Photoessay: Havana reflections

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Imperial purple

A conceptually simple photoessay today, focusing on the difference between the real and virtual, hard and soft. Usually, the reflection of something is soft because it is indistinct and formed in a physical object that is clean, polished, crisp, and thus well-defined; however, in the case of Cuba, it’s the opposite. The physical objects are old, not always clean, have decaying or faded edges, and it’s the reflection that becomes more solid thanks to the hardness and intensity of the sun reflecting off them. The idea becomes more tangible than reality; it can be simply an interesting visual juxtaposition, or perhaps a metaphor for something politically stronger – especially in the case of Cuba. Beyond that, Havana itself becomes very visually interesting after a rain: the clouds don’t linger thanks to the sea breeze, and we land up with either a clear or Magritte sky and great texture in everything else. Enjoy! MT

This series was shot with a Nikon D800E, 70-200/4 VR, Zeiss Otus 1.4/55 and Ricoh GR.

Finally, for those who haven’t seen it: How To See Ep.5, Havana is here, free and in full. :)

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Post-Christmas humour 2014: photographic definitions

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As part of the ongoing annual tradition on this site…I present the 2014 Christmas Humor post: Photographic Definitions. Enjoy, and Merry Christmas everybody! May the gold and silver boxes under your tree not be empty and purely for decoration. MT

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Photoessay: Vertical alpine winterscapes

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Before sunset

Today’s photoessay is a sort of conclusion or coda to yesterday’s post from the Arrow River Delta; whilst it was shot in broadly the same area, it has a little more focus to the presentation, but a similar theme and somewhat more altitude. Enjoy! MT

This series shot with a Ricoh GR, Pentax 645Z, 55/2.8 SDM and 200/4 FA lenses, Nikon D810 and Zeiss 1.4/85 Otus APO-Planar.

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The appeal of landscape

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Meiji Shrine garden, Tokyo

I admit to being very late to the game in landscape photography – it’s something I’ve not really done seriously until pretty much this year; I suppose the main reason was a solid lack of opportunity. When you live in the tropics, then your shooting hours are limited: light is great in the morning and evening, but weather usually conspires against you with pollution, convection rain, or just general haze. Travel opportunities have changed that somewhat, however I think my quest to create images that are the kind of art you’d want to hang has lead me to look at new subject matter. This of course in conjunction with the ongoing quest to find subject matter that makes the most of the immersive experience of the Ultraprints and vice versa.

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Photoessay: The Arrow River delta

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Curvature

This little gem of a location is perhaps one of the most photographically rich places I’ve ever been to. Firstly, an hour on an overcast grey day that yielded a couple of interesting images and very cold fingers, then the better part of an entire afternoon and evening in the gorge as the light fell and the mountains turned gold and the shadows a deep blue. I spent a magical few hours watching the light change, and towards the end of the day, running around like a madman trying to capture the last glowing tips of the trees before the sun went behind the ridge line for good.

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Venetian cinematics and time-lapse

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I’ve been making cinematic stills for a while now, and have had this niggling feeling that they felt too static – after all, cinema implies motion. Sure, it’s possible to capture a pose of dynamic imbalance in a subject where they’re clearly caught mid-step or similar, but that doesn’t always work if the subject isn’t moving much (but obviously isn’t completely still, because humans normally never are). This series is an experiment to do blend motion, mood, and above all, the idea of intransigence and just passing through – which most of the people in Venice are doing.

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Photoessay: A corrected perspective, part II

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Skyscraper evolution and streamer

Today’s photoessay is a continuation of the previous monochrome series of hand-held tilt shift work from Chicago; it is in color and I personally believe has a more immediate, present feel than the monochromes – hence the separate presentation. Enjoy! MT

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Photoessay: A corrected perspective, part I

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Hancock building parking beehive I

While my students were out completing assignments during the Chicago Outstanding Images workshop earlier this year, I was working on a personal project of my own. I wanted to see how practical it was to shoot fully perspective-corrected architectural work handheld – in decent light, of course. Up til this point, I’d always done this kind of work on a tripod because of the need to use live view. As many of you who’ve tried to use a tripod in general urban situations will know, this isn’t always possible due to property restrictions and city ordinances.

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The format matters, but not in the way you might think

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Legs.

Having shot extensively with oue 645Z over the last few months, I’ve developed a new hypothesis: the format – i.e. the physical size of the recording medium – matters to the output, but not in the way that we’d expect. Naturally, we assume that the larger the sensor or film, the higher the image quality. Since so much of that is both subjective and perceptual and thus affects the final impact of the image, perhaps it’s important to understand exactly what’s going on.

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Photoessay: The Verticality Project, part II

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XXVI, Hong Kong

Today’s photoesssay is a continuation of the Verticality Project photoessay. I see this as an ongoing study of architecture. The aim is to replicate the feeling you get when you stand at the base of one of these things and look up: a sense of overbearing monolithic massiveness. The choice of a black and white square with no building base is deliberate: the sense of size remains because off the perspective, and the mood is maintained regardless of the color of the sky.

The majority of these were shot in San Francisco and Chicago, with a Pentax 645Z. Enjoy! MT

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