For what feels like no more than a couple of days a year, the entire mood of London changes as the sun comes out and puts (most of) the population in a good mood – it’s as though the vitamin D has a tangible effect on the constitution. In fact, I’m pretty sure it does; there’s no question I feel better after a bit of sun, and not just because I’ve got interesting light to shoot with. There are still a decent number of overcast days, but at least they’re offset by intense sunshine and great shadows.
The comparison. This is your field of view at about a foot and a half viewing distance of the crops, which are 10″ high each. Larger version here.
Today’s post is an attempt to do try to convey just how much of a difference there is between an Ultraprint and what would be considered a normal, very good print. Since this is really impossible without seeing the prints in person, a direct comparison is perhaps the closest I can get when working via the internet. What you see here will come as no surprise to people who’ve bought the most recent one or two Ultraprints from Forest III onwards; however, things have moved on a bit since then.
Summer is a good time for architectural photoigraphy. From a photographic standpoint, colors of course become more intense, but the contrast is also helpful for monochrome photography, and with the right filters (film or digital), extra punch and contrast can be given to skies. Given London’s relatively high latitude, even during the height of summer the sun doesn’t go perpendicularly overhead as it does in the tropics – which means not being quite so restricted about shooting during noon.
I’ve done quite a few of these things now – both in the course of the site, and in my previous capacity as editor of a photo magazine – and each time I do one, it gets just a bit more refined and hopefully, a bit more useful. But there are some practical and creative constraints to take into account, too. Let me be very straightforward upfront: I am a commercial photographer, not a career reviewer or blogger. Which means that if I review something, it takes time out of my commercial schedule, which is unbillable. It takes two to three (sometimes more, if the product is complex) days to review something properly; anything less and you’ve probably not done it justice. And in the current economics of photography, if you’re going to trade something billable for something that isn’t, you’d better really like it or use it in the course of your normal work – because it’s not as though this is a lucrative industry to begin with. Forget referral fees and free cameras – they don’t exist, or they’re so small as to be negligible. The referral fees for this site just about covers hosting, and that’s about it. It certainly doesn’t cover the average of 6-7 hours a day, every day, I spend making content or replying email. Yes, that’s on top of my normal work, and no, I don’t sleep very much.
But, I think I have a solution that will work for everybody.
The face of London has changed so much in the last few years since my previous visit – 2010 – that frankly there are parts of the Square Mile I no longer recognise. (Never mind the fact that it’s also spread northwards towards the Barbican.) I have to admit that driving through it was an extremely strange feeling – as though an American, or perhaps Japanese (due to irregular street layouts) city had been plonked there with towering edifices of steel and glass. As you all know, I like photographing these things, so a return trip had to be scheduled.
Over the course of the last few months, I’ve had a number of interesting conversations with quite a number of people involved in various areas of the photographic industry – from the corporate juggernauts that make the hardware, to the niche manufacturers, to professional photographers, to amateurs, clients/ image buyers and everything in-between. I suspect the nature of my work and involvement with the greater photographic community means that I have a little more insight into the big picture than most, and what I’m seeing honestly concerns me.
I have the answer for you right here, only partially tongue in cheek… :)
On a more serious note, there’s a special offer going on with the Nikon D750 and excellent all-round AFS 24-120/4 VR lens (I have both) at B&H – $600 off to a total just below $3,000; you can get that here. The Pentax 645Z is also back in stock.
Today’s post is the conclusion of part one. The abstraction of man in monochrome continues; my own peculiar brand of anthropological observation/ documentary/ street photography. Call it what you will. Perhaps as a consequence of the medium (format), I feel these images are somewhat more structured, ordered and ‘rigid’ than the previous set; that said, I’ve never felt London to be a particularly liberal place – especially the City or any of its other institutions – so perhaps this is actually somewhat appropriate.
Just a gentle reminder that I’ve got one last spot available for the 2014 Venice Masterclass – it runs from 24-29 November – atmospheric enough to be different, not so cold to be unpleasant, and few enough tourists that we can still make images that are unique – but best of all, is customised for each participant to focus on what you want to learn, and will challenge you photographically in ways you never thought possible. You’ll spend six intense but inspiring days with a group of fellow enthusiasts, solo, and in individual sessions with me; your photographic brain will be rebooted.
More details on the program are here. See these posts on the recent San Francisco and Havana Masterclasses earlier this year. Please email me if you’d like to book, or for more info. Thanks, and looking forward to seeing you all in Venice! MT