Across from the Royal Palace in the heart of Phnom Penh, at the confluence of the Tonle Sap and Mekong Rivers, stands a testament to living faith: a public shrine that offers a place for prayer and devotion. Here, in this sacred public space, the ancient and modern meet. Motorcycles rest on the sidewalk, cell phones are numerous, and a constant flow of traffic from the nearby street adds an element of frenetic urban life to the scene.
Meanwhile, merchants carefully prepare ritual items for sale. Their displays of lotus flowers, incense, and bananas provide everything needed for traditional Buddhist offerings.
The achars, distinguished by their white clothing and traditional checked krama scarves, guide worshippers through their devotions. These lay ritual specialists maintain an unbroken thread of tradition, helping visitors navigate the proper protocols of respect and offering. Their presence, rather than that of monks, makes this shrine uniquely accessible to the continuous flow of devotees seeking a moment of spiritual connection.
This is no quiet, removed temple but rather a vibrant spiritual hub woven seamlessly into the fabric of city life. Its location near both the palace and river makes it a natural gathering point where the sacred and secular merge in the heart of Phnom Penh.
This is a strong photograph showing a child in Cambodia holding a bunch of lotus flowers wrapped in leaves from the plant. The composition draws attention to the child’s striking expression, which seems to convey both innocence and a certain weariness or maturity beyond her years.
Besides being a powerful social statement, the photograph has strong artistic merit – the lighting creates a gentle halo effect around the child’s hair, and the diagonal lines of the architectural element create visual interest. The black-and-white treatment emphasizes textures and contrasts while lending a timeless, documentary quality to the image.
The image powerfully illustrates the diary entry’s themes about child labor and social inequality. While it’s a beautiful photograph from an artistic perspective, it also serves as a sobering document of the economic realities faced by many children in developing nations.
Excerpt: Diary entry #420. 25-01-17
… Last night, I worked on a photograph of a little, innocent, beautiful child that I took at the riverside in Phnom Penh. I don’t usually photograph children, as I have come to believe that photographing them is a subtle form of child abuse. Children have not fully attained volition and, therefore, cannot give consent to be photographed as adults can. This may be an extreme position. I am not sure. But it is something I have come to believe and put into practice.
This photograph is different. For one thing, I had the mother’s permission to take the photograph. I am not sure that makes it any better or really different, but the child’s mother did consent. Additionally, this photograph makes an important social statement. For these reasons, I made and I am publishing the photograph.
The setting was the shrine across from the Royal Palace at Riverside in Phnom Penh. I spoke about the shrine yesterday when posting my photograph of the day (Image #355, The Achar). The child’s mother is a vendor at a small street market close to the shrine. She sells bunches of lotus flowers to devotees making offerings at the shrine.
The scene I observed was sad but typical for Cambodia. The mother was pulling a primitive cart loaded with bunches of lotus flowers. At times, bunches were falling off the cart, and she somewhat aggressively commanded the child to help with transporting the flowers to her market location. The child is old enough to be in school and should be in school, but instead, she is spending her days at the market assisting her mother. Of course, I cannot say for certain that she does not go to school. It was early in the morning, and hopefully, after assisting her mother with her work, she would go off to school. However, based on what I saw, I seriously doubt that.
The episode caused me to reflect on the social cruelty that accompanies capitalistic economic structures. Cambodia, for its part, is pretty much a study in raw capitalism ( my opinion, viewpoint). You witness all the innovation, ingenuity, and creative effort, but you also see the grim reality of those who are trapped at the bottom rung of the social structure with no real hope of escape.This little girl’s unfortunate situation vividly reflects this harshness, this cruel reality. The truly sad part is that not only is she undernourished, undereducated, and deprived of basic human needs such as quality food, shelter, and healthcare, but there is no escape. This beautiful little girl will most likely spend her entire life doing what her mother is doing: working a dead-end job to eke out a few dollars a day.
There has to be a better way, but I do not have the answer. I can only say that we as a global society must somehow learn to provide at least basic human needs to all people regardless of location, race, color, or creed. The tragedy of this little girl and so many millions more must somehow come to an end …
This is a photograph I made in Phnom Penh on my recent trip to the city. The photograph was made along the riverside of Phnom Penh, at the confluence of the Tonle Sap and the mighty Mekong, across from the Royal Palace at a public shrine where the devotees pray and make offerings. It is a very lively and energetic scene with many people coming and going, as well as a variety of merchants selling lotus flowers, incense, food, and drink. A traditional Khmer ensemble known as a Pinpeat was also present. The Pinpeat is the largest and oldest Khmer ensemble and has played ceremonial music for the royal courts and temples of Cambodia since ancient times.
I made several photographs that morning. The one pictured is a favorite.
