Happy Taiwanese New Year!

Year of the Dragon diorama, Playland-Not-at-the-Beach, El Cerrito | Olympus EP-2, 25mm, 1/200, f1.4, ISO 1250

I may look Asian, speak a bit of Taiwanese/Mandarin, and know my way around a dim sum cart, but don’t be fooled—there are countless aspects of Taiwanese/Chinese culture that my parents never explained to me. Still, the lunar new year (which I don’t “celebrate” in any traditional sense) is as good a time as any to share some shots I took on New Year’s eve 2011 and New Year’s day 2012. (Yes, I’m still digging my Olympus PEN EP-2 and CCTV lens combination.)

C and I spent New Year’s eve day at Playland-Not-at-the-Beach, marveling at its multitude of detailed dioramas, elbowing past toddlers at the carnival games and sideshow displays, and then flipping out (hee hee) over their slew of pinball machines both old and new. (If you’re a pinball fiend visiting the Bay Area, Playland and Pacific Pinball Museum should be at the top of your to-do list.) We then rang in the new year with a rock’n'roll dance party at T’s house.

San Francisco pier, Playland-Not-at-the-Beach, El Cerrito | Olympus EP-2, 25mm, 1/200, f1.4, ISO 1250

Chinatown, Playland-Not-at-the-Beach, El Cerrito | Olympus EP-2, 25mm, 1/125, f1.4, ISO 1250

Polar bear wash, Playland-Not-at-the-Beach, El Cerrito | Olympus EP-2, 25mm, 1/100, f1.4, ISO 1250

Madam Ashbury's House of Wax, Playland-Not-at-the-Beach, El Cerrito | Olympus EP-2, 25mm, 1/50, f1.4, ISO 1250

Slayland-at-the-Beach, Playland-Not-at-the-Beach, El Cerrito | Olympus EP-2, 25mm, 1/50, f1.4, ISO 1250

Frankenstein & his bride, Playland-Not-at-the-Beach, El Cerrito | Olympus EP-2, 25mm, 1/50, f1.4, ISO 1250

Sarcophagus, Playland-Not-at-the-Beach, El Cerrito | Olympus EP-2, 25mm, 1/50, f1.4, ISO 1250

8-tracks | Olympus EP-2, 25mm, 1/30, f1.4, ISO 1250

New Year's eve dance party | Olympus EP-2, 25mm, 1/125, f1.4, ISO 1250

On New Year’s day, we got a late start heading to A’s cookout in San Francisco and were delayed further when we stopped off at the Embarcadero to capture the sun setting over the city. We never made it to A’s, which was a shame. I suppose I should’ve resolved to finish what I start in 2012. Perhaps I’ll do so for the lunar new year. That, and play less online Scrabble. Here’s to more productivity in the Year of the Water Dragon!

Happy new year | Olympus EP-2, 25mm, 1/40, f1.4, ISO 1250

Port of San Francisco | Olympus EP-2, 25mm, 1/200, f1.4, ISO 640

Bay Bridge | Olympus EP-2, 25mm, 1/30, f1.4, ISO 1250

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TV EYE

Iggy & the Stooges | Olympus EP-2, 25mm, 1/100, f1.4, ISO 1250

Most experienced photographers have a preferred camera/lens combination for specific situations. Landscape photographers, for instance, require wide lenses for sweeping vistas. Traditional portraitists use long lenses (minimum 85mm) to capture intimate close-ups without straying into their subjects’ comfort zones. For live shows in small venues with no flash restrictions, my go-to setup is a Canon 5D with a wide lens and an external flash. No flash allowed? The Canon 60D with the 50mm f1.8. The last thing I ever expected to use was an Olympus EP-2 outfitted with a $20 CCTV lens C bought on eBay, but that’s exactly how I caught Iggy Pop, James Williamson, Scott Asheton, Steve Mackay, and Mike Watt ripping through the Stooges’ catalog (including Raw Power!) at the Warfield on December 6.

