Probably the easiest way to ‘wimmelbild‘ a scene is to add reflections: the more reflections, the more layering and the more complexity can be built in. Of course it then becomes difficult to create structure in the image that allows space for a clear primary subject, and then find a physically/spatially possible way to actually insert that subject – it’s no good if your free space is on the ceiling, for example. The light in Lisbon on severals of the days I was there was just so conducive to creation of these types of images I couldn’t help myself – strong, intense colors, clean plate glass (or car glass) and one or two clear human subjects meant that it was a wimmelfetishist’s dream. I’m sure somebody is going to say I’m being overly pretentious about this, but there’s surely got to be a metaphor in here for life – every person surrounded by complexity and layers of thought, or places surrounded by unseen/ unacknowledged history. It’s a bit more personal than idea of man because the images need the specific individuals to work, and somewhat different to the ‘traditionally expected’ street photography – I find that it’s much more contingent on the environment and finding the right individual to fit your expectation of a story than vice versa. Enjoy! MT
Today’s photoessay is a series of detail images from Lisbon – small vignettes and scenes which I feel give a reasonably representative flavour of the older parts of the city. Yes, there’s a modern surprise in there about halfway in, but in many ways, this is also typical: there’ll often be an unexpected bit of architecture or facade tucked away in amongst the antiques, too. I’m sure more than a week here would have yielded a tighter distillation, and there are almost certainly interesting local pockets I’ve missed out on, but I also felt I had the benefit some pretty exceptional light; interesting how those light coloured buildings tend to bounce, reflect and fill each other so there are actually very few really deep shadows – even in narrow alleyways. Lots of textures, too, ranging from what I think of as ‘cheery Mediterranean tile’ to ‘Eastern European patina’. Enjoy! MT
Given the clear skies and very strongly directional light we experienced, in conjunction with the interesting shadows projected off oddly shaped roofs and down narrow alleyways…it would be a shame not to make the most of it to add a little ambiguity into the frame. Conventionally ‘good light’, yes, but who’s complaining? I do realise some of these stretch the definition of chiaroscuro a little – especially the somewhat wimmelbild reflection – but I felt they fitted the overall mood of the subject and this collection of images, so MT
This series was shot mostly with a Hasselblad H5D-50c, 50/100mm lenses and post processed with the Cinematic Workflow from Making Outstanding Images Ep.5.
Few words today, just a series of singles from Lisbon in the style of Idea of Man. It’s too late to put them into the first series because that now has a mature and complete narrative; they don’t really fit the second series because I changed the presentation style – so they stand alone. You might wonder why I still photograph in this style given the first two statements; in this case, partially because I was demonstrating for a couple of students at the Lisbon Masterclass, partially because I felt the aesthetic suited the feeling at some of the starker and heavier locations – Oriente station, for instance. Enjoy! MT
There is a subliminal connection between shadows, mystery, uncertainty and something sinister; probably because we can’t necessarily be certain about what we cannot see. Of course, this can be used photographically to great effect in creating abstraction, geometry and structure – without shadows, we have no way in presenting the illusion of three dimensions in a medium that has two. What I find oddly paradoxical about these images is that the shadows don’t really have that dark and closed-in feeling; perhaps it’s the hard edges and delineation between light and dark that if anything makes the sunniness more obvious – for want of a better term, there’s a positive feeling here. There cannot be shadows without light and all that…MT
Despite the sunniness of the weather and the outward happiness and enjoyment of most, there was definitely something brewing under the surface: a slight undercurrent of unhappiness or unease. Perhaps a reflection of an economy still not fully robust and recovered, or a city that felt a little bit too big for the number of actual residents; quiet lanes and grand old buildings that had seen better days that were waiting for restitution that might not come. Or uncertainty over the future, mortgages, employment, the rising costs of living – the social divide that’s not unique by any means to Lisbon. Or maybe it was just because the next day was Monday. It’s the juxtaposition between that mood, the facial expressions, the body language, the dress as though expecting rain – and the wonderful warm sunshine that I found so intriguing. That tension followed me subconsciously through the city that day, and here is the result…MT
This series was shot mostly with a Hasselblad H5D-50c, 50mm and 100mm lenses in Lisbon, Portugal, with a couple of supporting images from a Leica Q. Postprocessing follows Photoshop and Lightroom Workflow III and The Weekly Workflow.
