Mini-photoessay: Czech minimalist interlude

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Inner fire

In the spirit of the subject and post, no words today. All images are available as Ultraprints on request; please shoot me an email if you’re interested. Enjoy! MT

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Workshop report: The Prague Masterclass, March 2015

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At the start of March, eight enthusiastic photographers gathered in Prague for the fourth Masterclass. Four even enjoyed the previous ones enough they came back again for a second or even third round :) As has become a tradition, what follows is the Masterclass Report, which is not so much a bunch of photographs of people photographing and holding cameras, but instead a showcase of the participants’ work. Read on to see the kind of images we make.

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Photoessay: the arches of Prague

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The nun at dawn

Prague is one of those locations which never fails to captivate – it’s an interesting blend of Old World elegance, modern efficiency and very friendly people. One of the things that falls out of the Old World setting is an unusually large number of arches – as a load bearing architectural device to create an aperture in a structure supporting a large building, they were pretty much the only option available if you’re working in stone or brick. Photographically, they’re a great device for framing and adding layers of interest to an image – beyond the obvious use of placing the subject in the middle, you also gain the ability to stack them up to create areas of interesting texture through geometrical repetition. On top of all of that, they also act as light control devices – if you photograph them side-on, they can create directional light out of a very flat day especially if there are no other apertures on facing them on the other side. This set was shot during the March Prague masterclass, and includes some of my favourite images from the city. Enjoy! MT

This series was shot with a Nikon D810, Zeiss 1.4/55 and 1.4/85 Otuses, the 45 PCE, and mostly the AFS 24-120/4 VR. It was processed with PS Workflow II.

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One place left for the March 2015 Prague masterclass

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Prague

Prague, Czech Republic, 9-14 March 2015 (best suited to urban, architecture and street)
Duration: 6 days, four practical and two classroom
Tuition cost: US$2,300; $2,600 special bundle including Outstanding Images Ep. 1-5 and Intro to PS Workflow
(required, but most participants usually have some or all of these already)

Want to be challenged? Inspired? Push yourself to take your images to the next level? The Masterclasses are aimed squarely at you. They are for the photographer who already understands the fundamentals and is looking at developing their own style, evolving creatively and spending some time with like-minded individuals. The aim is no longer about building core fundamentals by exercises, but to work on vision, the ability to assess and curate one’s work, application of style, postprocessing, and being able to put together a coherent set of images to an objective.

Click here for detailed information, and to book. Testimonials from prior workshops are here. Thanks and see you in Prague! MT

Prague 2015 Masterclasses open for booking

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Prague

Prague, Czech Republic, 9-14 March 2015 (best suited to urban, architecture and street)
Duration: 6 days, four practical and two classroom
Tuition cost: US$2,300; $2,600 special bundle including Outstanding Images Ep. 1-5 and Intro to PS Workflow
(required, but most participants usually have some or all of these already)

Want to be challenged? Inspired? Push yourself to take your images to the next level? The Masterclasses are aimed squarely at you. They are for the photographer who already understands the fundamentals and is looking at developing their own style, evolving creatively and spending some time with like-minded individuals. The aim is no longer about building core fundamentals by exercises, but to work on vision, the ability to assess and curate one’s work, application of style, postprocessing, and being able to put together a coherent set of images to an objective.

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Venice Masterclass report; Prague and Lucerne 2015 Masterclasses

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The Venice Masterclass (in late November) is now concluded, and with it the last of the workshops for 2014. As has become a tradition, here’s the report – and a selection of images and thoughts from the participants. 2015 is looking to be a busy year, and so I’d like to lock in the first sessions for the new year into my calendar. Read on for the report and for more information on the Prague and Lucerne Masterclass in early 2015.

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Photoessay: Architectural juxtapositions

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I’m pretty sure none of the architects or designers involved with this project could have envisioned the sightlines I used for these images, or if they did, it’s almost uncertain that they would have been able to forsee the changes in the environment surrounding the buildings. Some believe that photography is no more than a derivative work of somebody else’s primary creation; I of course disagree – and that will be the subject of a future article.

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Photoessay: Signs of life: shadows and silhouettes in Prague

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And now for something a little different – what if I took the abstraction of man to the next logical step? The idea of a person, not the specific individual? What interests me is the way man interacts with his environment, leaves his mark, but is ultimately temporal; more so in modern society where the multitudes of us land up mostly being nameless, faceless and somewhat commoditized. What does generic man look like in native habitat? I’m sure it’s soulless, clinical and a little cold, but hey, I can’t help it if that’s the way I see the world sometimes.

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Photoessay: the clouds of Prague

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I have a theory as to why we as a species seem to be universally attracted to things like clouds, fireworks, water, trees and flowers; that will be the subject of a much longer philosophical elucidation soon, but in the meantime, consider what all of these objects have in common. For today, just enjoy the clouds and their endless variety. :)

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FD Photoessay: Prague monochromes, part II

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The second part of the monochrome photoessay from Prague was shot on film, with a Hasselblad 501C and my favourite B&W film – Fuji Acros 100. To be honest, given the tight quarters, I’d have preferred to have had something either a little wider or a little longer – preferably both – to give me some additional ability to add context, or compress (especially with buildings clinging to hills in the background). Nevertheless, we make do with what fits inside our camera bags – after making provisions for film, I didn’t have any space left for lenses!

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