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
I was discussing printmaking with one of the regulars readers of this site recently when a thought struck me: one of the biggest turning points for me personally was when I started shooting with an eventual printability objective for all of my images. This happened around early 2012, before which I’d felt I was stagnating creatively somewhat – perhaps partially due to day job commitments (this was before I turned to photography full time) and partially because well, I didn’t have an output objective.
Some images today from a few older rolls of film I found and recently processed; they don’t really have a theme other than some light documentary of my life; I don’t pretend they are significant to anybody – not even me – I suppose it’s more like a visual stream of consciousness than anything. And they just happened to have been shot on film – Acros 100 in an F2 Titan and the 58/1.2 Noct-Nikkor, to be precise.
Today’s photoessay has no theme beyond the observation of life as a flaneur in Singapore; in this case during in-between time from a teaching assignment a couple of months ago. You’ll notice this set of images is broken up into two distinct styles; the first series is more along the lines of what I do now – humans in environment; life in context; ‘people in sauce’. It is visually flatter, a little more structured, painterly, and perhaps almost aperspective in some ways. I like to think of the presentation as something akin to a more dynamic version of the traditional still life. The second set is unashamedly cinematic.
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.
Summer is a good time for architectural photoigraphy. From a photographic standpoint, colors of course become more intense, but the contrast is also helpful for monochrome photography, and with the right filters (film or digital), extra punch and contrast can be given to skies. Given London’s relatively high latitude, even during the height of summer the sun doesn’t go perpendicularly overhead as it does in the tropics – which means not being quite so restricted about shooting during noon.
The face of London has changed so much in the last few years since my previous visit – 2010 – that frankly there are parts of the Square Mile I no longer recognise. (Never mind the fact that it’s also spread northwards towards the Barbican.) I have to admit that driving through it was an extremely strange feeling – as though an American, or perhaps Japanese (due to irregular street layouts) city had been plonked there with towering edifices of steel and glass. As you all know, I like photographing these things, so a return trip had to be scheduled.
Today’s post is the conclusion of part one. The abstraction of man in monochrome continues; my own peculiar brand of anthropological observation/ documentary/ street photography. Call it what you will. Perhaps as a consequence of the medium (format), I feel these images are somewhat more structured, ordered and ‘rigid’ than the previous set; that said, I’ve never felt London to be a particularly liberal place – especially the City or any of its other institutions – so perhaps this is actually somewhat appropriate.