Photoessay: Alpine

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Earlier in the year, I made a family trip to Japan – Tokyo (of course, images to follow) and Hakuba – site of the Winter Olympics in 1998. As it turns out, torn discs aren’t that much of an impediment to skiing since if you’re as out of practice as I am, most of the work is done by your thighs and knees; in the end I managed only two days before I gave up and decided to make the most of the one clear-ish day we had for some landscape photography. Even so, it had to be squeezed in between parental and spousal duties, so opportunities were somewhat limited; as it turns out the light didn’t last that long, anyway. All of my previous alpine photography experiences have been on bare mountains; it’s quite different to have the varied textures of different trees to work with, and the subtle gradations as the clouds shifted and shadow patterns across the hills changed. I deliberately left in the large color temperature differences between direct/reflected sun and snow/ ice in shadow; it seems the ice attenuates certain wavelengths to emphasise the cool shadows. Hopefully some of that delicacy is translated here. MT

Images were shot with a Nikon Z7, almost entirely the 70-200/4 with 1.7x TC, and post processed with Photoshop Workflow III and the Z7 Profile Pack.

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At the risk of losing your customers…

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Build it and they will come…for a while, and then it becomes an antiquated and cancerous white elephant. First published in the May issue of Medium Format Magazine.

Advance doom and gloom warning: If the photographic industry continues in its current trends (turning spec sheets up to 11; increasing launch prices then decreasing them dramatically over a product’s lifecycle; being inconsistent/imbalanced with design intent – tiny bodies, enormous lenses; ever shrinking ‘incremental’ improvements between generations; poorly implemented software UI/UX; launching of what is basically beta hardware; influencers who produce rubbish images but have large numbers of “followers” “likes” etc.) – expect to see some serious contraction and consolidation soon. In fact, the hard financial numbers suggest this has already begun. The reasons why are not rocket science, but pretty much every company is acting like a paralysed ostrich hoping that if they continue as they have been and pretend it’s all okay, it will be. It won’t, and the ones who survive are going to need to find some cojones.

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Photoessay: Alien geometry

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Every time an architect tries a postmodern, hypermodern, pseudo-alien interpretation of something – I can’t help but think that the opposite is true. By intentionally shedding societal convention and expectation of what a building or space should be, and given a sufficiently liberal client – all that’s left are the limits of the designer’s imagination*. And unless the designer isn’t of this planet – what remains is if anything about as human as things get. I do realise this sounds somewhat unintuitive at best, and downright hypocritical at worst; but ask yourself this: for something to be truly alien it has to be foreign to you. And if it was created by humans – as all buildings on Earth are – it’s still within the realm of our understanding and appreciation. Different, yes; completely alien, no. Somewhat related segue: not having the dictat and expectations of history is not a bad thing at all when it comes to design; I don’t think I’d be able to create a watch to a company expectation or style, for instance. To the creators of the buildings – I applaud the clients for not saying no (or for insisting son something different) and for the architects and contractors to pulling it off. MT

This series was shot some time ago with mostly the Olympus Pen F and various lenses, mostly SOOC camera JPEG. Some Nikon Z7/ 24-70 thrown in for good measure, too.

*And structural engineers’ ability to execute. I respect/ pity those who work for Gehry, Hadid etc.

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Stream of consciousness

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Thoughts, truths and insights from the years presented in no particular order…

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Photoessay: Repetition in high key

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Perhaps repetition is the wrong word; riffs on a theme might be more apt. Pay close attention to the sequencing of the images and you’ll notice the key lines flow up down along diagonals that provide continuity between frames; in this way the repetition and structure extends beyond the individual image to the entire set. The tonal bias is mostly high key and cool, but even then there are slight variations to hint at different moods*. I think of it almost as a rising and falling of music that smoothly transitions between passages. Still, the outer covering merely disguises the fact that the underlying structures themselves are the usual rectangular blocks; it’s simply not economical to make something that isn’t regular (not to mention producing spaces that are highly inefficient). These are after all public buildings in the administrative centre of the country; a little decorative facade cladding is fine, but let’s not go too far overboard. MT

*I’m very pleased with the tonality from this series; there’s something about the light openness of the mid and highlight tones that I’ve only been able to achieve with medium format up to this point – but it might also be because I’ve had a strong preference for darker, richer tones. Think oil painting vs watercolour.

This series was shot with a Nikon D3500 and AF-P 70-300 DX VR, and is a mix of SOOC JPEG and edited raw using Photoshop Workflow III.

