Photoessay: Window seat II

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One day, I promise I’ll do a post of images shot through dirty windows, but it’s just not as interesting most of the time – and it’s difficult to not make it come across more like a hipster filter. I don’t know if I’m the only person to spend most of the flight anxiously gazing out of the window in case I miss something interesting (and annoying the passengers around me who are trying to sleep by having the only open shade in the cabin) – but at least the scrolling scenery makes the flight go a bit faster. As we’ve discussed in the past, picking the right side of the aircraft is crucial – you don’t want to be shooting into the sun simply because all of the crap that’s going to reflect off the micro scratches in the windows, robbing contrast and leaving all sorts of strange artefacts. I’m also increasingly finding myself torn between a larger format for better color (not dynamic range in this case; the windows lower contrast to the point it doesn’t really matter much) or a smaller format for higher shutter speeds (f2.8 on M4/3 is sufficient to keep everything in focus at infinity, and lenses are usually very sharp cross-frame by this point too) as the light falls. I’ve had good and bad results from both options in pretty much equal measure. The one thing I haven’t been able to do consistently yet – because of the aircraft motion – is get a decent image in very low twilight or at night; there’s both simply no way to get enough shutter speed or block out light from the cabin. As with all things, more practice is required…MT

Shot over far too many flights with a wide variety of hardware, and post processed with Photoshop Workflow III – you can’t do SOOC JPEG for these because there just isn’t enough contrast thanks to all that glass and perspex.

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Photoessay: Doha to London

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I always try to get a window seat if I’m flying, and if there might be the slightest chance of anything to see (night photography from an airplane has so far proven highly challenging, with few exceptions – either your ISO is cranked so high that any subtle tonality in the widespread blue palette completely disappears, or you have motion problems). In those cases, it’s probably advisable to take an aisle seat if you’re the insomniac type, or stick to the window if you prefer not to be climbed over by your neighbour. Usually, the Middle East to European routes have something worth seeing; you overfly desert, mountains, and cities, and there’s at least eight hours of boredom to kill. I can’t imagine what else the answer might be if not photographic, to the point that I’ll try to sit on the ‘correct’ side of the plane for light and likely opportunities – beats 20 reruns of Friends at any rate. Whilst perhaps airline travel doesn’t quite have the same immediate connection with the changing landscape as driving or taking the train, it simply happens at a much faster pace and larger scale – which sadly is all too often overlooked by most travellers.

The opening image proves again that the adage ‘the best camera is the one you have with you’ is true: whilst the H5D was on my lap as usual for takeoff, I had completely the wrong lens on (100mm) – iPhone to the rescue. MT

This series was shot with a Hasselblad H5D-50C, various lenses and post processed with Photoshop and Lightroom Workflow III. Roam vicariously with T1: Travel Photography. and the How to See series.

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Photoessay: Paradise Lost, part I: the daydream

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What if inanimate objects had a soul? Hopes, dreams, lives, consciousness, a feeling of purpose? Do they have salad days? What happens when they retire, descend into old age and start to feel their mortality? How does a retirement community for Air Force aircraft feel?

Paradise Lost is a project I’ve been working on for the last few months that attempts to answer some of these questions in a photographic interpretation. At some point, I’ll expand this to include other machinery – mining equipment would be fantastic (but tricky to access) and cars are probably the next logical steep (and easier to execute). The first part of the series is supposed to evoke feelings of daydreaming, wistfulness and a nostalgia for golden days past. I’m once again experimenting with the metaphor of clouds as insubstantial fleeting thoughts (first encountered in The Dreamscape Project). Enjoy! MT

This series was shot with a Sony A7RII and Zeiss 1.8/55 FE and 1.8/85 Batis lenses.

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