An exclusive interview with Kazuto Yamaki, CEO, Sigma

_7R2_DSC0474 copy

I recently had the opportunity to spend some time with Sigma global CEO Kazuto Yamaki during his visit to Kuala Lumpur for the dp0 Quattro launch, courtesy of regional distributors APD. What followed was a most interesting and candid discussion during which it became clear to me that he has a very adroit handle on things and a remarkable philosophy. I believe Sigma is going to be one of the companies that not just survives the market slowdown, but may well come out benefitting from it. Here’s why.

[Read more…]

Interview: Printmaster Wesley Wong, part two

_G000078 copy
The master at work.

Continued from the first half of the interview yesterday with printmaster Wesley Wong.

[Read more…]

Interview: Printmaster Wesley Wong, part one

A0000320 copy

Today’s post is a little different: following on from the excellent reception given to my interview with Nick Brandt, and my current focus on pushing print limits, it is high time we heard from the print master himself – Wesley Wong. I can say plenty about the process, but there are a lot of areas in which is expertise greatly outstrips my own. I also strongly believe that he is an integral part of the artistic process of bringing an image to its final form, and that my print buyers – thank you – would also enjoy meeting the man, albeit virtually. It’s a lengthy discourse as there’s a lot of ground to cover, so the interview will be split into two parts. Read on…

[Read more…]

Interviewed on the official Zeiss blog…

I was interviewed recently by some of the folks at Zeiss about food photography – you can find the excellent (and very comprehensive) feature article here. Enjoy! MT

Cover interview: DSLR Magazine, Feb 2013 edition


For those of you who live somewhere where this magazine isn’t available, the publishers have been kind enough to provide me with digital copies to share with my international readers. Somehow I landed up with both the cover shot and feature interview in their February 2013 edition 🙂 Click through the images to full size versions on flickr for easy reading. MT

A big thank you to KL Yeam and Rachel at DSLR Magazine!







Visit our Teaching Store to up your photographic game – including Photoshop Workflow DVDs and customized Email School of Photography; or go mobile with the Photography Compendium for iPad. You can also get your gear from Amazon.comhere. Prices are the same as normal, however a small portion of your purchase value is referred back to me. Thanks!

Don’t forget to like us on Facebook and join the reader Flickr group!


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

Interviewed on photography in the New York Times

I was interviewed on watch photography in yesterday’s issue of the New York Times/ International Herald Tribune – the full article can be found here. MT

Just got interviewed on the Leica blog…

…For those of you who might be a little curious about the person behind the site, the interview by Eric Kim can be found here. MT

Podcast of my interview today on BFM is now up…

…click here to listen. MT

Meet your photographer: A virtual interview

Blogs are personal things. They’re alive only so long as the owner(s) are active and interested in maintaining and regularly updating content. By the same token, they take on the personality of the author(s); after a while, a reader probably has a pretty good sense of what the author is like – or at least how he wants to be perceived.

_7027432 copy
Salutation to the fire god. D700, 24/1.4

So, this virtual interview is my attempt to reach out to my readers – both now and in posterity – to help you put a personality behind the images and words. First clue: I’m writing this from my iPhone in the middle of one of Kuala Lumpur’s legendary traffic jams. It’s rush hour, and raining. I haven’t moved more than 100m in the last hour. I hate traffic, especially when there’s plenty to be done. In fact, hate isn’t strong enough a word to describe how I feel about it. The waste of opportunity and productivity just drives me mad.

_M9P1_L1000019 copy
Kuala Lumpur at 7pm. M9-P, Noctilux 0.95

But enough of that. You probably want to know more about what makes me tick as a photographer. My self-confessed impatience is telling, though: I’m a very restless person who always has to be doing something. And that also applies to photography: I want to push the limits, challenge myself and make better images. Without further ado, to the questions.

_M9P1_L1007318 copy
Gap in the shadows, Prague. M9-P, 28/2.8 ASPH

Why start yet another blog?
Because I want to get to know my audience – it’s nice to have that relationship, as well as feedback to know what people like and what people don’t. It doesn’t mean I’m going to change my shooting style to all HDR, for instance, but it helps me to tweak things. I do take this seriously though. It’s a huge commitment and a lot of work to regularly update and generate content – especially when it’s free and at the expense of other work.

_M8_L1024114bw copy
Matriculation day, Oxford. M8, 21/1.4 ASPH

Do you have any formal photography training?
No – I’m actually a physicist by training (Balliol College, Oxford) and a ‘corporate raider’ – I’ve spent just as much time in the consulting and M&A businesses as photography. I taught myself by practicing, reading, experimenting, looking at other people’s photographs, and talking to a lot of people.

_7022531 copy
The hidden treasure inside us all. D700, AFS 60/2.8 Micro

What are your favorite subjects?
I’m a diverse photographer. I shoot pretty much everything, though my speciality is watches/ macrophotography and photojournalism; I dabble in food, architecture and travel/ landscape. I used to be a very serious birder, spending entire weekends in swamps being eaten alive by mosquitoes, but these days my back protests at the weight of the lenses, and frankly I’m just tired of scratching insect bites. I was even official photographer for a popular local jazz club for a year, which was fun, but left me bleary eyed the next day at work. Curiously, the only thing I’ve never shot is sport – with the exception of some motor racing. I like to apply different techniques to different subjects – this inevitably yields a different perspective on things.

