Limited print run: Europe 2013

Nov 2013 print run thumbs

Following on from the success of the first print run – thank you everybody for your support – I promised that it would be the first of many. So, without further ado, I’m pleased to announce sales for the next one open!

Once again: I will only print these images once, at this size. Ever. Once this run is complete, there will be no more prints. There’s a little bonus here, too…

UPDATE (16 November) – It’s now the 17th in all timezones, so the print sale is now closed. To all those who’ve ordered, thanks for your support, and we’ll be printing and shipping early next week before I leave for Tokyo. 🙂

There will be a couple of changes to the proceedings this time. Master Printer Wesley Wong of Giclee Art will again be overseeing the printmaking, with myself QC’ing and signing every print. Firstly, we’ve got a new paper in – 280gsm Sihl Photo Baryta – whose texture and fibre-grain structure is so rich and gorgeous that I can no longer print on anything else. The B&W proofs look almost identical to traditional wet prints – except with digital printing, I can ensure that everybody receives exactly the same print for consistency. Those of you who can attest to the quality of the prints in the last run will be quite surprised: these will be yet another level above. The images will be printed with pigment-based archival-grade inks, with a 100+ year lifespan. The quality will be the best I can currently achieve; you really need to see them in person; digital 800-pixel versions on a monitor really do not do the prints justice.

Secondly, there’s a little surprise for everybody who orders: once orders are closed, each print buyer will get one entry per print into a lucky draw. The winner will receive one additional print of their choice, on the house.

The timing of this run is no coincidence, either: one of these would make a great Christmas present for either yourself or a loved one.

In summary:

  1. Printing will be taken care of by master printer Wesley Wong at Giclee Art; he does all of my exhibition and commercial work, and that of many other pros in the country.
  2. Every print will be checked and signed personally by me.
  3. I’ll open orders for two weeks from now until 16 November, with the checkout buttons active for that period of time. After the two weeks, I’ll have the batch printed, and take care of the shipping.
  4. The edition is therefore time limited, not number limited – but in past experience, there will be at most 20-25 of each print. At the outside. It might be far less…and possible that you get a unique print.
  5. We will aim to ship by end-November in order to have the prints delivered by Christmas.
  6. Prints will be sent in hard poster tubes by EMS and should take about 1-2 weeks to arrive thereafter (depending on where you live).
  7. The final price for each print depends on the size and ranges between $250 and $350, inclusive of shipping anywhere in the world. Yes, they’re a bit more expensive than last time, but the new paper is also three times more expensive.
  8. To order, please click the titles of the image below – they will take you to a Paypal checkout where you can either pay using your balance, or a credit card.
  9. If you would like to buy multiple prints, shipping can obviously be combined – please send me an email directly to get a final price and checkout link.
  10. Prints are also available mounted and finished on a recessed wooden block with border; I prefer to leave the surface uncovered to appreciate the paper texture. Please enquire for more details and pricing (depends on your shipping destination). Other sizes are also available on request – I know some people don’t have that much free wall space, or too much free wall space…
  11. A little reminder about exclusivity: these images will not be printed at these sizes again. 

And now for the images:

These were all shot on my last trip to Amsterdam and Prague in September/ October of this year; with either the Hasselblad 501C and 80/2.8 CF T* on Fuji Acros 100, or the Ricoh GR. The square prints were all created using my hybrid film-digital workflow that captures the primary image on film, requires careful developing to get the desired tonal and grain structure control, then digitizing using a D800E and my custom film scanner setup (yes, I know, I’m working on it – we’re having some manufacturing delays; I’d rather get it right than do it fast) with the final print made from the digital file for perfect consistency for each print.

The Forest

1. The Forest
Print area 28×15 inches, with additional white border. US$350
(The print size is slightly larger than normal; it’s necessary for the immersive feeling of being there.)

Wet Paint Is An Illusion

2. Wet Paint Is An Illusion
Print area 20×15 inches, with additional white border. US$250
(This one really has to be seen in person; one of my students thought the proof was an actual painting and had to touch the surface to convince himself otherwise! This print is one of the most visually impactful I’ve ever seen; the illusion of texture is that strong.)

Verticality II

3. Verticality II
Print area 20×20 inches, with additional white border. US$300

Verticality III

4. Verticality III
Print area 20×20 inches, with additional white border. US$300


5. Reflection
Print area 20×20 inches, with additional white border. US$300


6. Convergence
Print area 20×20 inches, with additional white border. US$300

Lone Man

7. Lone Man
Print area 20×20 inches, with additional white border. US$300

Amsterdam Arch

8. Amsterdam Arch
Print area 20×20 inches, with additional white border. US$300

Thanks again for your support! MT


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


  1. nice pictures. touched me deeply.

