Photoessay: Window seat VI

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Continued from the previous series of Window Seat photoessays…

I actually thought about calling this one folds and ridges but then found a better set for that title which I’ll post in due course. It’s remarkable how short of a few lighting cues (and ensuing hints at climate) – the topography of earth looks much the same regardless of where you are. The images come from very different latitudes and continents, but all benefit from a harder monochrome treatment; a couple are a little hazy thanks to some pretty serious atmospherics. I left them in anyway, because I personally like the transition/inversion between land in a sea of clouds and land in a sea of…water; there is a nice conceptual symmetry here. My one regret is that I have nothing from the US in this set as the one flight I was scheduled on that was supposed to take me over the Grand Canyon in daytime got delayed by 9.5 hours and well into nighttime (thank you, American Airlines, for the soggy sandwich, incremental ‘rescheduling’ and total lack of compensation or even courtesy) – I guess that gives me a reason to go back. Or perhaps try for a change of scenery and see if I can get on one of those transpolar flights… MT

This series was shot with a variety of hardware over a period of time, and mostly processed with the Monochrome Masterclass workflow.

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Photoessay: Window seat V

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Continued from the previous series of Window Seat photoessays…

I’m trying something a little different with the sequencing of this series. They aren’t all from a single flight – not even close – instead, the curation and ordering was done as an evolution of mood through ambient light and atmosphere rather than matching similar. I’d like to think this might be the view out of the window of a hypothetical flight where one got very lucky with seating, aircraft cleanliness and having the right focal lengths handy;. As frustrating as mist and cloud is when trying to get a clear aerial image (it reduces contrast, which you’re already battling for as you’ve lost some on the several layers of window and all of that atmospheric dispersion, leading to heavy postprocesing requirements and in turn the risk of color correction going out of the window or being downright impossible as there’s no channel information remaining) – I think on the whole it does add to that surreal sort of mood one feels when flying. It magnifies and reinforces the detachment from reality/ground/scale that’s already present thanks to altitude. As far as possible, I’ve tried to retain that look here. MT

This series was shot with a variety of hardware over a period of time, and mostly processed with Workflow III; SOOC is nigh on impossible for aerial work as there’s just too much atmospheric effect to cut through.

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Photography, philosophy and psychology

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In a sense, this entire site has revolved around these three topics*: the way we experience it and share this experience with others (psychology, and to some degree, physiology), and the way we interpret it (philosophy) – expressed by means of a static, 2D visual medium (photography). Today I’m going to attempt to tie it together in a deceptively simple way in today’s post: photography is capturing a still image. Good photography is capturing something unique or transient and sharing it; really exceptional photography says something meaningful about the subject and the interpretation – and in a way that an external audience can understand.

*Despite what others may think about my views on or approach towards hardware: that is merely a means to an end, and I think sufficiently resolved now to the point of being effectively unimportant.

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Photoessay: Cliches and observations

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During the time I was in Berlin, I found it difficult to escape the history and cliches of the war – though nearly 80 years ago, the memory seems to be still raw in the collective mind of the city, if not really surfacing when actually talking to the locals. I can’t help but think the aftermath and societal guilt is something that has become so deeply rooted now that it will forever become part of the city. I suppose in a way this is rightly so, but I couldn’t help shake the feeling that the Berliners took everything just a little too seriously as a result – and any fun was very much hidden underground (there’s probably something in that, and bunkers, too). I don’t pretend to understand or appreciate any of this beyond the most superficial level afforded to a visitor, nor do I honestly ant to care the baggage. All in all, a very curious-feeling and not easy to visually capture experience, to say the least. MT

This series was shot with a Nikon Z7, 24-70/4 S and 85/1.8 S lenses, using my custom SOOC JPEG picture controls.

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Photoessay: Geometric color

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Today’s architectural mishmash is a hodgepodge of abstracted geometries and colours from a variety of locations and a variety of styles, scales and palettes; other than poor assortment jokes, the only thing they have in common is a decomposition into pure form. I admit I like the idealism, the abstraction and the inherent optimism of having a structure that appears perfect and un-messed by its occupants, even if this is completely at odds with why it was built. In another life, I was probably a magpie, a collector of shiny things…now I am merely an accumulator of abstract colours and shapes. It harms nobody. It costs nothing. Some others may derive joy from it. That’s not a bad thing, surely. MT

Shot with a variety of hardware over a period of time, some SOOC, some Workflow III.