Culture Note
The Role of the Achar in Buddhism
In Buddhism, the Achar holds a significant and multifaceted role, serving as a bridge between the monastic community and laypeople. The term “Achar” can be translated to “master” or “teacher,” and it denotes an individual who possesses deep knowledge of Buddhist teachings, rituals, and community traditions. While not a monk, the Achar plays a crucial role in the religious and social life of Buddhist communities, particularly in Southeast Asia. Religious DutiesOne of the primary responsibilities of the Achar is to lead and officiate various religious ceremonies and rituals. This includes conducting weddings, funerals, and other important life events, ensuring that these ceremonies are carried out in accordance with Buddhist traditions. The Achar also performs rituals during festivals and important Buddhist holidays, such as Vesak (Buddha’s birthday) and Pchum Ben (Ancestors’ Day). Their deep understanding of Buddhist texts and liturgical practices allows them to guide laypeople in these religious observances.
Educational Role
Education is another vital aspect of the Achar’s role. They often serve as teachers, imparting knowledge about Buddhist doctrines, ethics, and meditation practices to both children and adults. In many communities, the Achar conducts Dharma talks and study sessions, helping laypeople understand and apply Buddhist principles in their daily lives. Their teachings emphasize moral conduct, compassion, and the path to enlightenment, contributing to the spiritual growth of the community.
Community Leadership
Beyond their religious and educational duties, the Achar also plays a key role in the social and communal aspects of Buddhist life. They are often involved in community decision-making and conflict resolution, using their wisdom and authority to mediate disputes and foster harmony. The Achar’s guidance is sought in various community matters, from organizing charitable activities to supporting the sick and elderly. Their leadership helps to strengthen the bonds within the community, promoting a sense of unity and shared purpose.
Preserving Tradition
The Achar is also a custodian of cultural and religious heritage, ensuring that traditional practices and knowledge are preserved and passed down through generations. They maintain and transmit the rich rituals, chants, and ceremonies that form the backbone of Buddhist cultural identity. This role is especially important in the face of modernizing influences and cultural changes, as the Achar helps to maintain a connection to the historical and spiritual roots of Buddhism.
Conclusion
In summary, the Achar serves as a vital link between the monastic community and laypeople in Buddhism, fulfilling roles that encompass religious duties, education, community leadership, and the preservation of tradition. Through their multifaceted responsibilities, the Achar plays a central role in nurturing the spiritual and social well-being of Buddhist communities, ensuring that the teachings of the Buddha continue to resonate and thrive in contemporary society.
This is a portrait I made in Phnom Penh while taking my morning walk. The photograph shows a street vendor with her wares. She comes to this same location daily, the Street 278 entrance to the Art Institute where she sells num ansom chek (Khmer banana cakes) wrapped in banana leaves.
The composition of the photograph is simple, yet strong, with the woman’s natural, relaxed pose giving the image an authentic documentary feel. The geometric patterns of the sidewalk tiles also provide an interesting background texture, giving the photograph depth and adding to the overall composition. Additionally, I like the positioning of her hands. Hands say so much about a person. I find it helpful, if possible, to include the subject’s hands in the portrait. In this case, the placement of the hands was purely accidental but perfect. I had no say in how she posed for the photograph. The posing and composition is completely natural.
Culture Note
Num ansom chek is a traditional Khmer dessert made of sticky rice, bananas, and coconut milk, wrapped in banana leaves. This street food is deeply embedded in Cambodian culture and is often prepared for special occasions like Pchum Ben (Ancestor’s Day) and Khmer New Year, though it’s also enjoyed as an everyday snack.
Traditional Khmer cuisine is known for its use of fresh ingredients, complex flavor combinations, and careful preparation methods. Some other notable traditional Khmer foods include:
– Amok (fish curry steamed in banana leaves)
– Kuy teav (rice noodle soup)
– Lok lak (stir-fried beef served with rice)
– Num banh chok (fresh rice noodles with a fish-based green curry)
A distinctive feature of Khmer cuisine is the use of natural wrapping materials like banana leaves, which not only serve as eco-friendly packaging but are also inexpensive, readily available, and they impart subtle flavors to the food they contain. This traditional practice is pointedly captured in the photograph.
This portrait captures a Cambodian fortune teller seated with her divination tools laid out before her on a checkered cloth. Her simple tools include two decks of Royal brand playing cards, which are commonly used for fortune-telling in Cambodia.
The image has a somewhat contemplative quality, with the subject’s gentle expression and composed posture possibly suggesting years of experience in her practice or simply her usual tranquility while waiting for a customer to arrive. She was very gracious in allowing me to take the photograph. Afterwards, she acknowledged her thanks with a simple nod and a softly spoken thank you, reflective of the same relaxed manner the picture projects.
