What am I using now?

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As much as I dislike the ‘what should I buy’ type emails – just buy whatever feels good for you – I realize there’s one other question I’ve never really answered anywhere else on the site; that’s the question of what do I use for what. I did get featured on Japan Camera Hunter’s ‘what’s in your bag’ spot a little while ago; some of that is still current, some of it isn’t. In any case, I’m going to rectify that omission forthwith. These lists/ load manifests are current for the purpose as of the posting date, but I may of course vary them from time to time depending on the objectives of the shoot; they cover core equipment only. Yes, it’s a lot of stuff; do I wish I could get away with less? Absolutely. The problem though is once you’ve used the right tool for the job, and you can tell the difference in the output, it’s almost impossible to go back afterwards. Contrary to popular opinion, we pros don’t actually like to change our gear too often: it introduces uncertainties in the technical and creative processes, and when you’re on assignment, this is a risk that might make the difference between fulfilling the brief or losing a client. Before we take a new bit of gear out, it’s thoroughly tested in a non-critical environment first so we can at least get the measure of it.

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Limited print run: Europe 2013

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Following on from the success of the first print run – thank you everybody for your support – I promised that it would be the first of many. So, without further ado, I’m pleased to announce sales for the next one open!

Once again: I will only print these images once, at this size. Ever. Once this run is complete, there will be no more prints. There’s a little bonus here, too…

UPDATE (16 November) – It’s now the 17th in all timezones, so the print sale is now closed. To all those who’ve ordered, thanks for your support, and we’ll be printing and shipping early next week before I leave for Tokyo. 🙂

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Photography and psychology, part two: how we view images

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Woman, umbrella and street scene 1 – think for a moment, how does it make you feel?

Today’s article is the conclusion of the previous article on photography, psychology and why it’s all a mind game; we’ll explore how our subconscious and conscious mind views images, and how the photographer can exploit that to gain control over the way an image is interpreted. Understanding how your audience views an image is critical to determining how that image should be optimally constructed to deliver the right message, and in a way that’s memorable and impactful.

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Photography and psychology, part one: it’s all a mind game

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This is one of my more successful recent images: on Flickr alone, 2,500+ views and 125 favourites: but why? After this pair of articles, I think all will be clear.

Today’s article is one I’ve wanted to write for a very, very long time. Such a long time, in fact, that it’s taken me several months to condense my thoughts into some semblance of order. I’m going to start with a question: how many times have you seen an image that provokes an unexpectedly strong emotional response in you – either good or bad – and you haven’t been able to figure out why? How many times have you looked at the work of a photographer and thought – not only is there something remarkably consistent about his or her style that makes the creator instantly identifiable, but also makes me as the viewer feel a certain way? Wonder no longer. As ever, these articles are written to first and foremost, make us think a bit more about why we shoot the way we do, and in doing so, hopefully become much better photographers. We all have the tendency to get caught up in the technical side, the equipment, and lose sight of the end objective: the images.

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Photoessay: New York City in colour

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I’m guessing you’re probably sick of seeing NYC, so this will be the last one for the time being: somewhere between street photography and the observations of a flaneur, but above all, a view at how I see a new environment. Shot with the Fuji X20 and Nikon Coolpix A; two very capable and enjoyable cameras I reviewed some time back while in the US. Enjoy! MT

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Professionalism in photography

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Photographers at work; from the NYC 2013 workshop.

One commonly asked (and commonly mis-answered) question on the internet these days is around the definition of what constitutes a ‘professional photographer’. The usual definition is that it is somebody who is shooting for pay, and deriving the majority of his of the income entirely from photography for photography related activities. I suppose in the strictest sense of the definition, that is true. However, it says nothing about professional conduct or skill. What I’m going to attempt to do in this article is express my own views on what I believe constitutes professional behavior in photography. It is important to note however that this is a very much personal, though shared by many of my colleagues in all areas of the industry – both primary providers of photographic imaging, as well as supporting services and videography/ cinematography.

