Today’s photoessay has no theme beyond the observation of life as a flaneur in Singapore; in this case during in-between time from a teaching assignment a couple of months ago. You’ll notice this set of images is broken up into two distinct styles; the first series is more along the lines of what I do now – humans in environment; life in context; ‘people in sauce’. It is visually flatter, a little more structured, painterly, and perhaps almost aperspective in some ways. I like to think of the presentation as something akin to a more dynamic version of the traditional still life. The second set is unashamedly cinematic.
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.
Contrary to popular belief, I don’t shoot that much street photography by either time or output; it just appears that way because a lot of the work I do can’t be published for some time (or at all) due to client embargoes; and by the time I can make it public, I’ve honestly just forgotten or realized that the shoot was so rushed that I didn’t get a chance to shoot any ‘making of’ b-roll. Hence the large quantity of street photography. By a similar token, I don’t believe in a conventional definition of street photography; I think of it as something on the documentary spectrum but towards the end where you don’t have a set objective or assignment, and just record what you see. In some ways, that makes it more difficult because you have to make or interpret your own story from a bunch of usually discordant pieces.
Today’s photoessay is the continuation of the curated collection of people I photographed in Havana – (part I is here) the tricky part was to try to avoid cliches (unsuccessful, I think) but at the same time get a decent representation of activity. I think many of my students did this better – my Asian reserve prevented me from sticking my head into doorways and windows of homes (though that’s different if I’m on assignment) – but beyond that, I prefer to photograph people in a natural state without them being conscious of my presence and changing their behaviour to suit; whatever it was they were doing that was interesting in the first place would almost certainly cease and change.
Whenever I travel, I find the people more interesting than the location: they give a place character, and say a lot about the local culture. It is therefore natural that we photograph people as part of a travel photography set, and seek to capture a little bit of everything: some culture, some uniqueness, some context – in essence, the spirit of the location. Things that stand out are behaviours that I find unfamiliar or inexplicable; but this must be balanced with normal people going about their lives to avoid a biased view of extremes and stereotypes. I found Taipei to be a quirky blend of China’s modern awkwardness at attempting to copy the west; Japan’s tech-obsession, and a little of that old dynastic elegance. Enjoy! MT
And now for something a little different – what if I took the abstraction of man to the next logical step? The idea of a person, not the specific individual? What interests me is the way man interacts with his environment, leaves his mark, but is ultimately temporal; more so in modern society where the multitudes of us land up mostly being nameless, faceless and somewhat commoditized. What does generic man look like in native habitat? I’m sure it’s soulless, clinical and a little cold, but hey, I can’t help it if that’s the way I see the world sometimes.
Sometimes, the film photography gods deign to make life easy for you: you happen to be in the right place at the right time, with the right light, interesting subjects, lots of opportunities, carrying the right camera and lens combination, just enough film to get you through a day with a roll left over as insurance, and even airport security guards who’ll hand check your film so they don’t have to make multiple passes through x-ray machines. The last European trip and workshop tour was one of those occasions for me. I went with my usual small digitals (OM-D, Ricoh GR) for teaching, and the Hasselblad 501C with one magazine, a few boxes of Acros 100, and the 80/2.8*. And I came back with a huge number of keepers. It’s interesting to note that despite its size, shutter noise and conspicuity, the Hasselblad never attracted negative attention – usually curiosity or nostalgia. In that sense, it’s actually an excellent street photography tool in the modern age. No more words are required, I think – other than for me to say ‘enjoy!’ MT
*Some of the rolls were pushed to ISO 200 due to lack of light; with Acros this also has the benefit of deepening your shadow tones. There doesn’t seem to be any grain penalty that I can discern, though – anything up to ISO 800 is fine, but the shadows just keep getting denser and denser. Digitized with a D800E, 60/2.8 macro and my custom rig.
Today’s photoessay is a set of images shot with the Nikon Coolpix A on the streets of New York City during my earlier workshop trip this year. NYC on a blue sky spring day is seriously difficult to beat. Not much to add, other than enjoy! MT
If you’d like to learn how to make images like this, you’ll be pleased to know that one last seat has opened up for the Prague workshop (2-5 Oct) due to a participant’s conflicting work commitments. Now available at the special price of $1,900 instead of $2,150!For full details and to make a booking, click here. Thanks! MT
Most of these are square because I was under the influence of Hasselblad at the time; with your primary camera set up to shoot black and white squares, it’s difficult to break your shooting rhythm to see much of anything else. However, this set was shot entirely with a Leica(sonic) D Lux 6. I think what’s interesting here is when I used the DL6 over the ‘Blad: mainly in situations where a) I wouldn’t be fast enough with MF; b) when it was too dark and I didn’t have the 400 back already on the camera; c) when I needed longer or wider perspectives I didn’t have as most of the time I was only carrying 50 or 80mm lenses. There’s still very much room in the bag (pocket?) for a smaller format and a smaller camera, even if you have to give up image quality: a shot is better than no shot at all. Admittedly, at these sizes and this presentation format, it’s not easy to tell what camera was used. Regardless, it’s always about the images: enjoy! MT
Recently, I was a guest at a rather interesting (and crazy) wedding celebration – a close Sudanese family friend’s daughter. Needless to say, I brought a camera – the OM-D and 45/1.8 – but to use strictly in an unofficial capacity. If you get the impression that the feel was very much 1001 Arabian Nights, that’s because it’s not too far off the mark. Enjoy! MT