Photoessay: Urban aerial

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Nowhere is our collective societal impact on the planet quite as marked as when you view earth from the air – and whilst there’s probably some truth to those who think we’re going to ruin it through pollution, over extraction, global warming and the like – honestly, it’s much more pleasant to look at the view and just allow yourself to be a little bit amazed by what’s below you. I’ve always had a slightly odd feeling looking at places from the air – there’s scale, and at the same time, there isn’t. Small towns seem very much smaller; constricted, limited almost; large cities seem either daunting or filled with endless possibility. It may be a question of distance – if you don’t see the grittiness, it’s the latter. If you’re too close to the ground, it’s the former. Whatever it is – sometimes we literally need some perspective… MT

This series was collected over about a year and shot with a mix of cameras including the Hasselblad H6D-100c; H5D-50c and DJI Mavic Pro. All images were processed with Photoshop Workflow III.

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Photoessay: Suburban geometry, part I

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Am I the only one who finds it odd that a) we are of organic, irregular shape and yet b) create our environments to be as regular and inorganic as possible – even with the possibilities long afforded to us by modern manufacturing methods, we stick to at best a greatly reduced and simplified facsimile of nature? Furthermore, all suburban environments have become so similar I don’t know whether to think of it as fairness, aspiration to the same standards or a homogenous dystopia. Case in point: these images were shot in no less than six cities, but you wouldn’t know it at first glance (and there is also a massive curation bias that is involved in removing any localising elements, of course). This is especially true as configurations and details simplify into what is cheapest to build, easiest to maintain or least likely to cause offence. Chasing uniqueness in the photography of urban exploration has become a challenge not so much to find unusual locations so much as a race against the shadows for the flaneur – perhaps, much as it should be. MT

This series was shot with an assortment of cameras and lenses over a fairly wide period of time, but all post processed using the techniques in the weekly workflow and PS Workflow III and the Weekly Workflow.

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Photoessay: Lisboan shadows

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There is a subliminal connection between shadows, mystery, uncertainty and something sinister; probably because we can’t necessarily be certain about what we cannot see. Of course, this can be used photographically to great effect in creating abstraction, geometry and structure – without shadows, we have no way in presenting the illusion of three dimensions in a medium that has two. What I find oddly paradoxical about these images is that the shadows don’t really have that dark and closed-in feeling; perhaps it’s the hard edges and delineation between light and dark that if anything makes the sunniness more obvious – for want of a better term, there’s a positive feeling here. There cannot be shadows without light and all that…MT

This was shot with a Hasselblad H5D-50c and various lenses, and post processed with Photoshop and Lightroom Workflow III and techniques in the Weekly Workflow.

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Photoessay: the towers, Chicago

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After the previous verticality projects, I wanted to try to find a different but still coherent approach to photographing large buildings from the human perspective at street level – this is harder than it sounds, given you have little room to back up in most cases. At the same time, overt geometric distortion from the use of a wide lens is not always acceptable. With the exception of two images, the rest were shot from fairly close to the base of the buildings with minimal or no perspective correction and the intention of preserving just enough of the uniquely identifiable aspects of the architecture. Locals or architecture fans should be able to identify the edifices, or I should go back to the drawing board. Enjoy! MT

This series was shot with a Leica Q 116, D810/ Zeiss Otus 28, A7RII and Zeiss Batis 85 and post processed with PS Workflow II. You can also look over my shoulder at the underlying postprocessing in the Weekly Photoshop Workflow series.

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Photoessay: Uniformity

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Today’s photoessay is a slight evolution on the previous theme. We still remain in an urban setting, but we look only at the uniform, the monolithic, and the stark. They are almost dehumanizingly abstract and yet instantly identifiable as artefacts of our own ambition and desire for bigger, better, more. There is a sort of progression in entropy here – we start with aspirational order and end in decay. Perhaps it is a metaphor for the nature of all things, or perhaps it’s just a consequence of requiring scale for abstraction and visual interest – read into it as much or as little as you please. Enjoy. MT

This series was shot in several countries with a Nikon D810, 24-120/4 VR, 45 PCE, 85/1.8G and Voigtlander 180/4 APO lenses. Postprocessing and color management was done using Photoshop Workflow II and The Monochrome Masterclass.

