NEW: The Mirrorless Bag, and the Travel Duffel

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L-R, for relative size: Mirrorless Bag, a very well used Ultimate Daybag Mark I prototype, Travel duffel (folded)

Today is my birthday, and in the tradition of this site – I’ve got an announcement to make. We’ve teamed up with bespoke UK bag makers Frankie Falcon for a second round: firstly, by popular demand, there’s the Mirrorless Bagwhich is an improved and smaller version of the Ultimate Daybag Mark I. Next, a little surprise: the folding Travel Duffel. We have stock ready to ship immediately of both bags (Update, 21/7: Sold out, but back in stock end of next week) and both products will be ongoing stock items for now (not limited for the time being, though of course nothing lasts forever), and future additions will go up here, on the Bag Store. We have also resolved prior shipping issues – back to good old Royal Mail. Click on after the jump for more details on each bag.

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Street Photography Workflow

Apparently infographics and flowcharts are all the rage these day, so I thought it might be cool to produce a workflow chart to show you my street photograph process. The chart is quite self-explanatory I think.  [Read more…]

Drama in Street Photography

If you look at the pool of street photographs online (one that seems to be growing exponentially each day), the images that stand out tend to have some drama in them. Drama, as I define it here, can be the split-second when something interesting happens, the creatively incorporating visually stunning lines and perspectives or something completely unpredictable and random yet beautifully captured in a photograph. The presence of drama in a street photograph elevates its status to something standout and noticeable, compared to the otherwise ordinary, uninteresting and cliché shots which have been done to death. To define the characteristics of these “dramatic traits”, is not easy and there’s enough room for experimentation to let each photographer inject his or her own style/perspective.

As a follow up to the article on street portraits, today, I’m going to share my usual process in looking for and adding the elusive element of drama to my street photography. [Read more…]

Street Portraits

Today’s article makes a for a nice continuum from my thoughts on Shutter Therapy. A browse through that article and previous ones (on robinwong.blogspot.com) will show that there is inevitably a portrait or two, usually of strangers. In this article, I share my thoughts on shooting street portraits and also share some of my favourite photographs.

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On Assignment Photoessay: Koenigsegg, part II

Behind the scenes at Koenigsegg

In the previous post I brought you the results of the aerial shoot for Koenigsegg; today’s long series of images is the second part covering the story of the making – behind the scenes at the factory. Almost everything is made in-house, and a tour of the compact but comprehensive facility will yield everything from CNC machines turning engine blocks, to people laying up complex carbon wheels, to a paint shop, alignment jigs, leather stitching and cutting, wiring and electronics and everything between. Even though the cars are astronomically expensive – EUR2m and up from what I understand – I actually wonder how Christian can still make money given the amount of specialised labor involved, and the length of time required to complete one car – they make fewer than 30 per year. The attention to detail is quite mind boggling – if you order a clear coated car, for instance, it’s not merely the epoxy matrix of the carbon that’s polished, but a dozen layers of clear lacquer applied by hand over the top, polished between each application, and each carbon panel’s seams must line up perfectly: and be symmetric on both sides of the car. Today is really a celebration of non plus ultra – both in the subject, and in using the H6D-100c to shoot it. Note: lighting looks natural, but is really a careful balance between ambient and a single Broncolor Siros 800L triggered wirelessly, and mounted on a voice activated light stand*. Enjoy! MT

*A tall assistant.

A big thank you to Koenigsegg for support and logistics. This series was shot with a Hasselblad H6D-100c, 50 and 100mm lenses, and a single Broncolor Siros 800L balanced against ambient. Postprocessing was completed using the Monochrome Masterclass Workflow.

