Unpreparedness vs opportunity

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Seen, and shot on the way to a meeting.

Or, more accurately: the fear of unpreparedness. (The actual chances of me going into a photographic job without sufficient planning, prethought creative options or backup hardware is somewhere close to nil.) Within the confines of an assignment or professional engagement, I would say the fear only manifests vis a vis elements you can’t control – weather, for instance. This isn’t debilitating and most of the time, there’s a workaround (chances are blue hour commissioned images exist because it was overcast all day, and the color temperature difference between artificial light and the fading twilight is the only thing giving the sky some color other than grey; flashes can be added if ambient is ugly). But my guess is that all amateur* photographers face the same kind of anxiety of limitation to some degree or other. So what can we do about it?

*I always use the word ‘amateur’ in the professional sense: i.e. you don’t make a living from it and there is no third party client, irrespective of your skill level. If I’m not commissioned, I’m also acting as an amateur.

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Faster isn’t always better

*Or, an example in construction series.

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Like most photographers…I am not immune to the siren’s song of very fast lenses. And even less immune to the lure of lenses that are fast and designed to deliver performance at maximum aperture – think of the Zeiss Otus series, for instance. We’re even willing to compromise with older designs that perhaps don’t perform or resolve quite to the level we’ve come to expect from modern lenses on modern high resolution sensors, but write it off as being ‘characterful’ or ‘nostalgic’. Or even trying to rationalise that we don’t need such high resolution since most of the frame is out of focus anyway, plus we want a smooth transition between the bits that are and the bits that aren’t. And then we try to adapt lenses to systems they were never designed for (here, and here) – with varying degrees of success. However: the reality is we probably don’t need such tools the vast majority of the time, and even from a creative standpoint – a wider aperture doesn’t necessarily make an image better.

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‘Investing’ in equipment

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By strict definition, an investment is something that is expected to appreciate in value over time, or deliver some sort of tangible return that together with the underlying asset value is grater than the initial amount spent. One of my pet bugbears when it comes to photographic discussions are the two inevitable questions: “is X worth it?” and “should I invest in X?” The problem is, if you replace X with any other depreciating mid-term consumable such as, I don’t know, frozen peas, you’ll instantly realise the whole question makes no sense whatsoever. But replace X with a camera or lens model, and it seems common sense goes out of the window. You wouldn’t put your savings into something that has no hope of making any financial return. Why should this be any different? My aim is by the end of this article, you’ll suffer from far less frequent confusion and buyers’ remorse (if any at all).

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Market challenges and predictions, late-2018 edition

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Construction images, because, well, we’re building something here…

As with every industry, the cycle time for major changes is getting shorter and shorter for photography. I would argue that we’re now late into the second phase of digital (first phase: early digital at the cutting edge for pros, scientific applications etc.; second phase: consumer) and on the verge of the third phase. What does this mean in real terms? Why is the overall enthusiast photographic market softer? What remains to get excited about as a hobbyist? At the risk of inciting every troll between here and DPR, I break out the crystal ball…

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Brand (dis)loyalty, mirrorless and why it’s good for everybody

Switching camps has never been easier: with the increasing number of companies going mirrorless, photographers can now have their cake and eat it – at least in theory. With the whole premise of mirrorless being smaller, mechanically simpler and cheaper, there are several key implications for every company: firstly, new mounts and optics are needed to at least attempt to keep to the brief. Secondly, the form factors are going to land up much the same: EVF in the centre position (or off to the left); thin body with large mount since the final element has to be very close to the sensor and therefore large to avoid extreme ray angles and all of the things this implies; some sort of decent handgrip both to house the substantial battery to power an always-on sensor and display; not quite enough body real estate to place the buttons for all of the features demanded by today’s buyers; and lastly – a bonus feature. Basically: make it as attractive as possible to the buyer to adopt, but remembering that as a company, you are also going to have to convince your existing brand loyalists to reinvest heavily, too. I’m opening with fighting words, but there is a point to all of this especially with the last two big holdouts joining the game.

