Workshop – Ming Thein

Europe and Singapore 2013 workshops open for registration!

May 8, 2013 By Ming Thein 13 Comments

Europe:

The polls are in and the people have spoken…I’m pleased to announce the Europe leg of the Making Outstanding Images Workshop series: three cities, three dates. There will be two big changes over the USA workshops: firstly, they’ll now run for four days instead of three so I can cover even more ground; and due to demand for shorter workshops, you can now attend and pay for just the days you find interesting – so for all of those who wanted a 1-day workshop option, here it is.

The cities will be:
Amsterdam – 25-28 September
Prague – 2-5 October
Munich – 9-12 October

The syllabus will still follow the core fundamentals from the USA tour: throw everything you thought you knew about photography out the window, and start again. All you need is a camera and a couple of perspectives – one wide, one tele. It could be either end of a zoom on a compact, or it could be medium format and a couple of primes – it’s up to you. What I’ll be teaching is subject independent: make great images, any time, with any subject, any camera. Put it this way: it’s easy to spend thousands on equipment that you may use a handful of times a year, but what about the knowledge that lets you make the most of that equipment, in any situation?

[Read more...]

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Quick poll: Singapore workshop?

May 5, 2013 By Ming Thein 11 Comments

I’ve just confirmed an extended assignment in Singapore at the beginning of July this year; I’m now wondering if there’s any demand for a workshop in that location. It would be either the first or second weekend of July, covering the two shooting days’ from the USA Making Outstanding Images workshops syllabus. Since I’ll already be in Singapore, there won’t be any travel costs incurred, so the prices would be correspondingly cheaper – S$500 if one day, and S$900 if two. Please only vote if you’re going to be in Singapore around then; the ‘no thanks’ option is so I can gauge what proportion of my Singaporean readers would be interested. Thanks! MT

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Poll: 2013 European workshops

April 20, 2013 By Ming Thein 45 Comments

The second half of 2013 is approaching pretty quickly, and due to popular demand (several of the USA sessions were oversubscribed) it’s now time to start planning the next round of workshops. As promised to/ requested by many…September/ October will bring the Making Outstanding Images workshops to Europe. The question now remains when, and where? The format will remain almost the same: three days, a focus on photographic fundamentals, with a shift towards intensive image analysis and feedback cycles rather than postprocessing. As with my previous workshops, the price of tuition will be between US$1,700 and US$2,200 per person depending on the location and direct travel costs for the three days. Sessions will be capped to a maximum of 8 participants. Due to popular demand, I will also be adding a shorter one-day intensive workshop at US$500 per person for each location, for a maximum of 10 people.

Realistically, from a timing standpoint, I can visit two cities. And of course the best way to find out which two are in demand would be a poll…

Numerous testimonials from previous workshop attendees can be found at the bottom of this page.

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One week to go – a couple of places left for USA 2013 workshops

March 18, 2013 By Ming Thein 7 Comments

Swallowed by the city. Tokyo, October 2012.

Departure day is drawing near, and I’m getting excited – both to finally return to the USA as a serious photographer – the last time I was there was pre-photography for me – but to meet so many of you in person!

The Outstanding Images Tour

San Francisco
By popular demand, I’m going to doing two sessions:
Session 1: Thursday 28 to Saturday 30 March 2013 (one place)
Session 2: Monday 1 to Wednesday 3 April 2013 (a couple of places due to reshuffled dates)

New York City
~~Friday 5 to Sunday 7 April 2013 (full)~~
New date by popular demand: Monday 8 to Wednesday 10 April 2013 (a couple of places)

[Read more...]

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A gentle reminder: a couple of places left for USA 2013 workshops

February 23, 2013 By Ming Thein 6 Comments

Swallowed by the city. Tokyo, October 2013.

The Outstanding Images Tour

San Francisco
By popular demand, I’m going to doing two sessions:
Session 1: Thursday 28 to Saturday 30 March 2013 (a couple of places due to reshuffling dates)
Session 2: Monday 1 to Wednesday 3 April 2013 (one place)

New York City
~~Friday 5 to Sunday 7 April 2013 (full)~~
New date by popular demand: Monday 8 to Wednesday 10 April 2013 (a go if we have 5 or more participants)

[Read more...]

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Places still available for 2013 USA workshops

January 8, 2013 By Ming Thein 2 Comments

This is not compulsory on my workshops, but it does yield interesting perspectives.

