Photoessay: Quotidian for some

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Where I live, making images that are vignetted observations of life in the style presented today is very difficult for one simple reason: people tend not to walk much or use public transport; the former because it’s just too damn hot and society still expects you to wear a suit (and as a consequence, the whole city isn’t very pedestrian friendly in the first place), and the latter because it doesn’t really exist outside of a small network. You land up with a lot of cars and not much human interaction – and thus nothing much to photograph. It’s for this reason that whenever I travel to a place where there’s a lot of human life at street level – I tend to gorge myself photographically and amass a lot of material in a very short space of time. This reptilian approach to photography is not intentional but simply a consequence of circumstance. It does also have the happy coincidence of forcing one to break creative anxiety – every situation is constant reminder that your expectations are probably invalid, and to always be open to serendipity. MT

This series was shot with a Nikon Z7 and 24-70/4 S, with my custom SOOC camera JPEG picture controls available here.

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On-assignment photoessay: Monolithic

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There’s something about the visual gravity only the deepest registers the monochrome tonal scale can provide; those zones that make or break a good printer and convey tonal richness and texture. Whilst such work tends to be more the preserve of editorial and fine art photography and less so in commercial, I can’t help myself from seeing such subjects during the course of a cleaner, higher key commercial assignment. There are always structural and physical elements of such massiveness as require these tonal registers to do them justice; I shoot and file them away for later personal satisfaction. Overcast weather may be the bane of most commercial available light work, but it matters not a bit in this case. This particular set is the curation of several assignments; there’s a deliberate change in pace between the images where the monolithic element may be the entire frame, or just a small (but visually heavy) part of it. Or it may be an otherwise light-coloured subject but still somehow that sort of chalky, textured grey… MT

This series was shot with a Nikon Z7, D850, 24-120/4 VR, 70-200/4 VR. No post processing, just the monochrome picture control from the Z7/D850 profile pack…

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Photoessay: Long goodbye

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Something a little different today: curated over a period of time into a narrative area whole bunch of images that actually have little to no actual causality. Rather these are an example of how you can stitch a storyline together by implication alone, and both the power (and misleading danger) of photojournalism with its implicit veracity. That said, I think of today as a series of departures and moving-ons; a mix of melancholy, reminiscence and optimism that tomorrow will be a better day. There is enough ambiguity for you, the audience, to decide how you want to feel. The end can also be the beginning. MT

Shot over a long period of time with a wide variety of hardware.

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Photoessay: hard line

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Great light and crazy architecture one morning in Tokyo – best to make the most of it. I thought of hitting multiple destinations, but the truth is anybody who’s been to Tokyo will know there’s so much of interest architecturally everywhere that it doesn’t really matter where you go. I suspect this is because underlying land costs in Tokyo are so high that anything you put up on the site will be (relatively) cheap in comparison; unlike in other parts of the world where construction is equal to or greater than the real estate. Even straightforward buildings have a personification of that Japanese obsession for imperfection, and as a result usually sport one or more very nice details to break pattern. Okay, I just can’t help myself: I like graphic subjects. MT

With the exception of one image (D850), this series was shot with a Nikon Z7 and 24-70/4 S. No post processing, just the monochrome picture control from the Z7/D850 profile pack…

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Photoessay: Life, observer and observed

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Alternative title: observing people observing the world. Actually, I feel about as detached from these images as the subjects feel detached from their surroundings. In a strange way I feel this coldness of mood works quite well for the given subject matter and creative intent; on top of that, color would have inevitably suggested moods or emotions that are neither appropriate nor sufficiently sangfroid. Actually, on second curation – I can’t help but see can alternative interpretation in a lot of situations. Missing is that feeling of intense focus implied by observation; rather there’s just a sort of blank mechanised obliviousness. This is probably not helped by the predominantly low key tonal palette; I’ve always liked that possibility of ambiguity and mystery suggested by it (regular readers will probably notice a distinct lack of high key monochrome here) – eyes you can’t see tend to mask the thoughts of the individual. MT

Shot over a period of time with a Nikon Z7, Olympus Pen F and various lenses; images are SOOC JPEG using my Nikon Z7 picture control pack, or specific Pen F settings.

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Photoessay: Urban form

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Just as the previous photoessay focused on the distilled shapes and forms of the organic, today’s does the same for the inorganic. Hard shadows play off hard lines and angles and deep blacks create a sense of spatial discontinuity that turns the unknown into a solid anchor, intentionally inverting perception. Sorry, sometimes I forget I’m not writing for a society art critique. Most of the time, I just like the shapes. MT

This series was shot with the Nikon Z7 and contains SOOC JPEG images using my custom Picture Controls, available here. Similar results are available with other cameras by following the Monochrome Masterclass workflow.

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Photoessay: Park form

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A walk in the park can sometimes be more than easy and better than creative – a refreshment of the mind and eye, and some good light to make things interesting. I’ve found myself working increasingly in monochrome these days to focus on forms and shapes and remove the distractions of color; there’s a time and place for it but the color really has to carry the story. In a high-density and high-contrast environment that’s monochromatic anyway – taking away the color pushes the eye towards the core of the story. MT

This series was shot with the Nikon Z7 and contains SOOC JPEG images using my custom Picture Controls, available here. Similar results are available with other cameras by following the Monochrome Masterclass workflow.

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Photoessay: Shadow form

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When three dimensions collapse to two, the only way to infer spatial placement is by the position and overlap of shadows; this includes not just large macro-scale objects but also texture, which is nothing more than superposition of entitles at the micro-scale. No light, no shadows, no image, no spatial relativity. Yet the interesting ability of photography has only two interesting elements when collapsing dimensions: firstly, to reproduce exactly what we see (or think we see) and preserve an otherwise transient moment; secondly, projection that is unnatural or not normally noticed with stereo (i.e. human) vision – be it an exaggerated depth or a completely collapsed one. Expression or collapse in dimensionality is interesting because it almost lets us imagine what the universe might be like if we could perceive more than the standard four dimensions (three spatial, plus time). Either that or it’s the repressed physicist in me geeking out. MT

Images were shot with a mix of hardware over the last year and post processed with the Monochrome Masterclass workflow.

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MT’s scrapbook: Supposedly scientific

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The moniker “National Science Centre” conjures illusions of grandeur and seriousness – unfortunately, the reality is quite sadly different. At best, it’s a bunch of very amateur, run down (and often non-functional) experiments clearly of a mid-90s aspirational country vintage designed to appeal to kids below the age of 10; at worst, it’s something that reflects the state of public education in this country when many attending grown adults find exhibits of this nature fascinating in 2018 – to be honest, the average dentist’s waiting room has more advanced toys. I took my daughter here for want of something to do on a Sunday afternoon, but in the end she found the enormous panel of electrical switches more entertaining. We left confused: not knowing whether to laugh, cry, or come to the conclusion the visitors were probably the most interesting experiments to observe. MT

The Scrapbook series is shot on an Olympus PEN F, with unedited JPEGs straight from camera bar resizing (and of course some choice settings).

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Monolumpur, part III: Robin’s take

When I started street photography, I gravitated towards black and white. It’s not difficult to figure out why, when you look at famous and successful street photographs from legends such as Henri Cartier-Bresson as nearly all prominent street photography is presented in monochrome. As I slowly developed my own style and vision I found myself drawn towards color photography as it more effectively represents the reality I capture. Nonetheless, the love for black and white has always been there and sometimes, I find it liberating to strip all colors away and go straight to the core of the image – the idea, the message or the emotion.

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