Photoessay: People of Cuba, part II

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Soldiers, I. Apparently you are not supposed to photograph them, or secure installations. When faced with this kind of challenge I invariably have to get an image…

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.

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Photoessay: People of Cuba, part I

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One suitcase, many possible professions

Today’s photoessay is the first part of my report from the streets of Cuba. I tried to go in with as few preconceptions as possible, to just observe and shoot; there’s a little bit of movement away from the anonymity I’d been pursuing in my previous images. Perhaps it’s because the city itself is not anonymous or uniform or soulless or a cookie-cutter copy of every other first world city; the individuals mattered again – even when they were in groups.

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Photoessay: Melbourne monochromes, part II

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The continuation and completion of the previous photoessay.

It occurs to me I never addressed why these images were presented as monochrome rather than color – Australia has wonderfully intense blue skies (I suspect this has something to do with the ozone layer, or lack of it at those latitudes) which in turn produce extremely intense colours. Personally, and I suspect also for a lot of other people, monochrome images are associated with a sort of timeless quality; I don’t – and didn’t – want the impressions to be affected by my current color choices and preferences. It’s one of the reasons we associate certain color palettes with certain eras in history – think of the 1960s and 1970s, or late 1980s, for instance; unfortunately I suspect the current period is going to be defined by over filtering, low-fi and HDR. The least I can do is spare my subjects from that…

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Photoessay: Melbourne monochromes, part I

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This photoessay is the first part of my monochrome work from the Melbourne workshop in March; some of my students may recognise the images. I’ve been criticised in the past for not getting ‘close enough’ for my images to qualify as street photography, so I’m not going to claim it as such even though there’s no strict definition of the genre to begin with. Rather, it continues a theme I’ve been exploring for the past couple of years: the exploration of people in their environment, and the idea of modern man in context as a species as opposed to an individual. Perhaps I should take up social anthropology in my spare time…

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Photoessay: The people of Taipei

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An obsession with things on sticks, I

Whenever I travel, I find the people more interesting than the location: they give a place character, and say a lot about the local culture. It is therefore natural that we photograph people as part of a travel photography set, and seek to capture a little bit of everything: some culture, some uniqueness, some context – in essence, the spirit of the location. Things that stand out are behaviours that I find unfamiliar or inexplicable; but this must be balanced with normal people going about their lives to avoid a biased view of extremes and stereotypes. I found Taipei to be a quirky blend of China’s modern awkwardness at attempting to copy the west; Japan’s tech-obsession, and a little of that old dynastic elegance. Enjoy! MT

This set was shot with a Ricoh GR, Nikon D800E and Zeiss ZF.2 1.4/55 Otus APO-Distagon.

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Photoessay: Tokyo street monochromes, part II

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This is part two of this mini-series. It’s simply impossible to go to Tokyo and not do any street photography; between the overall camera-friendliness of the people, the unusualness of the settings and the quality of light…

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Photoessay: Tokyo street monochromes, part I

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It’s simply impossible to go to Tokyo and not do any street photography; between the overall camera-friendliness of the people, the unusualness of the settings and the quality of light…

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Street photography, soul and ethics, revisited – a personal view

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Man, or the idea of man?

Not to flog a dead horse, but I want to pick up from where the one of the earlier articles hinted and left off: the topic of ‘soul’ in street photography, and what that means in terms the increasingly grey ethical area for photographers. There are also legal implications involved, and we’ll discuss those in passing – individual territories have different regulations, so it’s really in your best interests to check before shooting.

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Photoessay: Amsterdam street colour

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Street photography is something I’ve always done solely for myself – there is no direct commercial application (though arguably some of the techniques probably apply to reportage). For me, it didn’t come about from following a popular trend or other external influence: I just wanted to capture the essence and feel of daily life in a place when I travelled; nothing more, nothing less. Sometimes we find a unique and fun moment or two; sometimes it’s a case of the locally familiar being unfamiliar to us – and therefore interesting. But above all, aesthetics and timing still matter. Enjoy! MT

These images were made during the October 2013 Making Outstanding Images Workshop in Amsterdam; I will be holding three more of these in Melbourne, Sydney and London later this year. Click here for more info, and to sign up.

This set was shot with a Ricoh GR, Olympus OM-D E-M5, the Panasonic 14-42/3.5-5.6 X pancake, and the Leica 50/1.4 Summilux-M ASPH.

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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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