Continuing my ongoing exploration of the Idea of Man theme in Lisbon has lead to a bit of a divergence – on one hand, we have the very social areas where the tourists and residents congregate and interact; on the other hand, there’s also definitely a sense of isolation and a city that’s a bit too big for the number of people living there. The wistful dreaming at the transition point makes me wonder – nostalgia or perhaps not quite a true desire to escape, but certainly a strong drive to see what’s over the horizon? MT
This series was shot mostly with a Hasselblad H5D-50c, 50mm and 100mm lenses in Lisbon, Portugal, with a couple of supporting images from a Leica Q. Postprocessing follows Photoshop and Lightroom Workflow II and The Weekly Workflow.
Unconsciously, I must have been searching for Mondriansque architecture – with a touch of diagonal Rothko thrown in by the shadows. I can’t really think of a good reason why, but it came through in the post-shoot curation. Perhaps it’s because those two artists decomposed form into nothing mor than shape, colour and luminance, and for the last few years I’ve been seeing the world not as ‘tree’, ‘car’, ‘person’, ‘building’ but ‘triangle on rectangle’, ‘organic contrasty shape on circles’, ‘matte organic shapes, round on rectangle’ and ‘coloured regular/ recursive squares’ – which I suppose fits in with their gestalt. It feels like visual reductionism, but isn’t – because I don’t consciously search for purely clean forms to the exclusion of some of the more textured and wimmelbild aspects of reality. I also don’t think it’d have worked as well in a location with less directional light and more faded colour – a certain blockiness/ solidity is required. MT
This series was shot mostly with a Hasselblad H5D-50c, 50mm and 100mm lenses in Lisbon, Portugal, with a couple of supporting images from a Leica Q. Postprocessing follows Photoshop and Lightroom Workflow III.
This post is probably going to read as odd to a lot of people, and I apologise in advance if any local Lisboans are offended by it.
During the week or so I spent in Lisbon, one thing kept nagging at me: what is the ‘essence’ of the city? After a lot of walking around, I came to three observations: firstly, there were a lot of cars – especially for an ‘old’ city with narrower streets and lots of elevation changes. Secondly, ornate architecture, some in good repair, some not. Finally, a surprising absence of people – I’d expected more inhabitants, but as it turns out, population contraction and economics issues have meant that there is far more real estate available than people to fill it, let alone people to buy it. If Lisbon were viewed from space by another species, I can’t help coming to the conclusion that more than many other cities – except perhaps LA – that the dominant species was the car. And here we have the genesis of this photoessay, which I personally feel was quite representative of Lisbon. Visually, I feel the juxtaposition between classical/hard/strong/colorful buildings and more organic, curved and ‘cleaner’ cars is quite interesting; there’s a sort of flow between them that is suggestive of water and progression of time. MT
Clean and colourful – this is modern Lisboan architecture in a nutshell, I think. There’s an element of brutalism to it; perhaps that’s the result of minimalism when scaled up. Still, on a sunny day the bright/ light colours go a long way to softening things, and the simple forms are relatively unthreatening. A few traditional references remained, too – the new cobblestones, the tiled walls; I suspect the more ornate ironwork and mouldings were simply too expensive to replicate. Can’t help but wonder whether the whole mood changes in winter, though – there were already hints of it at the Calatrava-designed Oriente station, which has perhaps not fared as well as expected – elegant from a distance, but overly massive at anything other than platform level, and with rusting pillars and a leaky roof above. MT
This series was shot mostly with a Hasselblad H5D-50c, with some from the Leica Q 116. Postprocessing with Photoshop Workflow II. For a more in-depth architectural photography experience, there’s also the Singapore Architectural Photography Masterclass from 1-7 July.