Photoessay: Eastern melancholy, part I

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Every image is a reflection of the photographer’s state of mind at the time of capture; we see and interpret the world through a lens of personal bias. We either notice things that are extremely in sync with us – or extremely opposite. It is difficult to say whether the collective feeling exists or we are simply applying tunnel vision to only notice what we want to see. Going back to curate through one’s archives tends to yield very telling glimpses into your psyche at the time, and something much easier to see objectively in hindsight. These images were shot more than six months ago, but reviewing the entire set yields an almost manic split between the bright, cheerful and happy, and the downright depressing. I honestly don’t remember what I was feeling at the time – probably not strongly positive or negative – but mainly that the environment was so different that it was rather difficult to ‘be a mirror’ and let the images come rather than looking for them. What’ll be interesting is the counterpoint part II post… MT

This series was shot in Istanbul with a Hasselblad H6D-100c, 50, 100 and 150mm lenses, and post processed with The Monochrome Masterclass Workflow. Get more out of your voyages with T1: Travel Photography.

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Photoessay: travels in hard light II

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Trying the sun on for size

Monochrome, today. The variation of weather in Istanbul can be spectacular; one moment you have brilliant sunshine, and barely 30min later: hail. I suppose such are the joys of a maritime climate. Regardless of weather, Istanbul seems to be one of those places that has realities of so many different eras that it’s almost timeless; the modern overlaps with the ancient in the sort of organic way that can only happen over centuries – millennia, even – of continuity. I was there at the time of the constitutional referendum; there were fears that it might get ugly, but the reality is life would continue as normal – daily ups and downs being relatively minor blips in the grand scheme of things – short period transience and a sort of lack of definition for individuals, and a much slower erosion for the surrounding environment. What holds it together? The framework is left in the shadows, and only when you look closer (at these images, too) is it clear that things are not always as they seem.

This series was shot with a Hasselblad H6D-100c and 100mm. Post processing was completed using the techniques in the weekly workflow and Monochrome Masterclass.

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Photoessay: Prague monochromes, part III

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On this visit to Prague, I was struck by the feeling that a lot of the people I observed were looking for something: it wasn’t so much a definite journey or objective or quest, but just a general sense that something was missing. Perhaps it was the tour groups that outnumbered the locals, or perhaps it was the subtle shift in the proportions of businesses: set up for and transacting mainly with locals vs. visitors. Don’t get me wrong; I realise that I too am a visitor, but there’s something about the mass hoards that gets my goat. Maybe it’s because they wonder around bovine and gawking and oblivious to consideration of anybody else, or maybe it’s because once you have too many of them – the whole feel of the place changes, and then it no longer becomes the place that motivated you to visit and experience it. I don’t think this is specific to Prague in any way, though I’d always felt the Czechs managed to hold on a little bit longer than some other places. In an odd way, once the balance flips in favour of tourists vs locals, the place feels the same as any other city that caters for tourists – other than the setting. In effect, a very large theme park. What I saw, and tried to capture, was transition. Maybe this is the new normal, everywhere…MT

This series was shot with a Hasselblad H5D-50C, and H6D-50c, various lenses and post processed with The Monochrome Masterclass workflow.

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Photoessay: Scattered

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I think of this set of images is a reflection of one’s rather scattered – but oddly consistent – state of mind when you see and grab an image on the way to doing something else. Being a full time photographer, I’m used to focusing 100% of my energy on shooting alone – to the exclusion of everything else. Since going pro in 2012, this is actually the first time in years I’ve actually been capturing a good proportion of my off duty images when photography wasn’t the primary objective of my day or trip. You can’t really turn your photographic eye off, but it feels as though you’re a lot more scattered and rushing to get the shot – even though the total number of photograph opportunities is of course much lower. Conversely, being in the zone really distorts your perception of time, often in both directions – moments stretch out but whole events and sequences land up passing in the blink of an eye. In essence, that’s what I feel like I’m left with here after curation: scattered glimpses of lives that are moving in different frames of reference to your own, momentarily intersecting for just long enough for you to know that you’re not going the same way. MT

Shot with a Hasselblad H6D-100c, 100mm and X1D-50c and 90mm and post processed with the Monochrome Masterclass workflow.

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On Assignment Photoessay: Koenigsegg, part II

Behind the scenes at Koenigsegg

In the previous post I brought you the results of the aerial shoot for Koenigsegg; today’s long series of images is the second part covering the story of the making – behind the scenes at the factory. Almost everything is made in-house, and a tour of the compact but comprehensive facility will yield everything from CNC machines turning engine blocks, to people laying up complex carbon wheels, to a paint shop, alignment jigs, leather stitching and cutting, wiring and electronics and everything between. Even though the cars are astronomically expensive – EUR2m and up from what I understand – I actually wonder how Christian can still make money given the amount of specialised labor involved, and the length of time required to complete one car – they make fewer than 30 per year. The attention to detail is quite mind boggling – if you order a clear coated car, for instance, it’s not merely the epoxy matrix of the carbon that’s polished, but a dozen layers of clear lacquer applied by hand over the top, polished between each application, and each carbon panel’s seams must line up perfectly: and be symmetric on both sides of the car. Today is really a celebration of non plus ultra – both in the subject, and in using the H6D-100c to shoot it. Note: lighting looks natural, but is really a careful balance between ambient and a single Broncolor Siros 800L triggered wirelessly, and mounted on a voice activated light stand*. Enjoy! MT

*A tall assistant.

