Imagine you’re hired to do something on the basis of the work you’ve previously done: the client likes your previous work, and wants you to do the same for their brief – within limitations, of course. You have of course taken care to show only the kind of work you want to do, so that there’s no possibility for misunderstandings. But yet the inevitable happens: as the job progresses, the scope changes, and suddenly you’re being asked to do something that’s either a duplicate of what’s been done before – by somebody else – or worse, a mishmash of incoherent ideas that were clearly a case of design by committee and completely unsuitable for the original subject or brief. Sound familiar? Sadly, this is far too often the state of play in most creative industries, not just photography.
Today’s series of images is both literal, and not – what’s there is clearly defined, but what’s clearly defined is the product of a little optics and imagination. I’m always drawn to these kinds of subjects because they’re both not literal or ordinary, and of course use the best strengths of the photographic nature of rendering to produce something visually unique. That, and there’s a large amount of information and layering in here which creates a recursive wimmelbild of sorts. One practical note on execution: you need the right balance of luminance between actual subject and reflected subject, plus the correct alignment of reflecting surfaces – it’s not always so easy to find…enjoy! MT
Following on from the previous article on the process of turning an idea into an image – I thought it’d make sense to present another completed ‘idea’ for reference. Gravitation is relative was a day-project conceived with two students from the Prague Masterclass last year; our talent happened to be the 2016 Czech National Pole Dancing champion – so it made sense to develop a concept taking her talents into consideration. Given Prague has a reputation for being a bit crazy, it actually made sense to see how we might integrate both location and model into something a bit different. Street pole has been done many times, but I think perhaps not quite presented in the same way we intended: with a little visually plausible break from reality. The title reflects this, and is in turn a little play on the nature of gravity itself. Note: I added a coda of outtakes after the main sequence of images; this is to demonstrate how a few differences in execution (timing, presentation) can make a big difference to the impression of the final outcome. They may of course work with a different title; feel free to suggest one in the comments. MT
Today’s series is a continuation (and partial overlap of) the Through the looking glass post of last week. It’s a little less human and a little more physical; a metaphor for a place undergoing accelerated change and perhaps a little cultural dilution at the same time, too. I can only hope that feeling of authenticity doesn’t eventually disappear entirely. Note: no double images were used here; merely strategic reflections. MT
I’ve recently been asked by a couple of people about curation – specifically, the process I use when putting together a portfolio, photoessay, exhibition or something similar. Turns out that whilst I’ve talked about the importance of curation in the past, and evaluating images individually and against each other in Photoshop Workflow II, I’ve never actually addressed about the process as a whole. It’s actually a pretty interesting topic that isn’t as straightforward as you might think.
I see this series as a somewhat looser development of the original Idea of Man; relaxed to fit the people and where possible, looking for natives rather than visitors – insofar as a rolling cast of visitors have now become the natives. Unlike the original series, you’ll notice there are identifiable individuals in some of these images; I felt that was necessary to be able to differentiate between local and tourist – which is nearly impossible to do on the basis of silhouette or profile or shadow alone. Personally, what really made this set work was the very hard shadows; not only does it lend an additional degree and visual interest to certain compositions and scenes, but metaphorically it also introduces ambiguity and uncertainty – which certainly tied in to my feelings about Prague during this recent trip, and this despite many of these images being shot outside the main area of attraction. More than ever, I felt like the city was in danger of losing its identity and becoming a giant theme park. Let us hope future visits prove this wrong. MT
I’ve always thought there were more senses beyond the obvious physical ones – perhaps they’re synergistic, perhaps otherwise. I suppose to call it pure aesthetics would be not really accurate, either – but the upshot is of course a result that is either pleasing or not. In the course of many discussions with a wide cross section of people on the topic, it seems that the ‘sense of balance’ is either there, or it isn’t. It doesn’t necessarily mean that those with a heightened sense of balance can consistently create strong images – arguably, in some ways it’s the opposite – but there’s definitely at least recognition of what works and what doesn’t. Two immediate thoughts follow: why? And more importantly, how can we use this to make a better image?
Today’s subject is a somewhat unusual one, and an esoteric one even for the horological enthusiasts in the audience. It’s not often that a creative sees the whole product gestation process through form design to photography to consumption; either it happens at the very small and private scale, or you work for Apple (or the like) in in a senior capacity. It takes a certain environment for that to happen. For me, this is probably the fifth or sixth time; several watches for various companies, and of course the MTxFF daybag. This design is a one-off for myself, made by a little company in Switzerland called Ochs und Junior that specialises in such customisations. I wanted something unusual, wearable on a daily basis, and visually interesting: that would have a bit of a chameleon personality depending on light (both direction and quantity). I think this is pretty clear in the images. This is an odd series from a purely photographic standpoint, too: though every set of images I post is subject to some degree of self-curation, here it really doesn’t matter what anybody else thinks of object or images: neither are really for mass consumption 🙂 MT
I wrote the full story behind this watch here, for Quill and Pad, in much greater detail (and probably more than most readers would want to know). Images were shot with a D810, 85 PCE and speedlights, and processed with Photoshop/LR Workflow III. I cover the basics of watch photography in a series of three articles, starting here.
I’m helping a client move his Hasselblad CFV-50c, mint in box with warranty til Dec 2017, two batteries and charger and all box contents (including dedicated focusing screen). The back is the 50MP CMOS version with live view. It is physically with me at the moment, I have tested it fully on my camera, and cosmetically it really is indistinguishable from new. Works with all V series cameras, activation count under 2,000, and remains under warranty til the end of 2017. Photos are of the actual item. Alas, the film components of the system aren’t for sale (I asked). I still believe this back represents the most versatile medium format solution (self-powered, high ISO capable, V series, tech cameras, Flexbody compatible etc.) – as well as the lowest overall cost of MF system entry given the price of V series bodies and lenses. It is also state of the art in image quality, second only to the 100MP sensors. Reason for sale: he blames the X1D system which just arrived on me… New pricing is $12k at B&H, second hand anywhere between $7,500 and $9,500 on the forums. The backs are in somewhat limited supply at the moment as all available sensors are going into X1Ds. Asking $8,000 wire transfer price, including shipping via DHL, add 2% for paypal, and insurance is extra (it depends on location). Full disclosure: I will be acting as proxy for the sale and will receive a small commission in return. Please send me an email if you’re interested. Thanks! MT
Sold – thanks everybody!
Image credit: Cnet
I’m sure you’ve all seen this Sony sensor size comparison chart at various fairs, on various sites, or in the simulated display (in which no sensors were harmed in the making of) at their various retail outlets. The implication, of course, is that bigger is better; look how much bigger a sensor you can get from us! This is of course true: all other things being equal, the more light you can collect, the more information is recorded, and the better the image you’ll be able to output for a given field of view. However, I’m going to make a few predictions today about the way future digital sensor development is going to go – and with it, the development of the camera itself. Revisit this page in about five years; in the meantime, go back to making images after reading…