A question of enjoyment: ‘fun’ cameras

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Blocked up

Why do we photograph? For the vast majority of the population, it’s because we want to record or document something. However, if you’re reading this site, I suspect it’s either because you really, really enjoy it, or it’s your job, or perhaps both. And I suspect that even if you do do this for a living, you’d have to have fallen into the former category at some point in time in order to think that it might even have been a slightly worthwhile exercise to undertake the current masochism that is professional photography, over say, banking. I know I did. In fact, I enjoyed photography in the early days (looking back, probably around 2001-2002) to the point it was probably slightly unhealthy and obsessive. But it did provide a creative outlet and set the foundations for today. Bottom line: we shoot because we enjoy it.

This article will be a sort of evolution of the Compact Fast Normal Conundrum…

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New Ultraprint offer: Marina III

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Marina III

After a surprising number of enquiries about this image, I’ve decided to offer it as a print in a limited run of 20 12×12″ Ultraprints, and 10 20×20″ versions. As with all previous prints, they will be printed by printmaster Wesley Wong, personally checked and QC’d by me and accompanied by a certificate of authenticity. Both prints are on a matte fine art fiber paper – Permajet Portrait White 285 – which we have found after much experimentation to have the best blend of density, gamut, detail differentiation and transparent tonality. You can read more about the rationale behind Ultraprinting here and a view a comparison to a regular print here.

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Process, equipment, creativity, photography and a confession

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It is an indisputable fact that photographers are all obsessed with equipment to some degree. Though online forums are perhaps a poor barometer of public opinion because one only visits if you are looking for equipment reviews or spoiling for a fight with a troll, I’ve noticed the same thing here – after running this site for more than three years, the most popular posts are consistently the ones that are equipment reviews, to do with system choices, or hardware. Philosophy comes a very distant second – by a factor of three or more – and then only images, which are dead last. Surely I can’t be the only one thinking this ratio is a little odd, given that the whole purpose of the exercise is to produce images?

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Photoessay: Cinematic in Tokyo

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Not in Kansas anymore

One of the most important things for the creation of a cinematic feeling image is control over light: control light and you can control what stands out, the order in which your audience reads an image, and beyond that, how they feel when they view it. This is of course significantly easier to do when the light sources in question are not random: it’s much easier to make a cinematic image with ambient neon than it is with pure sunshine, as there’s just so much more directionality and variation of color. Fortunately, I had a decent amount of both in Tokyo; I’ve always found it to be one of the most easiest cities in which to make these kinds of images for that reason.

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Calling all fanbois

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Yesterday’s hero is today’s display sacrifice.

Everybody knows the camera industry is suffering. We’re expecting tomorrow’s camera, yesterday, and the day after’s camera, tomorrow. And if it doesn’t have the 12-400/1.2 zoom that fits in a shirt pocket, well, I’ll be damned, I’m switching. How are our favourite businesses supposed to stay solvent? I have a solution.

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Nikon 300/4 VR: anybody else seeing double images?

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100% here.

So I attempted to buy the new Nikon AFS 300/4 PF ED VR today, for the third time. This seems like an odd thing to write, so please hear me out. Every sample of this lens I’ve tried, on every D810 body (now three of each) produces very strange double-image artefacts only with VR on. With VR off, the optics look consistently excellent. With VR on, I couldn’t get a single sharp image regardless of drive mode, shutter speed, EFC on/off, tripod or handheld. The funny thing is that I did not see this on any other body than the D810: the D800E was just fine with VR on, as were the D3, D4 and D750. I initially ruled this out as sample issues or QC, but now that I’ve tried several lenses from different batches and from different country stock with a range of bodies, I think there may be something much more serious afoot. I have reported my findings to Nikon and they are investigating…

I can only hypothesise that there is some very strange interference going on between the VR mechanism and the D810’s shutter unit. It appears plenty stable in the viewfinder – perhaps moreso than any other lens I’ve mounted – but the results are unusable. Is anybody else seeing this with their lenses, or is it just my bad luck with every sample and body?

There is a folder of full size samples here on dropbox.


Images and content copyright Ming Thein | mingthein.com 2012 onwards. All rights reserved

Photoessay: a few unconventional landscapes

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I – floating tree

Today’s photoessay is a little shorter than the usual, for the simple reason that it wasn’t easy to make these images – the opportunities didn’t always present, and even then, they had to be teased out. I’m exploring what the definition of landscape really is: do we have to have near/mid/far all the time? In the same plane? In a ‘literal’ sense? I think if you’ve read the articles on what makes an interesting image from the previous two days, this set may make a little more sense. The upshot is that I’m seeking to present a series of images that are unquestionably about nature, a bit larger than just a single detail (but not necessarily expansive) and perhaps with some deliberate ambiguity of scale: after all, nature itself is recursive and fractal. Needless to say, they do all work much better as prints, which are available on request as usual. Enjoy. MT

This series was shot with a Nikon D810 and various lenses.

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What makes an interesting image, part two: illusion and reality

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Inversion I

In the previous article, we distilled down the two components of an interesting image: subject and presentation. We looked at the theoretical implications of both; today we’re going to attempt to address practical application. It will be in a very limited subjective way, as there’s simply no way to do it at an absolute level; I suppose it will be as much a snapshot of my current state of interpretation of the purpose of photography as a medium as much as anything. I certainly would not have had this line of logic two years ago, nor will I probably agree with everything again in another two years. The more we see, the more we experiment, the more our own vision evolves together with the creative philosophy behind it.

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What makes an interesting image, part one: subject and presentation

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A traveller’s view. We have the required visual cues to say ‘airport’ – the aircraft, boarding gates, apron, terminal, bits of ground hardware. But also the vertical bars that suggest perhaps we are being imprisoned or limited in some way, and the lack of clarity or definition from the plastic windows making it unclear if the view is a reflection or perhaps the illusory product of jetlag…

In previous articles, I’ve explored what makes a technically good image; what makes a visually balanced image; what makes an emotional image, and of course what makes an outstanding image. But at no point have I really addressed what makes an interesting one. I’m going to attempt to tackle that today; but bear in mind this is an extremely subjective topic, and opinions may diverge enormously.

You have been warned.

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Photoessay: Venetian nights

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An alternative to the Venetian Cinematics

Evening falls early in Venice in the winter; on a grey day, you can start thinking about blue hour come half past three in the afternoon. Coming from a country where sunset and sunrise vary very little through the course of the year (I’m pretty much on the equator), it’s a little disorienting – but very productive for photography once you get used to the time difference. I always find one of the more interesting things about higher latitudes the fact that changing daylight hours result in the visually unexpected: everything closed and empty streets with sun out, for instance (late in the evening) or normal activity in what appears to be the dead of night. There is a progression here from the active to the inactive and empty; the difference is in the presence or absence of people – not the light. I admit it was difficult to resist a cliche or two, but for the most part, I stuck to the brief…MT

This series was shot with a Pentax 645Z, 55/2.8 SDM and A 150/3.5 lenses.

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