To photography competition entrants

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“…we who are about to die, salute you!”

Whoops, wrong scene, wrong side of the dock.

I’ve been on the judging panel for a few competitions this year – and on discussion with fellow judges, found we were encountering the same things across not only different competitions, but different geographies. Today’s post is intended to be a little behind the scenes guidance on what makes an image stand out to a jury, and hopefully win you a prize. It is of course impossible to turn this into a formula: the very nature of competition means that the benchmarks shift every year, and so does the whole idea of ‘different’. There’s so little QC these days it’s almost easier to judge competitions by people who don’t mess up than those who excel; that said, there are fortunately still a few who manage to surprise us. Read on for the breakdown.

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Photoessay: Suburban geometry, part I

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Am I the only one who finds it odd that a) we are of organic, irregular shape and yet b) create our environments to be as regular and inorganic as possible – even with the possibilities long afforded to us by modern manufacturing methods, we stick to at best a greatly reduced and simplified facsimile of nature? Furthermore, all suburban environments have become so similar I don’t know whether to think of it as fairness, aspiration to the same standards or a homogenous dystopia. Case in point: these images were shot in no less than six cities, but you wouldn’t know it at first glance (and there is also a massive curation bias that is involved in removing any localising elements, of course). This is especially true as configurations and details simplify into what is cheapest to build, easiest to maintain or least likely to cause offence. Chasing uniqueness in the photography of urban exploration has become a challenge not so much to find unusual locations so much as a race against the shadows for the flaneur – perhaps, much as it should be. MT

This series was shot with an assortment of cameras and lenses over a fairly wide period of time, but all post processed using the techniques in the weekly workflow and PS Workflow III and the Weekly Workflow.

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Photoessay: cityscape Istanbul

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At the macro level, the structure of a city has always seemed much cleaner and more organised than when you get in it – there’s a sort of fractal perfection of the wimmelbild kind where the overall visual density is quite homogenous within all of the areas that can be build upon. It’s as though we seek to fill and exploit every possible space available to us – and in doing so, make something that’s always reminded me of a carpet or a lawn: from a distance, regular, but close up, completely random. I’m sure if we were to take the site of any of the world’s major cities and start again, the result would be extremely different from what we have now (and in some cases, perhaps wouldn’t exist at all – building below sea level, for instance, is probably not a such a good idea in the long run). At a more pragmatic level, we never quite made it to the far side of the strait – next time…MT

This series was shot with a Hasselblad H6D-100c, various lenses and post processed with Photoshop Workflow III.

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Photoessay: Eastern melancholy, part II

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Continued from part I

Much further east, but still considered ‘eastern’ relative to other parts of the world – I shot these in Tokyo a month ago (at the time of writing) and very much remembered how I felt: the usual excitement of being in Tokyo, the anticipation of a reset in culture and scenery, and some slight dread for my wallet thanks to the camera havens of Shinjuku. Aside from that, certainly not what I seem to have captured: a sort of ‘quiet resignation to the task at hand no matter how bad or what it is’ – rather than the same sort of slightly uncertain edginess in Istanbul. Cultural? Perhaps. Or perhaps somebody in the audience is going to tell me there are things I have deeply repressed…MT

This series was shot in Tokyo with a Panasonic GX85, various M4/3 lenses, and post processed with The Monochrome Masterclass Workflow. Get more out of your voyages with T1: Travel Photography.

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Photoessay: Eastern melancholy, part I

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Every image is a reflection of the photographer’s state of mind at the time of capture; we see and interpret the world through a lens of personal bias. We either notice things that are extremely in sync with us – or extremely opposite. It is difficult to say whether the collective feeling exists or we are simply applying tunnel vision to only notice what we want to see. Going back to curate through one’s archives tends to yield very telling glimpses into your psyche at the time, and something much easier to see objectively in hindsight. These images were shot more than six months ago, but reviewing the entire set yields an almost manic split between the bright, cheerful and happy, and the downright depressing. I honestly don’t remember what I was feeling at the time – probably not strongly positive or negative – but mainly that the environment was so different that it was rather difficult to ‘be a mirror’ and let the images come rather than looking for them. What’ll be interesting is the counterpoint part II post… MT

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

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Off topic: Presenting the MING 19.01

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Many of you will know that I’ve recently brought my interest in watches full circle with the launch of my own watch brand earlier in the year. We were surprised and humbled by the response, but also fortunate as we had another project in the works at the same time: something at the other end of the spectrum, and our flagship: the 19.01. Whilst the 17.01 was designed to be an honest watch that brought a lot of the features valued by collectors to a more accessible price point, the reality is there were a lot of things I wanted to do that I simply couldn’t because of production cost restrictions. This is not the case with the 19.01, which was designed without compromises ad to be something very special in a world that’s already got a lot of very special watches. This is of course not a simple task, and required something special aesthetically, mechanically and stylistically consistent with previous designs so as to fit within the MING lineup.