And to think I almost took my uber-lofi Digital Harinezumi, which is practically useless in the dark but so tiny I could stick it in my jeans if necessary. In this age of phones with built-in HD cameras, large concert venues can only reasonably place restrictions on “professional” cameras with interchangeable lenses (i.e., dSLRs). Luckily, my Olympus EP-2 performs like an entry-level SLR but, with its “woodgrain” skin and the low-tech lens, looks unassuming to anyone but camera geeks.

Olympus EP-2 with toy lens | Canon 60D, 105mm, 1/40, f5.6, ISO 1250

Olympus EP-2 with toy lens | Canon 60D, 105mm, 1/60, f4, ISO 1250

I had absolutely no expectations with this lens/camera pairing. First, the EP-2 suffers from shutter lag and terrible autofocus in low light. Second, the lens (the equivalent of a 50mm on a 35mm camera) was of questionable quality (glass? plastic?), manual focus, made for CCTV cameras, and untested by me prior to the show. Third, I was one row of people back from the stage barrier, which itself was a good five feet from the edge of the stage.

I snapped a few practice shots of the opening band Le Butcherettes. Its members more or less kept their distance from my side of the stage, and these initial photos looked like they’d been taken with an iPhone—fine for documentation purposes but nothing to blog about. It wasn’t until I captured Teri Gender Bender running straight at me for a stage dive that I realized I had an enchanted box in my hands.

Le Butcherettes | Olympus EP-2, 25mm, 1/60, f1.4, ISO 1250

Focusing was a challenge at f1.4 (when isn’t it, really?), but the results were magical when I nailed it—everything but the in-focus point was rendered a creamy wash of color or light. The lens devoured the intense stage lights, warping them into swirling halos, heavenly beams, or silky brushstrokes. In effect, it transformed the EP-2 into a digital Holga or Diana camera, complete with vignetting and smooth, film-like “grain.” It was wholly unpredictable and totally fun to use. I highly doubt either of my SLRs would’ve done as well amid the crush of bodies dancing to the beat of the living dead.

Here’s a smattering of the 200 photos I took that night. You can view more of them here.

Iggy & Occupy Warfield | Olympus EP-2, 25mm, 1/80, f1.4, ISO 1250

Iggy & the Stooges | Olympus EP-2, 25mm, 1/100, f1.4, ISO 1250

Iggy & the Stooges | Olympus EP-2, 25mm, 1/100, f1.4, ISO 1250

Iggy & the Stooges | Olympus EP-2, 25mm, 1/100, f1.4, ISO 1250

The Chairman of the Bored | Olympus EP-2, 25mm, 1/100, f1.4, ISO 1250

As for the show, it, too, was unbelievable. Happily, the band didn’t “polish” the songs like many recently reunited bands do; every classic, from ”I Wanna Be Your Dog” to “1970″ to “Search and Destroy,” sounded as primal and raw as when it was first recorded. Iggy, at 64 years old, flaunted his trademark lean physique and boundless energy, gyrating across the stage, diving into the audience, and climbing onto speakers with the same exuberance he had in live Stooges videos from the late 1960s. He even rallied the rest of the band to play two encores (including “Cock in My Pocket,” “Death Trip,” and “Louie Louie”), more than their previous shows. The entire floor of the Warfield shook with the weight of the pogoing audience. I was amazed there wasn’t a riot when he invited the crowd to occupy the stage during “Shake Appeal.” The show let out by 11pm, but I was so amped I couldn’t sleep until well past 2am. This was, by the far, the best concert I’d seen in ages.

Back to the lens: The lens requires a C mount adapter in order to be used on Olympus and Panasonic micro four-thirds cameras; it needs a different adapter for the Sony NEX. The lens (for Olympus and Panasonic only) is available at Photojojo for $90, or you can search for it on eBay (type in “25mm f1.4 micro 4/3 CCTV”; some vendors include a C mount adapter) and Buy It Now for roughly a third of the price. Mine came with the adapter as well as several macro rings I’ll probably never use.

