Ultraprints vs normal prints: visualising the difference

_8B07002 relative
The comparison. This is your field of view at about a foot and a half viewing distance of the crops, which are 10″ high each. Larger version here.

Today’s post is an attempt to do try to convey just how much of a difference there is between an Ultraprint and what would be considered a normal, very good print. Since this is really impossible without seeing the prints in person, a direct comparison is perhaps the closest I can get when working via the internet. What you see here will come as no surprise to people who’ve bought the most recent one or two Ultraprints from Forest III onwards; however, things have moved on a bit since then.

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Launch Edition: Trees of New Zealand

I’ll be launching the gallery with five prints: thereafter, they’ll be singles or pairs. Please note that all prices are inclusive of courier shipping via DHL Express anywhere in the world; you’ll need to include your phone number in the comment box when you check out as it’s required by the carrier.

Forest III

This is the showpiece for the launch, which will be offered as the largest Ultraprint yet: 40×15″ image area. We’re still experimenting with the paper type to manage reflections and improve the viewing experience – but so far, it’s like having your own personal slice of forest at home.

_8B03438-45 Forest III
Forest III, Shotover Gorge, Queenstown, New Zealand. Nikon D810 and an 8-image stitch. Click here for a 100% crop to get an idea of just how much detail is in this print.
You can order Forest III ($1200) as a 40×15″ (~101x38cm) Ultraprint here; limited edition of 10

Tree and River.
We spend so much time looking for shadows and light that sometimes I think it’s interesting to present a three dimensional world as a two dimensional one for that precise reason; there are enough visual cues for texture, but not so many as to destroy that illusion. It’s one of my favourite images from this trip because of the balanced minimalism and abstraction that appears almost manmade, despite being 100% natural. Note: the river was actually that color due to it being glacial meltwater containing various alluvial deposits. On the actual image you can see the near shore is actually extremely clear.

_8B03521 copy - Tree and River
Tree and River, outside Frankton, New Zealand. Nikon D810
You can order Tree and River ($330) as a 10×15″ (~25x38cm) Ultraprint here; limited edition of 20

Alpenforest in Winter
This is the first of three images that were shot in the same river delta just outside Arrowtown, New Zealand. I spent the whole afternoon here watching the light change and the various portions of the mountainside and alpine forest change as they moved in and out of the light; colors got richer as the sun went down, then ended in an interestingly muted twilight that made everything just feel…soft, for want of a better word. I believe this image, of the dozens I captured, is the most accurate representation of that.

_64Z2713 copy - Alpenforest in winter
Alpenforest in Winter, Arrowtown, New Zealand. Pentax 645Z
You can order Alpenforest in Winter ($500) as a 16×20″ (~41x51cm) Ultraprint here ; limited edition of 20

Cascade
There were some small cascades in the river – but they weren’t as interesting (personally) as the cascades formed by the winter leaves/buds/tips (I admit, I’m no botanist) of the trees. The reddish ends formed a very delicate waterfall of color, which here, leads down to a stony bank by the water. I waited some time to make this image: it would only work when the light just hit the tree and not the side of the mountain behind; for a couple of minutes I got what I needed.

_64Z2675 copy - Cascade
Cascade, Arrowtown, New Zealand. Pentax 645Z
You can order Cascade ($500) as a 16×20″ (~41x51cm) Ultraprint here; limited edition of 20

Spiral
The final image is one for the monochrome aficionados – the curve of mountain, flowing river and tree to the nexus of the dead and sun-bleached log at the centre I’m sure contains a metaphor for life somewhere – personally, I just find the tonality and structure very appealing.

_64Z2655 - Spiral
Spiral, Arrowtown, New Zealand. Pentax 645Z
You can order Spiral ($500) as a 16×20″ (~41x51cm) Ultraprint here; limited edition of 20

Testimonials from previous Ultraprint customers can be found here.