Culture Note
Fortune telling (ទាយ or Teay in Khmer) has deep roots in Cambodian culture and remains an important part of many people’s lives. In Cambodia, fortune telling practices blend Buddhist beliefs with indigenous animistic traditions and influences from Indian and Chinese divination methods. Many Cambodians consult fortune tellers for important life decisions, choosing auspicious dates for events, or seeking guidance during difficult times. Common fortune-telling methods in Cambodia include:
1. Card reading (similar to what’s shown in the image)
2. Palm reading
3. Consultation of Buddhist almanacs
4. Numerology based on birth dates
5. Astrological readings
Fortune tellers, known as Kru Teay, often set up their practice in markets, near temples, or along riverside areas – as captured in this photo from Phnom Penh’s riverside. They are particularly busy during Khmer New Year and other significant festivals when many people seek insights about their future. Many fortune tellers in Cambodia inherit their practice from family members or study under experienced practitioners. Some claim to receive their abilities through spiritual connections or dreams. While younger urban Cambodians might be more skeptical, fortune telling remains an integral part of traditional Cambodian culture, particularly in rural areas and among older generations.
This is a black and white photograph, a silhouette, I made in Phnom Penh, showing three men walking along the Riverside promenade, with the city’s modern skyline visible across the water. The composition is strong, with the subjects arranged in a dynamic triangular formation – one person in the foreground wearing a baseball cap and white t-shirt, while two others are positioned at distances behind him. Their silhouetted forms create a strong visual rhythm against the urban backdrop.
The use of silhouette technique here effectively abstracts the individuals while emphasizing their form and movement. The contrast between the darker figures and the lighter background of water and sky creates a dramatic effect, while the city buildings provide context and depth to the scene. There’s something visually interesting about how the three figures seem to be walking independently yet are connected through the composition.
Silhouette photography has a long history that dates back to the early days of photography. The term “silhouette” itself comes from Étienne de Silhouette, a French finance minister in the 18th century who was known for making cut-paper shadow portraits.
In photography, silhouettes became popular in the late 19th century as photographers discovered that backlighting could create dramatic effects without requiring complex lighting setups.Technically, creating effective silhouettes requires:
– Strong backlighting (in this case, natural light from the water’s reflection and the brilliant sky)
– Correct exposure for the bright background, which automatically underexposes the subjects
– Clean, recognizable shapes that remain readable without detail- Careful composition to separate subjects from each other
– A clear background that contrasts with the dark figures
The emotional impact of silhouettes in photography is particularly powerful because they strip away identifying details and reduce subjects to their essential forms.
This essential, somewhat abstracted form can:
– Create a sense of anonymity that makes the image more universal
– Emphasize mood and atmosphere over individual identity
– Draw attention to gesture and body language
– Evoke mystery and contemplation
– Allow viewers to project their own interpretations onto the scene
In my photograph, the silhouetted figures against Phnom Penh’s modernizing skyline could be read as a commentary on urban life, isolation in crowds, or the anonymous nature of city dwellings. The spacing between the figures and their independent directions of movement adds to this interpretation, while the riverside setting provides a moment of tranquility within the urban environment.
I set out to make a portrait this afternoon but could find no suitable subject. I saw a lot of interesting faces, but none engaged me to the point where I wanted to take a photograph. I will say I was also in a bit of a shy, introverted mood and was not at my best for engaging with others. I decided to sit down on a bench at the riverside and let others come to me, which did not happen either. So, I decided I would play around with some silhouetting. It was a very anonymous, easy way to take some photos and, more importantly, accomplish my mission of creating a photograph of the day. I probably made 20 or so different exposures. The one pictured stood out. Groups of three always work well in compositions, and the way the people fell into place, so to speak, solidified the composition.
Note: While I do like this photograph, I wish the individual on the left was located a little further back in the frame, thus creating a more obtuse triangle.
This minimalist composition captures the intersection of everyday objects transformed through thoughtful framing and lighting. A vibrant red cloth napkin, precisely folded, creates a bold diagonal line across a pristine white plate. The image focuses tightly on the point where these two elements meet, turning simple table settings into an exercise in form and contrast.
The napkin’s fabric shows subtle texture and depth through its weave, while its saturated red color provides dramatic contrast against the smooth, luminous white of the ceramic plate. The shallow depth of field softens the edges of the composition, creating a gentle gradient from sharp detail to dreamy blur. Natural lighting come from above, casting soft shadows that enhance the three-dimensional quality of the folded fabric.
This image succeeds as a minimalist abstraction by finding beauty in the mundane, reducing a common dining scene to its essential elements of color, line, and texture. The composition demonstrates how everyday objects can be elevated to artistic subjects through careful attention to composition and light.
