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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Photoessay: People of Venice

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A touch of longing

Today’s photoessay is perhaps best thought of a series of vignettes of the locals living in Venice – there may be one or two tourists that got caught in the mix, but I doubt most of them would buy raw meat at the butcher’s. There was a deliberate effort on my part to exclude people who were obviously tourists and focus on individuals; that wasn’t actually too difficult since it was a) winter and b) I was in many of the neighbourhoods that pretty much only saw residents. Those who attended my Venice Masterclass in November 2014 may recognise some of these images from the final day’s curation and processing session; in fact, you might even have been there at the time of capture… Enjoy! MT

This series was shot with a Ricoh GR, 21mm converter, 645Z and 55/2.8 SDM and processed with a mixture of PS workflow II and the ‘fine art’ style in Making Outstanding Images Ep.5: Processing For Style.

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Photoessay: people of Prague, II

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Do we fear what we cannot see?

Part two of the People of Prague photoessay is to me the more exciting bit: it expands the more literal ‘people in sauce’ environmental slices of the previous series of images to explore my favourite personal project, the idea of man. When photographing I’m always looking out for spontaneous ideas as they evolve around me, but I think it’s important to be open to both the literal and the conceptual even if only for practice. And you never know when the former might develop into the latter (the sequencing of this photoessay is the same: we pick up roughly where the last one left off, and take it further). This particular series explores life at two scales, both individual and group; the latter is not something I’ve done much of up to this point simply because the opportunities aren’t always there. There’s also been plenty of feedback going around in the comments on other photoessays on the use of captions; personally I think if done right they can be used to suggest alternative lines of thought and potentially different interpretations of the scene. A little ambiguity is not a bad thing. Enjoy! MT

This series was shot mostly with a Nikon D810 and the 24-120/4 VR, with additional contributions from the 24 PCE, 85 Otus and Voigtlander 180 APO and a Ricoh GR. I post processed using PS Workflow II and The Monochrome Masterclass. I also cover street photography techniques in S1: Street Photography and How To See Ep.2: Tokyo

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Photoessay: people of Prague, I

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The slight oppressiveness that is impossible to define

Let’s call this set a mix of environmental portraiture and street photography. People in their native element with minimal interference on the part of the photographer. I did stop and talk to some of them; it seems the Czechs in general are very friendly. Others didn’t notice me; I was just another tourist of many. Being a conscious observer in such an environment isn’t a bad thing; you blend in. And people don’t change what they do. This set is the first part of two reinterpretations of ‘people in sauce’ – we’ll talk about my hypotheses on what it means in a future article. We actually had precious few days of good light during the Prague Masterclass – meaning the majority of these images were actually shot on one day – but it was enough. I am continually reminded of just how rich a hunting ground this is when the light is right…enjoy! MT

This series was shot almost entirely with a Nikon D810 and the 24-120/4 VR, with the exception of one image with a Ricoh GR. I post processed using PS Workflow II and The Monochrome Masterclass. I also cover street photography techniques in S1: Street Photography and How To See Ep.2: Tokyo.

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Photoessay: Cinematic in Tokyo

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Not in Kansas anymore

One of the most important things for the creation of a cinematic feeling image is control over light: control light and you can control what stands out, the order in which your audience reads an image, and beyond that, how they feel when they view it. This is of course significantly easier to do when the light sources in question are not random: it’s much easier to make a cinematic image with ambient neon than it is with pure sunshine, as there’s just so much more directionality and variation of color. Fortunately, I had a decent amount of both in Tokyo; I’ve always found it to be one of the most easiest cities in which to make these kinds of images for that reason.

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Photoessay: On the slopes, Queenstown

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If you think about it, skiing must be one of the most pointless activities on earth – right next to motor racing. Both involve completing the same circuit (or piste) repeatedly. Sometimes with the objective of speed, sometimes with no objective at all. I’ve tried to figure out why we find it enjoyable, but honestly have no idea – perhaps it’s both the necessity of focusing on something to the exclusion of everything else, and the fact that it’s different enough from our normal activities that other parts of brains are stimulated. I remember having to work very hard at the basics before everything ‘clicks’ – and then you start moving at a much more intuitive level. I suppose it’s a sort of meditation, not unlike photography. Today’s photoessay is a series I shot at Coronet Peak, Queenstown, New Zealand a couple of months ago whilst taking a break from developing my landscape photography. I’m the sort of skier who learns off piste so he can fins something else to shoot; this time I used a Manfrotto Lino Pro field jacket to hold the gear – it’ll take a 645Z/55mm in one padded pocket, and a D810/Otus in the other. Enjoy! MT

Series shot with a Ricoh GR, Nikon D810 and Zeiss 1.4/85 Otus.

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Photoessay: Observations of Londoners in summer

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The watcher.

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.

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Photoessay: Mono street photography from Singapore

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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.

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Photoessay: People of Cuba, part II

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Soldiers, I. Apparently you are not supposed to photograph them, or secure installations. When faced with this kind of challenge I invariably have to get an image…

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.

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Photoessay: Isolation in Tokyo

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The more time I spend in places like Tokyo – big cities, specifically – the more I get the impression that people fight harder and harder to maintain their own personal space; it’s almost as though there’s some strange inverse law that dictates the smaller the available physical space for each individual, the greater the social gulf between them. Cities seem to have become a collection of people who mostly happen to live together for reasons of convenience rather than community; this is visible in the lack of any sort of pride or loyalty in its inhabitants; it’s every man and woman for themselves. Perhaps the internet is partially to blame; we no longer have to actually know our neighbours and live with them; if we don’t like the people who immediately surround us, there are plenty of online communities full of others who are closer in interest – hell, this site is one of them. [Read more…]

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