Presenting mingthein.gallery

_8B03521 copy - Tree and River

Today I’m pleased to announce both the next evolution for this site and my work personally: mingthein.gallery!

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Last day to order Ultraprint Edition 2: The Cars of Havana

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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

Ultraprint Edition 2 sale: The Cars of Havana

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Everybody loves cars, and especially old cars. And Havana – well, it’s full of them, in various states of repair; a veritable photographic paradise. The mixture of textures, colours, shapes and an elegance of an age past make for some very interesting images indeed. The selection of cars may appear random, but those participants who were with me on the Havana Masterclass will know that there was often quite a lot of waiting involved for just the right car to come along to complement the scene and mood.

Following the success of the previous run, it is therefore my pleasure to open the next limited edition Ultraprint run for orders: The Cars of Havana. Read on for details, and to buy.

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Last day for Autumn in Tokyo Ultraprints

mar14 autumn in tokyo contact sheet

A gentle reminder that today is the last day for the Autumn in Tokyo Ultraprint sale. As usual, the edition size is very limited and these images will not be printed again at this size. For more details and to order, please click here. Thanks! MT

Inaugural Ultraprint sale: the Autumn in Tokyo portfolio

mar14 autumn in tokyo contact sheet

After the last few articles on pushing print limits, it’s about time you had the chance to experience them in person. I’m pleased to announce the inaugural Ultraprint sale – once again, these images will be extremely limited, and again will not be printed again in this size/ format once the sale closes on 31 March 2014. Read on for details.

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Introducing the Ultraprint

_8047823What you are seeing is not a capture or printing error. The irregular inner concave surface of the moon is due to variations in depth from craters; the moon itself is in the very extremes of Zone X in the actual image, yet there is still tonal separation present in the print.

Following on from my earlier article on pushing print limits, I’d like to show you the fruits our labour: the Ultraprint. I think the above image pretty much says it all: that is a photograph of the actual print, with a ruler for comparison. Scale markings are in millimetres, as shown.

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Interview: Printmaster Wesley Wong, part two

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The master at work.

Continued from the first half of the interview yesterday with printmaster Wesley Wong.

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Interview: Printmaster Wesley Wong, part one

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Today’s post is a little different: following on from the excellent reception given to my interview with Nick Brandt, and my current focus on pushing print limits, it is high time we heard from the print master himself – Wesley Wong. I can say plenty about the process, but there are a lot of areas in which is expertise greatly outstrips my own. I also strongly believe that he is an integral part of the artistic process of bringing an image to its final form, and that my print buyers – thank you – would also enjoy meeting the man, albeit virtually. It’s a lengthy discourse as there’s a lot of ground to cover, so the interview will be split into two parts. Read on…

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Pushing print limits

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In the next few days, this image will make sense. This article will be the beginning of an intensive series focusing on printing and output.

Let’s again start with the simple question of ‘how many of you print’? For those that do, inevitably, your development is going to look something like this:

  1. Make your first print – marvel at how different it looks to the screen version
  2. Make larger prints, start to note that the detail still holds and in fact you’ve got much more resolution than you actually need even for the largest prints you’re willing to pay for/ have space to hang
  3. Pause for a moment and then decide to try making your own prints because it’s cheaper and more convenient
  4. Buy a home photo inkjet, find that it takes half a dozen tries to get one good print, add up the costs and find that ink and paper will bankrupt you in short order; worse still, lab results are still better
  5. Stop printing for a while
  6. Go back to using the lab because your print heads have clogged and the ink has dried up, and it would be cheaper to buy a new printer than replace the cartridges and heads and you really don’t want to go down that route again…
  7. Find a better lab – assuming you’re not happy with what you’re getting
  8. Start to wonder what you’re going to do with all of these 24×36” prints; you have rolled up tubes and prints all over your house
  9. Abandon printing or start selling your prints so you can make more prints
  10. Start wondering what’s next?

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One day left for ‘Only The Clouds…’ + Verticality IV prints…

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Only the clouds are truly free… and Verticality IV

Thank you all for the great response so far! A gentle reminder: one day left to order Only the clouds are truly free or Verticality IV; available at 24×16″ (edition of 35) and 10×15″ (edition of 50) sizes – click here for more details and to order. 

The run will close on 31 December 2013, and we’ll print and ship in early January 2014.

Thanks again for the support! MT

Update: there plenty left at the smaller 10×15″ and 12×12″ sizes, but only a few of each at 16×24″ and 20×20″; I admit this is not what I expected. :)

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