Due to last minute work-related cancellations, I’ve got one spot left for the Chicago Masterclass from 27 Sept-2 Oct, and another for Tokyo Masterclass from 9-14 November – read on for more details and to book. :)
Shibuya, Tokyo: best suited to cinematic, urban, architecture and street; (more examples of what you might capture are here, here and here) think this is probably the best season to visit Tokyo – the trees are bright orange, the light is angled, and you’ve missed the grey winters, the cherry-blossom chasing hoardes, and the typhoons of summer. Images like Lone Tree were made around this time of year. It’s a little tricky to time the autumn leaves precisely, but generally +/- a week or two is fine. Please note that Tokyo will be a little more guided location-wise than Chicago simply for ease of logistics and because of the language.
I’m pleased to announce two more Masterclasses for 2015, and a new Portfolio Review format – these will probably be the last two for the year, and in two of my favourite and most photographically rich cities:
Chicago and Tokyo!
Read on for more details and to book.
…Small slices of tranquility can be had. Even within city limits, for that matter. The Japanese are quite particular about their nature; like everything else, you get a sense of ordered chaos as an outsider – within defined boundaries, the wilds are allowed to run free. Go a bit further afield, and you might find something that’s actually a little more untamed. Still, there’s a different kind of compositional challenge to be had: see if you can eliminate any signs of man from an environment that might well be entirely artificial; regardless, autumn in Japan is quite a special time of the year because of the enormous variety of colours. It’s too bad timing such a trip is tricky and highly weather-depedant; we lucked out in 2013 when filming How To See Ep.2: Tokyo, but came a bit late last year. Today’s landscape images are a continuation of the unconventional landscapes from a couple of months ago from a slightly more conventional perspective. Half of them were shot in the Tokyo Botanical Gardens; the other half, on the side of a hillside and a river near Mt. Mitake, about an hour outside of Tokyo by train. I’m going to end with one comment on the last seven matched images really need to be viewed as large Ultraprints; hung sequentially the impact is like looking out of a window onto a garden in the full throes of fall. Any image from this series is available as an Ultraprint on request – just
shoot me an email . Enjoy! MT
This series was shot with a Nikon D810, 24/3.5 PCE, AI 45/2.8 P, Zeiss 1.4/85 Otus and Voigtlander 180/4 APO-Lanthar lenses. Some images are stitched, all were processed withs PS Workflow II. You can also travel to Japan vicariously here, with How To See Ep.2: Tokyo…
We’re nearing the end of the images from the last trip to Tokyo. Today’s images are a continued evolution of the urban theme into something a bit more widespread; an attempt to capture the combined endless scale and whimsy of Tokyo. There are bits you might find surprising and challenging to your preconceptions of Japan – anything with space or trees or emptiness, for instance – but that’s the whole point, isn’t it? It is me giving in to my endless fascination for man-made light, texture and reflection in complementary colours. Enjoy! MT
This series was shot with a Nikon D810, D750, 24/3.5 PCE, 45/2.8P, Zeiss 1.4/85 Otus and Voigtlander 180/4 APO-Lanthar and processed with PS Workflow II; you can also travel vicariously to Japan with How To See Ep.2: Tokyo.
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 is a little shorter than the usual, for the simple reason that it wasn’t easy to make these images – the opportunities didn’t always present, and even then, they had to be teased out. I’m exploring what the definition of landscape really is: do we have to have near/mid/far all the time? In the same plane? In a ‘literal’ sense? I think if you’ve read the articles on what makes an interesting image from the previous two days, this set may make a little more sense. The upshot is that I’m seeking to present a series of images that are unquestionably about nature, a bit larger than just a single detail (but not necessarily expansive) and perhaps with some deliberate ambiguity of scale: after all, nature itself is recursive and fractal. Needless to say, they do all work much better as prints, which are available on request as usual. Enjoy. MT
This series was shot with a Nikon D810 and various lenses.
Tokyo ranks extremely highly on my top places in the world for street photography – the sheer visual difference notwithstanding, it is also an extremely tolerant society to photography, and photography of random people in public. Everybody is doing it to the point that nobody notices anymore; however, unlike in other parts of the world where camera phones dominate, there are plenty of people using more serious equipment, too. Blending in has never been much of a problem. That difference I mentioned earlier is eroding somewhat, though. Once again, globalisation has meant that a lot of the more unique ‘character’ areas of the city are becoming clones of international streets (or vice versa) or even other parts of Tokyo; the area around almost any major railway station is the same, for instance – an agglomeration of fast food eateries, convenience stores, and one or two major chains plus a business hotel. It’s a formula that probably works for practicality, but not so much to keep the world an interesting place for its inhabitants.
The more time I spend in places like Tokyo – big cities, specifically – the more I get the impression that people fight harder and harder to maintain their own personal space; it’s almost as though there’s some strange inverse law that dictates the smaller the available physical space for each individual, the greater the social gulf between them. Cities seem to have become a collection of people who mostly happen to live together for reasons of convenience rather than community; this is visible in the lack of any sort of pride or loyalty in its inhabitants; it’s every man and woman for themselves. Perhaps the internet is partially to blame; we no longer have to actually know our neighbours and live with them; if we don’t like the people who immediately surround us, there are plenty of online communities full of others who are closer in interest – hell, this site is one of them. [Read more…]
Buildings, architecture and abstract geometry are amongst my favourite subjects. Actually, I got that back to front: the idea of abstraction and deconstruction of composition into considerations of pure colour and form is probably the underlying linkage between all of my images. As a result, buildings and architecture rank high on my list of preferred subjects because they are very conducive for doing just that: they’re static, so you can take your time with the composition; they reflect their environments – or not – and change in personality as changing light plays off different surfaces and textures in different ways; finally, there are always interesting details incorporate into the structures which are a reflection of their architects; much as a photograph is a reflection of the photographer.
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…