Thangka Painters of Rebkong Valley

Time with the extremely talented artists of Rebkong valley


As some of you saw in my last blog post, I was lucky enough to spend last weekend at the LaRu festival in Rebkong valley.  Rebkong is extremely famous throughout Tibet and is the artistic heart of the area.  At the center of that heart is the Thangka (pronounced ‘tanka’).

Thangkas are traditional hand created paintings that represent many different things in Tibetan Buddhism, many of which serve as a sort of history of the people as well as religious purposes.  Thangkas are made in several places throughout the plateau region, but the most sought out are decidedly from Rebkong valley.  Rebkong valley thangkas are in virtually every monastery in Tibet.

I was able to stay at a friend’s house whose family includes well-known thangka painters.  It was amazing to see them working and see the sheer quality of the craftsmanship that has been handed down from generation to generation.  I was absolutely blown away by the detail that goes into these thangkas.  I more than once saw them painting with brushes that literally only had a few hairs on them.  On top of that some of these thangkas are huge (30 meters wide and long). Some can take over three years to produce and although they aren’t necessarily sold just as art, they can sell for more than $100,000 USD.

The craftsmanship of these thangka painters is truly amazing.

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LaRu Mountain God Festival

Shamans + Mountain gods + Harvest Festival = One Crazy Weekend


I was fortunate enough to spend the last three days in Repkong valley at the LaRu festival.  You won’t find the LaRu festival listed much of anywhere.  It’s not on wikipedia and a quick google search shows almost nothing.  I’ve been told that it’s listed in Lonely Planet but I can’t find it really anywhere.  All this to say, I was really in the dark about what I was in for.

So what the heck is Laru?

The history of LaRu is vague at best.  However, in general terms, LaRu is a “harvest festival” that takes place in five small villages in Tongren county in QingHai province China over the course of 5 days.  It’s, at it’s core, a shamanistic festival with some Buddhist ties that is intended to offer appeasement to the local mountain gods, who they believe to be the reincarnations of old Mongolian army generals.  The five villages all have shamans channel the spirits of the mountain gods and then do all sorts of crazy stuff such as animal sacrifice, personal blood letting, throwing themselves on open fires, and prophesying about the upcoming harvest.  This also coincides with a local ‘coming of age’ ritual where young village men are usually pierced through the cheek to test purity (if they bleed, they aren’t pure).

The festival is unique in that it takes place in and around Tibetan Buddhist monasteries but truly isn’t a Tibetan festival at it’s core.  In fact, Younger Buddhist monks are strongly encouraged to not attend the ceremonies (though you could see a few around trying to sneak a peek).  The festival outdates the introduction of Buddhism into the area and the local inhabitants, the Tu Zu (Tu Minority), are generally a mix between historically invading Mongolians and area locals.  The Tu don’t even natively speak the surrounding Amdo Tibetan and Chinese languages.  Interestingly enough, the village I stayed in is the only place in the world where their specific local language is spoken – even 2 miles up the road the language changes.  The simple irony here is that Tibetan religious pilgrims from far and wide come to see this festival that doesn’t even have it’s roots in Tibetan Buddhism.  This should give you some idea of the cultural, genetic, historical, and religious diversity of this area.

The festival is treated like a big party with food and drink vendors everywhere.  The villagers come out in their best clothes and little kids run around seemingly oblivious to the fact that a shaman carry the spirit of a mongolian general is running around bleeding everywhere.  Most of the older village men just sit around drinking beer and chatting.  You would have thought it was the 4th of July.

When the shaman isn’t parading around, the local village men perform ritualistic dances that go on for hours.  The locals are also required to bring food offerings of tsampa, bread, fruits, grains, oil, and powdered milk to be burnt on a central altar as appeasement.  The villagers also bring alcohol which is then poured out or immediately consumed by the shaman.

It was undoubtedly a crazy weekend.

WARNING: Beyond this point, there is some blood.  It’s not that bad.

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2010 WWFW-Language is your best friend

The local language can help your photography


Our Kelby World Wide Photowalk this year was amazing.  I was just about to post my pictures and say “Hey! We had a great time on our photo walk… here are some pictures!” …only because I’m tired and it’s 1:05am, but instead I’m going to breach another subject.  Why?  Well, this photo walk reminded me of something that has undoubtedly improved my photography.  Speaking the local language.

First, we did have a great photo walk at Kum Bum/Ta Er Monastery.  It had been about three years since I had been out to this particular monastery – needless to say I didn’t get the memo that it had changed from a relatively quite and important monastery into Disneyland.  It was insane.  I got there and there were Chinese tourists literally as far as the eye could see.

In avoidance of tourists, I ended up spending 2 hours with a bunch of Tibetans who were renovating several of the buildings at the monastery – where no one was supposed to be allowed in.  But here’s the thing, I could speak some of the local dialect (read: 6 sentences – very little).  I’m not talking about Tibetan or Chinese – I’m talking about what they speak. I asked in the local dialect about what they were doing and if I could come in and take a look.  They were so blown away that they let me just wander around — my own private personal tour of the innards of one of the most important temples at the monastery.  As a 6′5″ American photographer, the local language breaks the ice even if I can’t carry on a conversation in it.

