Photoessay: traditional architectural vignettes

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Today’s images are a series of with traditional architectural subjects shot in Kyoto, at varying scales. There’s a deliberate variation in perspective and size to put the various elements in context with their environment; I have deliberately tried hard to exclude the usual cliched contrasts between old and new etc. but instead show the edifices as they are in use today. Kyoto is probably one of the few places in the world where you actually have to try very hard to avoid older buildings…yet there’s almost no dilapidation, and there’s a wonderful balance between authenticity of patina and maintenance – just look at the first building; the lantern and copper gutters are clearly aged, and the wood is seasoned, the bamboo faded with time and sun, yet the walls are perfectly painted and the sign is clean and crisp – I have rarely seen this anywhere else outside Japan (except perhaps some of the restored areas of Prague and Havana). It’s the underlying tension between this precision and contrast that makes it such a photographically rewarding subject… MT

This set was shot with a Nikon D850, 24-120VR and post processed with Photoshop Workflow III.

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Design, photography and visual priorities

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The previous post out of the archives was intended to cue up your thinking for today’s discussion: taking things one step further and exploring the relationship between design, photography and composition.

Some of you probably know that beyond photography, I’m involved in design work on two fronts – as lead designer at Horologer MING, my watch brand, and as a consultant at Hasselblad. There is a popular misconception that design is mainly about a few things: style, function/ usability/ UI/ ergonomics, and differentiation. In reality, design is really about making a set of coherent choices in an environment where there are choices to be made I’d argue that beyond and above this, there’s really only one overarching principle that should be the basis of all good design: I think of it as one of composition.

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Drone diaries: slices of green (more from the Mavic 2 Pro)

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In my previous post I posted a flight report/review/extended test of the new 2018 DJI Mavic 2 Pro, with 1″ Hasselblad L1D-20c camera module. As promised, today’s post contains additional images I shot around Malaysia during the testing and calibration period – and yes, there’s a forest in there. I see a new project (or rather an extension of an old one, with previously inaccessible perspectives) emerging… Enjoy! MT

Shot with the Mavic 2 Pro and processed with PS Workflow III.

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Photoessay: Convergent shadows

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This set is a delayed curation that I wasn’t aware existed: a year had to pass and the other curations removed for it to reveal itself. As usual, there are elements and geometries we see subconsciously that do not always make themselves known until you look; yet we find ourselves executing somewhat on autopilot and our unconscious minds extracting repeating patterns. Perhaps it was the light, perhaps it was the urban wimmelbild elements, or perhaps the combined tension created by the presence of both – very hard shadows defining solid zones within the image, offset by colourful messes outside. One parting thought: how much of a final curation is the result of the initial (and probably most strongly felt) one – plus a desire not to repeat the use of images? Food for thought…MT

This series was shot in Istanbul with a Hasselblad H6D-100c, 50, 100 and 150mm lenses, and post processed with Photoshop and LR Workflow III. Get more out of your voyages with T1: Travel Photography.

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Photoessay: Rush

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I’m still trying to figure out exactly why the nature of cities means we are always in a hurry to get from one place to another, even for pursuits of leisure. Surely this is somewhat counterintuitive and counterproductive…? Or maybe it’s just me; there are definitely times life feels like a checklist. But judging by the number of other people stuck on the same treadmill and doing the same things, perhaps there’s been a sea change in human attitudes we’ve unconsciously been sucked into. Still, it makes for some nice images…

This set was shot handheld with a Nikon D850, 24-120VR (this particular combination of camera and lens has a particularly effective stabiliser for some reason; much more so over its predecessor) and post processed with Photoshop Workflow III.

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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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Photoessay: Stolen moments

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In my mind, this set feels vaguely voyeuristic – stealing snippets of time from my subjects, without any of them noticing. Photographing around corners, street furniture and other foregrounds; taking small glimpses into unguarded moments of an individual – what were they thinking? What were they feeling? Where did they come from? Where are they going next? Perhaps the uncertainty of continuity combined with the strong individual emotions and expressions is what drew me to these scenes; the kind of tensions precipitated by something seemingly trivial to an outsider, yet intensely important to a single person. I didn’t set out to shoot these; they just happened across the course of a week and about seven thousand frames. Sometimes our minds pick up on recurring themes we aren’t consciously aware of. In this case, both photographer and subjects were lost in the moment – they in their lives, me in that intense blink of observation. MT

This set was shot with a Nikon D850, 24-120VR and post processed with Photoshop Workflow III.

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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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Exploring Pak Peng

I have always been fascinated by old buildings that are still perfectly functional, maintaining decades old interiors and retaining the same overall atmosphere. The Pak Peng Building is a shopping mall that’s nearly half a century old and is now half vacant with a few traditional businesses still occupying the building. Back in the 60s and 70s, the Pak Peng building and surrounding establishments on Madras Lane were one of the hottest spots in town for entertainment. This remnant of the past was intriguing to explore, and I took the opportunity to create a mini photo series documenting scenes inside Pak Peng.

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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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