Photoessay: Ponte Vecchio

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I can’t exactly say why I was so fascinated with this bridge during my time in Florence, but I do know it yielded a great variety of interesting images as light and perspective changed. Originally built during Roman times, it’s been updated and renovated repeatedly until its current iteration dating from around the mid 14th century. The latest addition in the mid 16th century by the Medicis linked the Palazzio Vecchio (Florence’s town hall and administrative centre) with the Palazzo Pitti, and is the covered topmost structure – the Vasari Corridor. The bridge itself is lined with goldsmiths and jewellers – and increasingly, watch dealers – I was a little surprised at this, but it seems this has actually been the case since the 15th century. The watch brand boutiques are therefore merely a quite apt modern take on things… MT

This series was shot with a Nikon Z7, mostly the 24-70/4 S and my custom SOOC JPEG profiles.

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Photoessay: Florentine patchwork

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One thing any place with extensive history seems to enjoy is a patchwork of evolutionary architectural styles and weathering; all of this combines to create a distinctly unique signature that we recognise as being ‘of a place’. The longer that history, the more disparate elements combine – in such a way that could not possibly have been predicted by those who put up the structures could have envisioned at the time. Whilst we’ve had discussions here in the past over how architects build and design with sensitivity to their immediate environment, there is literally no way they could have foreseen what comes in the years that follow. However one can only assume that the following architects would continue to be sensitive to their relative surroundings, thus creating a sort of thematic continuity that whilst perhaps is not seamless – is at least somewhat harmonious. MT

This series was shot with a Nikon Z7, a 24-70/4 S and my custom SOOC JPEG profiles.

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Photoessay: Vault and arch

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Today’s set is an abstract whistlestop tour of Milan’s interpretation of that most fundamental of architectural features: the arch, and it’s compound, the vault. I’ve always found the interplay of light off the curves and textures to be very compelling as a regular but abstract arrangement, probably because it has many surfaces and lines intersecting at nearly perpendicular. What’s more interesting is the range of interpretations present: from the small-scale to the monumental; from the ornate to the functionally minimalist, every combination of those two axes and everything in between, with the possibility of two or three dimensions to add even more variety. Photographically, flattening or enhancing that sense of depth through the use of shadow and camera position/perspective yields some rather interesting results, as I think you’ll agree. MT

This series was shot with a Nikon Z7, a 24-70/4 S and my custom SOOC JPEG profiles.

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Photoessay: Old normal

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It’s hard to imagine this set was shot just a month before COVID threw a wrench into everything – I wonder if we’ll ever see the same kind of energy and vibrancy again, or if we do, how long it’ll take to overcome the collective paranoia that the person coughing next to you might be about to give you a fatal disease. If nothing…it hopefully marks the start of a better respect for hygiene, personal space, and a recognition that a lot of jobs don’t require everybody to be in the same place at the same time. Maybe we’ll see decentralisation, affordability of real estate, more international cooperation and some sort of balance between universal basic income and people doing their part. Or maybe we’l just have a greater divide between those who can afford healthcare and those who can’t, and more power grabs by governments instituting states of emergency over the slightest thing. We can only live in hope, and be thankful to have been fortunate enough to remember that freedom not so long ago. MT

This series was shot with a Nikon Z7, a 24-70/4 S and my custom SOOC JPEG profiles.

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Photoessay: Florentine nights

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Even in the off season (and what now seems like another lifetime ago) – Florence felt like it could easily challenge New York for the title of ‘city that never sleeps’. Thanks to jet lag, we’d go out for a late bite or an early walk and still find crowds; you had to go quite far off the regular thoroughfares and find small residential alleyways before approaching anything deserted. And even then, somebody would come along soon enough. Being a pedestrian scale city following a layout from the time before cars, it’s hard to imagine the city without people – just like Venice. I for one never thought I’d say this, but sometimes, you actually miss the crowds. MT

This series was shot with a Nikon Z7, mostly the 24-70/4 S and my custom SOOC JPEG profiles.

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Photoessay: Monochrome life in Venice

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Venice in winter is grey, with occasional Canaletto skies when the clear window happens to coincide with sunset. But for the most part, light is meagre but nicely angled. Life continues as normal for the inhabitants and tourists, though; in fact, it’s getting increasingly more difficult to spot a local at all; they’re a minority in their own city, which is a little sad. The unifying theme throughout these images is that with the exception of one or two, all of the protagonists are locals. They’re a little bit more elegant, don’t carry backpacks or cameras, and walk with purpose rather than dissembly – here’s to the Venetians.

This series was shot during the Venice Masterclass with a Ricoh GR, Pentax 645Z, 55/2.8 and 150/3.5 lenses, and post processed mostly using the low key and balanced workflows in The Monochrome Masterclass.

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Photoessay: The boats of Venice

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Endless repetition

Venice is a city of water. Perhaps the city of water. And in such a city, a boat is a necessity, not a luxury – today’s photoessay is a little celebration of the the Riva, a tribute to the workhorse vaporetto, a nod to the cruise liner that dwarfs the city it arrives at, and a grudging acknowledgement of the ubiquitous gondola. They’re so ubiquitous that it’s near impossible to make an image of Venice that doesn’t have one in it somewhere, in some form – whether literal or represented only – and even more difficult to have that image not turn into a cliche. Enjoy! MT

This series was shot with a Pentax 645Z and Ricoh GR.

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