to San Francisco from his hometown, Rhode Island. The excitement of traveling, moving to a city and having new experiences sparked a passion for travel in the young man.

He enrolled for a class in photography during his time there. This gave him an opportunity to further explore the city, meeting new people and experiencing a different culture. Photography became the passion of his life.

Mott said: “I get to travel and meet new people all the time. Thirteen years later I still enjoy it just as much as I used to.”

Travel is a way for him to never “grow up” and get to know and photograph people. It enables him to constantly learn, to explore and experience new things; it gives him freedom.

“I loved the feeling when I just moved there (San Francisco). And I wanted that again. I got it when I moved to Vietnam. It was even more exciting, newer because it was a different culture, different people, a whole different country.”

His first project in Vietnam was about Nu, a victim of Agent Orange. Saddened by the images captured by Welsh photojournalist Phillip Jones Griffiths of the aftermath of Agent Orange in Vietnam, he set out to investigate for himself.

That was the start of his long journey in Vietnam.

Ladies playing volleyball after work. 

During his early days in the new country he was greatly helped by Thuy, an English teacher. He recalls how Thuy invited him for dinner at her house the night they met.

She was the one who helped him find his first home, buy his first motorbike. She also assisted him on his project, communicating with Nu.

Mott’s interaction with Thuy, with whom he still has a bond 13 years later, showed him how welcoming and friendly Vietnamese were. It played a big part in his decision to remain in the country.

“She’s like my Vietnamese mother… She was the first person to make me feel welcome in Vietnam. I think without her, I probably wouldn’t have stayed.”

Since then he has been living in Vietnam, doing various kinds of photography: commercial, wedding photo shoots, photojournalism…

As Above So Below: a tribute to Vietnam

Though Mott does enjoy his commercial work, it is no longer fulfilling. The work is always done for someone else, meaning it feels like it is never from his heart. Now, at the age of 40, he wants to create his own legacy, something that he will be known and remembered for, something that represents who he truly is.

“I started my career with a personal project about Agent Orange. And since then I’ve turned it into work, commercial work. Just working, making a living and trying to get by…

“Now I’ve been here for so long, I have nothing to show. I have my work but I have nothing that is truly me.”

He feels he owes a debt of gratitude to the country that has welcomed him in and let him build his life and career and a debt to himself creatively. The As Above So Below project combines both his passions in life: photography as a means of self-expression and Vietnam.

“So I think, ‘what should I do? What should the story be? Should it be somewhere else?’ But I thought ‘no, it has to be Vietnam. This is my home, I owe this country… I moved here, I’ve lived here, I’ve met people, people let me in their homes to photograph their grandmother, their kids. It has been such a welcoming country.’”

Through the project, Mott wants to showcase the diverse beauty of the landscapes, people and culture of Vietnam. He expects it to take three or four years to complete, but has not set a time limit for it.

Since it is all about expressing who he really is, he’s determined to capture the pure and real beauty of everyday life without or with minimal setting up.

“I’ve always done it quick, but this project is for me. Slow down and wait for the light to be how I want it to be. Slow down, work on portrait works and all of these different areas of photography. Slow down, think, write and capture the way I want.”

Mott has opted for diptych-style photos, presenting two together, to tell the stories of Vietnam. As the style suggests, one picture will be an aerial photo, showcasing the landscape from above, and the other will capture what exists below on the ground.

The idea is to show the connection between people and the environment around them.

“Sometimes, the connection could just be the composition of the field, it could be as simple as this is where people work… or this is where they play on this land, this is their home.

“Sometimes it’s (because) I love the pattern here and I want to find something with a pattern that matches below. For example, the riverbed and the wrinkles of the rippled water and I connect that to a wrinkled face of someone old who lives off that land.”

Another reason why he chose diptychs for his project is because it was a unique style and something he had not done before.

At the same time Mott wants to engage with audiences, make them think about how the photos are connected to each other.

Helping him with his project is a Vietnamese drone pilot, Nam. Mott directs what he wants in the picture and Nam flies the drone and looks at locations. Mott thinks it’s a great thing to have an American-Vietnamese collaboration like this.

Both men want the project to be a tribute to a dear mutual friend, Khanh, who died of cancer. He hopes that somehow this project will also be a legacy for Khanh and that Khanh’s daughter, who lost her father when she was just a few months old, can appreciate it.

“Khanh was on all of my Vietnam adventures with me. And he helped Nam get the drone working. He connected the two of us. Without Khanh, I wouldn’t know anything about aerial… I hope his daughter, when she grows up, will get to see and appreciate this, and remember her father and something special about him.”

