Photoessay: Tokyo Teleport

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When you have a subject with a title this good, one is simply compelled to use it – even if it means some heavy curation, some redaction, and some vicious cuts. I’d be lying if I didn’t say I loved the alien-dystopian-ness of this series, combined with the motion and slightly shadowy figures. It’s both surreal and blink-and-you’ll-miss-it, with solid blocks contesting against ephemerally transient reflections and ghosts. If it gets chaotic, just go with the flow. Welcome to both yesterday and the future. Embrace the cliche. Welcome to Japan. MT

This series was shot with a Nikon Z7, 24-70/4 S and 50/1.8 S. No post processing, just the monochrome picture control from the Z7/D850 profile pack…

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Photoessay: winter at the Nezu garden

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Trying something a bit different with this set; both because I’ve seen the Nezumuseum garden at its best and because it was just a different time of year to my normal trips to Tokyo. Landscapes in monochrome, especially high frequency ones (grass, leaves, trees etc.) tend to be challenging because they quickly devolve into something very messy looking and ‘hard’, as there’s not much spatial room for midtone transitions; having the benefit of color gives you a little more latitude to play with in this regard. However, I suspect here I was inspired subconsciously by the sort of high contrast and chaotic Japanese street photography genre to try and create something a bit different to the usual color explosions. Winter is a bit of a masochistic time to visit a garden like this, which is best in spring or autumn; it never really snows enough in Tokyo to blanket things into nice soft contours, either. But there is something sober and slightly dark about the scene that I find pleasantly contemplative. MT

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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Full review: The 2018 Nikon Z7 and Z 24-70/4

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Executive summary: the last bastions of mirrors have both joined the brave new world. Nikon’s effort feels like a D850 and an E-M1.2 met in a bar and had an illegitimate child. Yes, it’s expensive; yes, for the most part, it performs pretty much how you’d expect. It doesn’t feel like a first effort except for a couple of relatively minor things (as it shouldn’t given how long Nikon took to release it) – if anything, they should be commended for releasing it when ready rather than as soon as possible. And yes, I bought one.

I’ve now had a couple of days to do shoot my production/ retail Z7, 24-70/4 and FTZ adaptor, and my thoughts follow. More images to come as I have time to shoot with the camera; I rushed this out in the middle of a family vacation – the first one since before I started photography professionally.

Updated 23/10/18 after extended battery testing.

Updated 28/10/18 after long distance testing of the 24-70.

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