Postprocessing: Robin’s approach

I do minimal post-processing and very quick edits for images used in articles published here and on my own blog. Strangely, many readers have asked me for my “secret sauce” that I apply to my images and requested for a video showing my usual post-processing routine. Before making that video, I asked for specific requests from my readers via a post on my own Facebook Page. Taking into consideration the numerous questions, I have made a short video.

A quick disclaimer: I am not associated with Capture One Pro, the only reason I am using this software is the efficiency of handling Olympus RAW files. I still prefer Olympus Viewer 3 to optimize my Olympus RAW files (color balance, sharpness/details, noise reduction, etc) but that software is just unbearably slow for anything practical. I found the Capture One Pro to work significantly faster than Olympus Viewer or Lightroom. You can see how short the previewing and processing time of Capture One software is in the video above.

Disclaimer #2: Let it never be said mingthein.com is not democratic even though one of us works for C1’s competitor 🙂 In all seriousness, workflow is a very personal and goal-oriented thing: depending on the task at hand, I might make one pass through PS, tether/convert in Phocus, use a combination of Autopano Pro and/or Helicon and PS, IG’s filters, LR mobile, or even Olympus SOOC JPEG. Best tool for the job as always… -MT

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Attempting the blood moon

The above image of the Blood Moon was shot at the start of a total lunar eclipse phase at 3.45am on 28 July 2018 as seen in Kuala Lumpur. The red moon was not perfectly clear due to slight overcast condition hindering visibility. I only had about 15 minutes of shooting time before heavy clouds completely covered the moon during the eclipse. I have not encountered a lunar eclipse before and this was my first time witnessing an actual “blood moon” phenomena, hence I thought it would be interesting to share my thoughts and shooting process to acquire that one shot, which I have come to love despite its apparent imperfections.

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Repost: What makes a ‘good’ lens? (part II)

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This might seem like a very obvious question, but the moment you try to define a set of criteria to quantify ‘good’, you soon realize there’s quite a lot more to lens performance than immediately meets the eye. So, for those of you without the ability to try a large number of lenses – let alone samples of the same lens – how do you know if the one you’ve got is ‘good’?

Continued from part I.

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Repost: What makes a ‘good’ lens? (part I)

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Following an odd resurgence of emails lately about system matching, lens quality (on non-native systems), sample variation, decentering and similar topics – I thought it made sense to revisit this topic from the archives. ‘Which is the best lens for X?’ might seem like a very obvious question, but the moment you try to define a set of criteria to quantify ‘good’, you soon realize there’s quite a lot more to lens performance than immediately meets the eye. And this is before (but really should be much after) creative considerations, perspective etc. In any case: for those of you without the ability to try a large number of lenses – let alone samples of the same lens – how do you know if the one you’ve got is ‘good’?

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Seeing the shot – Robin’s view

In the spirit of sharing more of what I normally do during my shutter therapy sessions, I came up with this idea of showing what happens immediately before and after I shoot an image*. Utilizing the Olympus specific feature “movie + photo” mode, I was able to capture video footage and a full RAW image file simultaneously. I thought it would be fun to see the moments leading up to the press of the shutter button. After all, timing is crucial in street photography and in this video compilation you will see a lot of blink and miss it moments.

*Note: this is somewhat similar to MT’s How To See video series.

I had to work with an older Olympus PEN E-PL7 camera because the movie + photo mode was unfortunately not available in the E-M1 Mark II. I am inviting you to come along with me to my hunting grounds and see what my camera sees. In the video you will also see how I frame my subjects, interact with random street portrait subjects and anticipate moments before they happen. As a bonus, there is also evidence of how cats on the streets love me.

I hope that you will see that street shooting can be super fun, exciting and totally unpredictable.  If we show respect and are courteous to people around us, they will respond in kind. A genuine and warm smile can go a long way, and keeping a positive attitude can help make you more approachable and look less like a threat to your street subjects. Things happen so fast and you have to be quick enough to react and execute your shot reflexively. It is perfectly okay to miss some shots but keep that optimism going and soldier on to the next opportunity.

Let me know if you find this video helpful and would like to see similar content in the future. I had a lot of fun doing this and am excited to hear your thoughts.