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On Assignment Photoessay: Koenigsegg, part I

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Today’s photoessay contains the stills from the video of the shoot – there are also high resolution versions available for your pixel peeping pleasure at Hasselblad.com. There aren’t that many images simply because the setup for each one was quite extensive, and we were limited to a small window of time where ambient was dark enough for a long exposure, and bright enough to have some trace; too dark and I also had problems composing. You’ll notice a few other tricks in this series – there’s high speed sync flash involved, a little PS merge in one case (we only had one car!) and some interesting lighting…enjoy! MT

A big thank you to Koenigsegg for support and logistics, and Angelholm Airport for air traffic control. This series was shot with a Hasselblad H6D-100c, 50, 100 and 150mm lenses, several Broncolor Siros 800Ls and a DJI Matrice 600 drone. Postprocessing was completed using Workflow III.

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On Assignment: Above and Beyond – a collaboration with Koenigsegg

Above and Beyond: Ming Thein x Hasselblad x Koenigsegg from Ming Thein on Vimeo.

This one has been some time in the making – planning started at the beginning of the year, with the shoot in May to balance weather and sunset/sunrise times, for release only now – today’s video and post is a taste of what goes into a production of this size. Please click the link above to watch it in full 4K glory.

In a nutshell, the concept is pretty simple – but as far as I can tell, unique to date – long exposures, cars, aerial perspective, twilight, Swedish locations for a Swedish car and camera, high speed sync flash to freeze. It is a way of visually describing the journey: the light trails are the past, the history, and the future; they’re not smooth because there are bumps in the road and and paths can diverge significantly due to small changes in causality*. The clearly frozen car is the here and now, and the moment we should be enjoying: it’s the immediate manifestation of the present, with viscerally clear details. The past and the context fade and blur away, dtails blurred by the biased lens of memory. After a little discussion with Christian von Koenigsegg and his team – they bit, and we were in business. Since we were going for the best of the best all around – the only choice was to use the flagship H6D-100c and DJI M600, of course.

*Physics reference.

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Discussion points: Critical features

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For most of the history of photography, we only had shot-to-shot* control over four things with our cameras: focal plane, exposure via shutter and aperture, and the moment of capture via the shutter release. There were of course myriad ways of implementing this – but eventually, either camera makers did what was easiest from an engineering standpoint, or buyers voted with their wallets – and the modern control paradigm was born. We have ergonomic grips, control dials for shutter and aperture (either on the top deck within fingertip reach, or on the lens barrel) and some means of controlling focus. Fundamentally, all images can be made with control over these parameters. Yet somewhere along the way, we’ve decided that we cannot live without tilting LCDs, live view, sensor shift and optical stabilisers, auto white balance, panorama stitching, eye tracking AF…the list goes on. I firmly believe that it’s possible to get far too distracted trying to master the technology and remembering which menu item and button was set to do what – and as a result, make an image that’s compositionally and creatively compromised instead of technologically enabled.

*One could also switch emulsion sensitivity, color/monochrome and focal length – I consider these secondary controls because not every camera permitted this between subsequent images.

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Photoessay: Prague singles

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Now, things get serious.

Inevitably, at the end of the curation process for a trip or assignment or shoot session – you’re left with a selection of images that doesn’t really fit any single coherent theme, but can stand alone individually and you’re perhaps a bit too emotionally attached to to throw away. They’re the kind of thing you shoot when you’re observing passively but perhaps not in full themed photographic attack mode. I haven’t thought of a good way of presenting these yet; the traditional photoessay structure doesn’t quite work, and there isn’t really that much to discuss with a single image in a post – I’d almost argue that if something requires that much text explanation, it isn’t a strong image in itself (or is exceptional, and those probably merit their own discussions). So – titles and all – here are a few single shot stories from Prague. MT

This series was shot with a Hasselblad H5D-50C and H6D-50C, various lenses and post processed with Photoshop and Lightroom Workflow III. You too may visit Prague vicariously with T1: Travel Photography.

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Shutter Therapy

Shutter Therapy is a phrase I created several years ago and one I use frequently throughout my articles. I don’t remember defining it, and, inexplicably, the phrase is now widely used by many friends and photographers, in Malaysia and around the world. With a little time on my hands post-Olympus Malaysia, I found myself introspecting on what Shutter Therapy was, what it signified when I started using the phrase, its origins and why I set time aside for some Shutter Therapy every weekend? This post is a result of that introspection and my attempt to answer these questions.

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