Mott said when the project is complete he will give the Vietnamese the right to use his images for whatever they want for free if it is for the purpose of promoting the country.

High hopes, big ambitions

A farmer spreads out peppercorns to dry in the hot sun at a plantation on Phu Quoc island, southern Vietnam. 

Though not finished yet, As Above So Below has already achieved recognition. One of its photos, an aerial shot of a farmer drying peppercorn, was chosen as the editor’s favorite submission of the week in National Geographic’s 2018 Travel Photographer of The Year Contest.

Mott hopes the project will be good enough for exhibiting not just in Vietnam but around the world. He wants to create something that will “make this country proud.” He will love for it to be made into a book as well.

“I have high hopes… I want people to look at the book and say ‘Oh, I want to go to Vietnam.’ I want them to have it on their coffee table and really appreciate the beauty of Vietnam. It’s not to celebrate me. It’s to celebrate this country.”

Since he has been living in Vietnam for a long time, he hopes to be named Tourism Ambassador for the country.

“I love selling this country to people… to come here and to invest, to appreciate Vietnam.”

Vietnam’s tourism has been developing at a rapid pace in the last few years, and he thinks the country’s image has also changed.

In the past people always associated Vietnam with devastation caused by war, but now they think it is a country they want to go to and is safe, he said.

They are no longer going to just popular destinations like Hanoi, Ho Chi Minh City, Ha Long Bay, and Sapa, but also to remote places to explore the true beauty of the country.

Food is another reason Mott thinks Vietnam is attracting visitors.

“People have gone crazy about the food. Now the world has grown an appreciation for Vietnamese food. Earlier people might have just known spring rolls, now (they) know bun cha, pho… It’s become a global cuisine.”

Mott is proud that his work in the past, especially travel photo shoots, is helping spread the images of Vietnam to the world and making people want to explore the country. But he wants to do more.

“I owe Vietnam something. I want to be remembered as this photographer who understood Vietnam the best he could – the best an American could.”

Story by Kieu Duong, Linh Nguyen

Photos by Justin Mott

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[marketingadvisorvietnam]

American photographer’s debt of honor to Vietnam

Marketing Advisor đã viết bài trên http://www.ticvietnam.vn/american-photographers-debt-of-honor-to-vietnam-54/

American photographer’s debt of honor to Vietnam

Long-time resident Justin Mott cannot thank Vietnam enough for welcoming him and showing kindness, and is now showcasing its splendors to the world.

Justin Mott is an American commercial photographer based in Vietnam. He is also a travel photographer and the resident professional photographer for Photo Face-Off, a photography reality TV show broadcast on the U.S’ History channel.

His photos have been published on National Geographic magazine and the website of Hasselbald, the Swedish digital medium format camera manufacturer.

Mott is now working on a personal project, “As above so below”, which aims to showcase the beauty of Vietnam’s nature and people to the world.

This is his way of saying thanks to the country that has shaped his life.

On the street during Hanoi’s 1000 years anniversary.

The road to Vietnam

At 21 Mott moved to San Francisco from his hometown, Rhode Island. The excitement of traveling, moving to a city and having new experiences sparked a passion for travel in the young man.

He enrolled for a class in photography during his time there. This gave him an opportunity to further explore the city, meeting new people and experiencing a different culture. Photography became the passion of his life.

Mott said: “I get to travel and meet new people all the time. Thirteen years later I still enjoy it just as much as I used to.”

Travel is a way for him to never “grow up” and get to know and photograph people. It enables him to constantly learn, to explore and experience new things; it gives him freedom.

“I loved the feeling when I just moved there (San Francisco). And I wanted that again. I got it when I moved to Vietnam. It was even more exciting, newer because it was a different culture, different people, a whole different country.”

His first project in Vietnam was about Nu, a victim of Agent Orange. Saddened by the images captured by Welsh photojournalist Phillip Jones Griffiths of the aftermath of Agent Orange in Vietnam, he set out to investigate for himself.

That was the start of his long journey in Vietnam.

Ladies playing volleyball after work. 

During his early days in the new country he was greatly helped by Thuy, an English teacher. He recalls how Thuy invited him for dinner at her house the night they met.

She was the one who helped him find his first home, buy his first motorbike. She also assisted him on his project, communicating with Nu.

Mott’s interaction with Thuy, with whom he still has a bond 13 years later, showed him how welcoming and friendly Vietnamese were. It played a big part in his decision to remain in the country.

“She’s like my Vietnamese mother… She was the first person to make me feel welcome in Vietnam. I think without her, I probably wouldn’t have stayed.”

