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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Photoessay: Monolumpur, part I

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Today’s set is an anonymity-bringing-scale field test around the old part of Kuala Lumpur (Robin’s usual hunting grounds, though I’m sure you’ll see we came back with very different material) of something I’ve been working on for the last couple of months: an attempt at tuning a universal monochrome profile to my preferred style for the Nikon Z7. Whilst the Z7 doesn’t have a direct curve adjustment in-camera, it’s possible to add your own if you use the ‘Nikon Picture Control Utility 2’ software. It takes the place of the contrast and brightness sliders (my guess, ‘contrast’ pushes down the midpoint of the curve, ‘brightness’ brings up the upper quadrant). However, be warned: it seems the mapping is much more aggressive than the input/output controls suggest, resulting in much more contrast than you’d expect, so go easy on the curve. The only explanation I can think of this is that it’s acting higher upstream in the processing chain than we are used to with a curve in post processing. This is a good part of why tuning a profile has taken so long; it also seems that you need to apply some d-lighting (Nikonspeak for fill) to get the right lower midtone luminosity. All in all, I’m pretty happy with the results – and light was absolutely spectacular while I was shooting, which doesn’t do any harm either. Is the Pen F retired? If not yet, its days are certainly numbered. Now, on to the greater challenge of color… MT

This series was shot with a Nikon Z7, AF-S 70-200/4 VR and MT’s special sauce in-camera monochrome JPEG profile.

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Street-style wedding portraiture

When Sarah, an old friend, shared news of her engagement and related visit to Kuala Lumpur, I could not help but ask if she was interested in a pre-wedding shoot here. I told her this would not be a typical engagement shoot at the park or by the beach. I wanted to do something unusual and different for Sarah by bringing her and Gregor, her fiancé, to my usual street shooting grounds and do their portraits there. Outdoor street-style pre-wedding is not new to me, I have done a few rounds with other clients but this was the first one I did around the Petaling Street area.

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Robin in Bangkok, part II


Continued from Part 1

Since it was my first time in Bangkok, I decided to spend a full day at the Ayutthaya historical park, which is a UNESCO World Heritage site. I knew that the temples and general landscape have been photographed countless times before, so I challenged myself to shoot these tourist attractions in my own style and avoid making a a clone of the many images already out there.

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Robin in Bangkok, part I

I planned on visiting Bangkok some time at the end of last year, but with the South Africa trip in December, I decided to make Bangkok item #1 on my agenda for 2019. This was my first ever visit to Bangkok and was fully intended to be a personal holiday, but somehow turned into partial work when Olympus Thailand invited me to conduct a street photography talk. With half a day blocked for the talk and me visiting the usual tourist traps and temples of Bangkok, I was left with little time for street photography. I did manage two full morning sessions of shutter therapy around the Bangkok Hua Lamphong Railway station and surrounding areas leading to Chinatown, and I shall be sharing my images here.

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Photoessay: nocturnal impressions of Hong Kong

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You know a place has something on you if you want to go out and shoot to relax after spending the whole day…shooting on assignment. In this case a very different sort of work, and the kind of thing one can shoot in flow/ stream of consciousness; you react instinctively and don’t think too much about the scene. I look at the structure and the main highlights – note, not subjects, since the image is more of a vignette of a feeling than a specific description of a subject – balance the composition, and then shoot accordingly. There’s one kicker: I shot everything at ISO 64, handheld, relying on the stabiliser of the Z7 and the large amount of ambient light. I must have been inspired by Robin’s experiment some time back, but in this case I was deliberately seeking out motion, layers and wimmelbild to convey the impression of busyness and activity, but with the sort of surreal detachment that a monochrome presentation suggests. The emotional impact of color is not present, and one feels a bit colder and more objective or separated from the scene; an observer rather than a participant – which matches my feelings in places like this. I shot something like 500 frames that evening. This is my selection. MT

Images shot with a Nikon Z7 and 24-70, and post processed with The Monochrome Masterclass workflow. There are also one or two camera JPEGs in there, and I now have a very similar SOOC picture control pack available here.

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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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Around the wet markets

If you have been following my articles for a while now you may have noticed that I shoot a lot in local Malaysian wet markets. Even my mum finds it hard to believe that I spend so much time in actual markets though I go not with the intention to buy fresh meat and vegetables but to hunt for photography opportunities. Almost every new camera or lens review has featured a few sample photographs taken at various wet market locations in Kuala Lumpur. I want to explain my fascination with the wet market and why I keep returning to the similar spots early in the mornings.

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Robin’s stylistic experiments: monochrome squares

It is no secret that I prefer to shoot in color for my street photography but I do have a special adoration for black and white for very specific situations. With the right lighting condition and sufficient contrast in the frame I tend to favor black and white. I then decided to do a specific outing just to shoot everything in black and white. Initially I did not plan to do square crops for all images in this series, but a few images called for square composition which worked well. For consistency, I cropped everything to square.

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Photoessay: Stolen moments

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In my mind, this set feels vaguely voyeuristic – stealing snippets of time from my subjects, without any of them noticing. Photographing around corners, street furniture and other foregrounds; taking small glimpses into unguarded moments of an individual – what were they thinking? What were they feeling? Where did they come from? Where are they going next? Perhaps the uncertainty of continuity combined with the strong individual emotions and expressions is what drew me to these scenes; the kind of tensions precipitated by something seemingly trivial to an outsider, yet intensely important to a single person. I didn’t set out to shoot these; they just happened across the course of a week and about seven thousand frames. Sometimes our minds pick up on recurring themes we aren’t consciously aware of. In this case, both photographer and subjects were lost in the moment – they in their lives, me in that intense blink of observation. MT

This set was shot with a Nikon D850, 24-120VR and post processed with Photoshop Workflow III.

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