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Appreciating urbanscapes and structures

Urban geometry, structures and shapes are normally found in MT’s photoessays, but I thought I’d take a jab at it. While MT travels a lot more, I do most of my shooting locally in Kuala Lumpur. I admit I don’t actively seek out heavily compressed shots of buildings and structures but my default lens when shooting on the street is the Olympus M.Zuiko 45mm F1.8, which enables decent isolation and compression. From time to time, the visual drama is just so appealing that I have to frame for a tighter perspective. My previous work experience as a Civil Engineer and being involved in the local construction industry also allows me to appreciate architectural design and beauty more, now that I am no longer an engineer. The thing about photography is, we sometimes need to open our eyes and appreciate the beauty around us – regardless of the form it takes.

All images were shot on various cameras and lenses, mostly a variant of an Olympus OM-D with either M.Zuiko 45mm F1.8 or 25mm F1.8 lens.

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Photoessay: Growing up

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I have come to the conclusion that four year olds are mostly like uninhibited adults. At least mine seems to be; I suppose their actions make sense in their minds with their limited understanding of the world, and when you disagree – there will be hell to pay because there is no way anything could possibly be different to how they have imagined. (Arguably, this is the same with a lot of supposedly fully grown adults I have to deal with, too.) There are moments when they are remarkably mature and self-sufficient; there are others when we are reminded that they sleep the sleep of innocents and don’t carry any of the worries of reality. They are a bundle of nerves and listen almost solely to the lizard brain. There is no self control and that leaves parents torn between the short term pain of trying to impose it, and the long term gain of raising a person who doesn’t bang tables to get their way. Just looking at these images has driven home though how much she’s matured over the past year, though she probably won’t be self-sufficient for another 15 years or more – and getting seemingly longer with every generation. To think there are entire species whose lifespans are much shorter than the past four years; and intelligent ones who are fully mature and ‘adult’ after just one or two years. We humans are probably the only species with the luxury to explore and pursue something higher up the pyramid of needs than mere sustenance and survival – we should not waste it on pointless diversions… MT

Shot over the last year, mostly with the Nikon Z7 and my custom SOOC JPEG profiles.

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Quick review: the 2019 Fuji XF10


Some camera purchases begin with much research, planning and deliberation; not to mention angst and hand-wringing. Others begin at airport duty free with too much time on one’s hands, and subsequent serendipity in locating a second hand unit. This falls into the latter category. I make no secret to being a big fan of large sensor compacts for their versatility and image quality. I liked the original APS-C GR, the Coolpix A and to a lesser degree, the original RX100; the RX0II is in my bag. You see, I had some time to kill at Heathrow, and landed up playing with some things I wouldn’t have done so otherwise. Those touch-and-try display counters are dangerous things.

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On Assignment photoessay: Automated building

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Some time back, I was given a rather interesting commission by a large local industrial conglomerate: to photograph their automated building facility. The factory uses an automated system to lay up wall, floor and ceiling units for modular buildings according to plan; these precast slabs are then simply installed on site, with reinforcement, connections, conduits for piping and electricals etc. all laid up and ready to go. The surfaces are finished during the production process, and unlike cast in place or brick-types, do not require additional plaster or skimming for a very consistent and precise finish. Interestingly, I was told that below a certain scale this is a more expensive process for building than traditional manual labor, but the overall quality is much higher (and it begins to make sense for large developments). From a photographic standpoint, the completed slab stockyard was very enjoyable – no end of shadows/ geometries/ strong colors/ details and all of the things that make for interesting vignettes and artistic experimentation; the factory was much more challenging due to the lighting.

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Computational photography: what ‘format’ is it?

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Gratuitous header; moment of enlightenment.

One of the unavoidable buzzwords of the last couple of years has been ‘computational photography’. Besides sounding slightly oxymoronic and insulting to the ‘real’ photographer who presumably represents what they see and doesn’t attempt to manipulate objects into (or out of) being that aren’t physically there, the reality is that it’s unavoidable and has been unavoidable since the start of the digital era. Everything that requires photons to be converted into electrical signals and back to photons again (whether off a display or reflected off a print) – must be mathematically interpreted and altered in some form before output. It is not possible to avoid this: the Bayer interpolation, in-camera JPEG conversions, any file format saving, conversion to print color space – a ‘computation’ has to be performed to translate the data. Hell, there’s already an implicit computation in the analog to digital stage (although arguably photons are already ‘digital’ since they represent discrete quanta of energy, but that’s another discussion for another time). However, what I’d like to discuss today* is something one step further down that road, and following on from the previous posts on format illusions: in light of the broader possibilities of computational photography, what does ‘format’ even mean?

*I.e. excluding things like subject recognition for tracking, depth mapping and simulated shallow DOF transitions etc. for the time being; we’llĀ revisit that later.

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