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Photoessay: Silent in Kuala Lumpur

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Urban environments are characterised by people: creators, masters, users. They are odd when empty simply because they were never intended to be empty. What is left can be whatever you want it to be; sinister, lonely, a mere abstraction of form and color. Sometimes I wonder about the whole creative circle underlying these locations and objects: somebody had to design and make them, and they had to find the inspiration from somewhere else. We then in turn find something of interest in their forms – but probably not what the original creator intended, especially when taken in concert with environment and other unplanned or juxtaposed objects. Or perhaps I’m thinking too much. Make of these what you will…MT

This series was shot over a period of time with a wide variety of hardware and processed with the fine art technique in Making Outstanding Images Ep.5.

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Photoessay: people of Prague, II

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Do we fear what we cannot see?

Part two of the People of Prague photoessay is to me the more exciting bit: it expands the more literal ‘people in sauce’ environmental slices of the previous series of images to explore my favourite personal project, the idea of man. When photographing I’m always looking out for spontaneous ideas as they evolve around me, but I think it’s important to be open to both the literal and the conceptual even if only for practice. And you never know when the former might develop into the latter (the sequencing of this photoessay is the same: we pick up roughly where the last one left off, and take it further). This particular series explores life at two scales, both individual and group; the latter is not something I’ve done much of up to this point simply because the opportunities aren’t always there. There’s also been plenty of feedback going around in the comments on other photoessays on the use of captions; personally I think if done right they can be used to suggest alternative lines of thought and potentially different interpretations of the scene. A little ambiguity is not a bad thing. Enjoy! MT

This series was shot mostly with a Nikon D810 and the 24-120/4 VR, with additional contributions from the 24 PCE, 85 Otus and Voigtlander 180 APO and a Ricoh GR. I post processed using PS Workflow II and The Monochrome Masterclass. I also cover street photography techniques in S1: Street Photography and How To See Ep.2: Tokyo

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Photoessay: people of Prague, I

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The slight oppressiveness that is impossible to define

Let’s call this set a mix of environmental portraiture and street photography. People in their native element with minimal interference on the part of the photographer. I did stop and talk to some of them; it seems the Czechs in general are very friendly. Others didn’t notice me; I was just another tourist of many. Being a conscious observer in such an environment isn’t a bad thing; you blend in. And people don’t change what they do. This set is the first part of two reinterpretations of ‘people in sauce’ – we’ll talk about my hypotheses on what it means in a future article. We actually had precious few days of good light during the Prague Masterclass – meaning the majority of these images were actually shot on one day – but it was enough. I am continually reminded of just how rich a hunting ground this is when the light is right…enjoy! MT

This series was shot almost entirely with a Nikon D810 and the 24-120/4 VR, with the exception of one image with a Ricoh GR. I post processed using PS Workflow II and The Monochrome Masterclass. I also cover street photography techniques in S1: Street Photography and How To See Ep.2: Tokyo.

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Photoessay: a different kind of KL cityscape

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Ordered cubism

I personally find one of the most challenging things to do is make compelling and different images in a situation that is a familiar one: your home city, your usual equipment with nothing particularly special or capable of making a distinctive look (or another way of looking at it is a general purpose tool with a very versatile shooting envelope), challenging weather, and to top it off, conditions that are not ideally conducive for creativity*. These were shot during a private workshop as examples; I have to simultaneously apologise to and thank my student at the time: firstly, I felt I could have made better images with a bit more sleep, but the conditions pushed me to really look for something different. In the end, I think this set fit the bill: I am happy because these are images that I have not only not produced in some form or other before, but images that I never conceptualised because I was not looking in those places either – even though it wasn’t my first time there. Enjoy! MT

*Prolonged lack of sleep from a newborn and a small apartment full of relatives.

This series was shot with a Nikon D810 and 24-120/4 VR, which is probably about as flexible as you can get.

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Photoessay: Abstraction and reflection in Chicago

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Only one place in Chicago…

I think without reflections, urban photography and architecture would be pretty boring. There’d certainly be no opportunity for the sort of ‘continuity errors’ that make for interesting juxtapositions and impossible geometries; the kind of thing that adds depth, complexity and texture to a scene. These were shot in Chicago with a GR, 645Z, D810 and Otus 85 and processed with PS Workflow II. Enjoy! MT

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