Mingthein.gallery has been running for a little while now, with what I think of as moderate traffic and moderate response. I’d like to find out today how to make it better, by understanding my audience a little better. As such, I’d really appreciate your help with a little survey. The aim is of course to create more work that balances what my audience would like to see with the content I would like to create. And hopefully, we all benefit in the process. Thank you in advance! MT
I’ve wanted to present a book for a while, because I agree with these who’ve suggested in the past it’s an excellent way of presenting a set in a controlled and curated way – but have always held off for a couple of reasons; firstly, the work I want to present wasn’t finished enough to form a complete idea; secondly, there are challenges associated with economics, distribution, quality, etc. I thought I found a good enough solution…until the proofs arrived, and all of those things crashed back down to earth. So instead I’m going to offer you an apology.
Forest IV, Selangor, Malaysia. 57×22″ (145x56cm) printed area – Ultraprint on Permajet Portrait White matte cotton paper; $1,600 including DHL shipping anywhere in the world. Limited edition of 10 prints, never to be printed again at this size. Click on to order… [Read more…]
Sometimes – quite frequently, actually – I fin myself on an aircraft with not very much to do. I fly often enough and spend enough time in the air that I’m one of those people who will bother to try and find out the flight route in advance and pick the seat most conducive to photography on arrival or departure – assuming of course there isn’t an engine or wing in the way*. I’ve gotten some very satisfying images this way.
*Frequent travelers will know there’s always a tradeoff: the front of economy is usually blocked; the rear usually is noisy and has a lot of traffic en-route to galleys and toilets, and the view isn’t always clear because of the convection visible due to the engine exhaust heat. Or, you fly up front and land up bankrupt.
Welcome to the second instalment of the Conversations between myself and Lloyd Chambers of the excellent site Diglloyd: today, we’re talking about printing. Background: in September, we managed to shoot together for a day at the Purisima Creek redwoods – the image above is the print we’re referring to and one I made that afternoon, and the location is one that’s familiar to Lloyd. It was my first time there. Following feedback from the first instalment, we’ve edited the conversation to make it a little more readable; again it will be posted on both our sites.
I was discussing printmaking with one of the regulars readers of this site recently when a thought struck me: one of the biggest turning points for me personally was when I started shooting with an eventual printability objective for all of my images. This happened around early 2012, before which I’d felt I was stagnating creatively somewhat – perhaps partially due to day job commitments (this was before I turned to photography full time) and partially because well, I didn’t have an output objective.
The comparison. This is your field of view at about a foot and a half viewing distance of the crops, which are 10″ high each. Larger version here.
Today’s post is an attempt to do try to convey just how much of a difference there is between an Ultraprint and what would be considered a normal, very good print. Since this is really impossible without seeing the prints in person, a direct comparison is perhaps the closest I can get when working via the internet. What you see here will come as no surprise to people who’ve bought the most recent one or two Ultraprints from Forest III onwards; however, things have moved on a bit since then.
A gentle reminder: today is the last day to order an Ultraprint from Edition 2. Once the order period is closed, the images will never be reprinted in this format. Click here to order or for more information. Thanks! MT