Use the night

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The role of the camera is to present a perspective not otherwise visible; nowhere is this more obvious than night photography. Firstly, because we tend not to shoot much at night since most of us need to spend it sleeping to be functional for work the next day, resulting in both limited subject material and limited opportunity; secondly, because historically the results have always been lacking technically; and finally, because it requires us to train our minds to see in a different way than we normally do: what’s visible is made much more obvious by the ambient darkness, or what’s hidden. Yet shooting after the sun goes down is precisely the kind of thing that yields rich photographic results because it is less common, and therefore fewer images exist of activities that take place at night and are seen by fewer people. Beyond the subject matter itself, there’s the opportunity to present the same subject very differently: be it due to the change in ambient illumination color and direction, or integration long exposure and motion, or at a deeper level, reflecting the changes in ourselves and the way we observe and behave once the sun goes down.

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Photoessay: Quotidian for some

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Where I live, making images that are vignetted observations of life in the style presented today is very difficult for one simple reason: people tend not to walk much or use public transport; the former because it’s just too damn hot and society still expects you to wear a suit (and as a consequence, the whole city isn’t very pedestrian friendly in the first place), and the latter because it doesn’t really exist outside of a small network. You land up with a lot of cars and not much human interaction – and thus nothing much to photograph. It’s for this reason that whenever I travel to a place where there’s a lot of human life at street level – I tend to gorge myself photographically and amass a lot of material in a very short space of time. This reptilian approach to photography is not intentional but simply a consequence of circumstance. It does also have the happy coincidence of forcing one to break creative anxiety – every situation is constant reminder that your expectations are probably invalid, and to always be open to serendipity. MT

This series was shot with a Nikon Z7 and 24-70/4 S, with my custom SOOC camera JPEG picture controls available here.

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Photoessay: Alpine

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Earlier in the year, I made a family trip to Japan – Tokyo (of course, images to follow) and Hakuba – site of the Winter Olympics in 1998. As it turns out, torn discs aren’t that much of an impediment to skiing since if you’re as out of practice as I am, most of the work is done by your thighs and knees; in the end I managed only two days before I gave up and decided to make the most of the one clear-ish day we had for some landscape photography. Even so, it had to be squeezed in between parental and spousal duties, so opportunities were somewhat limited; as it turns out the light didn’t last that long, anyway. All of my previous alpine photography experiences have been on bare mountains; it’s quite different to have the varied textures of different trees to work with, and the subtle gradations as the clouds shifted and shadow patterns across the hills changed. I deliberately left in the large color temperature differences between direct/reflected sun and snow/ ice in shadow; it seems the ice attenuates certain wavelengths to emphasise the cool shadows. Hopefully some of that delicacy is translated here. MT

Images were shot with a Nikon Z7, almost entirely the 70-200/4 with 1.7x TC, and post processed with Photoshop Workflow III and the Z7 Profile Pack.

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Photoessay: A Japanese puzzle

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The precision with which Japanese cities come together has always felt like akin to a puzzle with a thousand architects – though things appear chaotic at first, there is a sense of underlying deliberation and precision probably borne from just how clean each individual element tends to be, and how neatly it slots into place whilst respecting the space of its surrounding neighbours. Perhaps it is a metaphor for Japanese society in a nutshell – which makes sense, given cities are a reflection of their inhabitants (and unfortunately this isn’t always a good thing). I have always been drawn to wimmelbild-type scenes like this in any city as they feel to capture a good sense of the essence and mood of a city without resorting to using distinctive landmarks for identification – if done well, you should know where you are without having to search for street signs… MT

This series was shot with a Nikon D850, 24-120VR and processed with Photoshop Workflow III – the images predate the custom presets, though these would have worked fine, too.

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Photoessay: hard line

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Great light and crazy architecture one morning in Tokyo – best to make the most of it. I thought of hitting multiple destinations, but the truth is anybody who’s been to Tokyo will know there’s so much of interest architecturally everywhere that it doesn’t really matter where you go. I suspect this is because underlying land costs in Tokyo are so high that anything you put up on the site will be (relatively) cheap in comparison; unlike in other parts of the world where construction is equal to or greater than the real estate. Even straightforward buildings have a personification of that Japanese obsession for imperfection, and as a result usually sport one or more very nice details to break pattern. Okay, I just can’t help myself: I like graphic subjects. MT

With the exception of one image (D850), this series was shot with a Nikon Z7 and 24-70/4 S. No post processing, just the monochrome picture control from the Z7/D850 profile pack…

