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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On-assignment photoessay: From the workbench

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I shot for one of my toughest clients recently: ourselves. Whilst there’s no pressure, we all have the desire to do better with every set – and there’s the friendly internal competition given that there are no fewer than five photographers amongst the founders’ group. I am of course talking about the watch business; this set was photographed at the facilities of our production partners Schwarz-Etienne in La Chaux de Fonds, Switzerland, whilst a series of 19.01s and 19.02s underwent assembly, regulation and final quality control. I’ve shot this kind of thing before for many other brands, of course – but it feels very different when it’s your own name on the dial and movement… MT

Images were shot with an Olympus PEN F and Panasonic-Leica 12-60. Post processing with the Monochrome Masterclass workflow. Image of yours truly at the bench shot by my co-founder Dr. Magnus Bosse.

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On-assignment photoessay: Preparations

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When on assignment, there are images you shoot to the brief, and the bonus ones you shoot for yourself: sometimes they aren’t really corporate safe or commercial-clean, but they have a something – texture, light, grit – that appeals to something personal. I always try to respond to these scenes in an instinctive way: just shoot, sort them out later, and package separately for your client in the hopes they might use them, or at least see and appreciate even if they don’t (because they don’t fit the look and palette you’ve already established). Still – I think all photographers need to feel moved in this kind of way; if you don’t, then the desire to experiment and create might not be as strong as it should be… MT

Images shot with a Nikon Z7/24-70 and D850/70-200/4, and post processed with The Monochrome Masterclass workflow.

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Photoessay: nocturnal impressions of Hong Kong

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You know a place has something on you if you want to go out and shoot to relax after spending the whole day…shooting on assignment. In this case a very different sort of work, and the kind of thing one can shoot in flow/ stream of consciousness; you react instinctively and don’t think too much about the scene. I look at the structure and the main highlights – note, not subjects, since the image is more of a vignette of a feeling than a specific description of a subject – balance the composition, and then shoot accordingly. There’s one kicker: I shot everything at ISO 64, handheld, relying on the stabiliser of the Z7 and the large amount of ambient light. I must have been inspired by Robin’s experiment some time back, but in this case I was deliberately seeking out motion, layers and wimmelbild to convey the impression of busyness and activity, but with the sort of surreal detachment that a monochrome presentation suggests. The emotional impact of color is not present, and one feels a bit colder and more objective or separated from the scene; an observer rather than a participant – which matches my feelings in places like this. I shot something like 500 frames that evening. This is my selection. MT

Images shot with a Nikon Z7 and 24-70, and post processed with The Monochrome Masterclass workflow. There are also one or two camera JPEGs in there, and I now have a very similar SOOC picture control pack available here.

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MT’s scrapbook: block form

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An afternoon walking around Singapore yielded a lot of recursive cubism – order, almost-order and chaos made to look like order. Society here is known for its regulation and discipline, and it’s almost as though that same discipline is imposed on its architectural forms. Of course this is a deliberately curated (and thus biased) set, and granted, most are older buildings; the newer ones seem to still be full of straight lines, but with a conspicuous allergy to right angles. Surely we must be close to the point technologically where non-rectilinear forms of architecture are economically viable (I suppose Gardens by the Bay and the Henderson Waves are good examples of this, and located in Singapore too). Sometimes I also wonder if it’s a sort of physical manifestation of digital influence…of course, it’s more likely that economics is the underlying driver, but there’s no cost to philosophising. 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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MT’s scrapbook: still life interludes, part I

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Two questions to address today – firstly, what differentiates the scrapbook series from photoessays, and secondly, why do they tend to be monochrome? What I post here in the form of photoessays are much more tightly curated series around a certain subject or theme, shot with the sole purpose and intention of photography, and sequenced into a storyline from a much larger set. The images are individually post processed and made consistent. The scrapbook series is more spontaneous – there is never a narrative because they’re single snippets grabbed here and there and then sorted into something visually coherent (which isn’t the same as a storyline). They’re opportunistic as opposed to planned or sought; sometimes single, sometimes in a mini-sequence. And there’s no post processing; what you see is a resized SOOC JPEG. They also tend to be monochrome, both as a concession to prioritise the light and also because there’s no need to correct for accurate color. It’s my compromise to keep my hand in practice, but for times when I don’t have the time to commit to something more focused. Today: more long shadow play, with a candid guest appearance from some Mapplethorpian bananas… 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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Robin’s stylistic experiments: monochrome squares

It is no secret that I prefer to shoot in color for my street photography but I do have a special adoration for black and white for very specific situations. With the right lighting condition and sufficient contrast in the frame I tend to favor black and white. I then decided to do a specific outing just to shoot everything in black and white. Initially I did not plan to do square crops for all images in this series, but a few images called for square composition which worked well. For consistency, I cropped everything to square.

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On-assignment photoessay: the face of construction

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Over the course of the last few years, I’ve had the chance to shoot quite a number of contextual portraits of the people behind construction – some I’ve presented previously, and thus are not shown here. Almost all of the images in this set are new, and the result of a much larger curation project I’ve been meaning to do for some time. Even as extensive as a single shoot for this client tends to be – thousands of images over a week or so – the subject matter and light conditions are so diverse that you seldom have a chance to shoot a thematically and visually consistent sequence; thus the only way to make a project like this work is over a longer period of time. It also ties in nicely with some monochrome portrait experiments I’ve been doing over the last couple of months. Interestingly, the main challenge with this body of work overall was not opportunity, but the fact that construction workers in Hong Kong seem to all be exceedingly shy… MT

Images shot with various hardware over the last three years, but all post processed with The Monochrome Masterclass workflow.

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