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Artist’s statement, 2018 edition

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…or, ‘statement of underlying principles and philosophies as relates to the way MT sees and captures the world’ – but that doesn’t quite read as smoothly.

We all start our photographic journeys with the intent and desire to capture something specific; we may or may not succeed at this to a level with which we are happy. Inevitably, the next step is to attempt to capture everything, almost indiscriminately; if done well, this produces a curation nightmare: the gates are open and we are now seeing opportunity everywhere. We may or may not (likely not) have the executional skill required to translate that vision into an image that is read as intended by our audience; we may not even know who the audience is yet. Fast forward through the GAS, and if you make it that far – the hard road is only beginning. Rapidly diminishing returns set in and serious dedication and practice are required to make any meaningful progress; the hardest part of which is developing an objective yet fair ability to self-critique one’s own work. Previously, I’ve detailed this process in the stages of creative evolution; I’ve discussed general underlying motivations for photography here, here and here (and probably elsewhere that doesn’t immediately come to mind). What I’ve not done much of is talk about why I personally photograph what I photograph now. Sure, it’s probably possible to form an overall picture of my philosophy if you’ve read enough of my articles, and there’s a massively antiquated raison d’être of sorts on my flickr profile – but as we change, so do our motivations. Or vice versa. And that complex balance is what I’m going to attempt to explain today. The overall picture may well diverge from your own approach, but hopefully some of the individual points might be useful.

Important note: notice none of the tenets is subject or location specific (let alone hardware-dependent). A consistent and solid approach needs to be as universally applicable as possible.

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Design, photography and visual priorities

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The previous post out of the archives was intended to cue up your thinking for today’s discussion: taking things one step further and exploring the relationship between design, photography and composition.

Some of you probably know that beyond photography, I’m involved in design work on two fronts – as lead designer at Horologer MING, my watch brand, and as a consultant at Hasselblad. There is a popular misconception that design is mainly about a few things: style, function/ usability/ UI/ ergonomics, and differentiation. In reality, design is really about making a set of coherent choices in an environment where there are choices to be made I’d argue that beyond and above this, there’s really only one overarching principle that should be the basis of all good design: I think of it as one of composition.

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Le flaneur

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From Wikipedia: “Flâneur (pronounced [flɑnœʁ]), from the French noun flâneur, means “stroller”, “lounger”, “saunterer”, or “loafer”. Flânerie is the act of strolling, with all of its accompanying associations. A near-synonym is boulevardier.” A holdover from the class divides of 19th and early 20th century in Europe when the gentry could spend their time engaged in leisurely walking, observing and enjoying the cities, the concept might sound a bit indolent today but is actually still quite apt: these were the original street photographers, most of whom went without cameras. Fast forward half a century and we had the tourists; who perhaps could be thought of as serial visitors herded in predefined courses from important sight to sight. In parallel, photography went from an academic and scientific curiosity to being a mass-medium for personal recording, and then public exhibition. And then a means to show off: this brings us to the present day.

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Thoughts on portraiture

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I have never been a portrait shooter – and as much as I find satisfaction (the reasons why we will discuss in due course) in a well-executed portrait, I don’t think it will ever be the mainstay of my photographic repertoire. The reason is both simple and complex: a portrait is not a photograph of the physical person – it’s a visual representation of your relationship with that person. A sort of mirror, if you will; even though all subjects reflect light and thus the environment to some degree, there are more and less reflective ones. Highly polished objects can land up being entirely representations of their surroundings only, with the merest interference of interpretation; one of the tenets I live by in watch/jewellery photography has always been ‘light for the reflection’. That’s not really relevant to portraiture, or is it?

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Repost: Achieving visual consistency

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Cue one from the archives, with updated images: tomorrow’s post will make more sense when viewed in context after this…

One of the questions I’m asked also (unsurprisingly) happens to be one of the biggest challenges for a lot of people: how to achieve visual consistency across multiple systems/ cameras/ media, and across multiple subjects. Though the latter is really getting into the question of what constitutes style and how can one consistently apply it, there are still things you can do to ensure that you are in control of the final presentation: not your camera. I certainly cannot tell a client ‘sorry, it looks different because I used two different cameras.’

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