I’m guessing you’re probably sick of seeing NYC, so this will be the last one for the time being: somewhere between street photography and the observations of a flaneur, but above all, a view at how I see a new environment. Shot with the Fuji X20 and Nikon Coolpix A; two very capable and enjoyable cameras I reviewed some time back while in the US. Enjoy! MT
Today’s photoessay continues my exploration of NYC’s streets in black and white. Perhaps I’m being masochist in continuing this series after the dissenting opinions expressed in the comments in Part one (found here) – but once again, photography is subjective interpretation and each observer has their own views and preferences. I happen to like the precision and perfection others call ‘clinical soullessness’ – and I’d argue that the lack of imperfection is a style and skill of its own; consistently being able to find ‘perfect moments’ in a sea of uncontrolled chaos is extremely difficult indeed – which anybody would know if they’ve tried it. Enjoy. MT
Given how ingrained certain locations are in the popular photographic consciousness due to heavy presentation in a particular style by multiple photographers – Paris and NYC in black and white of course come to mind – I think it’s possible to do one of two things: either avoid that style altogether and try to find your own, or explore a little in the genre and see what falls out. I had a chance to try both the last time I was in New York; to be honest, I found B&W with moderate contrast to suit the timeless feel of the location a bit better – as opposed to expressing the fleetingly temporal nature of life. There’s of course no right or wrong. (My attempt at individual style can be found here, in the NYC cinematics photoessay.)
Today’s photoessay is a set of images shot with the Nikon Coolpix A on the streets of New York City during my earlier workshop trip this year. NYC on a blue sky spring day is seriously difficult to beat. Not much to add, other than enjoy! MT
If you’d like to learn how to make images like this, you’ll be pleased to know that one last seat has opened up for the Prague workshop (2-5 Oct) due to a participant’s conflicting work commitments. Now available at the special price of $1,900 instead of $2,150!For full details and to make a booking, click here. Thanks! MT
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
Ostensibly, this is already perhaps not the most practical of ideas; if one is extremely masochistic, things can be compounded further into the really bad idea class by using film. And a manual focus camera. Without a meter. I think it takes a certain amount of insanity – or at least a healthy dose of optimism – to even attempt it. Street photography (the genre itself being discussed in this previous article) is the kind of thing that’s handled best with a responsive, unobtrusive camera that also has a goodly amount of depth of field for a given aperture, plus what I like to think of as being very forgiving of slightly loose shot discipline. This generally means good high-ISO ability, perhaps a stabilization system, a low-vibration shutter and decently large pixels to make the effects of camera shake less obvious.
I found the people and streets of New York to be eminently suited to a bit of cinematic street photography. Perhaps it’s the fact that so many movies have already been filmed in New York, or it’s the quality of light filtering between and reflecting off buildings, or it’s the various diverse characters that live in the city. These are little moments, vignettes and slices-of-life; I don’t want to use the word ‘stolen’, but it does sometimes feel like one is peering into a pre-coreographed scene and simply borrowing a frame. I sincerely apologise in advance for having some fun with the captions.
On the last day of my recent trip to Fukuoka, I somehow managed to run out of film. The entire brick and both magazines of Delta 100 were depleted in a couple of hours; I was lucky enough to have magical light and the inspiration to shoot, so making the most of it, shoot I did. Let me tell you I wish they still made 220…12 frames for street work means reloading at least every half an hour or less if you’re in the thick of things.
I love shooting at night in Japan for many reasons – firstly, the city never sleeps so there’s always something interesting to photograph; secondly, the quality and layout of the light itself is interesting – their designers obviously pay a lot of attention to this; finally, it’s easy to achieve high image quality. There’s simply so much light it’s rarely necessary to venture into the higher ISO regions, so you can actually get some tonally very rich images covering a large dynamic range with little noise and reasonable shutter speeds. It was better in the pre-Fukushima days when electricity was abundant in Japan; I remember being surprised that in late 2008 I could seriously shoot ISO 200 at night, handheld.
Needless to say, on my last trip, I did plenty of roaming the streets after dark. Here is a collection of my favourite images in that theme. Enjoy! MT
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