Photoessay: Hruba Skala at Cesky Raj

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About all that’s visible from the road

Today’s photoessay continues the previous two from Hruba Skala at Cesky Raj. I would think of today as more of a general overview and contextual positioning of these unique rock formations in the general landscape around the Cesky Raj (Bohemian Paradise) area in the northern part of the Czech Republic. What isn’t immediately apparent from this (and all other) images of the rocks is that they’re really not that easily visible from the roads surrounding the perimeter of the area, nor does the general topography suggest where you might find them. Instead, you are driving hopefully through some forest and there are little hints of entrance on the right which suggest something much larger. It isn’t til you get down into the gorges and keep walking that the sense of scale is actually apparent. It is one of the most surreal places I’ve been because of this dichotomy between our ability to comprehend the scale (unlike say the Grand Canyon) and the actual size of it – you can go up and touch elements of it, but you’ve got to do some walking. In other words, it’s bigger than you think. And a challenge to capture, too. Enjoy! MT

This series was shot with a Nikon D810, 24 and 45mm PCE lenses, a Zeiss 1.4/85 Otus, a Voigtlander 180/4 APO Lanthar and processed with Photoshop Workflow II.

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An exclusive interview with Kazuto Yamaki, CEO, Sigma

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I recently had the opportunity to spend some time with Sigma global CEO Kazuto Yamaki during his visit to Kuala Lumpur for the dp0 Quattro launch, courtesy of regional distributors APD. What followed was a most interesting and candid discussion during which it became clear to me that he has a very adroit handle on things and a remarkable philosophy. I believe Sigma is going to be one of the companies that not just survives the market slowdown, but may well come out benefitting from it. Here’s why.

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The Sony A7RII

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Most asked question via email for July/August 2015: “What do you think of the Sony A7RII?”

Second most asked question via email for July/August 2015: “When will you be reviewing the Sony A7RII?”

Fanboys should stop reading now. There are uncomfortable truths contained within this post. [Read more…]

One place available for The Email School of Photography

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A very old image from 2009 at the Bodleian Library of my alma mater.

My Email School of Photography is a personally tailored correspondence program to assist you with improving your image making skills, at your own pace, no matter what your skill level. I’ve had approximately 200 students in total and about 50 who are still currently at various stages of completion. A lot of my students go on to join me for workshops or Masterclasses, and vice versa – a workshop is a great way to accelerate what you’ve learned in the Email School, and the Email School is a great way to continue the learning post-workshop especially for topics that might require a bit more contemplation and iteration.

Thanks to a couple of coincidences of timing (more graduating assignment submissions than people on the waiting list and fast completers) I have one spot available for the Email School of Photography open now – details of the program follow after the jump. I’ve never advertised this mentoring program much simply because I rarely have any free slots to offer!

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Composition is not independent of exposure

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Here’s a non-obvious thought: composition should be linked to exposure. On the face of it, this does not make any sense at all: how can something which is a technical property of the camera (exposure) control what we do with an artistic and subjective (composition) one? There are two things we need to take into account here. Firstly, our eyes and our cameras work differently, so there will be some gaps in translation. Secondly, photography – composition and all – still ultimately boils down to light, since a photograph is nothing more than a record of luminance, color and spatial position in two dimensions. The starting position is what changes the appearance of the recording even if everything else in the scene is static.

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Long term review: Canon 5DSR

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These will be my closing thoughts on the Canon 5DSR, first reviewed here. It turns out there won’t be a part two for a simple reason – I don’t see the point. My opinions that follow are going to appear initially conflicting and probably be misinterpreted by the fanboys, so I’m going to state this upfront: I really, really liked the camera. But in the end, it just isn’t for me. Allow me to explain why.

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Photoessay: Urban isolation

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The big C

Today’s photoessay is not quite varied Idea of man so much as man overwhelmed – we construct these grandiose environments for ourselves to use, but then land up almost being slave to them. It’s a slightly odd state of affairs in which I feel the human gets rendered somewhat irrelevant and overwhelmed. Who is the real master? Where did we lose control? MT

This series was shot in various places with various equipment (mostly a D810) and curated over a long period of time.

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One place each left for Tokyo/Chicago Masterclasses

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Due to last minute work-related cancellations, I’ve got one spot left for the Chicago Masterclass from 27 Sept-2 Oct, and another for Tokyo Masterclass from 9-14 November – read on for more details and to book. :)

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A concise city guide for photographers – updated!

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Updated from the 2012 version: my concise city guide for photographers. I’ve added many cities to the list since the first edition, and things have of course changed. This guide is a shortlist of places I’ve been to personally that I think are worth visiting as a photographer, places to be avoided, and places if you like a challenge… It’s organized by city, in alphabetical order. Name links lead you to any other posts tagged from that location – usually photoessays – to help you get a better idea of what to expect. Certain destinations also have a vicarious travel/photographic guide in the form of a How To See episode – links for those are included, too. MT

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The fuss about fifties

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It seems there are perhaps as many roads to Rome as there are 50mm lenses and their approximate equivalents – these are just some of the examples I’ve owned and/or used in the last five years, and is by no means extensive. Off the top of my head, missing are the ubiquitous Nikon 50/1.4, which I’ve owned in three versions; the 55/1.2 pre-AI; the 50/2.8 Micro-Nikkor; the Leica 50/2 Summicron; the Hasselblad CF 4/50 FLE, the Pentax 645 55/2.8 SDM – I could find images of these lenses I’d shot previously – and we haven’t even talked about other brands or extending the envelope downwards, to say 45mm or equivalents in other formats (e.g. 25mm on M4/3, or 35mm on APSC). So why the fascination with and proliferation of lenses around this range?

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