Growth trap

What’s the point of “You can reach a wider audience and find new customers by promoting”? It annoys me every time.


Kids picking up something precious in the river of garbage, Phnom Penh, Cambodia, 2017

It directly means without paying I can’t show my photos to wider audience on Instagram or Facebook. And it means they control the audience to whom I show my photos. Wait. Photos are mine, but why can’t I show my photos to all of my followers? From business points of view, it is fucking correct. But from the points of individual person who loves and uses Instagram since 5, Nov, 2010, I have to say they are completely changed from what they used to be and I am so sad. Fuck it. They had a core value and great slogan “Community First”. I still have a mug with it written on. 


Kandal Market from above, Phnom Penh, Cambodia, 2017

Now I feel Instagram is just a money making machine for a crappy short videos, not a platform for the people who love photography. And that is happening since Facebook bought them. I read some articles about Meta testing subscription service for small group of people on Instagram. And all of these things were intended since then. They are doing great on business. 


A banana man, Phnom Penh, Cambodia, 2018

But for the people like me, their strategy is completely wrong. I will never pay any cent to those money making machines. And I will never pay any pence to the weird agents from Russia or India trying to convince me at every opportunity to pay money for them to get growth in the platform. They are trying to trap us in a growth trap, making us pay to buy attention and perceive the number of likes and followers as some kind of status.


Lights and shadows inside Central Market, Phnom Penh, Cambodia, 2016

All the photos are creative. And I respect all styles of creativity. Portrait, City Scapes, B/W, Animal, Nature, Landscapes, all the perspectives should be respected. If they set the pay wall? I don’t give a shit. Growth in the crappy platform? Bullshit. But creativity matters. How can we stand to have a system or algorithm control what we create and who we show it to? That’s ridiculous. That’s fucking up to us! Creativity is free, and it cannot be controlled.


Lights through the gap, Crab Market, Kep, Cambodia, 2018

I learned a lot through the real voice and interactions from real friends since I shared my feeling yesterday. I have to focus on what I want to express and tell through my photography and I will. I have to care the people who really like and care my perspective and I will. I don’t fucking give a shit on the numbers or I don’t serve for the machines. I’ll just chase what I want to express. I’ll keep on capturing humanity on the street in my way. That’s it. People would find me or may not, but it doesn’t fucking mean anything to me. Who cares. I care my perspectives, and only hope it would contribute to the other people’s perspective. 


A boy playing on the railroad track, Phnom Penh, Cambodia, 2017

Thank you all of my great friends and strangers for giving me your kind words, sharing your thoughts, and inspiring my philosophy. All of the conversations were precious for me. I am so honored to meet you and know you through photography.


A boy at a skate park, Phnom Penh, Cambodia, 2018

To all the creative people,
Love and Respect🤘🏻🔥


Independence Day, Phnom Penh, Cambodia, 2017

Cambodia’s cash-strapped cyclo drivers treated to pedal-in movie


“PHNOM PENH (Reuters) – Presented with a movie, meal, medicines and a $20 cash handout, Cambodia’s cyclo taxi drivers received a rare treat at the weekend, and a brief distraction from hard times as the coronavirus takes a toll on tourism.”

By Cindy Liu

Thoughts / 💭

My friend Hao organized a wonderful event called “Cyclo Pedal in Movie”, which welcomed Cyclo drivers whose earnings were drastically reduced due to C-19. The words of the driver and Hao touched my heart. I am proud of my friends who are able to help others in times of hardship. And this beautiful article was written by another friend Cindy. I am so glad to see these young friends at the same time😊

友人のHaoが実施したCyclo Pedal in Movieという素晴らしいEVENT。C-19で稼ぎが激減したCyclo Driverたちを迎え上映されたのは「Fathers」という家族を支えるCyclo Driverの日々を描いた作品。DriverとHaoの言葉が胸に響く。苦しい時に他人のために尽くせる友人を誇りに思う。そしてこのREUTERSの美しい記事自体ももう一人の友人Cindyによって書かれたもの。若き友人たちがこうして一緒に活動しているのを見るのはなんとも気持ちの良いものです。

Street artist FONKi takes us on a journey through Phnom Penh to share Cambodia’s artistic renaissance


“Graffiti is the mirror of the society’: FONKi is capturing Cambodia’s deep history in his art”

Graffiti is the mirror of the society.” FONKi is capturing Cambodia’s deep history and culture in his art.

Thought 💭 /

Born in France to parents who fled Cambodia, FONKi grew up in Montreal and became a successful graffiti artist. A visit to Cambodia in 2012 inspired him to move to Phnom Penh. “Graffiti is a mirror of a developing society, city, and region,” he says. He has successfully harmonized Everyday People and Khmer Culture.

カンボジアから逃れた両親のもとフランスで生まれたFONKi。モントリオールで育ちgraffiti artistとして成功を収めた。2012年にカンボジアを訪れたことがきっかけでプノンペンに移住。”グラフィティは発展する社会・街・地域の鏡”と語る彼。Everyday PeopleとKhmer Cultureを見事に調和させている。

Why Did 74 Million Americans Vote for Trump? This Sociologist Has the Answer


“Arlie Hochschild spent five years interviewing tea party members in Louisiana prior to Donald Trump’s 2016 election victory, and is now hanging out with non-college-educated white guys in Appalachia. Democrats should listen to what she has to say”

Arlie Hochschild. Believes that in order to understand anyone’s politics, we need to understand their “deep story” – how they perceive themselves and their situation. Credit: Paige K. Parsons

Thoughts 💭 /

Carefully listening to people’s stories, understanding them from an emotional standpoint, and approaching the deep stories of individuals. Her approach may provide clues to overcoming the various “empathy barriers” that divide not only U.S. but the World.