I’ve still got some places left for the 2013 USA workshops:

The Outstanding Images Tour

San Francisco
By popular demand, I’m going to doing two sessions:
~~Session 1: Thursday 28 to Saturday 30 March 2013~~ (All gone, but I’ll take a wait list in case of cancellations)
Session 2: Monday 1 to Wednesday 3 April 2013 (a couple left)

New York City
Friday 5 to Sunday 7 April 2013 (a couple left)

The format will be similar to my previous 3-day workshops in Hong Kong and Tokyo but instead chasing a particular topic, we’ll be focusing on improving photographic fundamentals – seeing the scene, finding light, timing, composition, balance, perspective, style etc. – all of the tools that can apply to any shooting situation, against the background of travel and street photography with specific forays into related technique. The first two days will be hands-on photography, with the third day focused on review, critique and post processing. It will put into practice the content of the ‘What Makes an Outstanding Image?’ essay.

It will not be easy. Expect to be challenged, and have your creative vision opened to subjects and techniques you might not have considered before. Expect to go away as a better photographer – all of my past students have.

You don’t need to be an advanced photographer or pro to participate. All you need to make the most of the workshops is a determination to improve your images, and a basic working knowledge of exposure and operation of your camera. The sessions will be intensive and challenging, but also extremely rewarding; the more you put in, the more you get out. The sole equipment requirements for the session are a camera – even a compact will do – a laptop with Photoshop, and an editing tablet (I recommend Wacom).

Each workshop session is limited to just 10 paid participants to ensure everybody gets as much of possible out of the sessions. Places are reserved on a first-come-first-served basis. Please note that a refundable* 50% deposit will be required to confirm participation, with the balance due one month before the workshop date.

The price for a full three days of exclusive tuition is just US$2,000 per person.

If you’d like to book a spot, or have any questions, please contact me.

Looking forward to meeting everybody in the USA!

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Testimonials and feedback from recent workshop attendees:

Azhari (Nov 2012 Melaka Workshop): Truly a work of a master! Love them all. Glad i attended this workshop and had the opportunity to see how the master did it. Thank you very much Ming.

Doyle Shafer (Oct 2012 Tokyo Workshop): It was a challenging and interesting workshop. I would have never forced myself to see Tokyo in different ways. To be honest I was happy with my photography for the most part and had little interest in branching out. But as I mentioned earlier, after the workshop it’s like seeing The Matrix for what it really is: some basic “code” and infinite possibility. Now when I walk through Ginza it’s going to take me much longer than before the workshop. It’s funny because I used to think that place was kind of dry and boring! It’s all still sinking in, but my photography has already tightened up quite a bit. And I won’t even get into post processing…that rocked my world like when we did layering in Ginza @. @

Erwin Kindangen (Oct 2012 Tokyo Workshop): I had a great time there and my photography definitely improved after the workshop. It taught me how to “see” scenes and what scene would actually make a good photo and not just randomly shooting at people. Plus the basic wizardry of Photoshop at the end of the workshop definitely ties it all up. In the meantime, I’ll keep perfecting what I’ve learnt before I jump to the next workshop (I hope there will be a follow up).

Andrew Yaw (Sep 2012 Finding Light workshop, Kuala Lumpur): It was an awesome day out. Second round of beating from the master after the ‘Making light workshop’ . This workshop changed my perspectives on street photography. Looking at not only the life around you but also the architecture, reflections, natural frames and much more. I have never walked around KL that much before. I plan to do it again alone this weekend. Who says you need to travel far to take pictures? The challenges were all interesting and some tough to train us into seeing things in ways never before. It really sort of reminded me of the “Wax on, Wax off” training technique in ‘Karate kid’. Lol. Really, for me it was. Especially the part where we had to shoot with our 2 second timer on and stage the subjects on a particular part of the frame. Epic fail at 1st. After a while though you slowly learn how to anticipate the subject’s movement and then.. ‘click’. Success! and then again and again. It was a full on day with tons of learning and perceiving. Ended the day at 8 PM after a slight debriefing and chattering in a cafe. Thanks Ming for a great day out. Can’t wait for the next one. Have a great time in Japan.

Andrew Yaw, (Sep 2012 Making Light workshop, Kuala Lumpur): Excellent workshop! Great teachings from honing the basics of photography to managing light in a controlled environment followed by hands on guidance while shooting the model for the day. The day ended with a bonus. The shared knowledge of the art of printing which is a totally different ball game. Went home feeling overwhelmed with awesome knowledge and information. Thank you Ming for sharing so much of your knowledge to all of us! Can’t wait for the next workshop!

