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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Photoessay: living Tokyo vignettes

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The choice of title is a deliberate, non static one: the suggestion of motion in each of these images contributes to the feeling that we are viewing something transient, temporal and busy. Despite the density and size of the population, Tokyo somehow can still manage to feel quiet and isolated and times – I put this down to having something to do with the very ordered nature of society and the existence of very formal structures/expectations that mean nobody is in Ginza before about 11am since nothing is open, or Maronouchi is rather dead after 9pm and on weekends as everybody has gone home. It’s possible to make images that make the place feel quite cold and inhuman even though most of the time, this couldn’t be further form the truth. This set looks for a little chaos and humanity. You’ll probably also notice it’s quite cinematic, despite being mostly shot with relatively slow lenses. MT

This series was shot with a Canon 100D, 24STM and 55-250STM lenses, an X1D-50c and 90mm, and a H6D-100c and 100mm. Post processing was completed using the techniques in the weekly workflow and PS Workflow III. 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: Serious Tokyo

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I can only surmise this is a cultural thing, or I’m going to the wrong places – in the ten years or so I’ve been regularly visiting Tokyo, the majority of people, the majority of the time – appear to have quite a load on their minds. Maybe it’s the economy, maybe it’s the government, maybe it’s because they don’t see a way out from whatever they’ve been doing for the last 30 years – oddly, though Japan once felt so societally, culturally and technologically different from the rest of the world as to be light years ahead like some porto-future, I keep getting the impression that everywhere else seems to have caught up in the last couple of decades. There is no longer this sense of wonder when I arrive, but more like a comfortable familiarity and a search for something hidden – which I can never quite quantify, but occasionally find in the form of something very traditional (think hundreds of years of continuity) or reinterpreted (hundreds of years of continuity but with modern influences). I’ve always found it interesting that Japan can be such a philosophical paradox: on one hand, so traditionally rigid, and on the other, still rather freeform and kooky. Or perhaps I’m just not being allowed into the wilder karaoke and hostess bar places… MT

This series was shot with a Canon 100D, 24STM and 55-250STM lenses, and an X1D-50c and 90mm, and post processed with Photoshop Workflow III. 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: Dissolving Prague

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Today’s series is a continuation (and partial overlap of) the Through the looking glass post of last week. It’s a little less human and a little more physical; a metaphor for a place undergoing accelerated change and perhaps a little cultural dilution at the same time, too. I can only hope that feeling of authenticity doesn’t eventually disappear entirely. Note: no double images were used here; merely strategic reflections. MT

This series was shot with a Hasselblad H5D-50C and H6D-50C, various lenses and post processed with Photoshop and Lightroom Workflow III.

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Photoessay: Idea of man in Prague

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I see this series as a somewhat looser development of the original Idea of Man; relaxed to fit the people and where possible, looking for natives rather than visitors – insofar as a rolling cast of visitors have now become the natives. Unlike the original series, you’ll notice there are identifiable individuals in some of these images; I felt that was necessary to be able to differentiate between local and tourist – which is nearly impossible to do on the basis of silhouette or profile or shadow alone. Personally, what really made this set work was the very hard shadows; not only does it lend an additional degree and visual interest to certain compositions and scenes, but metaphorically it also introduces ambiguity and uncertainty – which certainly tied in to my feelings about Prague during this recent trip, and this despite many of these images being shot outside the main area of attraction. More than ever, I felt like the city was in danger of losing its identity and becoming a giant theme park. Let us hope future visits prove this wrong. MT

This series was shot with a Hasselblad H5D-50C and H6D-50C, various lenses and post processed with Photoshop and Lightroom Workflow III.

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Photoessay: Through the looking glass

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I think of this set as Idea of Man, with inspiration by Saul Leiter. The whole thing comes together to be a little bit surreal, but more intense than you’d expect with full-fat color left in. I’ve deliberately used longer perspectives in most of these images to intensify that feeling of stacking, and having the world vying for your attention. To my eyes, it has the same level of distraction from your intended focus as a walk through a really cosmopolitan city would do in real life; especially one that’s somewhat new and unfamiliar to you. In such situations, the familiar catches your eye, as does the very unfamiliar; there’s the constant tug of war between trying to figure out and experience the new, and putting it in context with that which you already know. And before you’ve managed to place things in your own mind, something else (usually unexpected) cuts through the stage and demands your eye. MT

This series was shot with a Hasselblad H5D-50C and H6D-50C, various lenses and post processed with Photoshop and Lightroom Workflow III.

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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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On Assignment: The face of construction

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Presenting something a little different from a recent assignment. Firstly, I know I’m not really known for portraiture, though I do quite a bit of it; I suppose it’s simply not something I’ve really publicised much. On this assignment, I had a few things to keep in play: firstly, finding the right faces amongst the workers; secondly, some of them being unwilling or uncomfortable to be photographed*. and thirdly, striking a good balance between a documentary in situ and something posed. Overriding all of this was the need for authenticity: no point in having a great looking portrait but one that doesn’t make sense either from the client’s standpoint (i.e. not representative of actual construction work) and vice-versa. I wanted to mostly avoid the kind of thing where you just have somebody posing and looking into the camera; that negates the documentary aspect to a large degree – and in my own mind always felt as though either the workers weren’t really working that much, or the whole exercise was forced. In the end, I think I managed a good mix everywhere along the continuum from a fleeting smile to posed to something more natural and mid-work.

*Far more often than you might think; either out of fear that they might be caught doing something wrong and censured later, or for Asian reasons of ‘giving face’ and not wanting the exact nature of their work to be known. There is an inexplicably strong desire to work in a corner office shuffling paper, it seems…

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