Since then he has been living in Vietnam, doing various kinds of photography: commercial, wedding photo shoots, photojournalism…

As Above So Below: a tribute to Vietnam

Though Mott does enjoy his commercial work, it is no longer fulfilling. The work is always done for someone else, meaning it feels like it is never from his heart. Now, at the age of 40, he wants to create his own legacy, something that he will be known and remembered for, something that represents who he truly is.

“I started my career with a personal project about Agent Orange. And since then I’ve turned it into work, commercial work. Just working, making a living and trying to get by…

“Now I’ve been here for so long, I have nothing to show. I have my work but I have nothing that is truly me.”

He feels he owes a debt of gratitude to the country that has welcomed him in and let him build his life and career and a debt to himself creatively. The As Above So Below project combines both his passions in life: photography as a means of self-expression and Vietnam.

“So I think, ‘what should I do? What should the story be? Should it be somewhere else?’ But I thought ‘no, it has to be Vietnam. This is my home, I owe this country… I moved here, I’ve lived here, I’ve met people, people let me in their homes to photograph their grandmother, their kids. It has been such a welcoming country.’”

Through the project, Mott wants to showcase the diverse beauty of the landscapes, people and culture of Vietnam. He expects it to take three or four years to complete, but has not set a time limit for it.

Since it is all about expressing who he really is, he’s determined to capture the pure and real beauty of everyday life without or with minimal setting up.

“I’ve always done it quick, but this project is for me. Slow down and wait for the light to be how I want it to be. Slow down, work on portrait works and all of these different areas of photography. Slow down, think, write and capture the way I want.”

Mott has opted for diptych-style photos, presenting two together, to tell the stories of Vietnam. As the style suggests, one picture will be an aerial photo, showcasing the landscape from above, and the other will capture what exists below on the ground.

The idea is to show the connection between people and the environment around them.

“Sometimes, the connection could just be the composition of the field, it could be as simple as this is where people work… or this is where they play on this land, this is their home.

“Sometimes it’s (because) I love the pattern here and I want to find something with a pattern that matches below. For example, the riverbed and the wrinkles of the rippled water and I connect that to a wrinkled face of someone old who lives off that land.”

Another reason why he chose diptychs for his project is because it was a unique style and something he had not done before.

At the same time Mott wants to engage with audiences, make them think about how the photos are connected to each other.

Helping him with his project is a Vietnamese drone pilot, Nam. Mott directs what he wants in the picture and Nam flies the drone and looks at locations. Mott thinks it’s a great thing to have an American-Vietnamese collaboration like this.

Both men want the project to be a tribute to a dear mutual friend, Khanh, who died of cancer. He hopes that somehow this project will also be a legacy for Khanh and that Khanh’s daughter, who lost her father when she was just a few months old, can appreciate it.

“Khanh was on all of my Vietnam adventures with me. And he helped Nam get the drone working. He connected the two of us. Without Khanh, I wouldn’t know anything about aerial… I hope his daughter, when she grows up, will get to see and appreciate this, and remember her father and something special about him.”

Mott said when the project is complete he will give the Vietnamese the right to use his images for whatever they want for free if it is for the purpose of promoting the country.

High hopes, big ambitions

A farmer spreads out peppercorns to dry in the hot sun at a plantation on Phu Quoc island, southern Vietnam. 

Though not finished yet, As Above So Below has already achieved recognition. One of its photos, an aerial shot of a farmer drying peppercorn, was chosen as the editor’s favorite submission of the week in National Geographic’s 2018 Travel Photographer of The Year Contest.

Mott hopes the project will be good enough for exhibiting not just in Vietnam but around the world. He wants to create something that will “make this country proud.” He will love for it to be made into a book as well.

“I have high hopes… I want people to look at the book and say ‘Oh, I want to go to Vietnam.’ I want them to have it on their coffee table and really appreciate the beauty of Vietnam. It’s not to celebrate me. It’s to celebrate this country.”

Since he has been living in Vietnam for a long time, he hopes to be named Tourism Ambassador for the country.

“I love selling this country to people… to come here and to invest, to appreciate Vietnam.”

Vietnam’s tourism has been developing at a rapid pace in the last few years, and he thinks the country’s image has also changed.

In the past people always associated Vietnam with devastation caused by war, but now they think it is a country they want to go to and is safe, he said.

They are no longer going to just popular destinations like Hanoi, Ho Chi Minh City, Ha Long Bay, and Sapa, but also to remote places to explore the true beauty of the country.

Food is another reason Mott thinks Vietnam is attracting visitors.

“People have gone crazy about the food. Now the world has grown an appreciation for Vietnamese food. Earlier people might have just known spring rolls, now (they) know bun cha, pho… It’s become a global cuisine.”

