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.
As usual, it is impossible not to be in a place like Tokyo and do at least some street photography; the very difference in the way people act and the things they do already attracts our attention because it breaks the pattern which we’re used to seeing. Furthermore, Japan’s tolerance for photography in general as a society and the close proximity in which people usually find themselves makes things even easier. It is however impossible to avoid people on phones: I still think this is the ‘hat-and-newspaper’ of the 21st century; just as life-documenting photographers eighty years ago could not avoid that cliche – which now seems quaint to us – we are locked into the era of the cellphone. It is harder to find somebody not using one. I’ve always said the best street work should be pretty close to documentary in nature, though much more personal in significance. If phones are the nature of reality today, so be it. That of course doesn’t mean there isn’t plenty else going on. I did get a feeling of longing and melancholy I didn’t observe the last time I was there; the usual conspicuous isolation was even stronger on this visit. A sign of the times for society, perhaps? MT
This series was shot with a Leica Q 116, Nikon D5500 and 55-200/4-5.6 DX VR II, Sony A7RII and Zeiss 2.8/21 Loxia and 1.8/85 Batis lenses and post processed with The Monochrome Masterclass workflow. You can also look over my shoulder at the underlying postprocessing in the Weekly Photoshop Workflow series.
One at a time, please
The series of images presented today is the conclusion of the cinematic Life in Hanoi set from a couple of days ago. During the curation, two visually very distinct groups of images emerged: the first, which felt a bit more structured and ‘formal’, and the second, which – to my mind – is a bit more freeform and organic, with higher visual density. These hold closer to the ‘story in a frame’ of traditional photography. Personally, when I looked at the scene – and the subsequent images – a caption came immediately to mind – perhaps not the same one as you might have read, but it would be nevertheless interesting to hear the differences of perspective. Enjoy. MT
Today’s photoessay is a little out of sequence – it is the first set of little snippets of life captured during the Hanoi Cinematic Masterclass earlier in the year, but which until now have somewhat defied curation into a finished set (I blame that more on my schedule than anything). They are perhaps not cinematic in the traditional dramatic sense, but I do think they do make for interesting standalone viewing. I suppose that’s what unifies them: being a small window into another place. Enjoy. MT