I suppose you could group it with the Lensbaby, but it’s more straightforward and way cheaper. I like that I can control both the aperture and the focus, although there aren’t any notches to keep the aperture ring from slipping from f1.4 in one shot to f8 in the next. That’s just a minor inconvenience. Frankly, I can’t wait to try it out at another big concert with professional stage lighting. If only I had it and the EP-2 when I saw one of the New York Dolls’ first reunion shows at the Fillmore in 2004. David Johansen, Sylvain Sylvain, and Hanoi Rocks’ Sami Yaffa (Arthur Kane had died that July) shared the stage, and it pained me to not have a photographic device of any kind in hand—especially when everyone around me had somehow snuck in slim point-and-shoots (iPhones had yet to be invented). I know you can’t put your arms around a memory, but sometimes you can still look at it, with or without a TV eye.

New York Dolls 2004 setlist | Canon 60D, 35mm, 1/30, f4, ISO 1250

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Noodlebrain

Seaweed ramen | Canon 5D, 29mm, 1/80, f4, ISO 800

When I was in Sebastopol in September, I had the misfortune of picking up the debut issue of Lucky Peach, a quarterly food journal spearheaded by chef David Chang (owner of NYC’s Momofuku restaurants), writer Peter Meehan, and the Anthony Bourdain: No Reservations production team. I say “misfortune” not because it’s a waste of a perfectly good tree but because it renewed my appreciation for ramen. But I suppose it would’ve been a failure on its end had it not, seeing as the whole issue centers around the humble, chewy foodstuff that sustained me for a good three-quarters of my life.

Kraft macaroni and cheese may have been popular in Western households, but instant ramen was a staple in our Taiwanese-American home. The Tung-I brand (the Chinese onion flavor in particular) was our favorite, with its brick of crispy, wavy noodles, foil packet of dry seasoning (MSG, dehydrated chives), and clear packet of fragrant, partially solidified oil and fried shallots.

We never ate it for dinner (somehow my mom always managed to whip up a soup, a protein, and several plates of greens and vegetables each night), but we devoured it as a snack. Occasionally we had it ungarnished, but most of the time we’d crack in an egg or two and/or toss in some fresh spinach. My dad would drop in dollops of chili paste until the broth was an unseemly red. I was probably 10 when I started making it on my own. Unsurprisingly, I packed a big box of it and an electric kettle when I moved 500 miles away to college.

Of course, my family also had a variety of Nissin Cup Noodles on hand for the times when we were either too busy or lazy to deal with a pot and a bowl. Even though I haven’t touched the stuff since the 1990s, I still remember the treats found within each cup, more so than I remember the various shaped marshmallows found in Lucky Charms cereal: spongy, yellow cubes of egg; small pink curls of shrimp with black intestinal tract intact; sweet orange tabs of carrot; green balls that never seemed to properly reconstitute into peas.

Eventually, once I was on my own and paying for stuff with my own money, Top Ramen and Maruchan (inferior brands, in my opinion, because they lacked oil packets) caught my attention with their 20-for-$1 sales. When I was feeling adventurous, I’d splurge on Shin Ramyun, a spicy Korean brand. I stopped eating instant ramen completely when I started reading nutrition labels and learned, to my horror, that each pack was 400 calories and 24 grams of fat.

I was long out of college when I discovered that cooked ramen existed in a commercial setting. A non-Asian friend introduced me to the handmade gook-soo noodles (similar to udon) at Bear’s Ramen House, a Korean hole in the wall in Berkeley’s Asian food ghetto. They also served ramyeon, but I didn’t see the point of paying $5 for something that I could literally get for a dime. Eventually, I ate my first bowl of restaurant ramen there. Even though they used dried instant noodles, the broth and accompaniments blew away my home attempts.

