Photoessay: Tokyo Teleport

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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…

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Monolumpur, part III: Robin’s take

When I started street photography, I gravitated towards black and white. It’s not difficult to figure out why, when you look at famous and successful street photographs from legends such as Henri Cartier-Bresson as nearly all prominent street photography is presented in monochrome. As I slowly developed my own style and vision I found myself drawn towards color photography as it more effectively represents the reality I capture. Nonetheless, the love for black and white has always been there and sometimes, I find it liberating to strip all colors away and go straight to the core of the image – the idea, the message or the emotion.

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Historical challenge: Night Street Compact

Following up on the Low ISO Street by Night article (where I shot hand-held at ISO200 for the entire evening), I wanted to continue with the theme but switch things up – with a 10 year old point and shoot compact camera. In the previous article, the OM-D’s superior image stabilization was almost like cheating so let’s take that advantage away and replace it with a traditional tripod in this session. In 2008 I purchased, for RM299 (about USD70), a Panasonic Lumix DMC-LZ8 for use at a construction site supervision (during my years as a geotechnical engineer). It has a tiny 1/2.5″ image sensor, no ability to shoot RAW, usable ISO with no higher than 200, just 8MP and a short, obsolete spec sheet. So what can we expect to get out of the Panasonic LZ8?

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Low-ISO street photography by night

High ISO is usually a necessity for shooting on the streets at night without using a tripod but I thought why not have a session, for fun, where I stick to ISO200 throughout? I was near Petaling Street with some friends and we all chose to employ different shooting methods. One friend went the usual high ISO hand-held route, while another friend had a sturdy tripod setup. I was the only one crazy enough to run around without a tripod and irrationally stick to ISO200…

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Le flaneur

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From Wikipedia: “Flâneur (pronounced [flɑnœʁ]), from the French noun flâneur, means “stroller”, “lounger”, “saunterer”, or “loafer”. Flânerie is the act of strolling, with all of its accompanying associations. A near-synonym is boulevardier.” A holdover from the class divides of 19th and early 20th century in Europe when the gentry could spend their time engaged in leisurely walking, observing and enjoying the cities, the concept might sound a bit indolent today but is actually still quite apt: these were the original street photographers, most of whom went without cameras. Fast forward half a century and we had the tourists; who perhaps could be thought of as serial visitors herded in predefined courses from important sight to sight. In parallel, photography went from an academic and scientific curiosity to being a mass-medium for personal recording, and then public exhibition. And then a means to show off: this brings us to the present day.

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Stepping back for context: wider street portraits

My photography buddies often ask me if I get tired of shooting the same streets in Kuala Lumpur, and my answer has always been the same: no, because I do things differently each time. While the background and setting remain the same, we can choose to vary our choice of subjects and the way we approach them. I have been shooting portraits of strangers for a while now, and I see my style changing progressively. Some of the changes are subconscious as you cannot do the same thing all the time and expect different results.

For a while now, my most used lens on the street was the Olympus M.Zuiko 45mm F1.8 lens as it gave me medium telephoto coverage, a tight perspective for close up headshots and provided sufficient control over depth of field. It was a huge challenge to approach strangers and get so close for my shots, and I was happy that I pushed through this process and overcame self-doubt when talking to strangers on the street.

In contrast to that, I have been moving myself further away from the usual head and shoulder shots and decided to pursue a wider environmental style of portrait. Instead of 45mm F1.8, my most used lens now is the 25mm F1.8 on the streets.

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Robin’s less obvious street photography tips…

Despite the recent explosion of street photography related content and images, there are very few new and original ideas being explored. Phrases like “the decisive moment”, “if your photograph is not good enough, you are not close enough”, and “F8 and be there” have become clichés in articles on street photography tips and tricks. There is no dearth of self-proclaimed gurus or street photography masters, all offering wise advice, suggestions and must-do checklists to magically guarantee you an upgrade to the next level of artistic progression. I, on the other hand, take a more practical and no nonsense approach to street shooting. In this article, I share my thoughts on street photography – thoughts which may not be considered mainstream.

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Photoessay: Life in Osaka

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Today’s images are a stream-of-consciousness style set of observations of life in Osaka. I wanted to see if there were any perceptible differences from the audience side given these were not shot in my usual way, but rather a series of quick grabs whilst I was there for reasons other than photography, and with photography not as my primary objective. The usual (heavy) curation took place after the fact, which may perhaps dull the value of the exercise as the same biases are therefore applied to both more deliberate and these opportunistic sets. Is the way we see so immutably hard coded by force of habit and practice, that even when we are not trying, the result is indistinguishable? I leave you to let me know. MT

This series was shot with a Canon G1X Mark III and Nikon D850/24-120VR, and postprocessed with the Monochrome Masterclass workflow.

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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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Shutter therapy in Phnom Penh

Life has been incredibly hectic lately, so when my friend Amir randomly asked if I was down for a short holiday to Phnom Penh, Cambodia, I immediately jumped at it. It was not planned as a photography trip and we were there simply to catch up with old friends and drink as much cheap beer as we could. However, it’s inevitable that I squeeze time for shutter therapy, especially in a city I haven’t been to before.

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