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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Photoessay: Cinematic vignettes from Japan, part II

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Continued from part I. Think of this as Act II…MT

This series was shot with a Nikon D850, 24-120/4 VR and post processed with the Cinematic Workflow in Making Outstanding Images Ep. 5. Visit Japan vicariously with How To See Ep. 2: Tokyo.

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Photoessay: Cinematic vignettes from Japan, part I

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The first part of this series is a sort of composited rush from one city (Tokyo) to the next (Kyoto) – it’s admittedly a bit discontinuous since the curation was made of a set of discontinuous 2.4:1 widescreen frames grabbed without the premeditated intention of being put together into a story; that said, I think they flow together quite well. If there’s one thing missing it’s a critical objective or action or something of that nature – but perhaps also quite indicative of what happens when one passes through a city with non-photographic objectives in mind. Shooting 2.4:1 is quite challenging without any guidelines – there is no mask or crop mode in the D850 for this, and one simply has to guess (it’s roughly half the frame height, plus a bit; I use the limits of the AF area’s outer box as a guide). 2.4:1 compositions really only work in two instances: when you’ve got a very full (‘wimmelbilt’) frame that spreads out horizontally, or a very empty one. The latter tends to be good for tighter human images, which this set is deliberately lacking – it’s about the place, not so much the people. MT

This series was shot with a Nikon D850, 24-120/4 VR and post processed with the Cinematic Workflow in Making Outstanding Images Ep. 5. Visit Japan vicariously with How To See Ep. 2: Tokyo.

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