Ciao Pui (Sep 2012 Making Light workshop, Kuala Lumpur): What a great day! Between the inspiring morning session studying Ming’s jaw-dropping photos and an amazing afternoon shoot with the gorgeous (and funny) Aliza, what Ming didn’t mention was the mouth-watering Malaysian Beef noodles lunch he took us to across the street at the road-side stall! I’ve been reading this blog for months, but I didn’t realized how much more I could learn in person until I took his recent workshops. For example, I’d have missed out on the important training where he raised both arms (see pic #13) waving them vigorously while shouting “Light on, light off” to perfect my shooting methods. Ok, just kidding about the above. On a serious note, the man is a machine! He got in way before everyone else (I know because I arrived an hour early). Then he spent the whole day teaching, instructing, demoing, shooting, working with model, showing his equipment, while tirelessly and patiently answering every questions the workshop participants had, not to mention the 2-hour impromptu print demo/admiration session after the workshop. Great value, great company, great images. I would take his workshops again. Highly recommended.

*No questions asked up to 1 month before the workshop, at which point full payment is due. After the T-1 month point, then refunds are only if I have to cancel or at my discretion under extraordinary circumstances.

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Enter the January 2012 black and white challenge – win a multispectral Sony NEX-5 B&W machine modified by yours truly!

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Announcing 2013 USA workshop tour dates!

December 6, 2012 By Ming Thein 26 Comments

Swallowed by the city. Tokyo, October 2012.

I’m very excited to (finally) announce the dates for my 2013 USA workshop tour!

The Outstanding Images Tour

New York City
~~Friday 5 to Sunday 7 April 2013 (full)~~
New date by popular demand: Monday 8 to Wednesday 10 April 2013 (a go if we have 5 or more participants)

The price for a full three days of exclusive tuition is just US$2,200 per person. I’m pleased to offer an early bird special for US$2,000 per person if you confirm within the next week.

If you’d like to book a spot, or have any questions, please contact me.

Looking forward to meeting everybody in the USA!

____________

Testimonials and feedback from recent workshop attendees:

Azhari (Nov 2012 Melaka Workshop): Truly a work of a master! Love them all. Glad i attended this workshop and had the opportunity to see how the master did it. Thank you very much Ming.

____________

Don’t forget to like us on Facebook and join the reader Flickr group!

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Workshop report: Intro to Wildlife, Nov 2012 Kuala Lumpur

December 3, 2012 By Ming Thein 44 Comments

Too close. RX100

The final workshop for this year was something a little different to my usual travel/ street or photoshop and lighting sessions: an introduction to basic wildlife photography techniques. Five curious photographers (including one who flew in from Hong Kong) discovered that wildlife photography is actually quite serious physical labor, and that rain isn’t the most pleasant environment to shoot in – but it does yield rather pictorially interesting results.

Sleep with one eye open. OM-D, 100-300

We covered basic long lens techniques, tripod and monopod use; stalking birds and getting close; dealing with troublesome lighting and high contrast situations; animal portraiture; getting the right AF settings, and finally touching on species behaviour and what constitutes an interesting animal photograph. I even shot with a compact at one point to prove that you really can get close with the right technique – no more than 100mm. The session was split into two half days – between rain, exhaustion and other commitments it seemed like a smart thing to do – and in-between, images were reviewed and critiqued for feedback and general compositional good-practice reminders, which apply to all subjects.

To prove you can do birding with a compact. RX100

Ultimately though, wildlife photography is polarizing: you either like it, or you don’t. There are plenty of things about it that most certainly aren’t fun – hauling heavy equipment around and being eaten by mosquitoes, for instance, or being ‘blessed’ by the birds from above – I think we all got bombed at one point or another – even physically handling the lenses requires some practice. However, the biggest challenge is inevitably patience: in the real world, you might well spend days, or weeks, on location and not see the particular species you’re looking for; the making of ‘Planet Earth’ is highly recommended for a taste into the world of the wildlife photographer/ cinematographer.

Hidden. OM-D, 500/4P

We shot at a ‘safe’ location where the birds are captive in a large open-air aviary and relatively tame; they’ll still fly away if you get too close or move suddenly, but at least they’re still in the general area; it’s understandably completely useless to try and teach in a situation where there is no subject material! That said, if you’ve ever been curious, taking a trip to the local zoo or bird park with a decently long lens – say rent a 400 or 500mm – will tell you very quickly if wildlife photography is something you want to pursue farther or not.