Mott is proud that his work in the past, especially travel photo shoots, is helping spread the images of Vietnam to the world and making people want to explore the country. But he wants to do more.

“I owe Vietnam something. I want to be remembered as this photographer who understood Vietnam the best he could – the best an American could.”

Story by Kieu Duong, Linh Nguyen

Photos by Justin Mott

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[marketingadvisorvietnam]

American photographer’s debt of honor to Vietnam

Marketing Advisor đã viết bài trên http://www.ticvietnam.vn/american-photographers-debt-of-honor-to-vietnam-54/

American photographer’s debt of honor to Vietnam

Long-time resident Justin Mott cannot thank Vietnam enough for welcoming him and showing kindness, and is now showcasing its splendors to the world.

Justin Mott is an American commercial photographer based in Vietnam. He is also a travel photographer and the resident professional photographer for Photo Face-Off, a photography reality TV show broadcast on the U.S’ History channel.

His photos have been published on National Geographic magazine and the website of Hasselbald, the Swedish digital medium format camera manufacturer.

Mott is now working on a personal project, “As above so below”, which aims to showcase the beauty of Vietnam’s nature and people to the world.

This is his way of saying thanks to the country that has shaped his life.

On the street during Hanoi’s 1000 years anniversary.

The road to Vietnam

At 21 Mott moved to San Francisco from his hometown, Rhode Island. The excitement of traveling, moving to a city and having new experiences sparked a passion for travel in the young man.

He enrolled for a class in photography during his time there. This gave him an opportunity to further explore the city, meeting new people and experiencing a different culture. Photography became the passion of his life.

Mott said: “I get to travel and meet new people all the time. Thirteen years later I still enjoy it just as much as I used to.”

Travel is a way for him to never “grow up” and get to know and photograph people. It enables him to constantly learn, to explore and experience new things; it gives him freedom.

“I loved the feeling when I just moved there (San Francisco). And I wanted that again. I got it when I moved to Vietnam. It was even more exciting, newer because it was a different culture, different people, a whole different country.”

His first project in Vietnam was about Nu, a victim of Agent Orange. Saddened by the images captured by Welsh photojournalist Phillip Jones Griffiths of the aftermath of Agent Orange in Vietnam, he set out to investigate for himself.

That was the start of his long journey in Vietnam.

Ladies playing volleyball after work. 

During his early days in the new country he was greatly helped by Thuy, an English teacher. He recalls how Thuy invited him for dinner at her house the night they met.

She was the one who helped him find his first home, buy his first motorbike. She also assisted him on his project, communicating with Nu.

Mott’s interaction with Thuy, with whom he still has a bond 13 years later, showed him how welcoming and friendly Vietnamese were. It played a big part in his decision to remain in the country.

“She’s like my Vietnamese mother… She was the first person to make me feel welcome in Vietnam. I think without her, I probably wouldn’t have stayed.”

Since then he has been living in Vietnam, doing various kinds of photography: commercial, wedding photo shoots, photojournalism…

As Above So Below: a tribute to Vietnam

Though Mott does enjoy his commercial work, it is no longer fulfilling. The work is always done for someone else, meaning it feels like it is never from his heart. Now, at the age of 40, he wants to create his own legacy, something that he will be known and remembered for, something that represents who he truly is.

“I started my career with a personal project about Agent Orange. And since then I’ve turned it into work, commercial work. Just working, making a living and trying to get by…

“Now I’ve been here for so long, I have nothing to show. I have my work but I have nothing that is truly me.”

He feels he owes a debt of gratitude to the country that has welcomed him in and let him build his life and career and a debt to himself creatively. The As Above So Below project combines both his passions in life: photography as a means of self-expression and Vietnam.

“So I think, ‘what should I do? What should the story be? Should it be somewhere else?’ But I thought ‘no, it has to be Vietnam. This is my home, I owe this country… I moved here, I’ve lived here, I’ve met people, people let me in their homes to photograph their grandmother, their kids. It has been such a welcoming country.’”

Through the project, Mott wants to showcase the diverse beauty of the landscapes, people and culture of Vietnam. He expects it to take three or four years to complete, but has not set a time limit for it.

Since it is all about expressing who he really is, he’s determined to capture the pure and real beauty of everyday life without or with minimal setting up.

“I’ve always done it quick, but this project is for me. Slow down and wait for the light to be how I want it to be. Slow down, work on portrait works and all of these different areas of photography. Slow down, think, write and capture the way I want.”

Mott has opted for diptych-style photos, presenting two together, to tell the stories of Vietnam. As the style suggests, one picture will be an aerial photo, showcasing the landscape from above, and the other will capture what exists below on the ground.

