Through the Lens: Neil Pollick on Capturing Cambodia’s Everyday
From Manchester to Phnom Penh, photographer Neil Pollick reveals why Cambodia has become both his muse and his home.
Cambodia Lifestyle had the pleasure of sitting down with Neil Pollick, a Manchester-born photographer who has travelled extensively across Asia before choosing to make Phnom Penh his base. Over the past two years, Neil has built a striking portfolio of images that capture Cambodia’s everyday life in extraordinary ways — from bustling street markets and joyful festivals to portraits of the people who give the Kingdom its unique character.
What keeps him rooted in the city? Why hasn’t he left Phnom Penh since he arrived? And what surprising lessons has Cambodia taught him about patience, calm, and connection? Read on and you’ll discover the unexpected truths behind his creative process — and his life here.
Your lens captures the everyday in extraordinary ways. What first drew you to photography in Cambodia — and how has your subject matter evolved since arriving here?
“I had been travelling a long time, living in different countries in hotels and short rentals and I wanted a more stable situation. I was hearing from other travellers that Cambodia was ‘an easy place to live’ and that ‘the Cambodians let you do anything’ … not that I had anything nefarious or immoral in mind but I like not having to explain myself too much. I also heard it was inexpensive, especially the accommodation and that it hadn’t been ruined by tourism like parts of Thailand have been.”
“I am deeply acquainted with the particular form of Buddhism here, The Therevadan lineage. I know the rituals, the doctrines, the chanting and the meditation techniques. Seeing the ornately styled golden edged temples and pagodas around Phnom Penh lifts my spirits every time.”
“When I arrived, I went to the street markets because there was life right there out in the open – colour, commerce, characters and humour! The atmosphere was chaotic but I like that because unexpected things happen and meaningful moments can be found in the disorder.”
“Later on I went to festivals like Songkran at Wat Phnom, and the water festival on the river, wherever there was a chance to capture spontaneous celebrations and strong emotion. The people were keen to be photographed and appreciated my interest. It was a pleasure to see them happy and to capture their joy in the bright sunshine.”
“The street photography I have done here is in the same vein as travel photography I did earlier in life but I do it more because the subject matter is accessible rather than because it is my forte. I hope to be able to cover things in more depth when I get better established.”
Cambodia has a unique rhythm, from the sunrise bustle of markets to the quiet of rural life. What moments or settings do you find most visually compelling, and why?
“I haven’t left Phnom Penh since I got here, almost 2 years ago. I left England to travel in 2007 and I have seen a lot of mountains, beaches and forests. I wanted a place to be still, where I could build up all the things that get neglected in a nomadic life. I love rural scenes more than urban ones and when I finally do get out in the country I probably won’t want to come back!”
“The most compelling moments for me visually are the most vital and expressive ones, or the ones that express and ongoing story. I am also a documentary film maker and one-time photojournalist so I am curious about the backgrounds to any situation and I always want to dig beneath the surface.”
How has living in Cambodia shaped your understanding of its culture? Are there any customs or daily experiences you’ve come to deeply appreciate or feel connected to?
“I appreciate the modesty and humour of the people most of all. I think I am myself a naturally considerate person and I do well among them. The lack of road rage here, when I think how it is in my own country, is miraculous. It is very rare for me to lose my temper here, it’s like the Cambodians have taught me how to stay calm, something I will always treasure.”
You’ve photographed a wide range of people from monks to mechanics, street vendors to schoolchildren. What’s your approach when capturing portraits, and how do you build trust with your subjects?
“If it’s in the streets or markets then I rely on body language, smiles, a bit of slapstick and some basic Khmer. If they are still smiling then I go ahead and take the picture. Sometimes I create the situation myself, accidentally by speaking bad Khmer or intentionally to draw them in – I then capture their reaction to that. Many people find the idea of a foreigner taking their picture to be hilarious so I built on that. It’s techniques, trickery really. Other photographers show them the photos they have already taken, to put them at ease, but I haven’t found that helpful.”
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“I also take pictures of people without asking for their permission, or sometimes without them being aware of what I am doing. I know many people frown on this but sometimes that’s the only way to get something that’s real and authentic and representative of actual life. I am not just taking positive upbeat pictures for the tourist board; I am trying to capture some truth.”
“Often, I give people prints of the photos I have taken of them, it’s a way of giving something back – but I found that other people around who see the photos ask me to take their picture too. This is the ideal situation, when they are co-operative and relaxed. This is not trickery.”
From colonial buildings in Phnom Penh to remote countryside villages, what contrasts in the Cambodian landscape or lifestyle have you found most striking through your camera?
“I haven’t left Phnom Pehn since I got here, almost 2 years ago. I left England to travel in 2007 and I have seen a lot of mountains, beaches and forests. I wanted a place to be still, where I could build up all the things that get neglected in a nomadic life. I love rural scenes more than urban ones and when I finally do get out in the country I probably won’t want to come back!”
“I get around Phnom Pehn a lot on my bike, I explore the less travelled back roads in the outskirts. I have been struck by the disparity between the modernity of the centre and the rundown areas where the poorer people are living often near unsanitary canals and waterways. I am struck by the number of people making a meagre living through recycling rubbish or running their small businesses from motorcycles and hand carts.”
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“I would like to take pictures in the poorer areas but I don’t want to just go in like a photographic raider and give them nothing in return. I am hoping to find people from those communities who I can co-operate with. Good photography requires investment!”
What advice would you give to fellow creatives or photographers thinking of moving to Cambodia — both in terms of inspiration and the realities of life here?
“If you have some savings, you will be able to live here without taking on unwanted work, which will give you time to develop your vision and portfolio, while the money lasts. But you must be careful not to fall into inactivity which the slow pace of life, the genial locals and hot weather can lull you into.”
“You don’t get any problems taking photographs in public, and the people are friendly and co-operative for the most part. But to get the best images you will need to catch them off guard. Photographic studio space is not expensive and equipment is readily available.”
“Artists from Europe, Japan and elsewhere may find the arts scene here to be conservative, relying a great deal on foreign, mainly French, patronage. Foreign curators & NGOs set the agenda. Cambodian artists were traditionally craftsmen, the role of the ‘artist’ as venerated auteur is an imported concept.”
“The political scene is shut down which means that so much of the visual art grounds itself in ‘safe’ uncontroversial areas like Buddhist monks, national monuments and landmarks, Apsara dancing or social media tropes or else it uncritically lauds modern urban developments. Artists with a more radical perspective, hoping to express themselves freely or deal with more controversial topics, will feel frustrated here.”
“There is a lot of competition here in photography and the business world runs on a patronage system so you will get nowhere without connections. Take every opportunity to network and connect.”
“Having said that, South East Asia is rapidly developing so new opportunities will come along for artists just as they will for everyone else. But it is up to you to take the initiative.”
Neil Pollick’s photography is as much about patience and presence as it is about composition. By staying rooted in Phnom Penh, he has found inspiration in the chaos of markets, the serenity of temples, and the humour of everyday encounters.
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Author: Tom Starkey
Tom Starkey is an International Development graduate from Sussex University with 12-years of experience across 4 continents, Tom's goal is that he wants to showcase his love for Cambodia, where he lives, works and now happily calls home.