  2. Hi Ming,
    being a follower of yours, I know that you are not a fan of cropping but I would like to ask you about image #8 which I would really like to buy. It appears to me though, that the image is out of balance, leaning to the left (that is the upper parts of the buildings are more to the left than the lower parts) This is an easy fix in pp. Do you agree and if so could you correct it? If so I would love to purchase a print (again) if not I’ll have to pass this time as I know that looking at this on my wall would drive me crazy 🙂
    Thanks again for all your effort and professionalism on this website!

  3. I like #8 but am wondering how the shadow leading up to the bridge got created when looking at the rest of the shadows and lit spots in the scene. Did you burn and dodge much in that image? Just curious.

    • The bridge is not quite perpendicular to the rest of the scene. Light source is top left, late in the day. Very little dodging and burning.

  4. Catherine says:

    Intriguing exposures! Hmmm… it is 1, 2, 6, 7 & 8 for me. “心裡願意的,但是口袋是軟弱” 😥

  5. Awesome! The castle one is my fave. Took your advice from a while back – printed a couple of my own shots at 24×36 (for $15 each – so cheap!) and they look incredible. You don’t appreciate your own images at full res until you’ve printed them large!

    • Nor do you do them justice until you prepare them specifically for the print method and type of paper, and use the best of both…which definitely do not cost $15.

      • Not everything has to be expensive. $15 prints are at wholesale price from a high quality printer. And most images look great regardless of the print media. As a kid I had posters that were cut out from newsprint, and they were perfect.

  6. Thanks Ming. I didn’t expect numbers because I didn’t want to pry on your financials, but it did answer another question I had on the distribution. That’s quite a steep falloff, and not at all what I expected! My guess is that this run will have 2 or 3 close at the top, and then a steep falloff.

    • Not at all. Print sales will never be a big part of the business – it’s more for me to help get people to appreciate just how much difference the display medium makes…

  7. It’s 1 and 8 for me. 1 because of the stunning light, composition, and color revealing complexity in a seemingly simple subject (just a bunch of trees), and 8 because of the overt complexity of the whole frame with its different textures, patterns, and light. They’re like yin-yang opposites for me.

    Also, Ming, I forget if you told us what were the most and least popular prints from last time, and wonder if could do the same here after this one is over. I have my guesses …

    • Thanks Andre!

      Sure, from last time (excluding proofs):
      London Dawn – 22 + 3 baryta
      The Sky is the Aeroplane – 8 + 1 baryta
      Verticality – 6 + 2 baryta
      Occulus – 8 + 2 baryta

      I’ll put the numbers for this run up once it’s finished.

  8. I’ve moved from being an irregular to a regular reader of your site, and there could be no better reason than these marvellous images. Your way of seeing is incredibly beatiful. thank you.

  9. Please can you state for each picture – besides of the price and the dimensions – the edition run here in this blog?
    Next to your signature on a picture do you give also the information of the actual number/edtion run. For example “22/100” (= picture 22 of 100 total printed)?
    This kind of information is interesting for collectors.

    • It’s a time-limited edition, without a fixed number – so I honestly don’t know. It could happen that I print one, or fifty; but generally the total run for all prints will be under 50. For example, in the last run, the most popular print had 25 copies; the fewest, 8. There are no numbers on the print itself because people in some cultures tend to be superstitious about the number they receive…

  10. Ming, you are a master of the Art. More remarkable still as you’ve gone through several careers and started late. Not many who have made such a commitment as you did to Physics would have ever been able to shake it for something perceived as so common and ephemeral that anyone could do it well and better with the perfect camera. Here is the shock of a life-changing discovery that also appears often in your photographs. Bravo!

    You don’t speak of it yourself and maybe you should but it seems to me you’re looking for other dimensions in this flat 2D world no doubt informed by your work in physics. Care to elaborate?

    Of course it’s no secret to artists in any field that there are layers to the best work and yet most don’t seem to talk about it, as though it would spoil the mystery. To paraphrase Stanley Kubrick whose brilliant photography is in every frame of his shocking films, and who also said little about his intent, Leonardo would never have said Mona Lisa smiles because she has a lover.

    Of this series I think the Forest has the most depth. The others are man-made environments and finite and not 4 billion years old. Though anyone can find millions of forests on Flickr that will disappoint and buildings too. Way more because most architects are catering to clients and costs and time like the modest tower in number 1 of your set. You make it better that it is.

