Today’s subject is a series of aerial interpretations of a tidal formation known as ‘The Tree’ by locals. It is formed of sandbars and the action between the high tide lagoon draining. Due to the nature of fluid dynamics, the current magnifies any irregularities in the channel creating a self-reinforcing turbulent flow which in turn digs certain channels deeper than others. Over time, this creates ever deeper channels – but also channels that may land up shifting when the various flows deposit runoff material and interact with each other in unexpected ways. The upshot of all this is the creation of a pattern that can only really be appreciated from the air both due to accessibility and scale (and there would be no vantage point from the ground). The rate of change is much faster than you might think, too: these images were shot at the opposite ends of the same day, yet there are formations that are visibly different over the course of barely twelve hours. MT
One more set of images from the ‘Over Australia’ series. These areas were not actually the primary focus of the trip, but rather something interesting overflown en-route – and when you’re chartering a plane, you want to squeeze out every single photographic opportunity possible. What caught my eye here was two things – the rather painterly patterns created by the typically Australian orange sand and water interspersing with oceanic sand, and the way the transparency of the water changed with the angle of the sun relative to our position – everything from milky to glassy to almost nonexistent (the water wasn’t very deep). There were also semi-evaporated pools that became isolated at low tide, both leaving interesting rim patterns and interesting colors from concentrated sediment suspensions. These were shot at low altitudes (1000-1500ft) from a light aircraft with the doors removed. (A helicopter both wasn’t available or possible because of the distances required.) It’s somewhat more challenging than working from a helicopter because the aircraft never stops; you need to have a high enough shutter speed and good panning technique to prevent any sort of camera shake ruining the transparency of the images – worse as the resolution increases.
Everybody likes a good sunset – I suppose it’s an age-old thing programmed deep into our DNA from the days when surviving to the end of the day was worthy of a celebration; not getting eaten or dying of disease was probably a good thing. Today it may be nothing more than the relief of surviving the boss or excitement at the start of the evening’s entertainment, but the satisfaction factor hasn’t changed. Every photographer has probably tried it at least once, and probably more, no matter how much it pains us to admit it. So why deny it at all? If anything, I’ll be the first to admit that doing something different is extremely challenging given the nature of the subject matter and limitations of perspective and position. It’s even more difficult because the very intense colors of an Australian sunset challenge the dynamic range of pretty much every camera – even the medium format monsters, requiring very careful exposure to avoid clipping a channel. Sit back and enjoy, whatever time it may be in your part of the world. MT
This series is presented in approximately chronological order, and was shot at various locations along the Western Australian coast on the Indian Ocean between Geraldton and Francois Peron National Park. I used a Hasselblad H5D-50c and various lenses, and post processed with Photoshop and Lightroom Workflow III and techniques in the Weekly Workflow.
Sometimes, we have very productive days inspired by our environments. This series was effectively shot in two afternoons – perhaps six hours total; it was just one of those days when everything came together – weather, location, possible subject matter. Perhaps it was brought on by me not particularly looking for anything and being receptive to possible scenes in a sort of photographic meditation/ relaxation; I’m one of those people who will shoot if idle just to see how things look and experiment a little. Half of these images were shot from a friend’s balcony along Tanjung Bunga north of Georgetown in Penang, Malaysia*; the other half were from a little beachside cafe in Batu Ferrenghi.
*Penang is a very rich photographic location; we cover it in How To See Ep. 3.
Some experiments into how the same subject can be simultaneously not the same. A bit of contemplative photography while on vacation. Or perhaps I just like water and waves for the same reasons I like clouds. Sometimes, we don’t need to think too much about it – just shoot. I need to go on holiday more often; but then again, don’t we all? MT
This series shot with an Olympus E-PM1 Pen Mini at Tanjung Jara, on the east coast of peninsular Malaysia.