I’ve shot in very few places that have this kind of yield or density of interesting subject matter and images you feel compelled to have to make – I guess that either makes them rare, or I don’t travel enough. If at this point you’re wondering why there’s such a focus on this little corner of Western Australia – the simple reason is that it had a huge variety of subject matter, and whether through difference to my normal environment or otherwise – simply forced me to keep shooting. Visual coherence might perhaps only come through in the quality of light and some continuity of subject matter between frames, and I find that quite amazing given the relatively small area covered. Colours may appear surreal, but I assure you that I’ve tried my best to get them as close to reality as possible; I’m sure part of what attracted me to those subjects was the very unusual color (for natural subjects) in the first place. Enjoy! MT
A combination of arts and senses in the appreciation: the feeling of weight; the design, composition and balance of visual elements; the subtle sound of the movement and even the sensation of temperature when you pick it up. Yet I doubt few will home in on any single one of these elements – but if you did, and only looked at the design for typography or prose, for instance, you might find quite a lot lacking…
I have a little hypothesis which I think many of you will appreciate. It’s somewhat off topic, so those of you expecting a how-to or review may want to skip today’s post. The creative person is not limited to one field: often, they have interests in other subject matter, and will try to apply themselves in a similar fashion. Musicians who enjoy photography or painting; chefs who sing; singers who cook. And often one tends to be not only good at the other, but there’s also a translation of style of sorts between the different disciplines, too. I can’t cook, or play music, but I do appreciate those two skills and can comment to some degree, in the same way that I can comment on design work which I do in addition to photography. And like my photography, people have noted my design work tends to be balanced, precise, and structured, but not necessarily simple…
I’ve often thought that this is perhaps both the easiest and hardest subject to shoot, and shoot well. It’s also the most accessible human documentary subject for all of us, and almost always one of the chief motivations underlying our own photography. As I head into 2016, and with an increasingly active young daughter, I’m personally finding myself pointing the lens at her – as is the same for any parent, I think. Yet unlike with other forms of social or commissioned documentary photography – I find it much harder to make an image I’m happy with, even though the subject matter means more to me personally than any of my other work (to which I think most pros in the audience will agree, too). And it’s not because toddlers are fast and active little humans; I think it’s got to do with subject familiarity and some principles that also underpin quantum mechanics. Have I completely failed to make sense yet? Let me try a little harder…
I thought I’d present this set a little differently, in the vein of variations on a theme: one with, one without man, in similar situations. They might or might not have been the same subject, they but I think each pair of images is somewhat interchangeable depending on the end use intent – sometimes, you want the people, sometimes, you don’t. Each image is of course optimised for the subjects that did eventually get included – compositionally and presentation-wise. You cannot simply add or remove one element and expect the rest of the composition to remain balanced. Construction is a messy but never ending and necessary business so long as the needs of the people keep changing; whilst some images may look familiar, they’re part of a very long term and ongoing project for the same client. One of the challenges during assignments like this is to keep a level of consistency of visual style, but at the same time with little riffs and variations on it to stop the material from becoming repetitive or boring – more so when you’re dealing with the same subject that’s changing at at relatively slow pace because of the scale of the project. Not easy, but very rewarding…MT
A photograph is an observation of a scene at a given moment in time. It’s an effectively instantaneous snapshot of the state of a scene or person or other subject, given the relative rate of change of those subjects. If we extend the duration of observation – i.e. with a long shutter speed – we might see some hints at that change in the form of motion blur, or eventually, averaging. If we get lucky, or observe for a long period of time, we might eventually be able to capture an interesting change or temporary state of the system; however, this assumes two further things. Firstly, that we can differentiate what is ‘interesting’ and have a good benchmark of what to look for; secondly, that we are aware and responsive enough to capture it. I think we can already see why there are some serious challenges here.
I think of this set as a fractal scale experiment: nature is self-same and self-replicating to some degree at different distances; what breaks this pattern is the presence of manmade elements of reference that provide a sense of size. Without those, it’s not so easy to tell if we’re looking at a bunch of very small bushes, or a mountain covered in massive trees. I was at varying heights for this series – everything from about 50cm to 40,000ft. Yet with the exception of some unremovable haze, the whole presentation is surprisingly consistent – which I find quite remarkable. MT
I’ll admit first off that this sentence is both somewhat disingenuous and incomplete: the more you shoot, the harder it gets to make something you’re happy with. Still confused? How about now: the more you shoot seriously, the harder it gets to make something you’re happy with. No, it’s not clickbait: it’s a personal observation from my own photography. And I think it’s both a good thing and a good barometer of whether the work you’re producing is really for you, or for somebody else. Knowing the normal demographics of this audience, the majority of readers are producing work purely for themselves – not for a client or crowd. (The actual/personal reasons for the production of images may be something else entirely, of course; none of us are beyond the siren’s lure of social validation and fame.)
Big city, bright lights, teeming crowds…yet the quest for individuality is perhaps stronger than ever. Yet we’re social creatures, so we want to fit in. But where? How? Here more than ever, people felt transient, subservient, temporary. Native is not native and you’re on the way somewhere else. The stage stays; the actors change. Here more than ever, I’ve always felt like I was just passing through – even the times where I was based here for months. MT
Things often start off perfect, or at least ideal. They seldom stay that way. But there’s no reason why the process can’t be reversed into redevelopment and renewal. It happens all around us; most of the time, it’s so common we don’t even take notice of it; sometimes extreme wabi and the right light does result in an interesting image, but there’s a fine line between hope and desolation, I think. This set is a series of observations during the course of my travels, made with that ideal of visual scrapbooks – the omnipresent iPhone. MT
This series was shot with an iPhone 6+ and processed with Photoshop and Lightroom Workflow III.