Few words today, just a series of singles from Lisbon in the style of Idea of Man. It’s too late to put them into the first series because that now has a mature and complete narrative; they don’t really fit the second series because I changed the presentation style – so they stand alone. You might wonder why I still photograph in this style given the first two statements; in this case, partially because I was demonstrating for a couple of students at the Lisbon Masterclass, partially because I felt the aesthetic suited the feeling at some of the starker and heavier locations – Oriente station, for instance. Enjoy! MT
I found myself back in the tunnels under Hong Kong again a couple of months ago. I’d previously visited both locations in a much less complete state – the Central Wanchai Bypass was a trench with a lot of bracing holding the seawall at bay, and Whampoa MTR station was a bare tunnel with no platform and no liners – just a large cavern. The former is now a neatly lined tunnel and roadway awaiting the final finishing touches for ventilation, M&E ducting and lighting; most of this portion of the contract has been or is about to be handed over to the next contract to be finished. The station is now in pretty much recognisable form – even the information counters and ticket kiosks are in, though without their final cladding and not fully cleaned up. At this point you could certainly imagine rush hour passing through, though – even if the work dust everywhere gives things a slightly post-apocalyptic feel. From an execution/ equipment standpoint, I think this assignment was tougher than my first documentary assignment with the H system – Thaipusam 2016 – mainly because the brief was tighter, light levels much lower in some places, and frequently the subjects more conscious of being photographed. For some odd reason, it was much easier to photograph religious festival participants…
Regular readers will know that Tokyo is one of my favourite destinations both as a city and a photographic locale. Sushi is inseparable from Japan, and probably the only food I could eat every day without getting bored. I’ve visited Tokyo at least once a year for the last ten years; almost every time I shot at Tsukiji Market, the clearinghouse for a huge portion of the high grade seafood caught. It didn’t occur to me to try to curate these visits into a coherent documentary until before my last visit; at the same time, I found out that Tsukiji was going to close and be relocated to a new site in preparation for redevelopment for the 2020 Olympics. It would be the end of an era in more ways than one – and most of the proprietors I spoke to inside the market sadly agreed that things would never quite be the same again. Tsukiji is in so many ways an insular community unto itself, and a Tokyo institution. Today’s presentation is my tribute to that: a reasonably complete journey of fish to sushi, via Tsukiji.
Half an hour before we were to meet our contact from the wildlife preservation department, we arrived in Coonoor, the Nilgris range, India, to find the town sleepy and barely stirring. Sunlight was just hitting the very tops of the highest buildings upslope, and the few residents stirring were dragging their feet – a massive contrast to the scene a couple of hours later, which was so different you could not imagine the place empty. As we did a quick walk through, I felt like I was observing the aftermath of the night before…a sort of crime scene worker, if you will. What follows is from the body of evidence, filed under ‘environmental context’. MT
Thaipusam is a Big Deal for those involved religiously* – but also quite an amazing experience as an observer. One of, if not the largest of these festivals takes place in a cave temple about 15km outside of Kuala Lumpur every year at the Batu Caves. I’ve photographed the event previously in 2008, 2011 and 2012. This year’s festival happened just a couple of days ago on the 23rd-24th of January, and I went back for the fourth time. I’ll be the first to admit that it’s a very special experience even as a non-participant and not really understanding the significance of the ceremony to the believers. There really is some energy there from the sheer number of participants and general positive and hopeful thoughts that are going around at the time.
*Wikipedia does a much better job of explaining it than I can.
What I’ve always found amazing is how completely inconspicuous and transparent mobile phones are. They’ve become such an ubiquitous part of daily life that they’re not noticed; like hats in the 20s and 30s. Not having one is the exception. Surprisingly, I’ve also found that aiming your phone at something to take a picture – complete with awkward stance, delicate ‘I’m-going-to-drop-this-thing-becuase-the-ergonomics-are-bad’ finger poses and device held at arms’ length – is completely ignored even though it’s a lot more obvious than using a camera discretely. Have we learned to filter it out during the few short years of mobile photography? Evidently so. I’ve gone from seeing a cameraphone as completely useless to a curiosity and masochistic challenge to an interestingly stealthy way of observing the world: it has properties that cannot be replicated by other cameras, which in turn result in fairly unique images. First of course is ubiquity and stealth; second is silence; third are generally fast/intuitive interfaces (tap to focus, expose AND shoot!). You can get in close and not be seen. Or be seen and nobody feels intimidated, at least in my experience. I find this odd since you’re far more likely to post on FB with your iPhone than your 4×5… In any case, I present today a series of what I’d think of as observations – both as observer, and observed, and an observer observing the observers. Enjoy. MT
In the second half of 2014, I was hired for a rather unusual documentary assignment. Amongst very many other things, the German Lutheran Church runs an international mission for seafarers around the world, with various stations and representative pastors in major ports. For their 2014 annual report (yes, I know it’s 2015 – I just haven’t had a chance to write and post up til now), they decided to produce a story on this as one of their featured activities. Even more unusually, rather than choosing a major home port such as Hamburg, the story was focused on Asia – the port of Singapore, to be specific. It’s not too far from Kuala Lumpur, so I got on an airplane. The report has obviously now been published, and I’m free to post the write up.
Today’s photoessay is perhaps best thought of a series of vignettes of the locals living in Venice – there may be one or two tourists that got caught in the mix, but I doubt most of them would buy raw meat at the butcher’s. There was a deliberate effort on my part to exclude people who were obviously tourists and focus on individuals; that wasn’t actually too difficult since it was a) winter and b) I was in many of the neighbourhoods that pretty much only saw residents. Those who attended my Venice Masterclass in November 2014 may recognise some of these images from the final day’s curation and processing session; in fact, you might even have been there at the time of capture… Enjoy! MT
This series was shot with a Ricoh GR, 21mm converter, 645Z and 55/2.8 SDM and processed with a mixture of PS workflow II and the ‘fine art’ style in Making Outstanding Images Ep.5: Processing For Style.
One of the most important things for the creation of a cinematic feeling image is control over light: control light and you can control what stands out, the order in which your audience reads an image, and beyond that, how they feel when they view it. This is of course significantly easier to do when the light sources in question are not random: it’s much easier to make a cinematic image with ambient neon than it is with pure sunshine, as there’s just so much more directionality and variation of color. Fortunately, I had a decent amount of both in Tokyo; I’ve always found it to be one of the most easiest cities in which to make these kinds of images for that reason.
Today’s photoessay has no theme beyond the observation of life as a flaneur in Singapore; in this case during in-between time from a teaching assignment a couple of months ago. You’ll notice this set of images is broken up into two distinct styles; the first series is more along the lines of what I do now – humans in environment; life in context; ‘people in sauce’. It is visually flatter, a little more structured, painterly, and perhaps almost aperspective in some ways. I like to think of the presentation as something akin to a more dynamic version of the traditional still life. The second set is unashamedly cinematic.