On viewing and presentation methods

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Phantom lamp, Chicago

A little while ago, a reader sent me an email with a question (and great idea for a post): what’s the best method image viewing and presentation, especially when considering different audiences? It’s not an easy one to answer, and honestly, perhaps something that’s given very little to no consideration by most photographers. This is obviously problematic because it’s the final, critical link in the creative chain: if the audience isn’t seeing what you captured, much less what you intend – why are you bothering to show it at all? I would personally rather not show an image than show one that conveys the wrong overall impression. Perhaps the differentiation isn’t quite so clear cut, but I think you get my drift.

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Photoessay: Urban aerial

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Nowhere is our collective societal impact on the planet quite as marked as when you view earth from the air – and whilst there’s probably some truth to those who think we’re going to ruin it through pollution, over extraction, global warming and the like – honestly, it’s much more pleasant to look at the view and just allow yourself to be a little bit amazed by what’s below you. I’ve always had a slightly odd feeling looking at places from the air – there’s scale, and at the same time, there isn’t. Small towns seem very much smaller; constricted, limited almost; large cities seem either daunting or filled with endless possibility. It may be a question of distance – if you don’t see the grittiness, it’s the latter. If you’re too close to the ground, it’s the former. Whatever it is – sometimes we literally need some perspective… MT

This series was collected over about a year and shot with a mix of cameras including the Hasselblad H6D-100c; H5D-50c and DJI Mavic Pro. All images were processed with Photoshop Workflow III.

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On emotion and images

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The previous image post with leftover single images from Iceland got me thinking: what exactly makes it so difficult to let go of them? The simple answer is one of emotion: they appeal to us at some level which is irrational and defies explanation. It is almost certainly experiential: the images trigger a memory of the surrounding events and conditions, or the making of the image is the memory – you’re far more likely to be attached to an image if you had to climb a mountain to get it, even if the image itself is nothing particularly special. The more effort and emotional investment in the subject and making of, the less objective we can be as curators. Notice I didn’t say photographers: I think there has to be emotional investment at some level as a photographer otherwise it’s too easy to treat the subject with cold dispassion and land up with the resulting image simply being purely an image of record and nothing more.

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Photoessay: Cinematic vignettes from Japan, part II

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Continued from part I. Think of this as Act II…MT

This series was shot with a Nikon D850, 24-120/4 VR and post processed with the Cinematic Workflow in Making Outstanding Images Ep. 5. Visit Japan vicariously with How To See Ep. 2: Tokyo.

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Create or document?

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From the series ‘Gravitation is relative’

I’ve come to believe that all photography falls into one of two categories: created, or documented. It’s also rather difficult to switch between the two, and people tend to find either one or the other more intuitive. I suspect this may well have something to do with left brain-right brain dominance, too. This underlying split is important because it dictates the kind of photographer you are, and the kind of work that best suits one’s intuitive vision. It isn’t a continuum, because the one thing that splits the two sides of the divide is binary: was something in the scene added or removed at the control of the photographer, presumably for the express intent of translating and communicating the vision of the photographer to the audience?

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Photoessay: Cinematic vignettes from Japan, part I

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The first part of this series is a sort of composited rush from one city (Tokyo) to the next (Kyoto) – it’s admittedly a bit discontinuous since the curation was made of a set of discontinuous 2.4:1 widescreen frames grabbed without the premeditated intention of being put together into a story; that said, I think they flow together quite well. If there’s one thing missing it’s a critical objective or action or something of that nature – but perhaps also quite indicative of what happens when one passes through a city with non-photographic objectives in mind. Shooting 2.4:1 is quite challenging without any guidelines – there is no mask or crop mode in the D850 for this, and one simply has to guess (it’s roughly half the frame height, plus a bit; I use the limits of the AF area’s outer box as a guide). 2.4:1 compositions really only work in two instances: when you’ve got a very full (‘wimmelbilt’) frame that spreads out horizontally, or a very empty one. The latter tends to be good for tighter human images, which this set is deliberately lacking – it’s about the place, not so much the people. MT

This series was shot with a Nikon D850, 24-120/4 VR and post processed with the Cinematic Workflow in Making Outstanding Images Ep. 5. Visit Japan vicariously with How To See Ep. 2: Tokyo.

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Review: The Canon G1X Mark III, an impulse buy

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I picked one of these up on a recent trip to Japan (for some reason, none were available locally). Though Japan is one of the few places where the larger stores have virtually all models of camera on demo/display, with batteries and storage and lenses and in essence ready to play with to your heart’s content – that tells you very little about how something will perform in the field, in practice. Motivations? I was seduced on impulse by the spec sheet.

Disclosure note: I currently work for Hasselblad as Chief of Strategy, which means I cannot objectively comment on or review anything that might be competition. But since we don’t make a consumer level APS-C compact, there’s little conflict of interest here: I too am simply looking for the perfect pocket tool as much as the next photographer. As small as the X1D is – for medium format – it’s not exactly pocketable.

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Off topic: Presenting the MING 17.03

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I’m pleased to report that my horological venture has very much taken on a life of its own, and though it lives on its own site, I’m also aware that there’s quite a bit of crossover between photographers and watch enthusiasts. I also owe a big thanks to those of you who’ve supported this venture in its first and second iterations. Our latest piece is a sportier everyday wearer, with automatic winding convenience and a second timezone for travel. It’s also highly luminous in the dark.

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Photoessay: The beginning of the end

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I suppose it depends much on your own personal perspective: it could also be the beginning of your new life, should you be one of those people who bought into the starter (or not so starter) home. But I find something rather sad in this series – which is ironic as we were staying at a neighbouring high-rise that undoubtedly was cleared out of the very same jungle not so many years before. I accept of course that change, progress is necessary, and there’s an ever-increasing number of people for a finite amount of land: yet there’s also a rather strong melancholic feeling that sometimes we are chasing our own tails in the pursuit of an ever-receding and increasingly nebulous goal of happiness, but only in the form that social media deems is correct. That said: exactly then same thing could be said about the very first people to carve a space out of the jungle for themselves, and the same thing again about the wildlife and jungle that came from the ooze: who’s right? The one thing I take away from this, and especially again in a photographic sense: change is constant, and relativity is subjective. MT

This series was shot with a Hasselblad 501CM, CFV-50c, 80 and 150mm lenses and post processed with Photoshop Workflow III.

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Long term review: the Hasselblad X1D

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It’s been a long time coming – over a year since I first used the camera – and I will apologize for two things in advance: both the length of time it’s taken to complete, and the absence of any kind of objectivity since somebody will point out I work for Hasselblad. But I’ll remain a photographer first and foremost, and I have the luxury of a little distance as the X1D as a product predates my tenure, but the harder task to assess what the real impact of the X1D as a new product category has been some time after release. The two main reasons for the delay are because I also have a H6D-100c in the stable, which serves as my primary camera (and whose files are understandably seductive to both photographers and clients – and yes, I probably need to do a mid term on that one, too) – and, at the risk of getting fired – until recently, I haven’t felt like the X1D is fully complete. Let me explain…

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