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Photoessay: Tokyo Teleport

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When you have a subject with a title this good, one is simply compelled to use it – even if it means some heavy curation, some redaction, and some vicious cuts. I’d be lying if I didn’t say I loved the alien-dystopian-ness of this series, combined with the motion and slightly shadowy figures. It’s both surreal and blink-and-you’ll-miss-it, with solid blocks contesting against ephemerally transient reflections and ghosts. If it gets chaotic, just go with the flow. Welcome to both yesterday and the future. Embrace the cliche. Welcome to Japan. MT

This series was shot with a Nikon Z7, 24-70/4 S and 50/1.8 S. No post processing, just the monochrome picture control from the Z7/D850 profile pack…

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Photoessay: winter at the Nezu garden

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Trying something a bit different with this set; both because I’ve seen the Nezumuseum garden at its best and because it was just a different time of year to my normal trips to Tokyo. Landscapes in monochrome, especially high frequency ones (grass, leaves, trees etc.) tend to be challenging because they quickly devolve into something very messy looking and ‘hard’, as there’s not much spatial room for midtone transitions; having the benefit of color gives you a little more latitude to play with in this regard. However, I suspect here I was inspired subconsciously by the sort of high contrast and chaotic Japanese street photography genre to try and create something a bit different to the usual color explosions. Winter is a bit of a masochistic time to visit a garden like this, which is best in spring or autumn; it never really snows enough in Tokyo to blanket things into nice soft contours, either. But there is something sober and slightly dark about the scene that I find pleasantly contemplative. MT

This series was shot with a Nikon Z7 and 24-70/4 S. No post processing, just the monochrome picture control from the Z7/D850 profile pack…

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Photoessay: Cityscape Tokyo

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The more you visit a city, the more your impressions change; that initial freshness and impact wears off into a sort of routine of the favourite places you like to visit while you’re there. Layered on top of this are the changes to the place itself, since no city is static – least of all somewhere like Tokyo. The latest instalment in the Cityscape series of retrospective curations has taken the longest to put together simply because I’ve got so many images from this place, from (at least) annual visits spanning the last 12 years. I realise that most of the early impressions no longer resonate with me as much as images shot in say the last four or five years, at most. This is the Tokyo I have in my mind now – one of density, activity, anonymity, details – but it won’t be the Tokyo I remember next year as I’m actually here at the moment with my family, and for the first time, our four year old – new memories are being made, new impressions formed, and it’s still too new to know what will stick. MT

Shot over a long, long period of time with a wide variety of equipment. Mostly processed with PS Workflow III.

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Photoessay: Autumn again

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Autumn in Japan these days seems to come later and later – the end of November or early December, in some areas further south. It probably ranks second only to the cherry blossoms as the season for landscapists to chase; I can’t say I did that but I did time the visit to coincide with some color in at least one of the locations we visited. It’s perhaps also my favourite season of the year as it’s the one I see the least of, living in the tropics – we get summer and an approximation of winter (monsoons) and spring isn’t that different, but the leaves never turn, the landscape doesn’t become warm, and the city isn’t redolent of reminiscence of the year that’s just passed. I’m sure I’d probably get bored of it if I lived at higher latitudes, but for now, please enjoy a (even) more abstract set than my usual landscapes. MT

This series was shot in various parts of Japan in the last year, with a Nikon D850 and 24-120 VR, and post processed with Photoshop Workflow III.

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Photoessay: traditional architectural vignettes

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Today’s images are a series of with traditional architectural subjects shot in Kyoto, at varying scales. There’s a deliberate variation in perspective and size to put the various elements in context with their environment; I have deliberately tried hard to exclude the usual cliched contrasts between old and new etc. but instead show the edifices as they are in use today. Kyoto is probably one of the few places in the world where you actually have to try very hard to avoid older buildings…yet there’s almost no dilapidation, and there’s a wonderful balance between authenticity of patina and maintenance – just look at the first building; the lantern and copper gutters are clearly aged, and the wood is seasoned, the bamboo faded with time and sun, yet the walls are perfectly painted and the sign is clean and crisp – I have rarely seen this anywhere else outside Japan (except perhaps some of the restored areas of Prague and Havana). It’s the underlying tension between this precision and contrast that makes it such a photographically rewarding subject… MT

This set was shot with a Nikon D850, 24-120VR and post processed with Photoshop Workflow III.

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