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Final stock for the MTxFF Mirrorless and Duffel bags

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We’ve decided to end the Mirrorless and Folding Travel Duffel bags after the current production run – it’s time to work on other new projects. There are currently 13 Mirrorless bags and 6 Duffels remaining, and once these are gone – we will not be producing any more. Please click on the images above or the links below if you would like to order one. Thanks! MT

Buy the MT x FF Mirrorless bag
Buy the MT x FF Folding Travel Duffel

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Visit the Teaching Store to up your photographic game – including workshop videos, and the individual Email School of Photography. You can also support the site by purchasing from B&H and Amazon – thanks!

We are also on Facebook and there is a curated reader Flickr pool.

Images and content copyright Ming Thein | mingthein.com 2012 onwards unless otherwise stated. All rights reserved

Drone diaries/ Photoessay: Over Iceland

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I’m going to start this post with a confession: I lost/crashed a drone during the making of these, which is why there’s no video of me flying through the sea arch at Hellnar, or of that double sided beach where the waves pound a narrow strip of rocks. (I do have the stills from the Hasselblad though, which I’ll post in the near future.) Feeling confident after the flight low over the surf and through the arch, I went a bit further out to sea to do a flyby of the coastal cliffs, and an orbit of a sea stack. Mistake number one: I wasn’t high enough, and the signal was looking a bit ropey. That should probably have been enough of a clue that something was going to go wrong. Mistake number two: I underestimated the winds between the cliffs and the rocks – and there’s not really any way to judge wind speed remotely, other than sponginess of controls and lack of manoeuvring overhead as the bird uses more and more of its available reserve power to fight the wind. Mistake number three: I was flying sideways so the gimbal and camera would be pointed in the correct position to film, which meant that I didn’t really have much idea of what was behind me (the Mavic doesn’t have rearward or sideways sensors). What I surmise happened is that I got too close to the cliffs behind me, and a gust of wind did the rest. Game over.

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Video: Dispatches from land’s end, and FW 1.19

 

I recently got a chance to shoot for a week in Iceland with the Hasselblad X1D Field Kit. I was a bit torn in not bringing the H6D-100c, but the uncertain weather, walking distances etc. landed up tipping things in favour over the small weather-sealed box, and I’m quite glad they did – conditions weren’t exactly pleasant, but the gear survived just fine. If you look closely you may also spot one of my favourite lenses, adapted…Interestingly, the e-shutter behaviour (0.3s rolling sensor readout time) is such that you get a free motion blur effect even at high shutter speeds, negating the need for neutral density filters on things like waterfalls; you’ll see this as I post the stills in due course. There will also be a full set of stills with raw files (probably the first time ever for me) available as image samples via the Hasselblad website.

In the meantime, enjoy the video – and be sure to watch it full screen at full resolution; we shot it in 4K… MT

Lastly: there’s also new firmware (v1.19) available for the H6D and X1D today; you can download that here. For the H6D, it adds CF adaptor support, folder management, more custom button options and a few other tweaks. For the X1D, it’s a pretty major update including using the rear screen as an AF point selection touchpad while using the EVF; extensive button customisation options; EVF-only LV, and a ‘bokeh fix’. The latter allows the lens aperture to open beyond the physical stop of the lens, which means that circular opening is the only limit allowing smooth circles at maximum aperture. This works on all lenses and also gains a (tiny) bit of speed. 🙂

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More info on Hasselblad cameras and lenses can be found here.

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Visit the Teaching Store to up your photographic game – including workshop videos, and the individual Email School of Photography. You can also support the site by purchasing from B&H and Amazon – thanks!

We are also on Facebook and there is a curated reader Flickr pool.

Images and content copyright Ming Thein | mingthein.com 2012 onwards unless otherwise stated. All rights reserved

Photoessay: Evening in Manchester

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For reasons I can’t explain, the weather on this particular evening kept making me expect Sherlock Holmes (or his modern equivalent) to pop out from behind a corner, especially as the sun set. Not a bit of fog in sight, and I wasn’t in London, but perhaps it was the combination of the architecture and a slight drizzle. Unfortunately, the only afternoon/evening I had free to shoot wasn’t exactly the best for light, but we learn to make do (and curate ruthlessly, knowing that the locals will always be playing with a light advantage). This was the first time in some time I was travelling light – just one X1D and a couple of lenses. I’ll be the first to admit that I didn’t have my photography brain switched on since that wasn’t the point of this trip, but this is the specific reason I’m posting this set: almost everything you see here in photoessay form is the curated result of a conscious effort at taking pictures; very rarely do I not do this. However, I recognise that this is probably closer to the way most readers’ photographic opportunities arise – a spare hour here and there – and I thought it might be useful to see what can be done even with limited time. MT

These images were shot in Manchester with a Hasselblad X1D-50c and 90mm, and post processed with PS Workflow III and the Weekly Workflow. See more on your journeys with T1: Travel Photography and the How to See series.

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