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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On Assignment: Ascencia

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A few months back, I was given another one of those very rare birds: a commission that has the holy trinity for a hired gun – an open creative brief, an interesting subject, and most importantly, a great client. This combination is far much rarer than you might think; most of the time you’re lucky if you get one of three, and the industry is not such that one can afford to be choosy (even though this may prove to be a bad idea in the long run*.) It’s a pleasure to work with another creative person: they understand and respect your expertise, and just let you go about it. We know that we won’t hire a creative if the point of view differ and you don’t agree with their work: this does not mean bad, just different priorities. In any case: interesting building, great client, and fortunately – a very small inter-monsoon window in which to make this work.

*There’s always a risk that a client feels like they’re overpaying, you feel like you’re undercharging, you’re asked for a carbon copy of something else that doesn’t work the intended subject, and in the end nobody is happy – the client because they didn’t get what they want (duh, different subject) and you because it was nether creatively nor financially satisfying. The temptation in the current market is to say yes to everything, but I can honestly say that this may do more harm than good in the long run since everybody likes to talk…

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Photoessay: Thaipusam 2017 cinematics, part II

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This is the peak of the event: handover of the offerings at the temple inside the cave (and at the top of 272 steps); the exit of trance and seeking of blessings by both participants and visitors. There are just as many exhausted devotees as ones dancing in religious fervour. I’ve always been careful to be highly respectful and not intrusive when photographing the ceremonies; we are privileged to be allowed to observe (and in a way, participate) in what is a very sensitive and private ceremony. Every year I’ve attended, I’ve been called over by one of the participants in trance to receive blessings in turn – and in a way, it feels as though I’ve been given permission to be there. I guess I’ll be going back again next year. MT

Additional coverage and full size sample images are here at Hasselblad.com The video is here.

This series was shot with a Hasselblad H6D-100c, 50 and 100mm lenses, and post processed with the cinematic workflow in Making Outstanding Images Ep. 4 & 5.

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Fortitude: resolved, a film (or: Thaipusam 2017 with the H6D-100c)

Fortitude: resolved from Ming Thein on Vimeo.

Note: the video was shot in 4K, and will play at 4K if you click through to Vimeo, or use the full screen player and pick the appropriate setting.

Every year, a huge number of Hindu devotees gather at the Batu Cave temple outside Kuala Lumpur, Malaysia, for the Thaipusam festival. It celebrates a significant event in the life and mythology of Lord Murugan: the gifting of a weapon to defeat evil. Participants burden themselves with offerings to Lord Murugan in various forms – from milk pots to portable Kavadi shrines and other offerings piercing their body. It is believed that the more significant the offering and the higher the personal suffering, the more blessings are accorded to the devotee in their struggle against their own personal challenges.

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On Assignment: High speed rail underground

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I recently was commissioned to produce a status update of sorts and small vignettes of documentary covering work in progress for the construction of the HK-Guangzhou-Shenzhen high speed rail link. The vast majority of the Hong Kong portion of this lies underground, which makes sense given both the lack of space and need to have a terminus somewhere centrally downtown. Fortunately, Hong Kong’s underlying geology is very friendly to tunnelling – I’ve always had the impression a good chunk of the island and Kowloon peninsula is really hollowed out given the number of subways, tunnels, malls and utilities hidden underground.

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On Assignment: The face of construction

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Presenting something a little different from a recent assignment. Firstly, I know I’m not really known for portraiture, though I do quite a bit of it; I suppose it’s simply not something I’ve really publicised much. On this assignment, I had a few things to keep in play: firstly, finding the right faces amongst the workers; secondly, some of them being unwilling or uncomfortable to be photographed*. and thirdly, striking a good balance between a documentary in situ and something posed. Overriding all of this was the need for authenticity: no point in having a great looking portrait but one that doesn’t make sense either from the client’s standpoint (i.e. not representative of actual construction work) and vice-versa. I wanted to mostly avoid the kind of thing where you just have somebody posing and looking into the camera; that negates the documentary aspect to a large degree – and in my own mind always felt as though either the workers weren’t really working that much, or the whole exercise was forced. In the end, I think I managed a good mix everywhere along the continuum from a fleeting smile to posed to something more natural and mid-work.

*Far more often than you might think; either out of fear that they might be caught doing something wrong and censured later, or for Asian reasons of ‘giving face’ and not wanting the exact nature of their work to be known. There is an inexplicably strong desire to work in a corner office shuffling paper, it seems…

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On Assignment photoessay: Man Machine Monochromes

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I thought I’d present this set a little differently, in the vein of variations on a theme: one with, one without man, in similar situations. They might or might not have been the same subject, they but I think each pair of images is somewhat interchangeable depending on the end use intent – sometimes, you want the people, sometimes, you don’t. Each image is of course optimised for the subjects that did eventually get included – compositionally and presentation-wise. You cannot simply add or remove one element and expect the rest of the composition to remain balanced. Construction is a messy but never ending and necessary business so long as the needs of the people keep changing; whilst some images may look familiar, they’re part of a very long term and ongoing project for the same client. One of the challenges during assignments like this is to keep a level of consistency of visual style, but at the same time with little riffs and variations on it to stop the material from becoming repetitive or boring – more so when you’re dealing with the same subject that’s changing at at relatively slow pace because of the scale of the project. Not easy, but very rewarding…MT

This series was shot with a Hasselblad H5D-50c and H6D-50c and processed with the Monochrome Masterclass workflow. With thanks to Chun Wo Construction Holdings Limited, Hong Kong.

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On Assignment photoessay: Overpass

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My biggest challenge with projects and assignments of this scale is always adequately capturing them and conveying that scale – too wide or too far away, and you lose identifiable detail; too close and you don’t get a feeling for the immensity. There’s no way you can keep an identifiable and isolated human figure in the shot and show the whole extent of a 3km+ long project; even with a silly-sized print from a camera of extremely high resolution. This is where the narrative comes into strength, but also poses challenges. It’s much easier to give a complete impression of something by detailing critical parts; however, with the narrative in mind, you’ll find that there are certain ‘filler’ images required for continuity that might not necessarily stand on their own – and similarly, certain hero shots just don’t flow with the rest of the sequence. This of course leads to a very focused curation, which may well change massively should the intended message also change.

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