Part of the park. RX100

For the curious, I was using an Olympus OM-D with a Nikon 500/4 P generously loaned to me by one of my students on the first day (1000/4 equivalent, and an old familiar lens of mine – I used to do most of my wildlife work with one) and the Panasonic 100-300/4-5.6 on the second day (200-600 equivalent). I have to be honest and say that whilst having that much reach was great, it could often be too much; manual focusing is a lot easier than you’d expect on such a combination because the depth of field transition is quite fast. The second day was liberating from a weight standpoint; I was not envying David with his 1Dx and 600/4! That said, in a fast moving environment with say charging buffalo, I’m pretty sure I’d want the latter combination. MT

By popular demand, I will be doing a US tour over late March/ early April, stopping at San Francisco (two sessions), New York and probably Boston. Please send me an email if you’d like more details – things are still in the planning stages, which means plans can be kept a bit fluid. Thanks!

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Cloverleaf. OM-D, 100-300

The thinker. OM-D, 100-300

Scarlet ibis. OM-D, 500/4P

Duck with halo. OM-D, 100-300

Lost in a manmade world. OM-D, 100-300

Sheltering from the rain. OM-D, 100-300

Grooming. OM-D, 500/4P

Untitled. OM-D, 500/4P

Vigilant. OM-D, 500/4P

Hidden peacock. OM-D, 100-300

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Gentle reminder: two places left for the Intro to Wildlife Photography workshop…

November 15, 2012 By Ming Thein 2 Comments

…to be held in Kuala Lumpur on Fri 23rd and Sat 24th of November, next week. More details here – send me an email if you’re interested. Thanks! MT

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Workshop report: Melaka, November 2012

November 10, 2012 By Ming Thein 16 Comments

Turning a cliche on its head. Leica M9-P, Zeiss ZM 2/50

Last weekend, a group of keen photographers braved the afternoon rains to join me for a workshop aimed at a bit of travel and street photography, but more importantly covering the fundamentals of composition and understanding what works in an image, and what doesn’t. One day of shooting on location in Melaka was followed by Introduction to Photoshop back at the studio in Kuala Lumpur. Aside from leaving with a newfound appreciation for quality of light, perspectives, natural frames, leading lines and cinematicness, perhaps the most important thing was opening eyes and creating awareness of a whole new bunch of photographic possibilities – there is always something to photograph.

And yes, I did shoot some film. But the results will have to wait a little until I get around to developing it.

Finally, a big thank you to all of the participants!

Side note: the M9-P held up very well in the rain despite not being weather sealed; it’s the second time I’ve shot it in adverse weather conditions (The Hong Kong and Macau workshop being the first) and other than water on the viewfinder windows, it didn’t miss a beat. Odd, considering the number of lockups I tend to get when the skies are fair…MT

Here are a few teaser images from my set; I’ll be posting more in a future photoessay.

The kind of weather that distinguishes between true weather sealing and mere bits of foam lining.

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Last workshop for November 2012: Introduction to Wildlife Photography, Kuala Lumpur

November 6, 2012 By Ming Thein 11 Comments

By popular demand, I’m going to be conducting one more workshop this month in Kuala Lumpur: an introduction to wildlife photography techniques. Due to our current weather and afternoon rains, the session will be split into two mornings – Friday 23 November, 9-1pm and Saturday 24 November, 9-1pm. The sessions run continuously, and the break in between allows for critiques and literal and figurative recharging of batteries between the two sessions.

Since wildlife photography can be very hit and miss – in the past, I’ve spent entire weekends in swamps with only five minutes of action – we will be conducting the workshop in a ‘safe’ environment where there definitely will be animals to shoot: the Kuala Lumpur Bird Park at Lake Gardens.

The topics covered will include:
- Long lens technique and shot discipline
- Approaching your subjects
- Understanding animal behaviour and what constitutes an interesting wildlife image
- Use of context and environment
- Metering techniques under difficult lighting
- Understanding and managing AF

There will also of course be feedback and critique sessions at the end of each half-day.

Finally, it’s worth remembering that wildlife photography isn’t just applicable to wildlife: the skills of anticipation and shot discipline are valuable for every type of photography. The workshop will be jointly supported by the local distributor of Gitzo tripods and monopods, Shriro. They will be bringing along a range of tripods and monopods to experience.

