On-Assignment photoessay: gentle curvature

_Z711654 copy

On some assignments you sacrifice your favourite camera strap, pray to the weather gods to grant you favour and be prepared to shoot everything in a half-hour mad rush around blue hour if it all goes to hell. This was one of those: a last minute call from a long-standing client with barely a 2.5 day deadline to deliver completed, retouched images. Normally I don’t (well, can’t) accept assignments on such short notice, but I happened to have a free day and the subject was quite interesting. The only problem: weather up to that point had been really terrible; one camera strap later and I think we lucked out. All shooting was complete within a 12 hour window – including the night images (done late the previous evening) and aerials (the morning of). Light was good, winds were calm and a couple of aerial stitches were achievable – thankfully, as there was no physical vantage point for the angles the client wanted, and limited aerial vantage due to surrounding buildings and construction cranes. The building itself is quite unusually shaped – there are no real external straight edges which gives it a very strange feeling at ground/podium level, as well as a means to defeat site setback regulations at street level to maximise internal floor space. Not all of it was completed in time, so there was no chance to photograph inside the rooftop glass-roofed area, which judging from the drone – had pretty extraordinary shadows from the window frames and columns. As an aside, I personally found the results much more interesting in monochrome as they brought out key features and played real volumes nicely against projected shadows, but unfortunately those weren’t part of the client brief – perhaps for a future photoessay, though… MT

This series was shot with a Nikon D850, Z7 and DJI Mavic Pro 2 and processed with Photoshop Workflow III.

[Read more…]

Robin’s take on framing, color and simplicity – part two

Following a recent article on framing, color and simplicity (here), I continued my street shooting session looking for similar content. My exploration expanded to different parts of the city including lesser known areas. The aim was straightforward – look for bold colors that catch my attention; something unusual or out of the ordinary to isolate the subjects as much as possible. In order to do this, I made use of much longer focal lengths than usual with the Olympus M.Zuiko 45mm F1.8 seeing the most use. Developing a unique street photography style is not easy and mine is still a work in progress with a constantly evolving approach. Being able to go out and shoot is a privilege that I do not take lightly and I enjoy every single moment of my shutter therapy!

All images here were shot with Olympus OM-D E-M1 Mark II and M.Zuiko lenses 45mm F1.8 or 25mm F1.2 PRO.

[Read more…]

Photoessay: Objectified

X1D4_B9995159 copy

I admit this set is a bit of a mixed bag. But sometimes we come across objects, things, miniature scene of texture and color that are too good to ignore and too incoherent to fit into any other curation. They’re not really bound together by anything save a transition of color and form; seeing at its most basic. Nothing a client will ever pay for, but you might notice a physical layout or quality of light that might come in useful later; especially if you shoot product or still life. They’re the little serendipitous tributes to light and the kind of thing that to be honest – only photographers and painters really notice or get turned on by. Like well-executed musical scales, the pleasure of execution is for the artist alone. No need to feel guilty, we’re among friends here. MT

This series was shot with a wide variety of hardware over about a year, and mostly post processed with Photoshop Workflow III

[Read more…]

Social media algorithms are limiting creativity and subliminally controlling your world view

First things first: there’s no image of any sort in this post, which is rare for me. It’s a silent protest against the fact that whether this link and thus its contents get disseminated to people who subscribe to my social media feeds (FB, IG, Twitter) and read or not is almost entirely down to some self-curating algorithms. The alarmist and provocative title are deliberate attempts to play the game (explained further on). It has nothing to do with whether you subscribed to my feeds or not. Only a small portion of the total population of posts or images published by people you follow actually shows up on your feed. This has been verified by several people and a simulation account I set up and subscribed to several sources; sure enough, at the start, you see a lot of posts from your ‘new friend’, but not long after – they virtually disappear. It isn’t because they haven’t been making content, it’s much more sinister than that.

[Read more…]

Photoessay: Mori

_Z714202 copy

Welcome to one of the most surreal manmade places you can imagine, in Tokyo, or anywhere (which is saying something): The Mori Digital Art Museum, on Odaiba out in Tokyo Bay. Covering a huge area inside a blackened warehouse hung from floor to ceiling with a velvety material that can be projected on, the entire exhibition is dynamic. Projectors seamlessly cover walls and sometimes floors, combined with motion sensors to interact with the audience to create a very strange simulacrum of nature. It’s almost like stepping into Avatar; the extent of the simulation is so complete you feel very disoriented in some parts (especially those were the floor itself is no longer flat). There are tactile areas (like the giant balloons, or projection lilypads) for the kids, and enough rooms and dynamism that you don’t suffer from deja vu even if you revisit the same location twice (which you inevitably will, because signage is kept to a minimum). To shoot – it’s something else, because you’re basically trying to photograph a highly contrasty and saturated projection across multiple surfaces. And because the images are dynamic – sometimes with serious speed – composition is challenging indeed. It’s also not as bright as it looks, so you’re landing up at very high ISOs to keep the projected images crisp and deal with light levels. Though the environment looks three dimensional, it isn’t; though the other people visiting are three dimensional, they collapse to two dimensional silhouettes because they are nowhere near as bright; in short: the whole thing is surreal. MT

This series was shot with a Nikon Z7, 24-70/4 S and processed with Photoshop Workflow III – I tried using my custom Z7 Picture Control profiles, but they were off base in this strange edge case situation…

[Read more…]

Two cents off the soapbox

Alternative title: what’s actually new?

Following the recent hyped launches of the Panasonic S1R, Canon RF, Fuji GFX100, genuine pet eye smile AF tracking etc. – I’m finding myself looking at things from a fairly objective standpoint and asking how the industry is going to survive, let alone grow, in the long term. The simple reason is there has been fundamentally almost nothing in the ‘conventional’ camera market that allows us to do anything different from a creative standpoint. Before people take up their pitchforks, let me clarify several things…

[Read more…]

Birding with the Olympus E-M1X

Bird photography is an increasingly popular genre that requires effective technical execution, specialized gear and incredible patience, the last of which I unfortunately lack in sufficient quantities. The excitement and fulfillment of bird shooting is not just about the photography, but also spotting and identifying the species, gender and origin of the birds. A huge part of the fun comes from the hunt itself, with photographers venturing deep into the forest or a hiking trail to spot the birds. While I admit I am not a pro bird shooter, I have been approached and asked several times about optimizing the Olympus Micro Four Thirds camera system for bird shooting. The requests are frequent enough to motivate me to pen down my recommendations and suggestions on shooting birds using the Olympus OM-D system.

[Read more…]

Photoessay: hard line

_Z715021 copy

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…

[Read more…]

Repost: format strengths and why different sized media render differently

B0000292 copy
MF tonality and separation: in the full size image, the airplane is in a clearly different focal plane to the tree and hangar – even though it was shot at f8.

I’ve written previously about what exactly contributes to the ‘medium format look’. However, I think to some degree we also need to both define what constitutes the hallmarks of smaller formats, but more importantly figure out where each format’s strengths lie. Having now shot what I’d consider ‘enough’ with a complete MF system wth lenses ranging from ultra wide (24mm, or 18mm-e) to moderate tele (250mm, or 180mm-e) I think I’ve built up a much more complete picture. No doubt this will change if the recording medium size increase further – with the 54x40mm sensors, for instance – but I think it’s fairly safe to extrapolate based on the differences between subsequent smaller formats.

[Read more…]

Photoessay: Tokyo Teleport

_Z714303 copy

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…

[Read more…]