Photoessay: Shells of glass

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The world is acquiring a sort of homogeneity. I see it when I travel, I see it in the city changing around me. But curiously the little things that used to give a place character – the things that sat silently in the background, like a style of roofing or a type of tile or even brickwork – are slowly giving way to these soulless edifices of concrete and glass. They are the pinnacle of big corporate anonymity: nobody knows what goes on inside, nobody knows who the real owners or the real powers that be are, and the organisation has no personable name or face. Much like the buildings they inhabit: they take on a chameleon-like character and merely reflect the world around them but offer no soul of their own. What goes on within is kept secret behind a mirror. Layers are hidden inside other layers with yet more layers within. Welcome to the fragile brave new world; it’s like walking on shells of glass. MT

This series was shot with various assorted hardware in several cities – from a Canon 5DSR to a D810 and Zeiss Otuses to an iPhone, but all processed with Photoshop Workflow II. [Read more…]

Last spot for the Tokyo Masterclass from 9-14 November

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Shinjuku, Tokyo: best suited to cinematic, urban, architecture and street; (more examples of what you might capture are here, here and here) think this is probably the best season to visit Tokyo – the trees are bright orange, the light is angled, and you’ve missed the grey winters, the cherry-blossom chasing hoardes, and the typhoons of summer.

Due to a last minute cancellation, I have one place left for the Tokyo Masterclass from 9-14 November, with some special incentives. More details after the break.

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Premiere and review: The 2015 Leica SL (Typ 601) and lenses

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Minimalist Leica with a hint of several other cameras’ DNA. Doesn’t look that big, does it?

What would you get if you crossed a Q with a T and an S?

Not an unpronounceable algorithm for a consulting firm or a new Cadillac, but the 2015 Leica SL Typ 601. The SL is probably closest to an S (S Light?) and really does blend the choice bits of the DNA from each these three cameras into something that takes the fight to the Japanese brands – albeit with a few caveats.

Notes: I’ve had a few days with a final pre production SL and 24-90 thanks to Leica Asia Pacific, which is enough to form some preliminary impressions but further testing of a production sample will be required to evaluate all elements of the performance envelope. Sean Reid also has additional testing. More images from me with the camera can be found in this flickr set, and you may recognise some images from the Paradise Lost series. Images were processed using Photoshop Workflow II and The Monochrome Masterclass.

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On assignment photoessay: Construction, part II

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I’m presenting the second part of the Construction photoessay today – here, the individuals slowly recede into the context of the greater project and become important contributing parts of the whole. The ‘context’ is so large it often overwhelms everything else – I personally find the coordination part of the work amazing because once you’re on site, it’s very easy to get lost in the details. Large prints would of course work best to show the scale of many of these developments, but there are still limitations to the internet 🙂 [Read more…]

On assignment photoessay: Construction, part I

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This series of images comes from my body of work from the last year-plus for client Chun Wo in Hong Kong; they are the largest local construction company and are mainly involved in large infrastructure projects, including the airport and Central-Wanchai bypass that spans most of the prime waterfront. As many of you will have seen from previous photoessays and posts, my brief with them is an ongoing on that covers several aspects: 1) documenting work in progress in the greater context of Hong Kong, as a historical record; 2) documenting and celebrating the workers who make it all possible; 3) recording the finished projects. Earlier in the year, we held a successful charity exhibition at the Hong Kong Arts Center which showcased a limited selection of the work – something like ~100 out of about 1,500 images delivered. I’ve been asked many times if we could share some of those images online for those who weren’t able to make it in person, so here we are. [Read more…]

Review: the Zeiss 1.4/28 Otus APO-Distagon

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28, 55, 85. A pretty versatile core set for pretty much any purposes. And now fully filled out by the latest in the Otus series, the recently-announced 1.4/28 APO-Distagon. Advance warning: this is not a general purpose lens, nor is it the kind of thing you can deploy casually. That is merely the nature of steeply diminishing returns; there are no gains without significant incremental effort. And we’re really talking about pushing the last 1% here. If you’ve not felt anything lacking in your images, then I suggest you stop reading here and save yourself a lot of money, because chasing perfection isn’t cheap…

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News: Zeiss Otus 1.4/28 APO-Distagon, 2.8/21 Loxia, RX1RII, 19 October

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Image courtesy Zeiss

The cover was lifted on the new Otus yesterday – a 28mm f1.4, as expected, and a 21mm f2.8 Loxia a couple of days earlier. The Otus is a 16/13 Distagon design and uses quite a large array of exotic glass and aspherical elements; it’s also quite large (95mm front thread) and has significant weight – but then again, what do you expect from an APO-designated f1.4 wide? From my experience with it so far, it is once again proving to be the reference lens in this focal length. Delivery is expected to be in 2Q 2016.

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Photoessay: Monochromes from Luzern

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Escaping boxes

Today I present a small selection of black and white images from a lazy afternoon in Luzern, Switzerland – there was definitely a feeling of summer malaise amongst both visitors and tourists, and even the hardware felt like it was taking a day off. All in all, not a bad way to decompress after an assignment. I went out with a very lightweight kit (especially after said previous assignment) of just the 5DSR, 40 STM and Leica Q; landed up reading a book by the lake in the company of a rather good Hoyo Des Dieux and actually relaxing a bit for a change. Despite that, if you’re a photographer in a foreign city, there’s simply no way you’re not going to take photographs of any sort even if you need a breather from taking photographs – such is the nature of obsession I guess. Enjoy! MT This series was shot with a Canon 5DSR, 40 STM, Leica Q 116 and processed with the Monochrome Masterclass ‘balanced’ workflow. [Read more…]

Tilt shift 101

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No, they’re not broken. But your wallet will be after buying a set.

One of the most frequent things I get asked about is the use of tilt shift lenses; it isn’t surprising given the apparent complexity of the hardware and lack of any clearly understandable documentation or literature. There are plenty of good technical explanations of movements, but often they leave the reader more confused than when they started especially if you do not have a background in optics! This article will therefore aim to address the whole question of camera movements in as straightforward a manner as possible – necessitating some simplifications. Read on if you’ve ever been bothered by insufficient (or too much) depth of field, or geometric conversion of verticals with a wide angle…

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On not being a photographer

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Red drapes. This post is quite deliberately illustrated with images from times when a) I wasn’t actively shooting or looking for images, and b) have been rather thankful to have a camera of any sort on me.

I struggled a little with the title for this essay. In essence, how many times have you found yourself without the primary aim of photography, but still shooting anyway – or worse, wishing you could be? The kinds of situations I’m talking about are when your primary purpose isn’t photography. You’ve gone out to run some errands, or fulfil family obligations, or rush to some work-related meeting (assuming photography isn’t your primary occupation). But these are the times you inevitably come across that interesting patch of light, that unexpected scene, or just…something that makes you pause and wish you didn’t have to be somewhere in the next ten minutes. Then what?

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