A quick note on equipment requirements: Although you can bring along your big guns and DSLRs – 300mm would be a minimum, and 400mm+ preferable – you can also produce compelling work with smaller formats such as a M4/3 camera and 100-300 zoom, or even a bridge camera – a lot of the images in this post were shot with a Leica V-Lux 3.

The price for both days with an experienced wildlife photographer – I shot mainly wildlife for five years, and my some of my work can be seen here – is just RM1,250 inclusive of park admission. Please send an email to mingthein2@gmail.com for bookings or more information. Thanks! MT

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Compact challenge: Live from Sepang Circuit

October 21, 2012 By Ming Thein 8 Comments

I thought I’d give my students a bit of a challenge this time: during one of my recent workshops, we covered a bit of motorsport and documentary photography at the VW Scirocco Cup at the Sepang International Circuit. The assignment was to tell the story of race weekend in 10 images with a compact – with the exception of the moving cars, of course. Of course there was some serious equipment involved, but I’m a big fan of teaching with compact cameras for several reasons:

1. They force you to focus on composition only, and not rely on depth of field or perspective (most of the time) as a crutch;
2. The lag forces you to work on your anticipation skills; it’s impossible to capture a moment when you’re only beginning to react at the instant of the moment itself
3. Very limited dynamic range forces you to think about metering: on your subject, or the scene? What’s going to blow out, and does it matter?
4. Working the files afterwards is both a good test of your photoshop skills, as well as the opportunity to learn some new ones.

There are a number of the images which made it into the reader pool, but I thought I’d contribute a few of my own here. I think this might well become a recurring theme for future workshops…

Forming up before the parade lap

Well-used pitlane

One that got away

Game face

Suiting up (II)

On the grid

Drive through

Meanwhile, in the hospitality box…

Spectator reflections

On the podium*

*not the same race

Press conference

Taking a break after the race

Obligatory unusual workshop group portrait

Image review time

The observant of you will note that a) there are some key moments missing in the action, like the start and finish; b) there are no photos of moving cars; c) not all of the scenes appear to be from the same race. There’s a simple answer to all of those: race circuits are huge places to be, and pros do not aim to cover every part of the track at once, much less over a race that only lasts 10 laps.

We used the compacts to gather b-roll and documentary material around the main shooting sessions with the big guns; the start of the race and actual race itself were shot from Turn One at the end of the main straight, which tends to be where most of the action happens – both at the start of the race when everybody is jostling for position, as well as during the race when drivers use the long run to try and make up places under braking. At Sepang, Turn One is actually a right hairpin followed by a left chicane; the complex of corners means the cars both travel slowly and close to the barriers, which make it an ideal area for photography.

Note that we did have the requisite pit, paddock and circuit media passes for the event. Also, motorsports is a very dangerous environment to shoot in – plenty of fast moving objects, people rushing around, hot surfaces, spilled oil and various other hazards. Safety always comes before getting the shot – unless of course you’re a journalist on assignment MT

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Two new Malaysian workshops: 3 & 4 November 2012

October 19, 2012 By Ming Thein 8 Comments

After the success of the last session in Kuala Lumpur (Making light, and Finding light) I’m pleased to announce another two new workshops for 3 and 4 November 2012:

The streets of Melaka: Saturday, 3 November 2012 (Melaka)
Intermediate street and travel photography techniques; from 10.30am to 7.30pm
All you need is a digital camera. Any camera; even a compact/ point and shoot is fine (bring it if you have one). I’ll show you how to see, how to translate that into an image, and how to make images where the equipment doesn’t matter – you’ll be liberated. The day concludes with an assessment of images and debrief.

Introduction to Photoshop Workflow for Photographers: Sunday, 4 November 2012 (Kuala Lumpur)
With digital photography, shooting is just half of the story: the other half is in both how you shoot to make the most of the output of your camera to maximize image quality, and how you optimize those images afterwards. Photoshop doesn’t have to be intimidating or slow – I spend less than a minute per image on average, but each one is individually optimized. Bring along your problem/ difficult images or images from the day before. I’ll cover the entire basic desk workflow from assessing/ editing and sorting to adjustments and output. You’ll need a laptop with Photoshop CS3 or higher plus an editing tablet – I like the Wacom Intuos series. Note that you can use the trial version of Photoshop for 30 days before deciding if you want to buy it or not. But, once you see what it can do, it’s not a lot of money to spend when you consider that you use it on every image.