Not speaking the local language is not a death sentence in this type of situation, but it continues to open opportunities for me and have seen it do the same for other photographers – I’m not breaking any new ground here.  People like to speak their mother tongue, right?  They are usually extremely proud of it – significant pieces of the culture live in the language and if you can manage to utter ANYTHING , the doors start flying open.  We are now free to interact however we can – it doesn’t just break the ice, it takes 100 pounds of C4 to it.

So what are the benefits?  The main benefits that continue to show themselves to me are as follows:

  • I get access to places I’m not generally allowed to go.
  • People literally and instantaniously brighten up and are incredibly surprised and happy to hear a foreigner speaking their language
  • The subjects are usually more excited to get their picture taken.

Heck, I could write an entire blog about the benefits.

With that, I leave this to you –  What are your struggles, experiences, and perceived benefits of language in photography?

(all the following shots are from this years WWPW)

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Six months in Black and White

Taking a moment to look back, reflect, and remember why I was so dang busy!


I love looking back at a six month period and remembering what I’ve been doing as a photographer and where it has taken me.  We always tend to be so busy on the current project or thinking about what we have to do next that we often times forget to look back and see where we have been the last 6 months or even a year.  Since I turned the ripe ol’ age of 28 about a month ago and since I celebrated my 3rd wedding anniversary this week, I thought now would be a good time to take a look back.  Hope you guys enjoy

I’m surprised at how much I’ve done.  How often do you look back?

In the last six months:

  • I have worked more as a web designer than I really want to – a trend that continues.
  • I have worked on staff for an NGO doing earthquake relief, photography, and design
  • I have had several very close friends die
  • I have had way more conversations with my drunk dry cleaner than I wanted
  • I have broken one Chinese-made bed.
  • I have consistently been 4 times the size of an average Chinese dude.
  • I have witnessed the most annoying sandstorms on earth – and eaten sand.
  • I have frozen my butt of – more than once.  I am butt-less.
  • I have eaten more noodles than…you.
  • I have been married to my wife for three freak’n awesome years
  • I have been to Hong Kong, China, Malaysia, Thailand, and Narnia
  • I have travelled by cab, boat, plane, ferry, train, motorcycle, subway, and scooter
  • I have taken two extended trips into remote Tibetan areas
  • I have shot three ethnic weddings in less than a month
  • I have spoken 3 languages that are no my own
  • I have been above 16,000 feet
  • I have discovered that Russians like to be naked at beaches in Thailand
  • I have broken or bruised at least one rib and bleed more than desired
  • I have been amazed at how fast nomads can learn photography
  • I have taken close to 15,000 frames
  • I have spent significant time in temples, mosques, and monasteries – and KFC
  • I have photographed 12 individual ethnic groups and distinct cultures
  • I have had serious altitude sickness
  • I have tried unsuccessfully to purchase, order, or recreate a white seamless setup on the plateau
  • I have had to cancel two Lumen Dei tours
  • I have done a lot more than I thought

Alot can happen in six months.  Check out my last 6 months in black and white after the break

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Mobile Lighting for Travel Photography

Light, durable, and inexpensive mobile lighting setups for travel photographers


tech tuesday hirschy Mobile Lighting for Travel Photography   Brian Hirschy Photography

Todays Tech Tuesday is all about lighting.

Let me start by saying that there are some travel photographers that won’t go near artificial lighting – I am not one of those.  I’m not discriminating between those who use artificial light and those who don’t.  I don’t really draw a strong distinction between the two, other than to say I love natural light just as much as I love lighting setups in many ways – it just happens to be the lighting setups that get my blood rushing and make me excited about being a photographer.  If you are one of the strictly natural light guys, no worries – unfortunately you might not get much out of this post other than maybe some information you can store away for when you do pick up a strobe,.

Moving on…

Over the last month I’ve been asked several times about what lighting setups I use while I’m on the field.

Here is my typical field setup.

bhlights Mobile Lighting for Travel Photography   Brian Hirschy Photography

Just a quick list of what you see above

  1. 2x Westcott 43″ convertible umbrellas (here)
  2. 2x multiclamps w/ shoe mounts (here)
  3. 2x Nikon sb-24’s (here)
  4. 2x Manfrotto Nano Portable light stands (here)
  5. 1x Paul C. Buff CyberSync Trigger Controller (here)
  6. 2x Paul C. Buff CyberSync Trigger Receiver (here)
  7. 1/8th gridspot (here)
  8. Lightsphere, rechargeable batteries, red bungie things, tape

The real beauty of this setup is in the fact that it takes up very little space in my bag and it was super cheap compared to most setups.  I’ve taken this exact setup all over SE Asia without thinking twice.  If you’re setup is too big or you have the mental conversation about “should I take it or not” , you probably wont take it, and in my opinion, the setup is too big for you to easily get out, set up, and capture a killer shot if the situation arises.  Food for thought:  It took me less than 3 minutes to get this shot from having nothing setup – here’s what I got. The setup can be seen here.

A closer look after the break…

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