We are now into double figures, today being October 10th. After a failed day on the motorbike where I was met with rain and rabid dogs, I decided that I needed a “quick win.” Having visited Phu Phra Bat several times already (with my latest being for a test of the TTArtisan’s Biotar reissue in Fuji X Passion) I was no stranger to the Historical Park. Knowing the place to be best visited during colder months (the heat and humidity still clawing into this third quarter) I still opted to go. Why? Because I knew fresh off the heels of rain the terrain would be lush and verdant — or as verdant as the sandstone Phu Phan range is ever going to be. I also knew for certain where to find some ancient Buddha effigies, giving me a certain win.

The site experienced a small domestic tourism boom after being designated a UNESCO World Heritage Site in 2023 — just last year. It seems despite this (or because of this) the park has remained clean after initial crowds, and whilst not as quiet as it was prior, has returned close to normality. Despite this being my third consecutive year in this area, I underestimated how brutal the heat would be. After an hour I felt my body was working at a quarter capacity, despite keeping hydrated, covered, and wearing a hat. I had hoped to explore the park further and attempt to find a set of small ruins named Tham Phra once I had my shots of the stone monolith Ho Nang Usa, and the ancient effigies in Wat Louk Koei.

Phu Phra Bat Historical Park serves as a timeline of human settlement in the Isaan region, with 6,000-year-old cave paintings to 7th century Dvaravati period stonework, and the comparatively recent Cham-Khmer temple Wat Phra Putthabaht Bua Bok that is still in use. Too much do I hear the term “visual anthropology” bandied about by street photographers trying desperately to force meaning into what is essentially a transient medium, and this misnomer damages those such as myself, who actively explore anthropology, visually. I am not an academic, an archaeologist, or otherwise, yet I have the creative and technical skill to document these places and will do so to the best of my abilities. I came to use the descriptor of my practice as the title of my project believing “Discover” to accurately reflect this journey we are on together. I am far from uninformed, but the monograph I will present is a set of questions rather than definitive answers.

With Phu Phra Bat being a definitive pillar in Udon Thani’s history, I will be shooting here multiple times over the course of the project. As such I was not too worried about getting everything in one go, rather to at least get some imagery that I can build a foundation from. Phu Phra Bat is more or less divided into three separate sections at the entrance gate; the left hand path takes you onto the sandstone plains around 350m above sea level. The centre path takes you to the monolith and then towards the cliffs beyond, where the elevation offers views across surrounding lowlands. The right path takes you through dense jungle and forestry and to Wat Louk Koei. I decided upon taking the centre path, photographing the monolith before swinging right to the ancient temple. However, I decided after photographing the monolith that after the temple I would return home and canvass the site again once temperatures are nearer to the mid 20’s than mid 30’s.

Being surrounded by foliage the temple offers a slight respite from the direct sun, yet also suffers from this as the lighting is subdued. As with much of the site, even the temple itself is not directly from one era. The effigies themselves possibly the oldest, surrounding Dvaravati pillars show that the site was then considered important around the 7th century. Finally the “temple” itself is far more modern in comparison. If I had to make an educated assumption, I believe the temple was built around 400 years ago on the site of Dvaravati importance, and the effigies to have been brought at that time from elsewhere and repurposed. Yet with scientific consensus changing often (broad strokes, I know), an educated guess is as close as one can get. Just bear in mind that my data pool is limited in certain areas but I have the experience of seeing a whole lot with my own two eyes. Something that the scientific and institutional community (in their air-conditioned offices) does not regard half as well as they should. In fact, for those who are beginning to know me from this project alone it is worth noting that my respect for traditional education is limited. I believe modern education to be more about parroting of given information and echo chambers born from peer-review tactics, rather than equipping individuals with a diagnostic skillset. Further to this; in the past few years the agenda-based re-writing of history within respected institutions and media has become untenable. Discover Temples of Thailand is mean as a re-centring of this thought process — singularly authored and deeply personal.

My choice to move the project from Fujifilm systems to Sony systems (the R or Resolution line specifically) has already proven to be correct. Improvements in both resolution detail and dynamic range have been substantial. With aims for archival permanence, having the most detailed base files to work from are quintessential but secondary to actual field performance. In this aspect the Sony has been stressed to extremes in my outing to Phu Phra Bat, with temperatures, direct sun, and excessive dust, leaving the camera unfazed. Mitigating issues found on the Fujifilm system is not a technical gripe but a direct correlation to my ability to work in the field unhindered. A secondary aim of my project is to lay breadcrumbs for those wishing to create work that is outside of the algorithmic gaze or institutionally iconoclastic. Unfortunately I have learned from first-hand experience that there is very little of this process available publicly. Setting precedent and documenting the entire process “warts-and-all” through these field reports is a major aim, rather than a by-product. It is a goal tied more to DRobertsPhoto than Discover Temples of Thailand, but as I am creator of both, they are inherently the same.

After returning home and reviewing my images, I now know that another two trips to Phu Phra Bat are likely needed. I will go in search of the Tham Phra, and canvas the area as thoroughly as possible. whilst interesting in their own right, the sandstone plateau, cave paintings and geological formations are not of direct interest to the current project. I will attempt to find a suitable interviewee for a companion cinematic, as I believe that it needs official commentary for a cinematic companion to be worth shooting. this may come as a surprise to you after hearing my points above, but I believe a counterpoint would be the best companion. I think this way perhaps I may learn more than I know now, and those following the project can draw their own conclusions based off my findings and official record. If I am unable to find someone with the relevant knowledge and credentials then I will settle for capturing cinematic B-roll for a compilation. Either way, this is likely to need its own individual excursion either with Dao operating the camera, or for me to focus solely on motion rather than stills.

Overall, I believe the decision to photograph Phu Phra Bat this early in the project was correct, as it allows me to judge what materials are needed in subsequent visits and sets a historical and archaeological floor without the need for multi-day travel to the likes of Korat or Roi Et for Khmer sites. Due to the location of Phu Phra Bat, I often ignore temples that I see during the journey. The heat, the size, and also the opening times of the Historical Park make arriving at Phu Phra Bat more important than my casual destinations. I did however see multiple temples in and around Ban Phue, giving me solid material to explore on the motorbike. Whilst disappointed I am not further into the project, I can only do what I can do with external factors dictating fieldwork. By actively exploring during this period I hope that my body’s acclimatisation, coupled with lower temperatures due, means the project will get less taxing as it continues; as such allowing for rapid material acquisition. Usually this would be of no concern as the colder months once spread through to February and into March. However, last year burning season began in December and concerns that this year will be the same now fills me with dread. If I must defer to next winter for a second tranche during perfect conditions, I am prepared to do so.

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Discover Temples of Thailand is supported by Angelbird Technologies with companion motion sequences in collaboration with Dehancer Film Emulation.