Almost everybody falls into one of two categories: creator or consumer. Do you spend more time making content or material, derivative or otherwise, than consuming it? Do you prefer to make or view images? Of the creators, there are positive, derivative and negative. The positives try to advance art, science and and knowledge by providing a point of view or product or device or service that hasn’t existed previously, whilst maybe or maybe not benefitting personally from the provision of said novelty. The line between positive and derivative is a blurry one, and perhaps doesn’t cleanly exist – in my mind, it’s down to whether the creator tries to add some element of originality or not; there’s no such thing as 100% uniqueness or 100% invention from nothing. We cannot create without some base of precedent or inspiration, no matter how remote or seemingly unrelated. But the more remote the connections that are made in the creation of something, the more the creator contributes by joining the dots, making the logical conclusions and helping the rest of us see what we might have missed.
I view The Idea of Man project as mostly complete; the story is tight and stylistically consistent. But I’ve been thinking a lot about its sequel in the time since the exhibition; to begin with – is there one at all? Where does one go from the story of the individual finding their place in the world? The answer came to me after some long exposure urban landscape: it’s in community, in groups, in the flow and interaction of individuals. And that idea will be at the core of The Idea of Man II.
Today’s images are I think a little darker and sadder than the previous two (part I, part II) – but not quite over the edge into full-blown depression. I see it as being analogous to one of those portraits where we want to enhance the lines on the subject’s face. I can see the final presentation of this series going in waves, with grouping and pacing a mirror image to the way we have different moods depending on the day – though I feel the impact of this particular set is lost in color, and mixing the two is somewhat odd unless the presentation medium is conducive (e.g. separate gallery areas, or sections in a book – but not as a continuous scroll or all at once. The ‘break’ is required to prevent a jarring visual discontinuity. What do you think? MT
I’ve been continuing to work on the Paradise Lost project for some time now; at some point I will have to curate a consistent body of work to a theme and declare the thing ‘finished’, but in the meantime I’m still experimenting with the presentation. As mentioned previously, I’m treating this project as an ‘open book’ so you can see what goes into the creation of something like this. My current dilemma is a question of mood: is it a happy retirement, or a sad one, or a melancholic one? Or perhaps somewhere in between the three?
Today’s photoessay is something a little different – a work in progress, if you will. An idea occurred to me several months ago: we see the same objects every day, in slightly different light and from slightly different angles. This is what contributes to our overall impressions and memories of the object: it isn’t a single encounter but a series of experiences. I wanted to figure out the best way of translating this visually. There was no question it would have to be a composite of some sort; however, it would also have to be done in a way that would leave the identity of the object clear, but simultaneously indistinct. I played around a bit further with that idea and the concepts of definition and then anatomy arose; taking that one step further, I thought it might be interesting to present these as virtual x rays. It’s a very different approach to my normal photography since I almost never work with composites, and even less with this degree of postprocessing (which I’m happy to cover in a future episode of Weekly PS Workflow if anybody’s interested). I’d be curious to hear your thoughts…MT
Here’s a serious consideration for all working professional photographers: how do you ensure your work stays fresh? We face several challenges. Firstly, unlike those in conventional employment, there is no obvious career development path; no HR department or performance review officer to ensure you attend the right courses to (supposedly) give you the right skill set for the next position up the ladder. Secondly, our clients almost always hire us on the basis of our portfolios: this is work we’ve already done, i.e. historical. It would be nice to be hired on the basis of imagining what we could do, but for obvious reasons, this is unfeasible. At very best, we are hired based on what we might do for a client in a given situation which might be outside our current scope of experience, but still based on an extrapolation of what have previously done.
Today’s post is going to be the first time I’ve presented a partially completed project – for the simple reasons that I feel it’s probably useful to discuss the creative process, because it’ll make a good follow on to this post on projects in general and because I have honestly no idea if or when I’ll ever be able to complete this set. The idea behind Crust is fairly self-explanatory: the dried, hard, textured earth from the air in monochrome – all the better to enhance the suggestion we may well be looking at a highly magnified burnt breakfast offering*.
*And I think I might well shoot that as the title image, too.
Hope those of you who are in Hong Kong are free tomorrow afternoon – a gentle reminder that my exhibition ‘Un/natural’ with Stephen King opens tomorrow at Alisan Fine Arts. The reception is at the gallery from 4-6pm; hope to meet you there! MT
The full press release for the exhibition can be found here.
‘Un/natural’ runs from 5 December 2015 to 9 January 2016 at Alisan Fine Arts, 2305 Hing Wai Centre, 7 Tin Wan Praya Rd, Aberdeen, Hong Kong (+852 2526 1091). Sebastian Turner and
Daphne King Yao are representing me for this series of images, and all are limited to an edition of eight pieces each. The opening reception is from 4-6pm on Saturday 5 December; I’ll be there and all are welcome – please drop in and say hi if you’re in town.
Much like genius and madness, the line between chasing the horizon for the sake of enabling art and chasing the horizon out of pure gearlust is a thin and often tenuous one. We don’t want to photograph with cameras that frustrate, impede or not inspire us. We certainly won’t feel like just that ‘one last shot’ or that ‘what if?’ experiment. But it is also true that composition is completely independent of hardware, too. Where do we draw the line? [Read more…]
Images courtesy respective manufacturers, composited to roughly correct relative size – my samples had to return home before I got a chance to put them together in the studio for th usual product shoot, and I’m still awaiting delivery of my own personal lenses.
I’ve recently had a chance to shoot a) the best two wide angles available at the moment, and b) shoot them against each other on the same camera body. This is not a direct comparison. There are however limitations to the testing – very limited time* and no way to mount one without. Furthermore, the lenses were both final preproduction prototypes, which could mean they are either good samples because they’re hand adjusted…or there’s some variance, because…they’re hand adjusted. Tests were performed on a Sony A7RII body mounted on a Arca-Swiss P0 head and RRS24L tripod – i.e. sturdy – and released via IR remote. The adaptor used was a Metabones Nikon G-NEX model, tested and found to be good with various other lenses including the Zeiss 28 Otus. However, it’s worth noting that the shorter the focal length, the more sensitive a lens is to small skew because only very small movements are needed to change effective focusing distance. I’m sure many other limitations in methodology can be found, but remember we are aiming for the best we can do in field conditions without giving one lens or the other a sensor-based advantage. Observations must therefore be taken as preliminary.
*Literally, about an hour after dark during a recent visit to Sigma HQ in Aizu, Japan. Crops are 100% where stated; I will not be posting full size images because IP rights sadly don’t seem to mean a thing online.