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

The more I use my macro lens, the more I learn about what to do as well as what not to do in order to get a good close-up shot. I also seem to gain a greater respect for true macro shooters with almost every picture I take, as is the case in point here. For a while now I have thought about trying to get a picture of a single key on my keyboard, kind of like what you might see on a stock photo site. How hard could it be, I thought to myself every time I came across a PowerPoint presentation with some kind of call to action enhanced with a keyboard closeup.

Turns out that, while not extremely difficult, it does involve a bit more challenge than I was prepared for.

First of all, I wanted to use (what else?) my Nanlite Pavotubes to light the keyboard in a way that was a bit more interesting than just plain white-and-gray. I also didn’t really want to get this shot in the laundry room since I was kind of tired of moving things around and attempting to set up my tripod and lights in a way that would work without stepping on plastic baskets or an errant dish rag. That meant I had to create this image at night after my kids were in bed so I could turn out most of the lights in the house and just get the glow from my Pavotubes. I waited until an evening when my wife was out with a friend so I could create the setup I needed for this photo without causing her to wander the house with a flashlight, busted out my Nikon D750 and 105mm macro lens, opened up my bag-o-lights, and got to work.

The actual setup here was pretty simple: one light on the right set to a blue-ish color, and another one on the left set to orange. (I don’t remember the exact HSL values, but blue and orange are close enough.) I put my camera on a tripod, angled it down, adjusted the aperture to get the word “home” in focus but not much else, and fired off a couple shots. I also did the same with the “return” key just for fun but ended up liking this series better.

What I realized when I imported these into Lightroom was something I had never considered while setting up the shot: my keyboard is filthy! I even brushed it off a bit before taking this picture but oh my goodness, when viewed up close I could see dirt, dust, hair, and other nastiness all over the place. I had no idea. I immediately set about removing some bits with the heal tool in Lightroom but soon realized it was a fool’s errand. I would need to spend an hour cleaning and tweaking and refining, or I could just use the image as-is and treat it as a learning experience.

You can probably guess which option I went with :)

I do like the overall idea here, and it would be a fun shot to re-create someday, but for now I think I’m just going to chalk this up as one of those images that teaches me a lot more than I thought it would. And maybe also try to clean my keyboard a bit more often too…

This is one of those shots that I had in mind, or at least had a clear vision in my mind of what I wanted to do, and while the end result is pretty good I’m not entirely certain I accomplished what I was going for. It’s not bad, not by a long shot, but I can’t shake the feeling that there’s more I could have done here. No worries though! It just means I get to experiment more and continue to learn about photography and lighting :)

So the idea for this shot came to me when I saw the little yellow Shy Guy that my son brought home from school a while ago. The expression on his face, and the position of his arms (the figuring, that is. Not my son) made me think that he was about to embark on some grand adventure, or perhaps more like Bilbo Baggins beholding Smaug atop the pile of treasure beneath Erebor. I knew I wanted to have more in the shot than just this little yellow dude…but what? What could I add that would create the mood I was going for? The answer, once again, came from my kids.

Even though our two boys have long since stopped playing with the large blocks you see in the behind-the-scenes picture above, we still have hundreds of them stashed away for when their younger relatives come to visit. I thought they could be used to create an interesting context for this little yellow dude’s journey, and I also wanted to make specific use of the colors you see here as well. Since the subject was entirely white and yellow, I eliminated all similar colors from the blocks I used to create the composition. The result was a palette of red and blue, with a few green accents, which served to showcase the Shy Guy and draw your attention straight to his face and eyes.

The final piece of this photographic puzzle was the light: where to put it? What color to use? How bright should it be? How many lights to use? The list went on. In the end I opted for a super simple solution: one single light, placed vertically on the dresser just like you can see above. I tried using two lights with one in my left hand held above, but ended up preferring the single-light pics because of the sheer sense of mystery and foreboding it lent to the entire scene. Something imposing is just off to the right but, much like Marcellus Wallace’s briefcase, we don’t actually know what it is. The little yellow dude sure does though, and is choosing to face it with a mix of fear and courage.

It’s all just a couple pieces of plastic and one light, but the result is pretty cool. And a concept I’d like to revisit as well, to see if I can get a final result that’s even closer to what I’m imagining in my mind.

This was an interesting experiment in trying to make what I saw in my mind match what my camera was able to capture. I don’t think I quite pulled it off, but it was a fun exercise in light, color, and crystals :) What you see here is a selenite crystal, one of many hundreds that my family and I dug out of the ground at Oklahoma’s Salt Plains State Park one warm May afternoon. My wife and I had been talking about visiting this natural landmark for years but it was always one of those items sitting near the top of our to-do list, never quite reaching high enough to actually make happen. That all changed when some friends of ours asked if we would want to join them on a trip out there, which was all the motivation we needed. We soon packed up two vehicles with shovels, buckets, water, and lots of clothes that could get muddy without worrying, and made the two-hour trek for a day of digging in the sand.