It wasn’t until years later in 2009, on my second trip to Tokyo, that I finally had fresh ramen. In Japan, ramen is considered fast food, and it’s as ubiquitous as burgers, sandwiches, and pizza by the slice in the States. Whole eateries (called ramenya) are dedicated to the stuff, and they’re not shy about showcasing their offerings, either through photos or plastic replicas so well done that you can almost see the steam wafting off the vinyl chloride noodles.

Ironically, I ordered my first bowl of fresh ramen from a vending machine. Many ramenya prefer an automated system in which you choose what you want from a machine outside, insert your money, and take the ticket it spits out to the person at the counter inside. I liked it because I didn’t have to struggle with the language and could take my time marveling over the menu.

Kamukura's vending machine (Shinjuku, Tokyo) | Olympus E-P2, 9mm, 1/320, f9, ISO 1000

My meal looked just like the replica, and the noodles were chewy, savory, and comforting, with a bite that instant noodles never had. How had my parents kept this from me for so long? Were they even aware of this magic in a bowl?

My first bowl of fresh ramen | Canon 5D, 70mm, 1/40, f6.3, ISO 250

Little did I know that ramen had many more dimensions, as illustrated in Lucky Peach. The noodles could be curly or straight; the broth clear or milky, fishy or porky or both; the eggs soft-boiled, hard-boiled, or raw. And then there were the various combinations of toppings: green onion, seaweed, fishcake, pork, corn, spinach, bean sprouts. When I went back to Tokyo this past Thanksgiving, I made sure to squeeze in a few more bowls.

Kamukura ramen | Olympus E-P2, 18mm, 1/25, f5.6, ISO 1000

"Piss Alley" ramen | Canon 60D, 45mm, 1/50, f4, ISO 1250

"Piss Alley" ramen | Canon 60D, 50mm, 1/100, f4, ISO 1250

My ramen journey didn’t end there, however. Somehow during the course of writing this post, I became mildly obsessed with instant noodles and learned that they were invented by Taiwanese-born Momofuku Ando for Japan’s Nissin Foods. (I assume David Chang borrowed Ando’s name for his restaurant.) I also developed an unexpected longing for the Tung-I ramen of my youth.

I bought two packs at the Asian supermarket and saw that the packaging had changed a bit (“Unif” had been added to the name; the flavor was now simply “onion flavor”; instructions were also provided in German and Norwegian). In addition, the product was now made in Vietnam. Yikes! Did they change the recipe, too?

Tung-I instant ramen | Canon 60D, 40mm, 1/60, f4, ISO 1000

Tung-I ramen package | Canon 60D, 40mm, 1/100, f4, ISO 1000

Curious as I was, it took me a good two weeks to work up the courage to prepare one pack. Yes, I know that makes me sound like the biggest food snob, but not only was the fat/calorie content daunting, so were the ingredients. MSG was one thing, but what were disodium inosinate, disodium guanylate, and tertiary butylhydroquinone?

As it turned out, the ramen smelled and tasted exactly like I remembered, from the heavenly scalliony oil to the dried chives to the spirals of noodle. I ended up eating both packs with minimal guilt, knowing that I’d never knowingly eat instant ramen again.

Fresh ramen, on the other hand, is a completely different beast. And what about cup noodles…? Oh, why did I dare to eat this particular peach?

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Roctober’s over

Rip Offs, Bottom of the Hill, San Francisco | Canon 5D, 15mm, 1/6 sec, f8, ISO 1000

It’s been so long since my last post that I almost forgot how to insert a photo and put together a sentence. Unfortunately, I don’t have much time to expound on the joy that was the Budget Rock showcase since I have some serious packing and eating to do. Whether or not you were able to take part in the sometimes-inhuman festivities, I invite you to visit the Budget Rock galleries I put up. Hopefully the pictures will make up for my lack of words.