A big thank you to Koenigsegg for support and logistics. This series was shot with a Hasselblad H6D-100c, 50 and 100mm lenses, and a single Broncolor Siros 800L balanced against ambient. Postprocessing was completed using the Monochrome Masterclass Workflow.

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Photoessay: Hard edges

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Today’s series is a visual evolution of monochrome geometry and form interpreted from hard architectural shadows in an urban context. Some light is harder than others; some shadows curved in a more pronounced way; sometimes organic elements intrude – including people. It’s a deliberately stark choice of style for a rather stark subject, I think. MT

This series was shot with various cameras and lenses including a Canon 100D, Hasselblad 501CM/CVF-50c and H5D-50C, and H6D-50c, various lenses and post processed with The Monochrome Masterclass workflow.

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Photoessay: Tokyo street monochromes IV

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It’s interesting to see how my style and way of seeing has evolved since the last instalment in this series from a year ago; or three years ago (here and here). Perhaps it might be even more interesting to go back a year or two further still and pull out similar material from previous visits. Tokyo is a unique place in my photographic repertoire: I’ve visit every year since 2006 generally at least once once or more, for a short but intense period, and get quite a lot of shooting done because the environment itself is so different and somehow always inspiring. This means that whatever is captured in those trips tends to be a snapshot of the best of my current creative state at the time, being in the right environment and having the right subject matter. At the same time, it’s also somewhat self-consistent in that it’s also fundamental the same sort of environment, the same sort of subject matter, and thus all the better to reflect changes in oneself. I always shoot some ‘conventional’ street in Tokyo, even if I haven’t been doing it previously; I put it down to the place, the people, and the variety of daily life that’s so different to my normal reality. MT

This series was shot with a Canon 100D, 24STM and 55-250STM lenses, and an X1D-50c and 90mm, and post processed with The Monochrome Masterclass workflow. Travel to Tokyo vicariously with How To See Ep.2: Tokyo, learn to be stealthy with S1: Street Photography and see how to capture the essence of a location with T1: Travel Photography.

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Photoessay: On the verge of anonymity

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An experiment of sorts, today: more ‘stream of consciousness’ style photography, but this time shot through my left eye instead of my (usual) right. The idea is to test the hypothesis of left-brain-right-brain influence on structure, order and general perception; personally, I think using the non-dominant eye tends to result in somewhat more organic overall structure and composition. That, and significantly more skew for some reason – I didn’t seem to hold the camera straight in any of these. It’s also been a long time since I’ve had the time to go out on my own for a day or two with no objective other than to wander around and shoot the streets; Tokyo is of course a great place for this with no end of possible material. MT

This series was shot with a Canon 100D, 24STM and 55-250STM lenses, and an X1D-50c and 90mm, and post processed with The Monochrome Masterclass workflow. Travel to Tokyo vicariously with How To See Ep.2: Tokyo, learn to be stealthy with S1: Street Photography and see how to capture the essence of a location with T1: Travel Photography.

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Photoessay: Inconsequentiality, part I

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I had an odd feeling walking around Prague on this last trip – something that was not there the first time I visited in 2011, nor subsequently. Perhaps it was the sheer number of tourists; perhaps it was the lack of locals. But I couldn’t shake the sensation of walking around in a very big museum; everything preserved just so, architecture restored to beyond its original heights, yet somehow just tipping over that point where the residents live in the buildings to the residents living for the buildings. The stage itself was nicer than it had ever been; but somehow…something was missing. A degree of isolation came into play, and perhaps the friendliness was just a tad more forced than the last time I was here. Chalk it down to collective fatigue; perhaps: when everything is special, nothing is special anymore. Just soft people trying to fit into a rigid environment.

This series was shot with a Hasselblad H5D-50C and various lenses and post processed with the Monochrome Masterclass Workflow.

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Photoessay: Architectural shadows in monochrome, Prague

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Intense light, hard shadows, either end of the day: don’t be afraid of the dark, and let some of the negative space define the object’s form – or imagined form. Without shadows, we have no texture, no depth, no spatial separation. It’s interesting just how much of a suggestion of soft and hard you can get out of it even though all of the subjects are physically rigid – clean, dense shadows suggest crispness and hardness; feathering and irregularity suggest a certain yielding texture. Do buildings have personality? I think so, especially if they stand in contrast to their surroundings. Does this sense of texture contribute? Probably. MT

This series was shot with a Hasselblad H5D-50C, H6D-50c and various lenses and post processed with the Monochrome Masterclass Workflow.

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