This year has felt like a year of big changes for me – aside from the arrival of a new family member, my photographic focus has also changed. This is true of both professional and personal work; the former has become increasingly freestyle and less considered, and the latter has done the opposite and become more deliberate and structured. I’ll frequently go out with a tripod on a walk but haven’t used it on my last two assignments. I’ve set up flash still lifes at home, but opted for natural light during my last portrait (!) shoot. I’ve made three system changes (so far) and it’s only August. The problem is, none of them quite sit right. And I think this means it’s time to go back to the beginning. [Read more…]
Today’s photoessay is a series off nightscapes from Prague. I’ve always found night photography requires a bit of an ‘inertial hump’ to get over – especially if you’re out hauling the tripod for some long exposures; there’s an optimum window just after dusk when the sky is a dark blue and not totally black, balancing off with the ambient illumination of the buildings. It means you have to carefully plan your locations and/or route in order to be at the right place at the right time; on top of that, I find the actual shooting window is pretty small – perhaps two hours at best unless you’re living at extreme latitudes in summer.
Perhaps this set should have been called ‘seeing the wood for the trees’ – often in a situation where there is so much going on, it’s not easy to pick out and compose for individual details. There’s a sort of cognitive deception going on – there appears to be a lot of areas of interest, but in reality you’ve got to be very careful because it’s really the juxtaposition and perceived density that makes the scene interesting – without the context, you don’t know it’s one tree of many, or that the level of detail continues on to increasingly smaller scales, or that a particular rock formation is out of place. A good rule of thumb is that the detail of interest must be markedly different from the surrounding areas in order to stand out and hold audience attention. That of course means including the surrounding areas…
Hrubá Skalá is a tiny little village around a castle, located in the Český Ráj (Bohemian Paradise) area of the Czech Republic. It’s about an hour or so north of Prague and very much in the countryside; farmhouses there change hands for EUR 20,000 or thereabouts. It also contains some of the most interesting rock formations on earth – a mixture of limestone and sandstone towers in fantastic shapes that remained whilst the surrounding soil eroded away. In places they protrude out of the forest forming a cliff line; in others they are so near to each other that canyons which never see any light are formed. Walking between them is quite otherworldly – not just because of their scale, but because you pretty much have the place to yourself.
I’m pleased to announce my second exhibition of 2015: The Idea of Man, which runs from October 2-31 at the Rangefinder Gallery at Tamarkin Camera, Chicago. Though the previously intended book didn’t happen (yet, we’re working on it) – a good selection of the images will make it into this exhibition as Ultraprints, which will be for sale in a limited run of 10 per image.
Today’s photoessay is perhaps best thought of a series of vignettes of the locals living in Venice – there may be one or two tourists that got caught in the mix, but I doubt most of them would buy raw meat at the butcher’s. There was a deliberate effort on my part to exclude people who were obviously tourists and focus on individuals; that wasn’t actually too difficult since it was a) winter and b) I was in many of the neighbourhoods that pretty much only saw residents. Those who attended my Venice Masterclass in November 2014 may recognise some of these images from the final day’s curation and processing session; in fact, you might even have been there at the time of capture… Enjoy! MT
This series was shot with a Ricoh GR, 21mm converter, 645Z and 55/2.8 SDM and processed with a mixture of PS workflow II and the ‘fine art’ style in Making Outstanding Images Ep.5: Processing For Style.
Given we’re in the first day of the Cinematic Masterclass with Zeiss in Hanoi, it seems only appropriate that I bring back this classic post for another round – with new images, of course!
Soft, diffuse light from an overcast sky; directionality to darkness brought on by narrow alleyways; perpetual twilight indoors necessitating the use of artificial incandescent light all the time. Sounds like a photographic nightmare? Not quite; I’ve revised my initial philosophy of ‘you always need great light to make a great image’ to ‘there’s no such thing as bad light: just inappropriate light for the subject and vice versa’. November in Venice is almost nothing but this kind of light – one can either put the camera away entirely and stay indoors, or make the most of it by finding the right subjects.
My initial idea for this post was to examine where street photography is going today; on further reflection, I think it’s perhaps more a question of addressing some overdone stereotypes perpetrated by camera collectors and social media warriors – not photographers – to see if we can get a bit more understanding into a) why those stereotypes exist, and b) if we want to produce visually different and better work, what needs to change. Read on, but only if you don’t believe everything should be shot from close range and monochrome contrast is solely binary.