Once again, thank you for your support, and don’t forget to bookmark the new site! MT

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About the prints
Prints are made by Printmaster Wesley Wong of Giclee Art using our proprietary Ultraprint process, which delivers extremely high real resolutions – up to 720 pixels per inch, or four times that of an iPad’s Retina display, a wide gamut, and very smooth tonal transitions. We print on either Canson Infinity Platin Fiber Rag baryta or Permajet Portrait White depending on the subject matter and size using Epson Ultrachrome archival-grade inks.

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Images and content copyright Ming Thein | mingthein.gallery 2014 onwards. All rights reserved

Welcome.

_8B03521 copy - Tree and River

Welcome to mingthein.gallery. This is the art-focused offshoot of mingthein.com, where I’ll be presenting long term projects such as Verticality (on pages updated whenever there’s a new image, accessible via the menus above) and individual curated images on a weekly basis. There will be a lot less chatter and discussion than on mingthein.com, because that isn’t the purpose of this site: this site is entirely about the images and creativity.

All of the images will be available to buy as limited edition Ultraprints, printed by Wesley Wong of Giclee Art in Kuala Lumpur who has overseen all of my previous print runs, and personally QC’d and signed individually by yours truly. They will be available as single editions of 20 unless otherwise stated, until the edition is fully allocated, and will not be printed at that size or format again. Prices for existing sizes will remain the same as for previous editions, and are inclusive of DHL Express shipping anywhere in the world*, with new sizes offered (16×20″ Ultraprints, from the 645Z) where applicable. The site will launch with the five images in the next post – I suppose it’s fair enough to have a bonanza at the start – with subsequent images to follow. The images will not just be limited to one subject matter, of course. I also intend to offer a book or two in the future.

*We reserve the right to adjust pricing to reflect prevailing shipping rates

You will also be able to request a print – if there’s a particular image you like from my flickr stream or this site in a previous post, so long as the image quality meets my print standards and it isn’t subject to an existing edition or license, it’s fair game. This includes the ongoing projects, as well – you need not wait for the project to be completed if you would like a particular image. You might well land up being the owner of a unique print!

This site exists because I have chosen to go make my work as widely available as possible. Whilst there are undoubtedly advantages to gallery representation, reach is limited and the galleries set the curation – I believe that is anathema to the creative development of a photographer. Art is made when it is made solely for the creator and because the creator must make it the way he or she envisions. If done right, this necessarily provokes an emotional response in the audience – love it or loathe it – remember, hatred is also an emotion. If you feel nothing, then there’s a problem.

I appreciate that my work is not for everybody; that’s fine. Photography as art is subjective and we are all entitled to their own opinions. What some people find cold and soulless, others believe to be a beautifully balanced symphony of color and form. I’m somewhere in the middle: the soul isn’t in the subject or how close you can get before being punched, it’s in the way you see and the passion you put into the pursuit of the image and your vision as a photographer. Besides, it’s been proven many times historically that the popular gestalt of the time isn’t the one that’s recognised as being a classic in the future. If anything, change and the new makes for discomfort.

But whatever your reaction to the image content, I can assure you that the prints are absolutely the best we know how to make. I’ve been told they’re amongst the best ever seen by various experienced collectors, galleries and dilettantes alike (testimonials from previous Ultraprint buyers can be found here.) – yes, the Ultraprints at a small size are immersive, but I’m planning to go bigger. Much bigger – wait until the next post 🙂

Once again, thank you for your support, and don’t forget to bookmark the new site – there’s also widget in the right sidebar where you can subscribe to receive notifications when a new image is available. MT

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About the prints
Prints are made by Printmaster Wesley Wong of Giclee Art using our proprietary Ultraprint process, which delivers extremely high real resolutions – up to 720 pixels per inch, or four times that of an iPad’s Retina display, a wide gamut, and very smooth tonal transitions. We print on either Canson Infinity Platin Fiber Rag baryta or Permajet Portrait White depending on the subject matter and size using Epson Ultrachrome archival-grade inks.

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Images and content copyright Ming Thein | mingthein.gallery 2014 onwards. All rights reserved

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