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FD Photoessay: Life in Amsterdam

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Sometimes, the film photography gods deign to make life easy for you: you happen to be in the right place at the right time, with the right light, interesting subjects, lots of opportunities, carrying the right camera and lens combination, just enough film to get you through a day with a roll left over as insurance, and even airport security guards who’ll hand check your film so they don’t have to make multiple passes through x-ray machines. The last European trip and workshop tour was one of those occasions for me. I went with my usual small digitals (OM-D, Ricoh GR) for teaching, and the Hasselblad 501C with one magazine, a few boxes of Acros 100, and the 80/2.8*. And I came back with a huge number of keepers. It’s interesting to note that despite its size, shutter noise and conspicuity, the Hasselblad never attracted negative attention – usually curiosity or nostalgia. In that sense, it’s actually an excellent street photography tool in the modern age. No more words are required, I think – other than for me to say ‘enjoy!’ MT

*Some of the rolls were pushed to ISO 200 due to lack of light; with Acros this also has the benefit of deepening your shadow tones. There doesn’t seem to be any grain penalty that I can discern, though – anything up to ISO 800 is fine, but the shadows just keep getting denser and denser. Digitized with a D800E, 60/2.8 macro and my custom rig.

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Amsterdam and Prague workshop report – and dates for 2014!

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The final two stops on the Making Outstanding Images workshop tour for 2013 were Amsterdam, at the end of September, and Prague, at the beginning of October. The course now lasts four days, and by all accounts, is intensive – I’m trying to make it easier, but there really is quite a bit of knowledge that has to go in 🙂 Read on to see how it went.

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Preview: The 2013 Fujifilm X-E2

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The Fujifilm X-E2 is a welcome update to last year’s popular X-E1. The camera takes the innards of the X100s and puts them in an X-mount body; it isn’t the X-Pro2 that a lot of users were hoping for, but it’s a significant enough update – for those who had issues with AF speed at least – to warrant serious consideration. In fact, I was sent a list of 61 improvements the X-E2 carries; some new to the camera, some inherited from the X-M1 and others from the X100s. I personally have had a rather inconsistent experience with Fujifilm products; on one hand, I absolutely love their films – Acros is my mainstay in all formats – but was left highly expectant and then disappointed by several cameras, first the original X100, then the X-Pro1, the XF1 and finally the X20. These are cameras I wanted to love, but found lacking in several areas; ultimately, I landed up with M4/3 as my compact system choice due to maturity of cameras and lenses. Many have asked why I don’t seriously consider the X system; I was offered a pre-production prototype by Fujifilm Malaysia, and I cleared a few days in the schedule to seriously revisit the system.

Note: the camera’s firmware is not final, so there will be no evaluation of image quality yet, or full size files or crops. Also bear in mind that some of the observations may change after final firmware. Most of the images in this review are mostly SOOC JPEG; a few have minor color corrections and all B&W images were converted from colour source files.There are also more samples in this Flickr set.

I also have the X-Q1 here; I just haven’t had time to shoot with it yet.

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Dear Client: a little advice from your photographer

Some weeks back, I had a little Monty Python moment – specifically bringing to mind the sketch mentioning “shrubbery”. A potential client called:

“Hello, is this Ming Thein, the photographer?”
“Yes, what can I do for you?”
“How much do you charge for…a photography?”
“Sorry, but you’ll have to be a bit more specific before I can quote you – different types of photography require different amounts of work, so the cost will vary. What type of images do you need exactly?”
“A…
commercial photography.”
This last line was said in a semi-whispered voice, as though commercial photography is a dirty word. Needless to say, I did not get any more details than that; on pressing them they said they would email me.

Clients like this worry me, not because they don’t know what they want, but because their expectations are probably so different from reality that you will never be able to satisfy them. Past experience makes my alarm bells trigger. It’s not because I’m not confident of doing the job; the problem is that in not having dealt with professional photographers before and being influenced solely by popular preconceptions, such clients typically expect the impossible for next to nothing, and that photoshop fixes all flaws. Typically, what happens is neither photographer nor client gets what they want out of the engagement and both parties go away harbouring a little unhealthy resentment.

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