Rule number one: there are no rules. A ‘mistake’ may not necessarily be a mistake if it helps convey the message or story or feeling intended by the photographer. I can easily think of multiple examples that go against every scenario described below. That said, for the most part, I’ve found these ‘mistakes’ to hold true. And if you want to achieve something very specific, then you either won’t be reading this article in the first place, or you’ll know when to bend the rules. The general viewing public probably has some preformed opinions of what is right/good, but these are born out of as much ignorance as conditioning by companies trying to sell more software or lenses or something else. There are rational reasons why these opinions may not necessarily be right in the context of fulfilling creative intention.
Due to one of the participant’s work commitments, I now have one place open for the Cinematic Photography Masterclass with Carl Zeiss in Hanoi, from 21-26 July – click here to book and for more details! MT
After the jump, a few snippets of thought from previous Masterclass participants…
My usual deployment: handheld video, with HLD-8 battery grip, Zeiss ZM 1.4/35 Distagon rin an adaptor, and a Zoom H5 audio recorder. I am working on fixing the hard/sharp/uncomfortable edges of the battery grip with a silicone putty compound called Sugru, and will post the results in a future post.
Better late than never (or, I finally get around to trying out the second coming): the Olympus’ E-M5 Mark II. Many of the long-suffering readers of this site will know that I had a period of enthusiasm for M4/3 gear (and specifically the original E-M5) before that abruptly came to a halt in early 2014. The reasons were simple: firstly, camera technology has moved on; what was an impressive size/quality ratio in 2012 is not in 2015. Secondly, my output requirements have changed; the cameras have never had sufficient resolution to make a meaningfully-sized Ultraprint. Thirdly, there was no real solution to the shutter shock problem of the E-M1, which produced unusable images under basically every shooting condition – from 1/90s to 1/350s. We were amongst the first to use the original E-M5 for video because of its stabiliser, and continued to use the E-M1s for video (including all of the workshop videos after The Fundamentals), Olympus and I then parted ways, and it appears they found new champions less demanding of their equipment. But, why the change of heart for me?
From an earlier post where I opened the floor to the readers, here are the answers. There were some enjoyable ones in there I really had to think hard about; I was overwhelmed by the sheer volume of questions submitted, but decided to answer pretty much everything with the exception of speculative or ‘what should I buy’ posts about equipment. There is no way to answer these meaningfully without understanding the output objectives and skill level of the person wielding it; give a skilled photographer anything and it’s possible to make a compelling image, there is also the recommended gear list, and if it’s not on there, then there’s probably a reason.
We’re nearing the end of the images from the last trip to Tokyo. Today’s images are a continued evolution of the urban theme into something a bit more widespread; an attempt to capture the combined endless scale and whimsy of Tokyo. There are bits you might find surprising and challenging to your preconceptions of Japan – anything with space or trees or emptiness, for instance – but that’s the whole point, isn’t it? It is me giving in to my endless fascination for man-made light, texture and reflection in complementary colours. Enjoy! MT
This series was shot with a Nikon D810, D750, 24/3.5 PCE, 45/2.8P, Zeiss 1.4/85 Otus and Voigtlander 180/4 APO-Lanthar and processed with PS Workflow II; you can also travel vicariously to Japan with How To See Ep.2: Tokyo.
The next two images on offer are from Venice; after a decent amount of sitting time, the proofs are definitely something that I’d like to have on my own wall. Motion at rest is a study in contrasts between hard and soft light and forms; it is identifiably Venice without being a cliche. Venetian Cinematics 2 is all about the red umbrella: that transient instant of passing a stranger in a rainy alleyway where you perhaps register their presence but not at a particularly conscious level; later on you may stop and wonder what might have been. It is in essence the intrigue of the city at the human level.
Read on for more information and to order. I’ve also got a Hanoi Cinematic Masterclass (21-26 July inclusive) which is open for registration – click here to book and for more information.
Just a little heads up for the Malaysian urban and architectural photographers in the audience today: I’ve been asked by a friend of mine to judge a photography competition run by the World Class Sustainable Cities conference for 2015. The theme is ‘Urban Regeneration Through Smart Partnerships’. There are two categories for >18 years and here, and information on previous conferences here. Good luck! MT