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Slapdash Culinary Adventure

Andrew Zimmern, genial host of Travel Channel’s Bizarre Foods, makes traveling, eating, and filming around the world look easy. I’m sure it helps that a professional crew of directors, writers, cameramen, and soundmen tag along on his excursions.

C and I had no such advantage when we decided to slap together a three-minute video for a “Share Your Adventure” video contest Lonely Planet was having. C learned about it at the start of Labor Day weekend, Friday, September 2. The deadline? Tuesday, September 6, at 11:59pm PST.

Ordinarily, we would’ve just thrown our hands in the air and spent the weekend as other Americans might (lounging by a refreshing body of water, congregating with friends in someone’s backyard for gossip and food), but the grand prize of $10,000 was just too tempting. We had no grandiose notions that we’d whip up a cinematic masterpiece in 96 hours, but maybe we could do something stupid/funny/intriguing enough to win the prize. What was there to lose except a few winks of sleep and maybe our trim physiques?

Sharing a culinary adventure (as opposed to urban, family, visual, and outdoor adventures) seemed to be our best bet. We brainstormed and considered cobbling together video footage we had taken while in Spain last year, or hitting San Francisco or Wine Country for new footage, but none of those options motivated us. I must’ve been subconsciously craving Shan Dong’s handmade noodles because Oakland’s Chinatown, right in our backyard, suddenly felt right.

And why not? With Chinese street signs; sidewalk grocers yelling out specials in Cantonese/Mandarin; windows displaying a menagerie of roasted animals; and droves of Asian locals elbowing past each other for the freshest bok choy, longan, and walter caltrops, Chinatown really is like stepping into another world.

With the Canon 60D and Olympus PEN EP-2, we filmed on Saturday and Sunday, spending four hours the first day and ten hours the next hobbling up and down every one of Chinatown’s 16 blocks at least half a dozen times. I don’t know how real TV people do it, but I jotted down a few lines of monologue the night before the first filming to give us some direction. But even my inner boy scout wasn’t prepared for the strangest development—the lack of hustle and bustle.

Chinatown on the weekend is usually a zoo of double-parked cars, sidewalk vendors hawking miscellany such as (illegal?) baby turtles, extended families heading to dim sum, and locals buying groceries for the evening. Much to our surprise and dismay, most people seemed to have left town for the weekend. On the up side, we didn’t have to wait long for our food and could film scenes with relative ease.

Still, we faced other minor challenges. The biggest one was probably getting up early enough to get to Madison Square Park by 8:30 a.m. to capture different groups practicing taiji, wushu, and kung fu. The other: Staying awake after dim sum (ordinarily, I’d go home in a daze and just laze around until the food coma wore off). It was also difficult coming up with witty commentary on the fly.

In fact, we reshot my pandan waffle and cassava cake scene (on separate days) because, after viewing the “dailies,” I was mortified by my unrehearsed ramblings (did you know that tapioca is made of cassava root? You do now). I actually felt like a sham for pretending I was taking my first bite of each…until I read Eating China‘s fascinating behind-the-scenes account of appearing on Bizarre Foods. That’s some talent right there—not letting multiple takes suck the freshness out of a moment.

Here’s a rundown of the places featured:

  • Gourmet Delight Seafood Restaurant (dim sum)
  • Shan Dong Restaurant (vegetable bun)
  • First Cake (bakery; formerly Delicious Food Co.)
  • Golden Lotus Vegetarian Restaurant (pho noodle soup)
  • Cam Huong (refrigerated coconut milk sweets in cups)
  • BC Deli Sandwiches (pandan waffle, cassava cakes)

In the end, our submission was disqualified for having music in it. Major bummer, for sure, but I for one appreciate the kick in the pants the contest gave us to create a travel video. C, on the other hand, would’ve preferred spending that weekend lounging by a refreshing body of water, congregating with friends in someone’s backyard for gossip and food.

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