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Inspiration and creativity in times of crisis

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There is a cliched saying “necessity is the mother of invention” – I’ve always felt this to be only partially true. Reality is probably closer to being that solutions are found in times of desperation when there is no other choice, but this is only possible if some latent seed of imagination exists in the first place. Without that, no amount of need is going to force an intelligent answer or inspiration to materialise. This is true whether it’s something as vital as escaping from captivity or saving a business in time of crisis or finding something to cook for the evening with the ingredients to hand or even just staving off the boredom of being confined under COVID lockdown. I think it’s probably both easier and harder to survive this period for those of us wired to be creative – on one hand, we have a surfeit of time to sit down and get on with it without the usual interruptions or social expectations, but on the other we also have not just limited resources but limited inspiration. As we’ve discussed previously – creativity isn’t something that can be switched on and off at will, nor is it something that operates in a vacuum. At one end, you have the inclination, resources and inspiration and something gets produced, or you are missing any one of those elements and you feel frustrated. Or – lack inclination entirely. The bit that concerns us most in the current global situation is probably the inspiration part. But maybe it isn’t entirely hopeless…

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Photoessay: Recurring theme

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I was recently re-curating my set of work from Germany in late last year, when I found something I hadn’t previously noticed: this recurring theme of looking upwards (slightly, or a lot) at a building’s edge with a symmetrical midline and a graphically 3D left-right split formed of textures and light. I didn’t intentionally go out of my way to shoot any of these, nor did I have an intentional theme beyond whatever was already sitting in my subconscious – and being eleven out of 200 or so final images, is easily not noticed especially if not sequential – but somehow this compositional layout kept popping up. I have been having the nagging feeling of late that there are only a certain fixed number of compositional layouts for any given angle of view/focal length, and effetely all compositions shot with that can be distilled into one of these categories. I don’t have any concrete way of describing this yet, but I’ll put up a post once I do. As for this particular layout – my guess is there’s something about the converging lines that creates tension and draws your eyes into the centre of the image; the symmetry provides inherent balance which remains calm and aesthetically pleasing. Beyond that, microtextures in the subject itself leave points of interest to hold your attention and reward further viewing. Enjoy! MT

This series was shot with a Nikon Z7, the Z 24-70/4 S and my custom SOOC picture controls.

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Photoessay: 250 GTO, part II

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Today’s post is a continuation of the virtual photography described in the last post; it would be almost impossible to do in the real world, much less in the matter of a few hours. But in the unlikely even I had access to such a car, and these locations…well, I’m honestly not sure I’d have produced things any differently. Sure, there’d be a studio setup of the type I’ve done in the past with the Cayman R, M2 and Z4; but that’s as much me making use of the resources to hand as anything else. All I suggest when viewing this set is suspend disbelief, and subject and locations aside – if you weren’t told these were simulated: would anything stand out as ‘not real’? Even if so, does it detract from the visual enjoyment at all? MT

Images were ‘shot’ with Gran Turismo Sport on the Playstation 4, and lightly edited in Photoshop with Workflow III.

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Virtual photography

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With the current state of global affairs, and the quasi-military lockdown in my country, photography of any kind beyond watches, household objects and things I can see from my apartment balcony has been pretty limited. I’ve attempted the moon a couple of times, making an unholy combination of teleconverters and adaptors that worked quite well*. But honestly – I’ve run out of stuff to shoot. It doesn’t help that my lighting gear is at the office, and we’re not exactly allowed to leave home. So…I decided to see if it was worth ‘learning’ how to photograph in Gran Turismo Sport.

*Zeiss-Hasselblad 5.6/250 Superachromat with Zeiss s 2XE APO on a V-F adaptor, on a Nikon TC17EII teleconverter, on the FTZ adaptor, on the Z7, for a total of 850mm at…f16. But it really was apochromatic, and resolved remarkably well – up to the diffraction limit, at least.

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Photoessay: A magic hour, part II

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Both this and the previous set were shot within a single very productive hour. Though diverse in style, there is some crossover in style and content (expected given the location). To be honest, this kind of productivity is extremely rare; especially given I am by no means new to photography, the subject, or the location and am not trying to ‘check boxes’. I only shoot what I see or find interesting these days; there’s more than enough of my own work and that of others that being repetitive is rather pointless. That said, when one is shooting ‘in flow’ – you lose track of time and everything but what’s in your viewfinder. You remember pretty much every single image you shot, but that total number invariably lands up more than you expect (my total count was about 750 for that hour, pared down to perhaps 40-50 final selects). Those of you who’ve seen my earlier work will see shades of quadrants, Idea of man, wimmelbild and probably some hints of the previous negative-space-heavy photojournalistic style I used prior to this site. If nothing else, you are the sum total of your path-dependent history… MT

This series was shot with a Nikon Z7, the Z 16-50 DX pancake and my custom SOOC picture controls.

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