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Le flaneur

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From Wikipedia: “Flâneur (pronounced [flɑnœʁ]), from the French noun flâneur, means “stroller”, “lounger”, “saunterer”, or “loafer”. Flânerie is the act of strolling, with all of its accompanying associations. A near-synonym is boulevardier.” A holdover from the class divides of 19th and early 20th century in Europe when the gentry could spend their time engaged in leisurely walking, observing and enjoying the cities, the concept might sound a bit indolent today but is actually still quite apt: these were the original street photographers, most of whom went without cameras. Fast forward half a century and we had the tourists; who perhaps could be thought of as serial visitors herded in predefined courses from important sight to sight. In parallel, photography went from an academic and scientific curiosity to being a mass-medium for personal recording, and then public exhibition. And then a means to show off: this brings us to the present day.

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Thoughts on portraiture

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I have never been a portrait shooter – and as much as I find satisfaction (the reasons why we will discuss in due course) in a well-executed portrait, I don’t think it will ever be the mainstay of my photographic repertoire. The reason is both simple and complex: a portrait is not a photograph of the physical person – it’s a visual representation of your relationship with that person. A sort of mirror, if you will; even though all subjects reflect light and thus the environment to some degree, there are more and less reflective ones. Highly polished objects can land up being entirely representations of their surroundings only, with the merest interference of interpretation; one of the tenets I live by in watch/jewellery photography has always been ‘light for the reflection’. That’s not really relevant to portraiture, or is it?

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Repost: Achieving visual consistency

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Cue one from the archives, with updated images: tomorrow’s post will make more sense when viewed in context after this…

One of the questions I’m asked also (unsurprisingly) happens to be one of the biggest challenges for a lot of people: how to achieve visual consistency across multiple systems/ cameras/ media, and across multiple subjects. Though the latter is really getting into the question of what constitutes style and how can one consistently apply it, there are still things you can do to ensure that you are in control of the final presentation: not your camera. I certainly cannot tell a client ‘sorry, it looks different because I used two different cameras.’

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The continued adventures of the traveling audiophile: going wireless

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As with everything, it’s very easy to go off the deep end with audio – even personal, in-ear audio – and land up in a position where you have an extremely expensive piece of hardware that has zero secondary value (anything custom, for instance) and feel compelled that you have to make that decision before trying all options. And even if you’re lucky enough to be able to try all feasible options, 10-15 minutes of listening and A-B comparisons in an often less that representative (let alone ideal) location simply aren’t enough to make an informed decision. It also doesn’t help that you (I, at least) hit fatigue after perhaps half a dozen samples and can’t really hear the difference anymore – even if I might have fairly acute hearing on a normal day. But, I digress before I’ve even started. Last year’s move to the iPhone 7 and its forced choices of a) no charging with music if you use the Lighting to 3.5 adaptor, b) charging if you use the bulky as hell USB multiport thing and a small amp such as an AudioQuest Dragonfly Red, or c) wireless – has left me with a messy solution when travelling, which with involvement in three businesses in four countries and international clients, I seem to be doing even more of these days.

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Crystal ball gazing – have we reached a plateau?

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The split, redux: all will be explained in the article…

In the late 90s/early 2000s, film photography arguably reached its zenith in many ways: you could get all sorts of hardware in all sorts of form factors; emulsion technology peaked in both proliferation and quality, and it was easy to get anything developed and printed, and developed well. There were high end pro compacts, super fast DSLRs, consumer megazooms, large format folders, sub-frame cameras…films varying in speed, look, positive/negative, and even crossover-types like C41 process black and white. I’d even argue that since then, film emulsions have not really improved (undoubtedly due to the vanishingly poor business proposition created by the emergence of digital) – and we’ve lost most of the major manufacturers and choices. (To say nothing of the labs.) The core technology reached a balanced plateau: lenses were matching emulsions in resolving power; AF systems were matching the rest of the system in precision required to consistently deliver the aforementioned resolution. On film, there’s not much difference between one of the better 50mms of the time (say a C/Y 1.7/50 MM, A Leica 50/2 Summicron, or a ZF.2 2/50 Makro-Planar) and arguably the best of today – the Zeiss 1.4/55 Otus APO-Distagon. I tried this experiment on an F6 some time back, with Fuji Acros: I couldn’t really see much of a difference in resolving power. Drawing style, yes, but not resolving power. Your ability to focus made far more of a difference. And running the same film through my 1979 F2 Titan or the 2005 F6 made no difference at all, of course. Ultimately, during the film era: image quality was proportional to format size. How is this relevant to now?

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