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...]
In the modern age, the car is a machine, a tool, something utilitarian. Features are added to meet regulations or to make you spend your money on something slightly better than what you had, or so Brand A can win a spec sheet comparison against Brand B. There’s very, very little soul; whatever little there is has to be engineered in. I don’t think this is the case with cars that are 50, 60, even 70+ years old; even if they had no soul to begin with, over the years they’ve certainly acquired patina, and with it, a history.
I’ve unquestionably been heavily influenced by Saul Leiter of late, and more specifically his treatment of color and use of foregrounds/ reflections to create abstraction. Combine that with my normal cinematic approach to color and the somewhat more ‘controlled’ shooting mindset that working with the Otus forces results in a rather interesting set of images. Even if not all of them were shot with the Otus – I used the GR for the balance – the way I’m shooting remains the same. My ongoing studies of the abstraction of man take a step back: here, I think I needed stronger human subjects to make the compositions work. Enjoy! MT
We continue with the tunnel borers – this time reverting to monochrome for the aboveground portion of the monochrome documentary (underground was here here, focusing on the workers). A sense of scale is needed to appreciate the extent of the project, and this was the purpose of these images. I shot this with a mix of equipment over an extended period of time – mostly Nikon D800Es, however. Enjoy! MT
This set continues my ‘Australian Dream’ mini series – think of it as a small exhibition in instalments, or a little series of observations on the Australian psyche from an outsider’s point of view – well, not a total outsider because I did live there during my childhood. Today we add the protagonists. To quote Shakespeare: “All the world’s a stage, and all the men and women merely players”.
Interestingly, the notion of the ‘Australian Dream’ is much like the American one: a land of opportunity, space, freedom, big skies, friendly people and a relaxed, laid-back lifestyle. Though I grew up in Melbourne until I was 9, I haven’t been back in nearly 18 years; I was surprised by how much the place had changed, and at the same time, how much it hadn’t. There was a sense of international polish about it that wasn’t there before, or perhaps I hadn’t noticed it.
The Nikon D4 might be old news now that the D4s has been around for a couple of months, but given the diminishingly incremental improvements between each cycle, there’s less of a penalty for opting for an older camera than you might think. And even less again once we consider that for most applications, the point of sufficiency was passed a long time ago. A nearly-new D4 made its way into my hands a couple of months ago during the Melbourne workshop. At a shade over US$3,800, it was just too good a deal to pass up. Read on for my summarised thoughts after spending a couple of months taming the beast.
Time to present a little minimalism of my own today, in the form of some architecture.
Today’s photoessay is the second part and conclusion of the previous photoessay-review. It’s a little broader in scope and less human-scale than the previous one; this is deliberate as there’s definitely an element of the brutalist in Cuban architecture; my theory is that it’s the influence of socialism. You may find the majority of these images to feel toned; that’s mostly a consequence of atmospheric conditions: the best hours of the day to shoot proved to be early morning and late afternoon/ evening, both of which were extremely warm. In any case, I believe it fits the feel and mood of the city well: it’s just a lazy afternoon kind of place, even when it’s ten in the morning. I’m going to stop looking for excuses why I was lighting up a cigar at 9.30 now.
This series shot with a Nikon D800E and 70-200/4 VR. Enjoy!