Photoessay: The texture of geometry

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Every image but the last one in this series is a (limited) study in interior texture of one city – Berlin. It’s interesting that despite the difference in eras, buildings, purposes, constructors, architects, designers and users – there remains a very strong Bauhaus feel to all of these places. It really felt as though one was surrounded by the minimalist, functional spirit. I’ve personally found this kind of interior to be very finely balanced – too minimalist and it feels spare and clinical; too many details and it loses the Bauhaus-ness. Even though many of these details are ornamental and not even rectilinear, the order of detail and plain, pale colors manage to suggest and retain the feeling of functional minimalism to a global level of coherence I’ve not really seen elsewhere. I suppose one could put Japan into that category, but as distinctive as such places are, it doesn’t feel as consistent because there is a much wider spread of ages of buildings (or at least ages of design). I feel there’s also a potentially deep conclusion to be made here on the convergence of culture, vision and design, but right now it eludes me… MT

This series was shot with an iPhone 11 Pro, with processing via Photoshop Workflow III.

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Photoessay: Cliches and observations

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During the time I was in Berlin, I found it difficult to escape the history and cliches of the war – though nearly 80 years ago, the memory seems to be still raw in the collective mind of the city, if not really surfacing when actually talking to the locals. I can’t help but think the aftermath and societal guilt is something that has become so deeply rooted now that it will forever become part of the city. I suppose in a way this is rightly so, but I couldn’t help shake the feeling that the Berliners took everything just a little too seriously as a result – and any fun was very much hidden underground (there’s probably something in that, and bunkers, too). I don’t pretend to understand or appreciate any of this beyond the most superficial level afforded to a visitor, nor do I honestly ant to care the baggage. All in all, a very curious-feeling and not easy to visually capture experience, to say the least. MT

This series was shot with a Nikon Z7, 24-70/4 S and 85/1.8 S lenses, using my custom SOOC JPEG picture controls.

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The art and science of observation

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Pigs sometimes fly – if you look at the right moment.

Curiously, the question I’m most frequently asked (right after ‘what camera should I buy?’ and that ilk) is ‘how do I make my photos better?’* This is a dangerously loaded question: for many reasons: it assumes firstly that there’s something wrong with your images (in whose opinion?); that I am the arbiter of judgement (I am not, and cannot be, because like all audiences – I am biased); that my personal taste and opinion is in line with yours (inevitably, we all differ) and that you didn’t already manage to get the best possible image to your own taste given the circumstances under which the image was made. My point is that ‘better’ is always subjective: nobody can pass absolute judgement on an image. We can merely give suggestions as to why we may prefer one variation or adjustment over another. But I do believe there’s one thing we can all do more of – and never enough of.

Think of today’s post as a coda to the compromise of the decisive moment article from a few months back.

*Of course, the question is often asked as a thinly veiled way to seek justification for a hardware purchase, but we’ll discount such instances. In very, very few situations is hardware truly the limiting factor, and if you’re good enough to maximise your current setup, you’ll already know it without having to ask.

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