_7052364-78 copy
Lange Datograph. D700, AFS 60/2.8 Micro

Do you have an aim or objective when shooting?
Yes and no. Yes if I’m on assignment, no if I’m just out and about – but I’ll always have a camera on me. Preferably something small and portable; it used to be the Ricoh GR Digital III, but that was supplanted by a spate of mirror less cameras that I never really liked except for the Olympus Pen Mini; now it’s a Leica M9-P. Above all though, I try to present a view of the world (or my subject) that’s unusual, compelling, and aesthetically pleasing. I do try for perfect compositions even under demanding conditions, which is why my keeper rate is pretty low – 2-5% is normal. It’s worse than fixed deposit returns.

_M9P1_L1006378 copy
The police are everywhere! Prague. M9-P, 28/2.8 ASPH

What’s the most frequent question you get asked?
Hands down, which camera/lens/widget should I buy. The answer is always, if you know you need it, you won’t be asking me. If you don’t need it, then buy it if you want it but don’t expect it to make you a better photographer.

_VL31_L1000804 copy
Indirectly inspired by Alex Majoli – shot with a compact. Cattle Egret, Kuala Lumpur. V-Lux 3

Do you have any heroes?
Aside from XYZ-man and his ilk? Photographically, there are a few. Ansel Adams, of course, for his ‘processing’ – I try to do what he did in the darkroom, but with photoshop (and color!). Cartier-Bresson for his sense of timing. Sebastiao Salgado, for his epic photojournalism – the images are masterful in their composition, moving in their content, and excellent in their processing, especially considering most of his work was done on film! Alex Majoli, for his work with compact cameras. I think it was from him that I realized the camera really didn’t matter at all.

_0010675bw copy
Workers, London. Inspired by both Majoli, HC-B and Salgado. GR Digital III

Why do you like shooting? What keeps you inspired after all of these years?
Many reasons. It’s the freedom to create, in manageable bite-sized chunks; you don’t need a huge amount of time to produce something very satisfying. And everybody does it differently. It’s meritocratic; the better your skill, the better your image. I also admit that part of me likes the gear…

_M9P1_L1002370 copy
Back alley, Kuala Lumpur. M9-P, 28/2.8 ASPH

Doesn’t having more people interested in photography make it harder to be successful?
Having lots of people interested in photography isn’t a bad thing – yes, there’s more noise out there, but it also means there’s more awareness and new/ different opportunities. May the best man win – more true than ever.

_7049662 copy
KLCC dawn, Kuala Lumpur. D700, 28-300VR.

What’s the favorite image from your career so far?
I’m going to say it’s one I haven’t taken yet. If I’m not improving, I need to try harder.

_7046583 copy
Girard-Perregaux F1-047. D700, AFS 60/2.8 Micro.

How do you know when a photograph is good enough to keep?
This is a tough one to answer. I think after a while you build up an instinctive sense of what works and what doesn’t, and what you like and what you don’t. If I’m selecting one image from a sequence, then I pick the one with a mix of a) the most emotion; b) the best composition; and c) the best technical aspect – exposure, focus, etc. If I’m culling a set from a shoot, then firstly I figure out roughly how many images I need to tell the story or deliver to the client – and then progressively cull the weakest.

_M9P1_L1003356 copy
Look up. Sometimes wonderful things happen. St. Peter’s, Vienna. M9-P, 28/2.8 ASPH

How do you shoot and not disturb the flow of events around you, or miss something else when you’re shooting?
Be fast, and be prepared. If you’re ready, that means being observant and with camera held at high port; I can get in, get a few shots, and get out again most of the time without anybody noticing. Sometimes it doesn’t matter if people notice anyway – it can be a good thing when you want to capture intense emotion, too. Always, always, look around you – above and below too – you never know what you might miss otherwise.

_7037081bw copy
Commando training, Nagarkot, Nepal. D700, 24/1.4

If you could only shoot with one body and one lens, what would it be. Also what equipment do you miss the most?
I see we’re back to gear again! I can have one body and one lens for each subject type, but for obvious reasons the same setup I use for watches isn’t going to work for photojournalism, birding or sport. I wish I had a high magnification tilt-shift lens to maximize depth of field and resolution, but sadly the tilt-shift macros only reach 1:2 and are not useable with extension tubes or bellows.

_3100_DSC2009 copy
Dusk launch. D3100, AFS 85/1.4

What annoys you most about photography/ photographers these days?
People who believe equipment makes the image, and that the more expensive the camera, the better the image.

_7047519 copy
Panerai Mare Nostrum. D700, AFS 60/2.8 Micro

What’s more important – talent or practice?
Talent comes from practice.

_7026879 copy
Cheers. D700, AFS 85/1.4

What advice would you give to someone who is just starting in photography?
Practice, practice, practice. Use your imagination, experiment and try out. Ask other people what they think of your images; get them to give you constructive feedback; but remember also that opinions are personal, and everybody’s got one – so don’t get discouraged.

_M9P1_L1007485 copy
People flow, Prague. M9-P, 28/2.8 ASPH