This abstract photo montage plays with the intersection of geometry and light, creating a dynamic interplay between sharp angular forms and soft, atmospheric effects.
The dominant palette consists of deep crimsons and rich reds that sweep diagonally across a void-like black background, creating a sense of movement and depth. These bold red planes are punctuated by areas of blue and subtle green at the edges, suggestive of a distant horizon or the passing of light through darkness.
The image has a distinctly modern feel, reminiscent of constructivist art, yet the textured quality gives it an almost impressionistic softness. The sharp geometric shapes appear to float and fragment, while the gradients between colors create an atmospheric effect that softens the rigid lines. This tension between hard edges and diffused boundaries gives the piece a strong visual rhythm.
There’s also a contemplative quality to the work, where the deep reds seem to emerge from and recede into the darkness, creating a sense of mystery and dimensional depth.
“Beforeenlightenment, chop wood and carry water. After enlightenment, chop wood and carry water.”
This photograph captures a Buddhist monk engaged in a simple yet focused task, dressed in traditional saffron-colored robes while operating an electric sander on a wooden surface. The composition shows him leaning forward in concentration, his expression reflecting careful attention to his worldly (mundane) work.
The mundane aspects of monastic life are deeply interwoven with Buddhist spiritual practice, and this image illustrates that connection. In Buddhist monasticism, particularly in Theravada tradition practiced in places like Thailand and Cambodia, physical work is considered an integral part of spiritual development, not separate from it.
The concept of “mindful work” (samma kammanta in Pali*) is part of the Noble Eightfold Path. When monks engage in tasks like woodworking, cleaning, cooking, or maintaining temple grounds, these activities become opportunities for practicing mindfulness (sati) and developing concentration (samadhi). The repetitive nature of sanding wood, for instance, can become a form of moving meditation, not unlike walking meditation (kinhin).
Daily work in a wat (temple) typically includes:
Building maintenance and repairs
Garden and grounds upkeep
Cleaning of temple buildings and living quarters
Food preparation
Crafting or repairing furniture and ceremonial items
Basic construction work
Looking after elderly monks.
These tasks serve multiple purposes:
They help maintain the physical infrastructure that supports spiritual practice
They teach humility and non-attachment to status
They provide opportunities for mindfulness practice
They contribute to the community that supports the monastery
They demonstrate that enlightenment is found in ordinary activities, not just formal meditation
In Buddhist teaching, there’s a famous Zen saying: “Before enlightenment, chop wood and carry water. After enlightenment, chop wood and carry water.” This encapsulates how mundane work and spiritual practice are inseparable. The monk in the photograph, while performing what might seem like simple manual labor, is potentially engaging in deep spiritual practice through his focused attention and acceptance of the task at hand.
This integration of work and practice helps avoid the trap of spiritual bypassing – the tendency to use spiritual ideas to avoid dealing with basic responsibilities. Instead, it grounds spiritual practice in the material world and everyday reality, making the path to enlightenment accessible through the most ordinary of activities.
*Pali is an ancient language that holds immense significance in Buddhist tradition, particularly in Theravada Buddhism. It was the language used to first write down the Buddhist scriptures (known as the Tipitaka or Pali Canon) around 100 BCE, having previously been passed down orally since the time of the Buddha. Think of Pali as serving a similar role in Buddhism as Latin does in Catholic Christianity or Sanskrit in Hinduism. It’s the original language of many key Buddhist texts and ceremonies, particularly in Southeast Asian countries like Thailand, Cambodia, Myanmar, and Sri Lanka where Theravada Buddhism predominates.
This is a well-composed and well-executed black-and-white portrait that captures both technical excellence and emotional depth.
Alexander, my son, is shown on a rope swing at Wat Kandal in Battambang. The composition positions Alexander perfectly in the frame, with the lines of the ropes creating a second frame of sorts that draw the viewer’s eye to his face. His outstretched arms also serve to unify, anchor the composition into one integrated form.
The black and white treatment enhances the portrait’s timeless quality while at the same time accenting the textures – from the coarse rope of the swing to the crisp pattern of the shirt and the subtle play of light and shadow across the scene. The depth of field is skillfully handled, with the subject in sharp focus while the background gently blurs.
What makes this portrait particularly good is its emotional resonance. Alexander’s expression carries a wonderful mixture of confidence and gentle contemplation – there’s a subtle hint of a smile that feels completely natural rather than posed. His direct gaze and squared shoulders, as he grips the ropes, suggest both playfulness and self-assurance.
This is the kind of portrait that captures not just a moment but an essence of childhood – that beautiful intersection of innocence and growing independence. It’s both a technically accomplished photograph and a touching personal document that will become even more meaningful as time passes.