Each session is RM1,000 per person, or book both for RM1,800. Please note that payment is due on confirmation to reserve your place.

Please email mingthein2@gmail.com for bookings or information. Places are strictly limited for both sessions (max. 6 for Melaka, and max. 10 for Intro to Photoshop) in order for me to help you get the most out of the session. MT

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Workshop report: 30 Sep Finding Light in Kuala Lumpur

October 5, 2012 By Ming Thein 18 Comments

Group portrait with chiaroscuro. Sony RX100

Two days after the Making Light Workshop, three of the original (masochistic?) participants joined three more new ones for a part two: Finding Light. I originally decided to run these as a pair to collaborate with photographer Kristian Dowling, who was unfortunately not able to make either one of the workshops in the end. No biggie.

Quartered. Sony RX100

The underlying point behind the pair of workshop sessions was that street and studio are far more related than you might think: how are you going to create stunning light and compositions if you don’t know what it looks like? Similarly, how is one going to recognize it if you don’t know what is possible when all of the elements of the photograph are within the control of the photographer?

Why would this not be street photography? Olympus OM-D, ZD60/2.8

We started off with the obligatory coffee, a discussion on what street photography is and isn’t, and some thoughts on etiquette, before finishing with a quick critique of participant images. Street photography, to me, is something that is a very ill-defined genre (and to be the subject of another article, I think) – let’s just say for now that anything you see when walking is fair game – people, street scenes, abstracts, architecture. I generally approach it from a reportage perspective. On the subject of etiquette, I think it’s simple: don’t do anything you wouldn’t want done to you. This includes unflattering images and invasion of personal space.

Untitled. Sony RX100

For the first hour or so, we just walked – no cameras were allowed. This was to encourage participants to start seeing and looking for frames; I would stop and point out interesting things, compositions, geometries and other potential shots, to the point that before we reached the first staging point, there were several cameras out…

Exercise one covered seeing in place: conveniently, the place I selected for lunch was deliberately done so because of both the quality of its beef noodles, as well more importantly, the fact that it was an extremely rich photographic hunting ground. Once duly refueled, the participants were required to stay in their seats, and shoot from that position. Lens changes were allowed. This forced them to think carefully about perspectives, foregrounds, potentially intrusive elements, as well as of course composition and light.

Shooting in place. It forces you to find compositions in a scene; those little documentary moments.

For the second exercise we did something I like to call ‘stages’. The stage, in street photography, is a background or backdrop with a interesting texture or light; it’s a good way of teaching anticipation and timing because the composition is predetermined, and the photographer just waits for subject to walk through the right portion of the stage before pressing the shutter button.

A staged example. Sony RX100

Next came timing and anticipation – I like to use point and shoots to teach this because they have just about the right amount of shutter lag to represent your reaction time when shooting with a responsive camera; however for this exercise we substituted with a 2-second self timer.

Practicing timing with the help of a handy wall, and lots of pedestrians. The objective was to trap the pedestrian at the very edge of the wall – but while the 2-second self timer was running. Olympus OM-D, ZD60/2.8

Another tool I like to use is layering; this can be achieved by means of reflections, stacked foregrounds and backgrounds, or longer perspectives – or perhaps a combination of all three. This technique works quite well when there’s a lot of glass around, but becomes more challenging when you are in a ‘dirty’ environment and nothing is clean or reflective.

Bus reflections. Olympus OM-D, ZD60/2.8

The final, and most difficult exercise of the day was to learn to hold your ground and shoot through people – this lets you get very, very close indeed, to the point of having headshots with a 50mm. It requires some courage to position yourself in the middle of a stream of pedestrians, but once the participants built up their confidence, it became easy – just look like you belong.

Shoot through exercise. Sony RX100

And a result of this technique. Olympus OM-D, ZD60/2.8

Putting everything together wrapped up the day – an opportunity for the participants to figure out which of the techniques best suited their style by just shooting anything and everything – and I’m pleased to report a huge improvement in composition and angle from the images I saw at the first briefing. I think what was most telling is that none of them really had the same style – it was a consistent mix of the various techniques taught, and with different subjects. Well done!