The idea is to show the connection between people and the environment around them.

“Sometimes, the connection could just be the composition of the field, it could be as simple as this is where people work… or this is where they play on this land, this is their home.

“Sometimes it’s (because) I love the pattern here and I want to find something with a pattern that matches below. For example, the riverbed and the wrinkles of the rippled water and I connect that to a wrinkled face of someone old who lives off that land.”

Another reason why he chose diptychs for his project is because it was a unique style and something he had not done before.

At the same time Mott wants to engage with audiences, make them think about how the photos are connected to each other.

Helping him with his project is a Vietnamese drone pilot, Nam. Mott directs what he wants in the picture and Nam flies the drone and looks at locations. Mott thinks it’s a great thing to have an American-Vietnamese collaboration like this.

Both men want the project to be a tribute to a dear mutual friend, Khanh, who died of cancer. He hopes that somehow this project will also be a legacy for Khanh and that Khanh’s daughter, who lost her father when she was just a few months old, can appreciate it.

“Khanh was on all of my Vietnam adventures with me. And he helped Nam get the drone working. He connected the two of us. Without Khanh, I wouldn’t know anything about aerial… I hope his daughter, when she grows up, will get to see and appreciate this, and remember her father and something special about him.”

Mott said when the project is complete he will give the Vietnamese the right to use his images for whatever they want for free if it is for the purpose of promoting the country.

High hopes, big ambitions

A farmer spreads out peppercorns to dry in the hot sun at a plantation on Phu Quoc island, southern Vietnam. 

Though not finished yet, As Above So Below has already achieved recognition. One of its photos, an aerial shot of a farmer drying peppercorn, was chosen as the editor’s favorite submission of the week in National Geographic’s 2018 Travel Photographer of The Year Contest.

Mott hopes the project will be good enough for exhibiting not just in Vietnam but around the world. He wants to create something that will “make this country proud.” He will love for it to be made into a book as well.

“I have high hopes… I want people to look at the book and say ‘Oh, I want to go to Vietnam.’ I want them to have it on their coffee table and really appreciate the beauty of Vietnam. It’s not to celebrate me. It’s to celebrate this country.”

Since he has been living in Vietnam for a long time, he hopes to be named Tourism Ambassador for the country.

“I love selling this country to people… to come here and to invest, to appreciate Vietnam.”

Vietnam’s tourism has been developing at a rapid pace in the last few years, and he thinks the country’s image has also changed.

In the past people always associated Vietnam with devastation caused by war, but now they think it is a country they want to go to and is safe, he said.

They are no longer going to just popular destinations like Hanoi, Ho Chi Minh City, Ha Long Bay, and Sapa, but also to remote places to explore the true beauty of the country.

Food is another reason Mott thinks Vietnam is attracting visitors.

“People have gone crazy about the food. Now the world has grown an appreciation for Vietnamese food. Earlier people might have just known spring rolls, now (they) know bun cha, pho… It’s become a global cuisine.”

Mott is proud that his work in the past, especially travel photo shoots, is helping spread the images of Vietnam to the world and making people want to explore the country. But he wants to do more.

“I owe Vietnam something. I want to be remembered as this photographer who understood Vietnam the best he could – the best an American could.”

Story by Kieu Duong, Linh Nguyen

Photos by Justin Mott

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[marketingadvisorvietnam]

American photographer’s debt of honor to Vietnam

Marketing Advisor đã viết bài trên http://www.ticvietnam.vn/american-photographers-debt-of-honor-to-vietnam-53/

American photographer’s debt of honor to Vietnam

Long-time resident Justin Mott cannot thank Vietnam enough for welcoming him and showing kindness, and is now showcasing its splendors to the world.

Justin Mott is an American commercial photographer based in Vietnam. He is also a travel photographer and the resident professional photographer for Photo Face-Off, a photography reality TV show broadcast on the U.S’ History channel.

His photos have been published on National Geographic magazine and the website of Hasselbald, the Swedish digital medium format camera manufacturer.

Mott is now working on a personal project, “As above so below”, which aims to showcase the beauty of Vietnam’s nature and people to the world.

This is his way of saying thanks to the country that has shaped his life.

On the street during Hanoi’s 1000 years anniversary.

The road to Vietnam

At 21 Mott moved to San Francisco from his hometown, Rhode Island. The excitement of traveling, moving to a city and having new experiences sparked a passion for travel in the young man.

He enrolled for a class in photography during his time there. This gave him an opportunity to further explore the city, meeting new people and experiencing a different culture. Photography became the passion of his life.

