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.
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.
And now for something a bit different, both from an experiential standpoint and a content one. As part of the Havana Masterclass,
I arranged a massive demonstration of communism to create a realistic photojournalistic scenario we attended the 1st of May parade at Plaza de la Revolucion, Havana – perhaps the biggest socialist event in the entire Cuban calendar. Rather than being observers of the parade, as I’d expected, we got sucked into the enormous number of participants – I would say easily in the hundreds of thousands, covering the entire length and width of Plaza de la Revolucion and beyond. And as you are no doubt aware, the best images are made when you’re not just watching it, but actually in it.
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.
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
Today’s post is about a job I did at the start of January – the world’s premier maker of tunnel-boring machines, Herrenknecht (there are actually quite a surprising number) hired me to document the operation and breakthrough of their first variable-density boring machine*, which happened to be at work underneath Kuala Lumpur as part of the greater Klang Valley subway/ mass transit project. Up til this point, we have a pretty pathetic train system and monorail that doesn’t cover more than 3-4km; we don’t have a unified public transport system which combine with poor traffic management creates legendary jams**.
*Kuala Lumpur has a mix of rock and clay underneath it; you need a special machine to bore through both simultaneously – the machines for rock are too slow with clay and it also clogs the outlet ducting, and the machines for clay simply won’t cut rock.
**In the past, it has taken me up to 2 hours to travel the 1.5km from home to office at the wrong time. If you’re wondering why I didn’t just walk, try doing that in 35 C heat, 80+% humidity and the business suits that you’re expected to wear – not that clothes mean you’re any more or less competent at doing an office job…
Most of these are square because I was under the influence of Hasselblad at the time; with your primary camera set up to shoot black and white squares, it’s difficult to break your shooting rhythm to see much of anything else. However, this set was shot entirely with a Leica(sonic) D Lux 6. I think what’s interesting here is when I used the DL6 over the ‘Blad: mainly in situations where a) I wouldn’t be fast enough with MF; b) when it was too dark and I didn’t have the 400 back already on the camera; c) when I needed longer or wider perspectives I didn’t have as most of the time I was only carrying 50 or 80mm lenses. There’s still very much room in the bag (pocket?) for a smaller format and a smaller camera, even if you have to give up image quality: a shot is better than no shot at all. Admittedly, at these sizes and this presentation format, it’s not easy to tell what camera was used. Regardless, it’s always about the images: enjoy! MT
One of the exercises I did at the last round of US workshops was an exploration into finding style. Naturally, having taken both of the groups in San Francisco to see the Garry Winogrand exhibition that was on at SFMOMA, there was more than a healthy curiosity amongst the groups to attempt to shoot replicate his way of shooting. I of course had to demonstrate. Whilst I don’t particularly care for his off-center/ misaligned/ ‘loose’ framing and various forms of blurring, I do appreciate his sense of timing and getting into the moment and the scene. Plenty of shooting from the hip or with the tilt screen and a wide lens ensued; the OM-D and 12/2 was weapon of choice. Enjoy! MT
Recently, I was a guest at a rather interesting (and crazy) wedding celebration – a close Sudanese family friend’s daughter. Needless to say, I brought a camera – the OM-D and 45/1.8 – but to use strictly in an unofficial capacity. If you get the impression that the feel was very much 1001 Arabian Nights, that’s because it’s not too far off the mark. Enjoy! MT