If that doesn’t sound quite like your particular cup of tea, I’m not sure it was ours either—until we arrived, and quickly found the ground practically teeming with crystals just like what you see here. What made the experience even more interesting was that this is the only location in the world where these particular selenite formations, complete with rust-colored hourglass shapes, are located. They aren’t worth anything (and you’re not supposed to even sell them) but that’s not really the point. It’s quite something to dig into the ground with a shovel or, in our case after some heavy rains, just your bare hands and pull out anywhere from one to a dozen crystals just like this one.

But how to photograph it? That’s a good question. As has been my custom lately, I fired up my Nanlite Pavotubes to see what I could come up with. I used a piece of white foam board, then set two lights on it just out of frame. On top of the lights I placed a piece of clear glass from a picture frame, and then the crystal as the final piece of this photographic sandwich, so to speak. I aimed my Nikon D750 and 105mm f/2.8 Macro lens straight down, and started shooting.

The hardest part was getting the depth of field right, and in the end I still don’t think I quite achieved what I was going for. Even at f/45 (1/8 second, ISO 100) too much of the crystal is blurry but I think that might be natural diffraction from the shape of the object rather than shallow depth of field. Even so, the orange oxidation is much less sharp than I would prefer and I wish I could have gotten a shot where everything was clear and in focus. Maybe I’ll try again, or try something different with another crystal, but as it stands this was a fun experiment and gave me some practice shooting a super unique subject.

This is one of my favorite kinds of pictures, partly because of the basics like composition, subject, lighting, and depth of field but also because it’s a single shot that tells a much larger story. And while I certainly enjoy the creativity afforded by the off-camera colored lights with which I have been experimenting lately, at the end of the day images that tell a narrative are a lot more meaningful to me. When I look at this image I don’t see a dog running with a frisbee in his mouth. I see Dashwood, my cousin’s Fox Red Labarador who spent Easter weekend with us (along with my cousins, of course) in an Airbnb in central Iowa. I see my kids throwing the frisbee for Dash in the early morning while the grownups chat after a warm breakfast including bacon made on a barely-working electric griddle. I see two days of board games, hikes by the lake, visiting a diner and coffee shop in the nearby town, and the single greatest Easter egg hunt my kids have ever experienced–courtesy of my cousin’s husband Steve whose boundless creativity provided not just candy but a cast of imaginary characters with an entire backstory.

But enough about the story; let’s talk about the picture itself. To get it, I used the only camera I brought with me for the weekend: my trusty little Fuji X100F, the photographic powerhouse that has been at my side on every trip and vacation for the past five years. Even though that camera is, shall we say, not exactly ideal for capturing fast action you can work wonders if you know how to play to that camera’s strengths. The first thing I did was look at the light, and think about where I would need to be in order to compose the kind of shot I had in mind. I knew that I wanted to get a shot of Dash running past the camera but I didn’t want him shrouded in shadow, so I made sure to position myself such that when he returned a tossed frisbee he would be running just to my right and into the early morning sunlight.

The more I experiment with colored off-camera lighting, the more I find myself learning about light, shadows, and contrast in ways that I didn’t expect until now. This picture is similar in some ways to others I have been sharing recently, but also a radical departure into entirely new territory and one that gives me some interesting things to think about. Until now the overall theme for lots of my pictures has been light, light, and more light. Light from the front, light from the back, light on the sides…light everywhere, and in all sorts of colors. But when is it too much, and what happens when you go in the opposite direction?

That’s what I explored here, with my trusty Fuji X100F and a couple of pavotubes. As I try to apply the lessons I learned from my picture of an old cell phone, I wanted to see if I could create a shot that was more about showcasing an object rather than the lights and I think this worked out fairly well in that regard. Instead of looking at the entire camera, all you can see is the lens and a lever on the side which is used to switch between viewfinder modes. You don’t see any of the controls and dials on top, and much of the camera is also obscured due to the shallow depth of field. However, I think (and correct me if I’m wrong) you still do get a pretty good sense of what this is from a couple important clues including the circle shape, the reflective glass, the words “Fujinon Aspherical,” and even the number 2 at top which, if you are into photography, you probably recognize as an f/stop indicator. All of these were intentional choices on my part, and I think it worked out fairly well. Or, at least, much better than that picture of the cell phone :)

The one thing that really took a while here was the lights: where to put them, what colors to use, and how bright they should be. I ended up using two lights (one orange, the other purple) and holding them in my hands while moving them around slowly into different positions. I tried putting more light on various portions of the camera: top, left side, right side, and front, but ended up preferring what you see here with the far side of the camera showing a soft orange glow and the top of the adjustment ring with a bit of a purple sheen. It was much more subdued and contrast-ey than any of my earlier shots but also feels more intimate and even delicate at the same time.

Clearly I still have a lot to learn, but it sure is a fun journey :)