Divided reality – my personal shot of the day. Note leading lines, quadrants, context, perspective use, human elements…Sony RX100

Based on the success and feedback of this session, I’ll probably be doing another introduction to street photography workshop in Kuala Lumpur at some point, as well as a standalone introduction to Photoshop day – both will be for a very limited number of participants – I like to keep things small because it allows me to give each person more attention – please visit again regularly for updates. MT

A visual metaphor for our banking system. Sony RX100

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Filed Under: Teaching Tagged With: 30 september 2012, finding light, kuala lumpur, ming, ming thein, mingthein.com, street, street photography, teaching, thein, Workshop

Workshop report: 28 Sep Making Light in Kuala Lumpur

October 3, 2012 By Ming Thein 16 Comments

Our model for the day, Aliza Kim. Nikon D800E, 85/1.8 G

Although unfortunately Kristian Dowling couldn’t co-present in the end due to food poisoning, the show must go on, and it did: an intimate and dedicated class of participants joined me for a different look at making light in the studio. We started with a deconstruction and minor reprogramming of preconceptions: the use of a studio is about total control for all aspects of the image, not just lighting; why compromise when you are in a repeatable, 100% controllable environment?

A simple one-light portrait. Nikon D800E, Zeiss ZF.2 2/100 Makro-Planar

And setup shot for the above: only the 4×6″ softbox was in play.

The morning was spent examining firstly the basics of the principles of composition, color theory and psychology, the importance of perfect color and how to achieve it, and finally, deconstructing lighting under several increasingly complex scenarios – one light, two lights, reflectors, multiple lights, balancing with ambient…I’m proud to say that the students did an increasingly good job of figuring out what the light setups used were, even if I did throw them a few curve balls (There’s a reason why this post comes at the end of the last week’s focus on lighting articles!)

After lunch, we moved on to replicating most of these setups, starting simple with one large softbox…

…a variety of poses, practice with timing, framing and anticipating where to leave space when the model moved…

…including setups involving two lights:

…harsh contrast…

…strong backlight (that’s the 4×6 softbox serving as backdrop in the left edge of the frame)…

…the addition of beauty dishes to balance out the background to provide a clean white look with flattering light bleed around the edges of limbs and torso…

Nikon D800E, Zeiss ZF.2 2/50 Makro-Planar

Setup shot

…some occasional theatrical emoting from the coach…

…and the use of a single-beauty light from a more oblique angle to create interesting silhouettes:

One more costume change later, and I demonstrated the versatility of speedlights for location work and ease of creating completely different effects by mixing diffuse and harsh light. Here, we used a three-light setup to create a very edgy, moody, feel; later on adding a cinematic and emotional element by varying the color tone of the final shot, or omitting it completely. The speedlights were set to manual output, triggered and controlled via iTTL for the Nikon shooters, and switched over to SU4 slave mode for the Canon shooters (and lone Sony RX100, the B-roll camera of yours truly.)

Flash cunningly triggered by the built-in on a Sony RX100, shot in manual mode

Sony RX100

Nikon D800E

We finished up the day with a quick Photoshop postprocessing demonstration to clean up a few files for print by the studio’s resident print master, Wesley Wong of Giclee Art – thus completing the imaging chain, and showing just how much further you can take your images when you’re in control of all of the elements. Even at 13×19″, the RX100 images were virtually indistinguishable from the D800E – we would have to go even further, probably to 25×40″ or so, before a significant difference would be discernable. Score one for the argument for sufficiency! I’m pleased to report that everybody had a great time and learned a lot (or at least were polite enough not to say otherwise – in the words of one participant, “I think my head just exploded.”

Our group and model.

I’d like to conclude with a quick note on equipment: we were using Profoto Pro heads, a D4 pack, one beauty dish with and without 25deg grid, 4×6′ and 1×4′ softboxes, three Nikon SB900s, umbrellas and a whole array of clamps and stands for lighting; the model images in this post were shot by me (except for the one ‘Charlie’s Angels’ shot where noted) using a Nikon D800E, Nikon AFS 85/1.8 G, Zeiss ZF.2 2/50 and 2/100 Makro-Planars. B-roll, documentary, and one of the model images was shot using a Sony RX100, except of course the images of me which were shot by the students as the camera made its rounds to be fondled…

I’d like to say a big thank you to the participants, and Shriro-Malaysia/ Profoto for the use of the studio and lighting equipment. Stay tuned for more upcoming workshops!

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Filed Under: Teaching Tagged With: 28 september 2012, flash, kuala lumpur, lighting, making light, ming, ming thein, mingthein.com, speedlight, studio, teaching, thein, Workshop

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