Mott said: “I get to travel and meet new people all the time. Thirteen years later I still enjoy it just as much as I used to.”

Travel is a way for him to never “grow up” and get to know and photograph people. It enables him to constantly learn, to explore and experience new things; it gives him freedom.

“I loved the feeling when I just moved there (San Francisco). And I wanted that again. I got it when I moved to Vietnam. It was even more exciting, newer because it was a different culture, different people, a whole different country.”

His first project in Vietnam was about Nu, a victim of Agent Orange. Saddened by the images captured by Welsh photojournalist Phillip Jones Griffiths of the aftermath of Agent Orange in Vietnam, he set out to investigate for himself.

That was the start of his long journey in Vietnam.

Ladies playing volleyball after work. 

During his early days in the new country he was greatly helped by Thuy, an English teacher. He recalls how Thuy invited him for dinner at her house the night they met.

She was the one who helped him find his first home, buy his first motorbike. She also assisted him on his project, communicating with Nu.

Mott’s interaction with Thuy, with whom he still has a bond 13 years later, showed him how welcoming and friendly Vietnamese were. It played a big part in his decision to remain in the country.

“She’s like my Vietnamese mother… She was the first person to make me feel welcome in Vietnam. I think without her, I probably wouldn’t have stayed.”

Since then he has been living in Vietnam, doing various kinds of photography: commercial, wedding photo shoots, photojournalism…

As Above So Below: a tribute to Vietnam

Though Mott does enjoy his commercial work, it is no longer fulfilling. The work is always done for someone else, meaning it feels like it is never from his heart. Now, at the age of 40, he wants to create his own legacy, something that he will be known and remembered for, something that represents who he truly is.

“I started my career with a personal project about Agent Orange. And since then I’ve turned it into work, commercial work. Just working, making a living and trying to get by…

“Now I’ve been here for so long, I have nothing to show. I have my work but I have nothing that is truly me.”

He feels he owes a debt of gratitude to the country that has welcomed him in and let him build his life and career and a debt to himself creatively. The As Above So Below project combines both his passions in life: photography as a means of self-expression and Vietnam.

“So I think, ‘what should I do? What should the story be? Should it be somewhere else?’ But I thought ‘no, it has to be Vietnam. This is my home, I owe this country… I moved here, I’ve lived here, I’ve met people, people let me in their homes to photograph their grandmother, their kids. It has been such a welcoming country.’”

Through the project, Mott wants to showcase the diverse beauty of the landscapes, people and culture of Vietnam. He expects it to take three or four years to complete, but has not set a time limit for it.

Since it is all about expressing who he really is, he’s determined to capture the pure and real beauty of everyday life without or with minimal setting up.

“I’ve always done it quick, but this project is for me. Slow down and wait for the light to be how I want it to be. Slow down, work on portrait works and all of these different areas of photography. Slow down, think, write and capture the way I want.”

Mott has opted for diptych-style photos, presenting two together, to tell the stories of Vietnam. As the style suggests, one picture will be an aerial photo, showcasing the landscape from above, and the other will capture what exists below on the ground.

The idea is to show the connection between people and the environment around them.

“Sometimes, the connection could just be the composition of the field, it could be as simple as this is where people work… or this is where they play on this land, this is their home.

“Sometimes it’s (because) I love the pattern here and I want to find something with a pattern that matches below. For example, the riverbed and the wrinkles of the rippled water and I connect that to a wrinkled face of someone old who lives off that land.”

Another reason why he chose diptychs for his project is because it was a unique style and something he had not done before.

At the same time Mott wants to engage with audiences, make them think about how the photos are connected to each other.

Helping him with his project is a Vietnamese drone pilot, Nam. Mott directs what he wants in the picture and Nam flies the drone and looks at locations. Mott thinks it’s a great thing to have an American-Vietnamese collaboration like this.

Both men want the project to be a tribute to a dear mutual friend, Khanh, who died of cancer. He hopes that somehow this project will also be a legacy for Khanh and that Khanh’s daughter, who lost her father when she was just a few months old, can appreciate it.

“Khanh was on all of my Vietnam adventures with me. And he helped Nam get the drone working. He connected the two of us. Without Khanh, I wouldn’t know anything about aerial… I hope his daughter, when she grows up, will get to see and appreciate this, and remember her father and something special about him.”

Mott said when the project is complete he will give the Vietnamese the right to use his images for whatever they want for free if it is for the purpose of promoting the country.

High hopes, big ambitions

A farmer spreads out peppercorns to dry in the hot sun at a plantation on Phu Quoc island, southern Vietnam. 

