The best value in photography today?

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Fighting words. When your three year old decides she wants to be like daddy and bugs you pretty much every day for a couple of months for a ‘real camera, not a toy one’ – what do you do? It seems a little painful to sacrifice a new camera to what will almost certainly be death by something that makes perfect sense only in the mind of a toddler, but at the same time I’d really rather she not start helping herself to the Hasselblads. Cue every photographer’s favourite activity: gear shopping*. Initially, I considered something shockproof, waterproof and submersible; but the good ones weren’t cheap, the cheap ones were really quite painful to use, and the controls were oddly not very small-finger friendly – requiring a lot of force to press and cryptic icons to decipher. She recognises ‘on’ and ‘play’ icons thanks to iPads and youtube, and that’s about it. Perhaps the big silver button too, since that makes a noise to take a picture. By now you’ve probably seen the header image and figured out my solution…

*To be read with extra sarcasm.

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Creativity by the yard

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The split

I’ve heard it said more than once that the world is divided into three kinds of people: those who create, those who support, and those who criticise. The former see the world differently and as a result land up being mostly societal misfits; at least until you become successful (which is nearly never, since the deck is stacked against you for reasons I will explain later). The corporate world wants to have the output and the commercial results, but is unprepared to support the infrastructure and requirements. The second group forms the majority of the population: ‘support’ can mean anything from consumption and patronage to supplier of key enablers such a services, environment or tools. And the latter – some serve as useful moderating reality checks and balances, but most just become bitter and jealous internet trolls. Today’s post is several things: an exploration of these roles, a series of suggestions from the point of view of a creative, and perhaps an apology (excuse?) for my wandering attention.

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Photoessay: a slight dystopia

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This set of images is one that’s once again benefitted from some significant curation: at the time of capture, I didn’t quite see the common thread that must have been running through my subconscious. There is, however, a definitely dystopian undertone in all of the images: it’s almost as though the aliens are about to arrive, have arrived, and then zombified the population. Timing matters: I seems to have caught some rather unflattering decisive moments. I’d like to think unintentionally, but static woman in the stream of people was very much a deliberate curation choice. Or maybe it’s not zombification so much as choose your own adventure: you see whatever you wish to project, and isn’t that where the fun lies in interpreting an image? MT

Shot on a Panasonic GX85, 42.5/1.7 and 35-100/4-5.6 and processed with Photoshop Workflow III.

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Experiments with ring lights and insects

I am currently experimenting with an alternative lighting solution for my insect macro work – LED ring lights. My usual insect macro technique of using wireless off-camera flash (as seen in this article) may be effective in shooting bugs hiding in difficult to reach places, but it is also physically challenging to execute. Holding the camera and macro lens steady with just one hand with the flash on the other can be tiring for hikes in the forest hills – where these insects are usually found. The LED ring light, in theory, should be much easier to use. Let’s see if my hypothesis was correct.

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Photoessay: Architectural vignettes of Constantinople

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There’s a deliberate choice to the title of this post: my guess is that all of these structures were in existence when Istanbul was still Constantinople, and they’ll continue to exist beyond whatever the next name change might be (if at all). The people change, society changes, the administration does too – but for the most part, the urban landscape remains for pragmatic reasons: both because there’s another level of civic/cultural pride that extends back through history, because it’s impossible to imagine a city without some of them, and because many still serve practical functions today. This is probably the very best of architecture: the kind of edifice that continues to serve far beyond the originally intended purpose of its creators and architects – even if only to serve as a reminder of identity. MT

This series was shot in Istanbul with a Hasselblad H6D-100c, 50, 100 and 150mm lenses, and post processed with Photoshop and LR Workflow III (and the Weekly Workflow). Get more out of your voyages with T1: Travel Photography.

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Tips from street photography workshops

One of the more rewarding experiences as a photographer is the opportunity to conduct photography workshops. I have been conducting workshops for Olympus Malaysia, and recently Panasonic Malaysia, that focus primarily on an introduction to photography – conducted in the form of a photowalk. Workshop participants are usually new-comers to photography and are looking to learn how to use their newly purchased cameras. Not only do I have to share photography tips and tricks, but I also have to be able to walk the talk and demonstrate, on the spot, how certain shots are executed. It is easy to talk, but shooting and showing instantaneous results is the challenging part. I’ve compiled a series of photographs below that were shot over the course of a few workshops, and used to demonstrate certain techniques live.

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Photoessay: From the mountains

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Following on in the series of Icelandic landscapes, today we go inland a bit and bring you a series from the volcanic mountains. Strongly directional light, unfiltered by clouds, plus ‘sharp’ underlying topology that’s relatively new (and thus in places uneroded) in geological terms leads to some very interesting textures. I found the challenge when working in this kind of landscape to be one of context: interesting textures and shadows only remain interesting when seen against other elements to gauge relative ‘hardness’ and size; isolate one element and you somehow the whole thing doesn’t work; yet often light wasn’t dramatic enough to really make a single small element clearly pop against a much larger canvas. 90mm (about 70mm-e) turned out to be the most useful focal length here; mountains are relatively far apart, so some compression is required to avoid emptiness; yet some width is also required because of sheer scale. I kept wondering if some shift might be useful to give the mountains a bit more weight, but to be honest – we’d probably need far more than possible without a technical camera and large format lenses. MT

Shot with the Hasselblad X1D Field Kit and processed with PS Workflow III.

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The habits of successful photographers, part II

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There are very few behind the scenes photos of me working – you’ll find out why below.

Continued from Part one. Today’s post concludes with an examination of the commercial part: whilst there is a good portion that’s simple common business sense (or not common, judging from the overall failure rate of small businesses) – there are elements and applications that are specific to photographers only, which I’ve tried to distil here.

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The habits of successful photographers, part I

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Sormcloud, or an image for me and me alone. I like it, regardless of what anybody else thinks: the ability to create this to my liking, present it and not give a damn is quite high on the elements I’d consider photographically ‘successful’.

One of the most frequently asked questions I receive is ‘how do/did I/you make a career from photography?’ People are inevitably displeased when I tell them there is no formulaic answer or one size fits all – for the simple reason that each set of circumstances is different, and the industry keeps changing at an ever more rapid pace. The question itself probably needs to be broken down into two portions anyway: being a successful photographer is not the same as being a commercially successful photographer, though there can and usually is some significant overlap. If the definition of success – at least from an artistic point of view – is to make images that oneself is happy with, then it’s somewhat easier to define a roadmap here – and we will do so below. If it’s seeking popular affirmation, then I’m the wrong person to ask else I’d be shooting cats/ bikinis/ coffee etc. with a million filters. As for the commercial part – I’ve served enough repeat clients and communicated with enough pros at the top of their game to be able to identify things we all do in common; whilst it’s not a guaranteed recipe, it’s probably a good starting point. Hopefully some of you might find it useful. MT

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Leica M mount lenses on the X1D

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f1.4, medium format, comparable size and weight to ‘pro’ M4/3. What’s not to like, other than the price?

For the last couple of weeks, I’ve been shooting with the rather unorthodox combination seen above. I’ve found it answers two questions/ solves two problems for me: firstly, the desire for something that operates in the way you want (i.e. transparently) and that makes you want to shoot with it; and secondly, the small/light question. (There’s also a whole separate discussion on the concept of practical equivalence and envelope that I’ll discuss at some later point). But the journey getting here wasn’t quite so straightforward, unfortunately, and this combination is not a Swiss Army knife – it’s got some pretty big limitations. But when it delivers, I find that it delivers something quite special by the truckload.

Additional X1D coverage is here: long term review; assessment with Nikon F mount lenses; field use in Iceland.

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