If sometimes it seems as though every photo has been taken and every angle of every photogenic structure exploited, turn to the work of photographer and creative director Minh T for a boost of hope. Minh, who posts to more than 160,000 Instagram followers as @thismintymoment, tirelessly hunts to highlight the simplicity and strength of architecture through his images, and often reveals fresh perspectives on some of the world’s most identifiable and iconic buildings.
Minh T was born in Vietnam and grew up on the east coast, near Washington D.C. He now calls Los Angeles home and tells Adorama that he’s lived there “long enough to be called a local.” His desire to showcase underappreciated architecture is often at odds with his location, however; Minh laments that social media has already “photographed L.A. to death.” Luckily his work requires him to delve deeper into the city’s grid as well as leave it completely. He’s traveled abroad for projects with Aman Hotels and Delta Air Lines, and has a client portfolio that includes Issey Miyake Parfums, Skagen Denmark, Nespresso, Adidas, Mr. Porter, and Soho House.
Adorama caught up with Minh T to discover how he still manages to uncover unique photo locations, and what it’s like to work against some of the world’s most iconic architecture.
Adorama: First things first. What is your gear setup and your usual editing workflow?
Minh T: I don’t think it really matters what camera you shoot with, as the camera is simply a tool. I have used Lumix and Canon in the past, but my current setup is the full-frame mirrorless Sony a7R II with go-to lenses being the Sony FE 24-70mm f/2.8 GM, the Canon TS-E 24mm f/3.5L II tilt-shift, and the Canon 100mm f/2.8 Macro L IS. On occasion I will use my 35mm lens, which allows my Sony to be very small and inconspicuous. One of the benefits of shooting on Sony is that I can shoot in complete silence, which can be beneficial when I want to be a fly on the wall.
I also use my iPhone to scout locations, and to sketch frames before shooting it with the larger camera. Overall, I believe my setup is quite minimal.
When it comes to editing, I shoot in RAW and begin with Adobe Lightroom to edit for color and brightness. From there, I make additional and more extensive retouching in Adobe Photoshop. Before posting, I may add some additional adjustments using the VSCO app or Instagram’s own filters.
Adorama: What would you consider to be elements of your signature style?
Minh T: My signature style is about purity, contemplation, and timelessness. Once you distill a scene to the essential elements, you can find beauty in light, geometry, or mood. I love the idea of creating an image that could belong in the future or the past. Early on I gravitated toward a muted color palette, which lends a sense of simplicity and tranquility over the entire feed. Recently, I have introduced a bit more color while still keeping my sense of mood and composition. This small shift has garnered such positive reaction from my audience that I believe I’ll continue in this direction.
Adorama: Was there a moment you remember first falling in love with photography?
Minh T: I have been taking photos my whole life. Growing up in a suburban neighborhood, photography gave me an outlet to dream and create another world beyond the physical boundary of my town. Fast forward to my college years, when I decided to pursue a more “practical degree” and took up engineering. Photography was my only elective, and my favorite course in all four years of undergrad; I remember spending days in the darkroom developing black and white negatives and loving every minute of it. I went on to receive my master’s degree in architecture at UCLA and, from there, began a career in new media and graphic design.
Five years ago I found my passion for photography reignited, and even accelerated, by Instagram. Since then I’ve learned more by assisting other photographers, by getting out and shooting every day on my own, and by watching YouTube tutorials. Over time, distilled my vision as a photographer.
Adorama: How do you make a living right now, and how big a role does your photography play?
Minh T: For the past decade I have worked as an art director, creating branding elements and graphic designs for clients. However, in the past few years, I have been transitioning to doing photography full time. Many clients have discovered me through Instagram and it has been a great way for me to get photography commissions.
Adorama: How much preparation do you put into a creation? Can you give an example of an image which required a great amount of prep?
Minh T: The bulk of my prep work is discover new spots that have not been extensively photographed. I love to drive around the city and find locations that are neglected and seemingly forgotten. These, for me, are diamonds in the rough. From there, I usually mark the location on a map. When I return, the shooting process is usually improvisational and I let the moment dictate the imagery. If I have the luxury of time at a location, I will wait to photograph the shifting light and shadows as the day progresses.
Adorama: What do you find to be the challenges of shooting in locations that are historically significant, such as the Sheats-Goldstein Residence and the Stahl House?
Minh T: With these locations, they have already featured in so many images. It’s easy to recreate the most iconic photos that have been done over and over, but I constantly remind myself that my role is to bring my own perspective, and possibly to discover something unseen. By the same token, I also allow myself to just create without being compared to others, and just let the location inspire me in any way it wants.
Adorama: In your captions you frequently name the architects of buildings or the designers of objects in your photos. Why do you believe this is important, and how do these citations contribute to your work?
Minh T: Attributing the value of an architect’s architecture to my imagery is similar to attributing a creator of an artistic work. A large portion of my audience are not necessarily familiar with the names of architects, particularly the obscure ones. I like to think that my citations provide people with a level of information integral to shedding light on the work.
Adorama: Your photos often feature solo figures, but rarely do we glimpse faces. What does having an anonymous presence bring to your photos, and are you hinting at stories within the photos?
Minh Living in L.A. where movies are made, one notices that everyone is always creating their own movie script. Similarly, I always try to create a story in my mind when I’m shooting. I like to have a sense of escapism and fantasy with the imagery. The person in the shots is a character in my movie. Not only does the figure give a sense of scale to the scene, but it creates a story and completes the image.
Adorama: If you could visit and photograph within any structure, whether long gone or still standing, what would it be and why there?
Minh T: I think the locations that excite me the most are those that are still standing, though forgotten and ignored. I feel like a pioneer when I happen upon these. As for known locations, I have been wanting to visit the works of Oscar Niemeyer in Brazil, Álvaro Siza Vieira in Portugal, and Tadao Ando in Japan. And the salt flats in Bolivia–the Salar De Uyuni–these look like a dream and I need to visit.
Adorama: What’s your single favorite photo you’ve captured and shared, and can you tell the story behind it?
Minh T: I don’t really have one favorite photo, but I can share the most important lesson I’ve learned: “See,” instead of “look.” Seeing is looking with intention, and by doing so you can find beauty in the most mundane and unexpected places.
Check out Minh T’s full Through the Lens episode below:
