Photoessay: Uniformity

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Today’s photoessay is a slight evolution on the previous theme. We still remain in an urban setting, but we look only at the uniform, the monolithic, and the stark. They are almost dehumanizingly abstract and yet instantly identifiable as artefacts of our own ambition and desire for bigger, better, more. There is a sort of progression in entropy here – we start with aspirational order and end in decay. Perhaps it is a metaphor for the nature of all things, or perhaps it’s just a consequence of requiring scale for abstraction and visual interest – read into it as much or as little as you please. Enjoy. MT

This series was shot in several countries with a Nikon D810, 24-120/4 VR, 45 PCE, 85/1.8G and Voigtlander 180/4 APO lenses. Postprocessing and color management was done using Photoshop Workflow II and The Monochrome Masterclass.

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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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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: Silent in Kuala Lumpur

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Urban environments are characterised by people: creators, masters, users. They are odd when empty simply because they were never intended to be empty. What is left can be whatever you want it to be; sinister, lonely, a mere abstraction of form and color. Sometimes I wonder about the whole creative circle underlying these locations and objects: somebody had to design and make them, and they had to find the inspiration from somewhere else. We then in turn find something of interest in their forms – but probably not what the original creator intended, especially when taken in concert with environment and other unplanned or juxtaposed objects. Or perhaps I’m thinking too much. Make of these what you will…MT

This series was shot over a period of time with a wide variety of hardware and processed with the fine art technique in Making Outstanding Images Ep.5.

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Photoessay: Prague nightscapes

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Not your typical postcard

Today’s photoessay is a series off nightscapes from Prague. I’ve always found night photography requires a bit of an ‘inertial hump’ to get over – especially if you’re out hauling the tripod for some long exposures; there’s an optimum window just after dusk when the sky is a dark blue and not totally black, balancing off with the ambient illumination of the buildings. It means you have to carefully plan your locations and/or route in order to be at the right place at the right time; on top of that, I find the actual shooting window is pretty small – perhaps two hours at best unless you’re living at extreme latitudes in summer.

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Photoessay: Details of a forest

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Explosion

Perhaps this set should have been called ‘seeing the wood for the trees’ – often in a situation where there is so much going on, it’s not easy to pick out and compose for individual details. There’s a sort of cognitive deception going on – there appears to be a lot of areas of interest, but in reality you’ve got to be very careful because it’s really the juxtaposition and perceived density that makes the scene interesting – without the context, you don’t know it’s one tree of many, or that the level of detail continues on to increasingly smaller scales, or that a particular rock formation is out of place. A good rule of thumb is that the detail of interest must be markedly different from the surrounding areas in order to stand out and hold audience attention. That of course means including the surrounding areas…

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Photoessay: Abstract rocks of Hruba Skala

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Hrubá Skalá is a tiny little village around a castle, located in the Český Ráj (Bohemian Paradise) area of the Czech Republic. It’s about an hour or so north of Prague and very much in the countryside; farmhouses there change hands for EUR 20,000 or thereabouts. It also contains some of the most interesting rock formations on earth – a mixture of limestone and sandstone towers in fantastic shapes that remained whilst the surrounding soil eroded away. In places they protrude out of the forest forming a cliff line; in others they are so near to each other that canyons which never see any light are formed. Walking between them is quite otherworldly – not just because of their scale, but because you pretty much have the place to yourself.

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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: Painterly in Venice

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Lamps and gondolas

Soft, diffuse light from an overcast sky; directionality to darkness brought on by narrow alleyways; perpetual twilight indoors necessitating the use of artificial incandescent light all the time. Sounds like a photographic nightmare? Not quite; I’ve revised my initial philosophy of ‘you always need great light to make a great image’ to ‘there’s no such thing as bad light: just inappropriate light for the subject and vice versa’. November in Venice is almost nothing but this kind of light – one can either put the camera away entirely and stay indoors, or make the most of it by finding the right subjects.

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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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