Project thinking

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From Paradise Lost – the former forefront of military hardware in old age and thinking about better days

It is quite common to hear a photographer or artist talking about work on ‘x project’ or ‘y project’ – in practical terms, it means that images are being made to fulfil a certain objective or idea. For the longest time I’d stayed away from doing this because I felt frustrated at the limitations it would impose at the least expected of times. I also didn’t feel that I had the time to commit to pursuit of a single idea. But at some point in 2013, that all changed for me for various reasons. Outside commercial work, I now find myself working in a few major themes.

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Photoessay-challenge: A single location, revisited

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Only the clouds are truly free, II

During the last ten years, it’s quite possible that I’ve photographed in just about every accessible (and some inaccessible) location in downtown Kuala Lumpur. Many times, I’ve revisited the same location multiple times at different times of day and in different weather conditions to try and get something unusual; the more often you go, the more likely it is to be a bust – that’s just the law of probabilities at work. One location I don’t go to very often – mainly because of weather and its one-trick-pony nature – is the KL Tower; 421m to the top of the spire, about 335m to the outdoor observation deck, and a little bit more altitude (50m? 70m?) by virtue of being on top of another hill in roughly the highest part of the city. There are two challenges: one, good weather at the times of day when the sun is still casting interesting shadows; two, there’s always some degree of atmospheric haze or pollution, visible especially with distant subjects even if you’re on the roof deck with no glass in the way. My challenge for this visit – on the spur of the moment to make the most of a break in the schedule and a clear morning – was to try and make something different… MT

This set was shot with a Nikon D810, AFS 80-400/4.5-5.6 VR G and PCE 45/2.8 and processed with PS Workflow II.

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Curation, judging and objectivity

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Let’s start with three critical thoughts for any photographer: 1. You cannot show what you have not shot. 2. What gets seen is only what you choose to show. 3. What you choose reflects you as much as what you shoot. The more I think about it, the more I think what differentiates a really great photographer from a mediocre one – at least the perception of greatness – are their curation choices. I’ve written about curation in the past but not said that much about the criteria I use to determine in or out – that’s the purpose of today’s post.

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Tokyo Masterclass: student works

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Today’s presentation comprises photographs from Tokyo, but they’re not mine: instead, with permission from the photographers, I’m proud to present a curated set of work from my students’ portfolios at the end of the week. I leave the individuals responsible to claim credit or responsibility…but I think you’ll agree that it’s both a very diverse and accomplished set! 🙂 MT

Name links are to portfolios or flickr where applicable.

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Reminder: Opening party for ‘Un/natural’, tomorrow (5/12) at 4pm

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Crucible

Hope those of you who are in Hong Kong are free tomorrow afternoon – a gentle reminder that my exhibition ‘Un/natural’ with Stephen King opens tomorrow at Alisan Fine Arts. The reception is at the gallery from 4-6pm; hope to meet you there! MT

The full press release for the exhibition can be found here.

‘Un/natural’ runs from 5 December 2015 to 9 January 2016 at Alisan Fine Arts, 2305 Hing Wai Centre, 7 Tin Wan Praya Rd, Aberdeen, Hong Kong (+852 2526 1091). Sebastian Turner and
Daphne King Yao
are representing me for this series of images, and all are limited to an edition of eight pieces each. The opening reception is from 4-6pm on Saturday 5 December; I’ll be there and all are welcome – please drop in and say hi if you’re in town.

Photoessay: life in Hanoi, part II

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One at a time, please

The series of images presented today is the conclusion of the cinematic Life in Hanoi set from a couple of days ago. During the curation, two visually very distinct groups of images emerged: the first, which felt a bit more structured and ‘formal’, and the second, which – to my mind – is a bit more freeform and organic, with higher visual density. These hold closer to the ‘story in a frame’ of traditional photography. Personally, when I looked at the scene – and the subsequent images – a caption came immediately to mind – perhaps not the same one as you might have read, but it would be nevertheless interesting to hear the differences of perspective. Enjoy. MT

Images shot mostly with a Olympus E-M5 II, Zeiss Otus 1.4/85, Zeiss ZM 1.4/35, and Canon 5DSR.

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Photoessay: life in Hanoi, part I

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Today’s photoessay is a little out of sequence – it is the first set of little snippets of life captured during the Hanoi Cinematic Masterclass earlier in the year, but which until now have somewhat defied curation into a finished set (I blame that more on my schedule than anything). They are perhaps not cinematic in the traditional dramatic sense, but I do think they do make for interesting standalone viewing. I suppose that’s what unifies them: being a small window into another place. Enjoy. MT

Images shot mostly with a Olympus E-M5 II, Zeiss Otus 1.4/85, Zeiss ZM 1.4/35, and Canon 5DSR. [Read more…]

Synthesis: technology as an enabler for art

_8A12416 copy1957, from the Havana series. VR on the 70-200/4VR required for slow shutter to motion blur car handheld; D800E to maintain extended tonal range and relatively small aperture for DOF

Much like genius and madness, the line between chasing the horizon for the sake of enabling art and chasing the horizon out of pure gearlust is a thin and often tenuous one. We don’t want to photograph with cameras that frustrate, impede or not inspire us. We certainly won’t feel like just that ‘one last shot’ or that ‘what if?’ experiment. But it is also true that composition is completely independent of hardware, too. Where do we draw the line? [Read more…]

Photoessay: domestic minimalism

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I’m going to start by making two seemingly unrelated statements. 1. It is difficult, if not impossible, to turn ‘off’ your photographic eye once it has been turned on. 2. You will never get a better shot than a local. How are they related? Firstly, if you stay in a place long enough, you get to see it under all kinds of lighting conditions; this can make a huge difference to the presentation of the subject. The chance of your visit intersecting with the optimal (or most interesting) light is slim; a skilled photographer can close the gap somewhat through compositional ability, but you can’t add shadows afterwards. Secondly, we spend more time than anybody else in our own usual domestic circles of orbit – home, work, car, commute etc. It is easy to become immune to this and walk past a potentially interesting scene because we dismiss it offhand as ‘seen it before’. Not walking past and being compelled to stop and take a closer look is what differentiates the serious photographer from the casual one: I’ve lost count of how many times I’ve randomly taken a shot of something inside my own home because the light on that particular day of the year happens to be coming from the right direction and it isn’t overcast. And it’s almost always a fast opportunistic grab, which means whatever is to hand – since even I don’t walk around the apartment with a camera, that means my iPhone. It’s a good practice exercise I can heartily recommend to anybody. Enjoy!

MT Images shot with an iPhone 6 Plus and processed with PS Workflow II – you can open JPEGs in ACR too, if you right click and select the appropriate option in Bridge. [Read more…]

Photoessay: Squeezing blood from a stone

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Arches and blue

There are cities and places that never run out of inspiration or material to photograph because of weather, seasons, light, change, or sheer scale – no matter how many times you go back. Then there are cities and places that you exhaust in a day or two. And others that have hidden depths to plumb. And still others where you have to methodically work through all of the not so nice stuff in the hope that you may eventually luck out with good light and stumble upon some little interesting unknown vignette on the day you happen to be out. Perhaps I’m jaded, but Kuala Lumpur falls into the latter category. Despite being tropical, our weather is mostly overcast and hazy; bright, directional light is rare and lasts only a few hours at most – usually when you’re not in a position to make the most of it.

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