    I would like your forest in any light you could manage, but here it seems you’ve waited for the spotlight of the sun, one of the decisive moments of that day. Heaven and earth meet. How long did you wait?

    In number 4 I see the missing lumbering traffic or the desolation of a parking lot surgically removed. Number 2 is certainly lively wet paint from a chocolate factory by a boatload of pygmies. Tim Burton gets his images right too. I shudder from both but happily linger and revisit the other tomes in your vast library.

    The fantastic power of the door and the car reversing for a crash in number 5. The nipple at the hungry window in 6? Is it Freudian, well as you say it’s subjective. But was it your objective? The mystery of the man in 7. The pointillistic light of a fine Monet in 8. What do you get in color?

    Just a way of saying thank you. Your writing is excellent too. What a lot of work you do Ming.

    PS, If any are hesitant considering the cost of these photographs, giclee prints are the best quality available and are expensive to make.

    • Thanks Alan!

      Physics: We’re always looking for something beyond the obvious, but as a photographer/ artist, you want to try and make it just obvious enough that your audience has a neat ‘ah-ha!’ moment; then there’s the satisfaction of both self-discovery and a sort of shared camaraderie with the creator.

      Forest: I planned to be in that part of the Czech Rep. at about the right time, but we (I was with my brother, also a photographer) had to drive around a bit to find a cooperative stand of trees that a) had the bulk of them facing the right direction, b) had an ‘edge’ that was facing west to let the light through and wasn’t obstructed by other trees; c) had the right trees, and d) was accessible. Actually, I’d say I got lucky…

      #8 was shot in B&W film, and color digital – I like the B&W better because somehow the color is a little too distracting; one layer of textural variation is enough.

      Would be great if you would like to pick up one or two for yourself 🙂

      • “Physics: We’re always looking for something beyond the obvious, but as a photographer/ artist, you want to try and make it just obvious enough that your audience has a neat ‘ah-ha!’ moment; then there’s the satisfaction of both self-discovery and a sort of shared camaraderie with the creator.”

        Ah-hah! And poetry too. Thanks for sharing.

        Thought you might go into fractals and mathematical geometry. Of course a flower or a tree can do a better job lecturing us on that. Or how a photon or a photo by extension (or in this case contraction) can be in two places at once as in that famous double split experiment. I suppose photons are excited by keyholes just like we are and can’t resist one nevermind two.

        I’ve noticed that you don’t often take the keyhole or journalistic approach, more as if you shine a light through your finder on your subject. A much kinder approach that does not embarrass the subject or the viewer. There’s a lot to your body of work. It got me interested in photography again. Last time and that was back in the ’60’s I was amazed by the double page spreads in Paris Match on anything they did, the crisp black or white text running down and up in contrast to the white and black of those marvelous images.

        • Sometimes, I think we can overanalyze/ overthink things too…I try to avoid that too much as that tends to result in very static, ‘flat’ work.

          I used to work the more conventional journalistic perspectives, but as such work has become a personal pursuit rather than a professional one, I feel free to present my subjects in a more timeless (?) or perhaps artistic (?) manner – can’t really think of the word for it, but I want to go beyond the usual ‘forced grit’. Glad you’re enjoying it!

  11. Great series! *Love* Nos.6 to 8 – that dappled light is something I always want to capture (but, unlike you, don’t manage!). Sadly, I have *no* wall space – and if I buy one of these, it’ll always remind me that I was an idiot not to come to Prague! Very best wishes, Nick

  12. I ordered Wet Paint Is An Illusion.

    An easy decision at these prices.

  13. Kathleen Bowers says:

    1, 2, and 7 are my favorites! I wonder if you ever print smaller prints for those of us with LESS wall space! That said big ideas need space to live and breathe! Thank you!

    • I could certainly do smaller sizes if you would like – send me an email.

      You’re right though – ideally they should be larger for maximum impact, but 12×12″ would work too. The forest *has* to be large though.

  14. Eric Jacob says:

    A great choice Ming! I love them all!

  15. Franco Morante (Adelaide, South Australia) says:

    Numbers 1, 2 & 3 are my favourites.

  16. Ron Scubadiver says:

    I really dig that reflection one. Time to go looking for a real clean car parked just right.


  1. […] has to be ‘The Forest’ on your November print run. For some reason, I just cannot reproduce the colors from your capture without making heavy manual […]

  2. […] be printed by master Printer Wesley Wong of Giclee Art on the same 280gsm Sihl Photo Baryta as the Europe limited run. It has a texture and fiber-grain structure so rich that I have trouble printing on anything else. […]

  3. […] Interested? More details including larger images and ordering links are here. […]

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