Though not finished yet, As Above So Below has already achieved recognition. One of its photos, an aerial shot of a farmer drying peppercorn, was chosen as the editor’s favorite submission of the week in National Geographic’s 2018 Travel Photographer of The Year Contest.

Mott hopes the project will be good enough for exhibiting not just in Vietnam but around the world. He wants to create something that will “make this country proud.” He will love for it to be made into a book as well.

“I have high hopes… I want people to look at the book and say ‘Oh, I want to go to Vietnam.’ I want them to have it on their coffee table and really appreciate the beauty of Vietnam. It’s not to celebrate me. It’s to celebrate this country.”

Since he has been living in Vietnam for a long time, he hopes to be named Tourism Ambassador for the country.

“I love selling this country to people… to come here and to invest, to appreciate Vietnam.”

Vietnam’s tourism has been developing at a rapid pace in the last few years, and he thinks the country’s image has also changed.

In the past people always associated Vietnam with devastation caused by war, but now they think it is a country they want to go to and is safe, he said.

They are no longer going to just popular destinations like Hanoi, Ho Chi Minh City, Ha Long Bay, and Sapa, but also to remote places to explore the true beauty of the country.

Food is another reason Mott thinks Vietnam is attracting visitors.

“People have gone crazy about the food. Now the world has grown an appreciation for Vietnamese food. Earlier people might have just known spring rolls, now (they) know bun cha, pho… It’s become a global cuisine.”

Mott is proud that his work in the past, especially travel photo shoots, is helping spread the images of Vietnam to the world and making people want to explore the country. But he wants to do more.

“I owe Vietnam something. I want to be remembered as this photographer who understood Vietnam the best he could – the best an American could.”

Story by Kieu Duong, Linh Nguyen

Photos by Justin Mott

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American photographer’s debt of honor to Vietnam

Marketing Advisor đã viết bài trên http://www.ticvietnam.vn/american-photographers-debt-of-honor-to-vietnam-52/

American photographer’s debt of honor to Vietnam

Long-time resident Justin Mott cannot thank Vietnam enough for welcoming him and showing kindness, and is now showcasing its splendors to the world.

Justin Mott is an American commercial photographer based in Vietnam. He is also a travel photographer and the resident professional photographer for Photo Face-Off, a photography reality TV show broadcast on the U.S’ History channel.

His photos have been published on National Geographic magazine and the website of Hasselbald, the Swedish digital medium format camera manufacturer.

Mott is now working on a personal project, “As above so below”, which aims to showcase the beauty of Vietnam’s nature and people to the world.

This is his way of saying thanks to the country that has shaped his life.

On the street during Hanoi’s 1000 years anniversary.

The road to Vietnam

At 21 Mott moved to San Francisco from his hometown, Rhode Island. The excitement of traveling, moving to a city and having new experiences sparked a passion for travel in the young man.

He enrolled for a class in photography during his time there. This gave him an opportunity to further explore the city, meeting new people and experiencing a different culture. Photography became the passion of his life.

Mott said: “I get to travel and meet new people all the time. Thirteen years later I still enjoy it just as much as I used to.”

Travel is a way for him to never “grow up” and get to know and photograph people. It enables him to constantly learn, to explore and experience new things; it gives him freedom.

“I loved the feeling when I just moved there (San Francisco). And I wanted that again. I got it when I moved to Vietnam. It was even more exciting, newer because it was a different culture, different people, a whole different country.”

His first project in Vietnam was about Nu, a victim of Agent Orange. Saddened by the images captured by Welsh photojournalist Phillip Jones Griffiths of the aftermath of Agent Orange in Vietnam, he set out to investigate for himself.

That was the start of his long journey in Vietnam.

Ladies playing volleyball after work. 

During his early days in the new country he was greatly helped by Thuy, an English teacher. He recalls how Thuy invited him for dinner at her house the night they met.

She was the one who helped him find his first home, buy his first motorbike. She also assisted him on his project, communicating with Nu.

Mott’s interaction with Thuy, with whom he still has a bond 13 years later, showed him how welcoming and friendly Vietnamese were. It played a big part in his decision to remain in the country.

“She’s like my Vietnamese mother… She was the first person to make me feel welcome in Vietnam. I think without her, I probably wouldn’t have stayed.”

Since then he has been living in Vietnam, doing various kinds of photography: commercial, wedding photo shoots, photojournalism…

As Above So Below: a tribute to Vietnam

Though Mott does enjoy his commercial work, it is no longer fulfilling. The work is always done for someone else, meaning it feels like it is never from his heart. Now, at the age of 40, he wants to create his own legacy, something that he will be known and remembered for, something that represents who he truly is.

