Exploring the wonders of creation through a 50mm lens...and other lenses too.

In 1998 two films came out that were remarkably similar in terms of their overall storylines. Deep Impact and Armageddon both involved humans banding together to overcome imminent worldwide catastrophe and destruction due to incoming asteroids. I saw both of them in the theater and, while distinctly different in tone and style, I’ve had a fondness for both movies ever since. What’s still, to this day, a little weird about the whole situation is how two huge entertainment properties, produced by two different studios, could share such striking resemblances to one another. In a way, this picture has some echoes of that movie phenomenon.

There is nothing, and I mean nothing, out of the ordinary or special going on in this picture: it’s a normal boxwood, the kind you see all over the place where I live in Oklahoma, on a normal morning. I didn’t set out to capture this image when I brought my Nikon D750 and 105mm macro lens to work, nor did I intend to compose the shot with a subject in the center and big blurry bright spots on either side. And yet, that’s exactly what happened–just like many other photos I have taken recently. One could view these in succession and assume I planned it all, or intended for each one to build on the previous one in some way or another, or infer some kind of through-line from one image to the next, but it’s not like that at all. It’s just a photo that, by sheer coincidence, happens to look a lot like a few others that have come before it.

And, I suppose, why not? This isn’t a complicated composition, and I find the general idea here pleasing to the eye and fun to photograph. I saw a sprig of green sticking up from the bush as I walked past, and also noticed some lights in the distance, so I figured…why not? Why shouldn’t I photograph it? I set my aperture to f/13, Auto-ISO to 1/180 minimum shutter (which then gave me a value of ISO 3600), and moved around until the green spire was neatly flanked by the lights behind it. I only spent a minute or two composing this, but am really happy with the result. It’s the kind of photo that doesn’t break any new ground, doesn’t make a grand artistic statement, and doesn’t really have much to say. But it makes me happy, and that’s reason enough :)

This is one of a pair of early morning tulip photographs that I took on my way to work one morning recently. I like both of them and wasn’t sure which one to feature here on Weekly Fifty, but eventually went with this one because it had a bit more…personality, I suppose you might say. (The other is right here, in case you’re curious.) It looks like the tulip just woke up from a long night’s rest, and is stretching its little green arms as high as can be as it readies itself for a big day ahead. It’s kind of whimsical, and presents a familiar subject in a fun new way that I don’t normally capture in my photography. Even though that wasn’t my goal when I shot this, it was a pleasant byproduct and something that I find myself enjoying more and more the longer I look at the picture.

I took this just outside my building at work on a mild morning just a few minutes after sunrise. I got to campus a few minutes early and had my camera with me, as I often do, and was looking for some photo opportunities as I waited for the facilities management team to unlock the doors. As I was walking westward around the south side of the Library, I saw this tulip in a gigantic planter along with some other plants including some flowers, grasses, and maybe some kind of ground cover? I’m not really sure, since I don’t know anything about horticulture. Whatever was in there, it looked kind of cool to have the tulip poking up amidst everything else and with the walkway lights in the distance still glowing before their scheduled switch-off time, I thought I would take a moment and see if I could capture an interesting photo.

I set the aperture on my 105mm f/2.8 macro lens to f/4.8, which gave me an exposure of 1/180 second at ISO 2200. (thanks Auto-ISO!) I focused on the flower, of course, and moved myself around just a bit until I got the composition just right. I really wanted the white petals in the center of the frame with glowing lights on either side, and the final result–without any cropping in Lightroom, I might add–is what you see here. One thing I found a little difficult, or perhaps just curious, about this photo is that the subject is essentially devoid of color. The only, or perhaps merely the easiest, way to get a plain white subject to stand out is to surround it with darker colors to create a sense of contrast, and as my dad might say, by golly it worked. The white flower draws the viewers’ attention immediately due to its placement within the frame, but also because it stands out against all the rest of the color. I like how it’s flanked on either side by lights far behind it, and the vertical blades of grass add a sense of texture and dimensionality to the image as well.

This was a fun photo to take, not just because of how it turned out but also because I pass by this flower pot almost every day but don’t really think about using it for a picture. The only thing I did differently was walk past in the early morning instead of mid-afternoon like normal, and that, as they say, made all the difference.

One of the most incredible times of the day to take photos is early in the morning, just as the sun is coming up. Some of my favorite images I have ever taken were shot within mere minutes of the sun raising its deep red disk over the inky black edge of the horizon, bathing everything around in deep hues of amber, orange, and yellow that just don’t show up at any other time of day. Until recently, though, I had not thought much about taking photos before the sunrise. It made no sense to me: you can’t take a picture without light, so why take pictures when there is no light? Turns out that, like many times in my photography journey over the years, I had a lot to learn.

The thing is, you can take outdoor photos without sunlight as long as you have another source of light to compensate. Not exactly an earth-shattering revelation, but one of those connections that never quite got made in my mind. And so when I came across a magnolia tree near my building while walking to work before sunrise, I thought about how I could take a photo with a light source that was…well…not the sun. The result is the image you see here, which I am really happy to have been able to capture. The purple magnolia flower was bathed in a light glow not from a celestial body, but rather a few artificial lamps on the side of the brick wall off to the left of the image. I set my exposure to f/4.8, with an Auto-ISO minimum shutter of 1/160 second, which was lowered to 1/125 after hitting the ceiling of ISO 6400, and took about a dozen photos hoping that one would turn out. (Big shout-out to Adobe’s AI Denoise feature once again. It’s amazing.) I knew that f/4.8 was pushing it a little, since depth of field would be pretty shallow and the chance of ending up with a mostly-blurry flower was quite high, but much smaller than f/4.8 would have resulted in an even slower shutter speed which, when shooting handheld at 105mm, was not a risk I was willing to take.

