I thought I’d present this set a little differently, in the vein of variations on a theme: one with, one without man, in similar situations. They might or might not have been the same subject, they but I think each pair of images is somewhat interchangeable depending on the end use intent – sometimes, you want the people, sometimes, you don’t. Each image is of course optimised for the subjects that did eventually get included – compositionally and presentation-wise. You cannot simply add or remove one element and expect the rest of the composition to remain balanced. Construction is a messy but never ending and necessary business so long as the needs of the people keep changing; whilst some images may look familiar, they’re part of a very long term and ongoing project for the same client. One of the challenges during assignments like this is to keep a level of consistency of visual style, but at the same time with little riffs and variations on it to stop the material from becoming repetitive or boring – more so when you’re dealing with the same subject that’s changing at at relatively slow pace because of the scale of the project. Not easy, but very rewarding…MT
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
Back in July, I had a chance to use a couple of very early production X1D cameras both to further firmware development, and to produce the travel video and images you see here. Most of my professional work is documentary and with available light, so it made sense to test the camera under this kind of situation; a little trip to the island of Penang was in order. The types of situations I encounter vary from stealthy reportage to long-exposure tripod setups; travel photography offers the same kind of opportunities – a little landscape, a little street, a little blend of both. This video was commissioned by Hasselblad as a sort of behind the scenes look into how a the X1D fits into the mould of versatility. There’s a bit more to today, though: after the jump, downloadable 100% samples, plus a production status update…
Today’s photoessay continues the series over Australia – specifically, the westernmost patch of the vast continent about halfway north. Most of these images were shot over the bit of water between Francois Peron National Park and Dirk Hartog Island; they weren’t the primary objective of the shoot, but still – when you’ve got this kind of variation in the water, there’s just no way you can not shoot. I’ve always been amazed by just how much the texture and feel of water changes with light direction and incremental amounts of breeze; what’s under the surface is hidden or revealed, almost regardless of depth. (The black patches are seaweed and seagrass.) I suppose it’s one of those fractal subjects that once again has the power to hold your attention for a significant amount of time because there are never two identical instants. I’ve printed several of these at 24″, and I feel that’s just the beginning of the ‘right size’ to allow the images to breathe – of course, being shot on the Hasselblad there’s plenty of scope for enlargement…enjoy! MT
One of the most unique things about the Australian landscape has always been the color of the soil – a rich orange-red that I’ve not seen anywhere else on earth – I guess it must have something to do with the rich mineral deposits. It ranges anywhere from a dull brown pre-dawn or post-dusk, or a really electric orange if the light hits things right – surface features stand out in stark relief and if three wasn’t anything recognisable as a plant, we might well think we were on the surface of Mars. It’s even more surreal from the sky, because the features hint at nothing so much as a landscape of history: suggestions of water dried and geology shifted; there’s definitely a sense of agelessness here. What came before? What comes next? We can only wonder. Perhaps there is something in the Aboriginal dreamtime mythology that might provide some guidance here – it’s easy to see where it came from. MT
This series was shot over Francois Peron National Park in Western Australia, from anywhere between 500 and 1500 feet.
I found myself back in the tunnels under Hong Kong again a couple of months ago. I’d previously visited both locations in a much less complete state – the Central Wanchai Bypass was a trench with a lot of bracing holding the seawall at bay, and Whampoa MTR station was a bare tunnel with no platform and no liners – just a large cavern. The former is now a neatly lined tunnel and roadway awaiting the final finishing touches for ventilation, M&E ducting and lighting; most of this portion of the contract has been or is about to be handed over to the next contract to be finished. The station is now in pretty much recognisable form – even the information counters and ticket kiosks are in, though without their final cladding and not fully cleaned up. At this point you could certainly imagine rush hour passing through, though – even if the work dust everywhere gives things a slightly post-apocalyptic feel. From an execution/ equipment standpoint, I think this assignment was tougher than my first documentary assignment with the H system – Thaipusam 2016 – mainly because the brief was tighter, light levels much lower in some places, and frequently the subjects more conscious of being photographed. For some odd reason, it was much easier to photograph religious festival participants…
Firstly, Selamat Hari Raya to my local readers! Secondly, and perhaps of more importance to the global audience, about 36 hours ago, the X1D arrived – plus both lenses and the system bag. I’m currently in the middle of a masterclass in Singapore and have had about four hours in total to shoot with it. Regular readers will know that normally, I wouldn’t post anything this early on in my usage of the camera for several reasons – firstly, firmware is not final, so not all functionality has been implemented and there are a lot of thing which will be improved before retail release. A large part of my responsibilities also include debugging and finding as many of those glitches as possible. Secondly, you really need to use it under a wide range of conditions to make a useful and comprehensive assessment of its capabilities. However, my inbox has been overflowing from the number of questions and requests for information, plus there’s been so much speculation over image quality, it’s more efficient for me to address this here. I also have clearance from Hasselblad to post full size images, linked in the article – I think they are also the first full size samples available anywhere. They are of sufficient technical standard but I’ll be the first to admit, it’s early days and I’ve not had as much time to shoot with it as usual – so the subject matter is somewhat limited. I have attempted to assess several things with these tests, though – quality of bokeh, edge sharpness, flare resistance, dynamic range, lateral CA etc. You may print or download them for your own use, but not commercial redistribution. For early impressions, read on. For full size files, click the images. I will attempt to answer questions left in comments HOWEVER please note that I am on the road for the next couple of days, so internet access will be limited. (Update: links to full size fixed; please let me know if they still don’t work.)
Important note: this is NOT final hardware, and subject to significant changes: and these changes will be only be improvements.
The teaser said game changer; those fighting words have been used before and left something wanting. I think now that the dust has somewhat settled after the X1D announcement, clearer heads may prevail in the analysis. For those who missed it: Hasselblad have just announced a 50MP medium format (44x33mm) mirrorless camera with a 2.36MP EVF, new lenses and full back compatibility with existing H system lenses, at a price point that’s bringing the fight to Pentax and making 35mm DSLRs look physically bloated.
It’s now time for a little of my customary analysis, and in a few weeks, an extended shooting report.
I was having a discussion about the presentation of landscape and color use the other day with one of my students – which in turn got me thinking about why we see so few modern landscapes that work in monochrome, typically unless the shooter is trying to imitate Ansel. My theory is that it’s much, much harder to make a compelling image of nature without color – there is the tendency for the scene to look dead, rather than vibrant and alive. You also lose all of the delicate color gradients in skies and the like – which further deadens the scene. But as with all monochrome, surely we could also use these properties to imply a sense of timelessness, surreality or detachment?
I have this habit of shooting against the sun at dawn and dusk – I think it must be a natural aversion to having the light source directly behind me, which it otherwise would have been had I been facing the other way. I didn’t consciously curate the images this way, but it turns out pretty much everything from the early morning and late night sessions in Ooty were shot contra-jour; there’s something about the light hitting the mist or dust or other particulates trapped between hills and creating nicely recursive (and slowly vanishing) layers into the distance. I could probably have used an EVF in some of these situations to avoid going temporarily blind… Enjoy! MT