“I started my career with a personal project about Agent Orange. And since then I’ve turned it into work, commercial work. Just working, making a living and trying to get by…

“Now I’ve been here for so long, I have nothing to show. I have my work but I have nothing that is truly me.”

He feels he owes a debt of gratitude to the country that has welcomed him in and let him build his life and career and a debt to himself creatively. The As Above So Below project combines both his passions in life: photography as a means of self-expression and Vietnam.

“So I think, ‘what should I do? What should the story be? Should it be somewhere else?’ But I thought ‘no, it has to be Vietnam. This is my home, I owe this country… I moved here, I’ve lived here, I’ve met people, people let me in their homes to photograph their grandmother, their kids. It has been such a welcoming country.’”

Through the project, Mott wants to showcase the diverse beauty of the landscapes, people and culture of Vietnam. He expects it to take three or four years to complete, but has not set a time limit for it.

Since it is all about expressing who he really is, he’s determined to capture the pure and real beauty of everyday life without or with minimal setting up.

“I’ve always done it quick, but this project is for me. Slow down and wait for the light to be how I want it to be. Slow down, work on portrait works and all of these different areas of photography. Slow down, think, write and capture the way I want.”

Mott has opted for diptych-style photos, presenting two together, to tell the stories of Vietnam. As the style suggests, one picture will be an aerial photo, showcasing the landscape from above, and the other will capture what exists below on the ground.

The idea is to show the connection between people and the environment around them.

“Sometimes, the connection could just be the composition of the field, it could be as simple as this is where people work… or this is where they play on this land, this is their home.

“Sometimes it’s (because) I love the pattern here and I want to find something with a pattern that matches below. For example, the riverbed and the wrinkles of the rippled water and I connect that to a wrinkled face of someone old who lives off that land.”

Another reason why he chose diptychs for his project is because it was a unique style and something he had not done before.

At the same time Mott wants to engage with audiences, make them think about how the photos are connected to each other.

Helping him with his project is a Vietnamese drone pilot, Nam. Mott directs what he wants in the picture and Nam flies the drone and looks at locations. Mott thinks it’s a great thing to have an American-Vietnamese collaboration like this.

Both men want the project to be a tribute to a dear mutual friend, Khanh, who died of cancer. He hopes that somehow this project will also be a legacy for Khanh and that Khanh’s daughter, who lost her father when she was just a few months old, can appreciate it.

“Khanh was on all of my Vietnam adventures with me. And he helped Nam get the drone working. He connected the two of us. Without Khanh, I wouldn’t know anything about aerial… I hope his daughter, when she grows up, will get to see and appreciate this, and remember her father and something special about him.”

Mott said when the project is complete he will give the Vietnamese the right to use his images for whatever they want for free if it is for the purpose of promoting the country.

High hopes, big ambitions

A farmer spreads out peppercorns to dry in the hot sun at a plantation on Phu Quoc island, southern Vietnam. 

Though not finished yet, As Above So Below has already achieved recognition. One of its photos, an aerial shot of a farmer drying peppercorn, was chosen as the editor’s favorite submission of the week in National Geographic’s 2018 Travel Photographer of The Year Contest.

Mott hopes the project will be good enough for exhibiting not just in Vietnam but around the world. He wants to create something that will “make this country proud.” He will love for it to be made into a book as well.

“I have high hopes… I want people to look at the book and say ‘Oh, I want to go to Vietnam.’ I want them to have it on their coffee table and really appreciate the beauty of Vietnam. It’s not to celebrate me. It’s to celebrate this country.”

Since he has been living in Vietnam for a long time, he hopes to be named Tourism Ambassador for the country.

“I love selling this country to people… to come here and to invest, to appreciate Vietnam.”

Vietnam’s tourism has been developing at a rapid pace in the last few years, and he thinks the country’s image has also changed.

In the past people always associated Vietnam with devastation caused by war, but now they think it is a country they want to go to and is safe, he said.

They are no longer going to just popular destinations like Hanoi, Ho Chi Minh City, Ha Long Bay, and Sapa, but also to remote places to explore the true beauty of the country.

Food is another reason Mott thinks Vietnam is attracting visitors.

“People have gone crazy about the food. Now the world has grown an appreciation for Vietnamese food. Earlier people might have just known spring rolls, now (they) know bun cha, pho… It’s become a global cuisine.”

Mott is proud that his work in the past, especially travel photo shoots, is helping spread the images of Vietnam to the world and making people want to explore the country. But he wants to do more.

“I owe Vietnam something. I want to be remembered as this photographer who understood Vietnam the best he could – the best an American could.”

Story by Kieu Duong, Linh Nguyen

Photos by Justin Mott

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