Photoessay: Ethereal forms in Tokyo

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Every time I visit Tokyo, I can’t help but think the city’s districts tends to take two very divergent forms: either a sort of incredibly dense chaos born of years of layering without any possible initial foresight, with some entropic decay thrown in for character –  or a very precise order that’s almost identical to what was laid out by the architect’s draftsman. The first sort of neighbourhood is interesting because of the history literally layered in. The second sort is both dystopic and utopic in a way; are we looking at an impersonal bad dream that’s become reality, or something else? Moreover: where do the humans fit? There is a sort of stark minimalist beauty in the abstractions of form created by transient light, too. The shadows must have their time in the sun, too. MT

This series was shot with a Leica Q, Sony A7RII, Zeiss 85 Batis, Contax-Zeiss 2.8/85 MMG, Nikon D5500 and 55-200/4-5.6 VR II. You can learn the underlying postprocessing in the Weekly Photoshop Workflow series.

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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…]

Abstract thoughts on abstract photography

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Built on shaky foundations

In my earlier photographic period, I’d often made the mistake of thinking abstract photography was just a catch-all bucket for images that didn’t fit anywhere else; I even had a folder for that kind of thing called ‘Random’. From time to time, during my many photographic excursions, I’d find my eye deviated from the ‘objective’ – not that I had one. Admittedly, at that point, I’d mix shooting with an objective – say wildlife, or street, or architecture – with sessions where I’d just go for a walk with camera in hand and shoot anything that appealed. It was during one of those sessions that I started to be drawn towards arrangements of objects that were visually appealing for reasons I couldn’t understand or put into objective terms; there wasn’t a real subject per se; sometimes, I just found the whole scene/ frame appealing. ‘Click!’ went the shutter, and one more image got consigned to the ‘Random’ folder.

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