Photoessay: Tokyo architecture

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Buildings, architecture and abstract geometry are amongst my favourite subjects. Actually, I got that back to front: the idea of abstraction and deconstruction of composition into considerations of pure colour and form is probably the underlying linkage between all of my images. As a result, buildings and architecture rank high on my list of preferred subjects because they are very conducive for doing just that: they’re static, so you can take your time with the composition; they reflect their environments – or not – and change in personality as changing light plays off different surfaces and textures in different ways; finally, there are always interesting details incorporate into the structures which are a reflection of their architects; much as a photograph is a reflection of the photographer.

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Thoughts on stock photography

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This is obviously not the kind of thing I usually shoot. But it does have stock value, so I go out of my way: why?

I’ve long been in two minds about the whole stock photography business, for many reasons. Today I’d like to explore some thoughts around the whole ecosystem. One thing’s for sure, though: the market for photographers is getting worse.

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Experimenting with stacked polarisers

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A rather interesting effect, for daylight. Note texture of water.

Some time ago, I went out hunting for a variable ND filter in anticipation of a beach trip. (I know, most people buy a swimsuit or sunglasses, but I’m a photographer; sue me.) What I found was a little troubling. Not only were the locally available options hideously expensive, but they also weren’t multicoated – this brings about an obvious set of flare related problems given the environments (sunny) under which they’d be used. I thought I’d get creative instead.

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Photoessay: Tokyo street monochromes, part II

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This is part two of this mini-series. It’s simply impossible to go to Tokyo and not do any street photography; between the overall camera-friendliness of the people, the unusualness of the settings and the quality of light…

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Photoessay: Tokyo street monochromes, part I

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It’s simply impossible to go to Tokyo and not do any street photography; between the overall camera-friendliness of the people, the unusualness of the settings and the quality of light…

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A little (well, big) celebration: 10 million visitors.

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Visitor count for the geek

Just now, two years and three months since mingthein.com first went live, we’ve received our ten millionth visitor. It’s not a big deal for the likes of DPR etc.; however for a site that deals primarily with the philosophy of image making and images themselves – I think that’s a huge achievement. Especially considering I’ve spent nothing on advertising and promotion though an enormous amount of time and effort has gone into content. Even so, without the active community and comments it would never have happened. I think a little celebration is in order before I get on the plane to Havana*, as well as a huge thank you for your continued support! MT

UPDATE: Flickr just rolled over 20 million this morning, too!

ANOTHER UPDATE: I just noticed this is post #800. It’s a day of milestones!

*I might not be as fast as usual with the replies due to limited internet access.

World premiere: The 2014 Leica T (Typ 701) review

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Caveat: this review was produced with a final production beta camera and lenses; this means that whilst we’re probably 99% of the way there, there will almost certainly be some small changes before the camera finally ships. All sample images were shot in DNG and converted via ACR, with the 18-56 and 23mm native T-mount lenses.

Let me say up front that whilst I have been very clear that innovation has been somewhat lacking in the camera industry across the board of late, there have been a few standouts that do so precisely because they push various aspects of the game – be it image quality or more rarely, ergonomics. I’ve long had the feeling that Apple’s latest camera implementations – touch once to lock exposure and focus, again to shoot – have really distilled the essence of the camera down to its bare minimum. It uses technology not to pad out a spec sheet, but to free the photographer to concentrate solely on composition. Shame then, that none of the more capable cameras have really gotten this implementation right – until now. I believe the Leica T is the first generation of a paradigm shift in the way we control and interact with our cameras.

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Photoessay: Architectural juxtapositions

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I’m pretty sure none of the architects or designers involved with this project could have envisioned the sightlines I used for these images, or if they did, it’s almost uncertain that they would have been able to forsee the changes in the environment surrounding the buildings. Some believe that photography is no more than a derivative work of somebody else’s primary creation; I of course disagree – and that will be the subject of a future article.

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Photoessay: Trees revisited

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Following on from the previous article on improving the digital B&W workflow process, it’s only fair that I show you some examples. I’ve chosen near-field landscapes – effectively, trees – as the test material, because I’ve always felt that this has been the most difficult subject to capture in a convincingly natural way*.

*Yes, I know, nature is in colour and monochrome images are by definition unnatural, but bear with me here.

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MF digital goes mainstream: early thoughts on the Pentax 645Z

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Image from Pentax UK.

A couple of days ago, Pentax threw down the gauntlet to the other medium format digital camera makers in the form of the 645Z. It uses the same ~50MP 44x33mm CMOS as the Hasselblad H5D-50C and Phase One IQ250, but with one critical difference: unlike the Hasselblad and Phase One, it’s feasibly within the reach of a whole load more people. And it isn’t just the shocking price – $8,500 plays $29,000 (Hasselblad) or $37,000 (Phase) – it’s the UI and operating gestalt, too. I think what we’ve just seen is an early game changer.

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