I see this series as a somewhat looser development of the original Idea of Man; relaxed to fit the people and where possible, looking for natives rather than visitors – insofar as a rolling cast of visitors have now become the natives. Unlike the original series, you’ll notice there are identifiable individuals in some of these images; I felt that was necessary to be able to differentiate between local and tourist – which is nearly impossible to do on the basis of silhouette or profile or shadow alone. Personally, what really made this set work was the very hard shadows; not only does it lend an additional degree and visual interest to certain compositions and scenes, but metaphorically it also introduces ambiguity and uncertainty – which certainly tied in to my feelings about Prague during this recent trip, and this despite many of these images being shot outside the main area of attraction. More than ever, I felt like the city was in danger of losing its identity and becoming a giant theme park. Let us hope future visits prove this wrong. MT
Big city, bright lights, teeming crowds…yet the quest for individuality is perhaps stronger than ever. Yet we’re social creatures, so we want to fit in. But where? How? Here more than ever, people felt transient, subservient, temporary. Native is not native and you’re on the way somewhere else. The stage stays; the actors change. Here more than ever, I’ve always felt like I was just passing through – even the times where I was based here for months. MT
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’ve spent the last week producing some material for Hasselblad with a pair of preproduction X1D prototypes; I’ve teased the results of that in this post and the full content is in final production right now. In the meantime, I wanted to share some images from that shoot and thoughts on use of the X1D for street photography/ documentary. The portrait samples go up first because I’ve received quite a lot of mail asking about a) bokeh; b) available light performance; c) people.
I actually prefer to think of these as little stories, or vignettes – I suppose that should really be the objective of street photography; to capture an transient and narrative element of life in a documentary way. That little slice of time might not be significant to anybody other than the main players, but it’s no excuse for a lack of story. I’m going to complete my version of the story by adding titles…even if audience preferences may differ 🙂 Enjoy! MT
This series was shot with a Nikon D5500, 55-200/4-5.6 DX VR, Sony A7RII, Zeiss 2.8/21 Loxia, Zeiss 1.8/85 Batis, and Contax Zeiss 2.8/85 Sonnar and post processed with the Monochrome Masterclass workflow. You can also get your weekly dose of PS right here…
I view The Idea of Man project as mostly complete; the story is tight and stylistically consistent. But I’ve been thinking a lot about its sequel in the time since the exhibition; to begin with – is there one at all? Where does one go from the story of the individual finding their place in the world? The answer came to me after some long exposure urban landscape: it’s in community, in groups, in the flow and interaction of individuals. And that idea will be at the core of The Idea of Man II.
I came away from Porto with a bit of strange feeling about Porto. From a distance, and on the opposite bank of the Douro, the old town looks charming and quaint, with a vibrant revival immediately around you. The sun is shining, the tourists are enjoying their wine tastings, and the locals are eager to please. Go back over, however, and a cloud seems to settle; edifices that appeared charmingly quaint are really decaying very badly and somewhere between neglected and derelict. There are few locals left, and those who are are very elderly and not in much better shape than the buildings. Smiles are absent. Tourists are tolerated or seen as targets. It is altogether a very different Porto from The Other Side. It seemed to me that most of the locals inhabited a sort of zone between the two – a monotonous grey transience between the two states of decay and forced tourist joviality. They lived lives subservient to their environment and took what little joy where they could find it – a drink here, a smoke there, a bit of sun when it showed. It honestly felt a bit sad. These are the impressions I left with of life in Porto. MT
There are times when you shoot to push the envelope; others when you need to work to an objective, and still others when you feel like but shooting with no particular objective in mind in more of a meditative state. We tend to default back to habit – which can result in some very similar images to ones we’ve made before, but also a sort of liberation where you shoot ‘in flow’ and almost let the environment do the driving. This was one of those times – I present nothing too serious or deep today: just a series of individual (or are they?) Tokyoites. Enjoy! MT
People, an urban centre, 28mm, and monochrome – is there a more ‘classical’ recipe for what might be traditionally classified as street photography? Perhaps, perhaps not. The whole genre is so fluid that I think it is impossible to define anyway; I instead think ‘snippets from the quotidian’ is probably more accurate in this case. They are vignettes and observations of the repeated, the mundane, and the boring. But the pace of the world changes so fast that who knows what the same activities will look like in twenty or fifty years? MT
You might think the title for this post is curious: that’s because it is. In cinematography, a wider angle is used as an establishing shot to provide the overall context for the scene, location and any human dialogue that is to follow. The tighter head shots are frequently interspersed with equally tight cutaways to detail: it is a deliberate device to focus the attention of the audience very specifically on whatever specific object or action that is desired by the director. These cutaways always serve a purpose as they typically contain explanations or clues to the later storyline. In a way, they form a narrative or logical bridge of sorts. Compositionally/ visually, they are tricky to get right: too much visual texture and the scene is too busy for the audience to instantly register only one thing; too plain and it’s a starkly boring scene. It’s even more difficult to pull off as a candid still for the simple reason that the action is not planned; you have to anticipate and hope you’re in roughly the right place at the right time, then rely on instinct and experience to make any last-minute changes to composition as it happens. It is a slightly lighter photoessay than usual for the simple reason that these images are very difficult to make in practice…Enjoy! MT
Images shot mostly with a Olympus E-M5 II, Zeiss Otus 1.4/85, Zeiss ZM 1.4/35, and Canon 5DSR, post processed with the Cinematic workflow from Making Outstanding Images Ep.5. You can also look over my shoulder at the underlying postprocessing in the Weekly Photoshop Workflow series.