I really tried to pay attention to the lights in the background as I subtly shifted my point of view when taking this picture. Some of the shots had the lights higher, and others off to one side, but this one just hit everything right: depth of field, lights in the background, bits of brown and green from the tree branches winding their way through the composition, and the purple flower like the flame of a candle right in the middle. Even the sky in the background shifting from black to blue worked out, as they say, just right. There were some elements of this image that I planned, but many that I certainly did not and happened to be fortunate enough to catch almost by accident, and the end result is a singular spot in time that I am still kind of amazed I was able to capture.

Every now and then I take a photo, edit it, upload it to Flickr, look at for a while…and then decide to not use it here on Weekly Fifty. I’m not sure exactly why, but some photos just don’t hit the same when I look at them later as they did in the moment when I took them, and other times it just feels like the image rings kind of hollow for some reason. Maybe I was attempting to get some kind of cool, neat, or interesting photo but it didn’t work out or didn’t quite meet my expectations, and while it might not be a bad photo it just doesn’t really merit 500 words of analysis along with audio commentary.

This was almost one of those images. I shot it while walking to my office on a rainy morning as the sun was coming up, and unlike some other times I really did have something specific that I was going for: I wanted to highlight the line of three drops of water on the left side of the purple petals, or at least make sure they were in focus so they would hopefully catch the eye of a casual viewer. And so I set about making that happen: Got out my Nikon D750 and 105mm macro lens, dialed in an F/13 aperture, positioned myself so that the flower was in the middle of the frame, focused on the drops, fired off a couple clicks of the shutter, checked focus by peeking at the image on my camera, and went away pleased at the image I was able to capture.

When I loaded the RAW file in Lightroom though, something didn’t quite hit me in the same way. Yes the drops were in focus, as was my goal, and I liked the bright yellow spots of light in the background, and the purple magnolia flower itself turned out pretty good…but something wasn’t quite right. The more I looked at the shot, the more I realized it was just too busy in the background. It’s full of crisscrossing lines, other flowers vying for viewers’ attention, flower buds that intrude on the image…it’s all just too much. At least for my taste, anyway. And because of that it almost went into the pile of “decent but not quite good enough for the blog.” I eventually decided to include it, of course, otherwise you would not see it here, because I’m genuinely curious what you think. Especially when you compare it to another similar shot I shared two weeks ago. Which one do you like, and why? I would love to have your thoughts in the comments, and maybe even mention what you would have done differently if you were in these situations.

I normally get to work at 7:30am, which means that I get some interesting photo opportunities as the sun is coming up especially on warm days in the spring and summer when signs of life are just starting to be visible as the sky turns from black to blue. However, one morning recently I had to take my son to school to load the bus for an out-of-town track meet, which meant I would then get to work about 6:45am. My building doesn’t open until 7, so I knew I would have a bit of time to just kind of…chill, I guess. I really didn’t think much of it or what I would do, but as my son and I were pulling out of the driveway I came to a sudden realization about how I would use that time. I parked the Subaru, ran inside, grabbed my Nikon D750 and 105mm macro lens, and hightailed it back to the car to get him to the loading location on time. A few minutes later as I was walking between some buildings on campus after parking my car, I decided to take a slight detour to see if I could get any photos with what limited light there was.

And my goodness, what opportunities were before me.

I came across a row of whatever plants these are (perhaps coleus?), which were illuminated by the soft bulbs on the side of a building, and in the distance was the parking lot of the football stadium. I thought that if I could only take a picture of one of the leaf clusters with the sea of lights in the background, it just might be a fun and creative new way of seeing a familiar plant in a well-known location.

And oh my, did it ever work out.

I shot this at f/5.6, with Auto-ISO giving me a shutter of 1/125 which it lowered from my pre-set minimum of 1/160 after hitting the ISO ceiling of 6400. Basically…it was really dark and my camera had to compensate in a big way. I fired off at least a dozen shots here, hoping, just hoping, that one of them would be in focus with my mid-sized aperture of f/5.6. I also shot some others at smaller apertures but I really wanted those lights in the background to be as big and blurry as possible, and it really did work out quite well. And thanks to Lightroom’s AI Denoise, the final shot is about as clean as if it were shot at ISO 100.

I moved around a lot to get shots of different leaves as well, but this one was my favorite. (You can see two more if you click through to the original on Flickr, and look through my photostream.) I think the one thing that made this image just hit different is the second branch at the bottom. It added an interesting new dimension that was missing in my other photos, and then the lights coming up in the background, as if the coleus were literally poking up through them as it might emerge from the ground, added a whole other element of dynamic energy to what otherwise felt like a rather still, static, serene shot.

I’m going to try to remember this technique a bit more–that is, shooting photos early before the sun is up. It’s a bit counterintuitive, since you can’t take a photo without light, but this experience made me think about ways to get creative with the former when there isn’t much of the latter. Photography, as Dr. Ian Malcolm might say, finds a way.