#Lobsterr で佐々木さんが紹介していた「壁の向こうの住人たち」著者の社会学者ホックシールドさん。丁寧に人々の話を聴き感情面から相手を理解し個人が持つディープストーリーに迫る。アメリカだけでなく世界を分断する様々な「共感の壁」を克服する手がかりになりそうなアプローチ。


Toxic Internet Culture From East To West


“What the digital worlds of Japan’s imageboards and America’s alt-right reveal about real-life precarity.”

Yu Maeda for Noema Magazine

Thoughts 💭 /

This topic came up when I talked with American friend yesterday about the riots at the Capitol. Why was 2channel born in Japan? Why do similar darkness arise in completely different cultures in Japan and U.S.? Good to read but I can’t find any key to make this better.


Tiny News Collective aims to launch 500 new local news organizations in three years

LINK 👉 Nieman Lab

At least half of the new newsrooms will be “based in communities that are unserved or underserved, run by founders who have historically been shut out.”

Thoughts 💭 /

Just as Bookshop is for local indie bookstores and The Green Hub is for ethical small businesses, The Tiny News Collective is for local indie media. It’s a trend that’s happening in all genres, and as a lover of Giant Killing, I welcome it!

地元のIndies書店向けにBookshopが、EthicalなSmall Business向けにThe Green Hubがあるように地元のIndies Media向けにThe Tiny News Collectiveが誕生。よりLocalでよりCollective。あらゆるジャンルで起こっている動き。Giant Killing好きな僕としては大歓迎な流れです

A New Wave of African Photographers


“From Nigeria to Ethiopia and Senegal to South Africa, photographers from the continent are in demand from global fashion publications. Which brands will tap them for their next ad campaign?”

South African Photographer, Lesedi Mothoagae. Lampost Creative Agency.

Thoughts 💭 /

This is a special feature on African photographers who work for fashion magazines around the world. Each of them is unique, but especially Ogunbanwo, who says, “I have a great responsibility to document the times as they are.” A good photographer has a good philosophy. I have to be careful not to take flimsy pictures.


‘On a huge scale in Cambodia’: Director talks slave labour in Thai fisheries

LINK 👉 Southeast Asia Globe

“While many of the industry’s worst excesses have been cleaned up in recent years, bondage labour persists aboard Southeast Asia’s fishing vessels. Following the reemergence of his film Buoyancy, director Rodd Rathjen talks about the conditions he witnessed in Thailand’s infamous fisheries”

A still from film Buoyancy. Photo: Supplied

Thoughts 💭 /

A conversation between @SEA_GLOBE and the director of “Buoyancy” on Slave Labor in Thailand’s Fishing Industry. Not only at sea, but also in the sewing factories and brick workshops on the outskirts of Phnom Penh, there are people who are exploited in a way similar to slavery. I was impressed by the director’s philosophy, “For me, it’s about giving voice to the voiceless.”

タイの漁業における奴隷労働について @SEA_GLOBE と 「Buoyancy」監督との対話。海上だけでなくPhnom Penhの町はずれに佇む縫製工場や煉瓦工房でも奴隷に近い形で搾取される人々がいる。“For me, it’s about giving voice to the voiceless.”という監督の哲学に感銘を受ける。’s new cocktail club is recreating the city’s bar scene from readers’ homes

LINK 👉 Nieman Lab

“There’s such a fun food scene in the city that we all just miss, and this is our ability to replicate that as much as possible until it’s safe to go back out again.”

Thoughts 💭 /

The Boston Cocktail Club, launched by, is an initiative to help locals feel connected to their community by targeting bars and restaurants that suffer from C19. It is similar to Bookshop and The Green Hub in that it is the local media with the scale, expertise and community that can get everyone involved.

Boston.comが始めたBoston Cocktail Club。C19で苦しむBarやRestaurantを対象とし地元の人々がCommunityとの繋がりを感じられる取り組み。規模、専門知識、Communityを持つ地元メディアだからこそ皆を巻き込めるという点はBookshopやThe Green Hubに共通する。

Magic, culture and stalactites: how Aboriginal perspectives are transforming archaeological histories

LINK ðŸ‘‰ The Conversation / 6, Jan, 2021

“New collaborative work at an Aboriginal cave in eastern Victoria, published today, shows the stark difference between contemporary archaeological research and that conducted in the 1970s.”

The outside of Cloggs Cave (vertical fissure in the middle of the cliff) pictured circa 1890-1900. Photo courtesy of the State Library of Victoria. Photographer unknown.

Thoughts 💭 /

This is a story about a cave in eastern Victoria, Australia, which was already surveyed in the 1970s, and how a new researcher from the Gunai Kurnai tribe was brought in to investigate it, resulting in a completely different discovery. Inclusive and decolonial perspectives will become more and more important not only in politics and economics, but also in research and academia.