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

I don’t often do topical posts here on Weekly Fifty, mostly because I would rather just take photos and not worry about pairing them to specific times of the year but also because sometimes I just can’t think of any good pictures that go with certain occasions. Or if I do, I just don’t feel like forcing my photography to bend to temporal constraints. However, this year I wanted to do just that and I had a specific idea in mind, if not a specific image. And it’s all thanks to (what else?) my Macro lens. My goodness I sure am having fun with this :)

Before we put up our Christmas tree I had a picture like this in mind–that of an ornament hanging from a branch with some lights in the background–and while I can’t say I had this exact image in my head as my wife and I were stringing lights and hanging ornaments with my kids and my parents (who had the good fortune of being able to visit us over Thanksgiving this year) I certainly did have photography on my mind. Of course my dad and I shot dozens (hundreds?) of images of all of us doing the decorating, but the whole time I just kept on thinking about getting up close with my macro lens and composing a shot like this. A few days later after my parents had gone and the dust had settled, I set out to get the photo you see here.

I didn’t want this to be just any ornament. I wanted a picture with a bit of history, meaning, and significance behind it, which is something I am learning at which this Macro lens excels. I still have a box of Christmas ornaments from when I was a kid, so my wife and I looked around a bit until we found this one that would work well as a close-up picture but also had a name and date attached to it. The underside of this little scene has “Simon 1988” written on it, and while I don’t recall the exact circumstances under which I came into possession of this plastic bear, tree, and unicorn atop a small drum, I’m guessing it was from my grandparents who were fond of giving us grandkids an ornament each year. (Mom, if you’re reading this…do you remember the story behind the ornament?) I like how the scene shows signs of wear: scratches and marks on the bear’s face, yellowed glue around where the figures are attached to the drum, and some discoloring on the horse as well. I suppose that’s what happens when you keep around a Christmas ornament for over 30 years :)

A bit about the image itself: My initial instinct was to shoot wide open because more bokeh = better photo, right? Well, not exactly. Wide open at f/3.5 resulted in the blurry mess you can see below.

While the bear looks kind of interesting, the composition as a whole is far less compelling than the one at the top of this post. I realized that by stopping down to f/13 I could get a much more interesting image: red highlights on the tree behind the rocking horse, better definition on the bear, a more interesting background, and my favorite, starburst lines coming out of the red light.

And with that, I’m closing out 2021 with a wish and a prayer for health, happiness, and blessings for all of you. What a year it has been, and I hope 2022 brings much-needed long-term respite from the pandemic. I hope you all, dear readers, got your COVID vaccine and your loved ones are safe and healthy, and may God pour out His blessings on you now and throughout the new year. Thanks for being part of Weekly Fifty and here’s to a bright and beautiful 2022 just around the corner.

As far back as I can remember, I have enjoyed shooting photos on rainy days. Something about the overcast lighting, the rain falling, and the subdued feeling of just being outside in those conditions elevates the art of photography for me, and I find that I enjoy the act of taking photos in the rain even if the end result doesn’t even work out. But when I do come back from taking photos on a dreary day with something that looks good enough to put up on Weekly Fifty…well, that’s a good day in my book.

This picture kind of reminds me of one that I took years ago with my 50mm lens and close-up filters, and it was these early shots that taught me so much about doing close-up photography–enough that I feel like I’m not entirely starting from scratch with my new 105mm macro lens. It’s not just about finding an interesting subject (in this case, a drop of water on a leaf) but looking at the light, the foreground, the background, the colors, the depth of field, and everything else that goes into making an interesting photograph. On this picture I intentionally composed things so that the droplet would be somewhat backlit, as I wanted to get a glistening shine on the top edge. I also wanted a bit of foreground blur and tried to get the subject as sharp as possible, though that is almost always more difficult than it seems since water droplets don’t play nicely with a camera’s autofocus system.

To get this image I knelt low to the ground, got close to the leaf, adjusted the aperture, and fired off a few shots. I wasn’t happy with the results, so I adjusted the aperture some more, repeated the process…and nothing. The pictures just weren’t that great, and I couldn’t figure out why. Turns out that what I thought was a small aperture (f/8, f/13) was way too large when photographing tiny water droplets up close. I ended up shooting this at f/19, 1/90 second (thanks to the Vibration Reduction on this lens), ISO 100, and even at f/19 the depth of field is still razor thin. It’s like I’m having to re-learn everything I know about taking pictures as I use this Macro lens, and it’s awesome. I’m super happy with how this shot turned out and can’t wait to keep shooting it to find out what else it can do.

One thing I have found myself doing with my new Macro lens is returning to shots I took years ago, and reimagining them now that I have better gear for the job. Or, in this case, maybe just copying and pasting :) Way back in August of 2013 I posted this shot of a moth sitting on a flower that I took in the OSU Formal Gardens with my 50mm lens. It was, and still is, a good picture (IMHO) and I am pleased with the colors, the light, and the clarity with which my humble little Nikon D200 was able to capture the subject. It was also a good learning experience for me, and that one image taught me a lot about capturing insects in the form of digital images. So when I got this 105mm Macro lens I wanted to take it out for a spin, photographically speaking, and see if how it would handle that same type of composition.

Spoiler alert: It was amazing.

One of my favorite things about this lens is how there’s no limit to what you can focus on–at least not in a practical sense. It works on things that are super close, super far, and everything in between. When using close-up filters you are generally limited only to subjects that are…well, close-up. You can’t screw on a +4 filter and shoot a picture of something that’s far away. But with a macro lens, you have all the focusing freedom you need. The 105mm focal length lets me get close to insects like this one while remaining a little farther away so as not to scare them. So when I saw this moth drinking nectar from the same patch of flowers as the original image way back in 2013, I was eager to see what kind of a picture I could get.

I followed this moth for a minute or two, adjusting my vantage point and snapping photos as it went from flower to flower while holding my finger down on the back button AE-L/AF-L button and adjusting the aperture from f/8 to f/13 and back just to see how it would work. This picture was my favorite of the bunch and required very little editing, and even at f/8 you can see how incredibly shallow the depth of field is. I like the bit of flower on the left which is obscuring the wings, as it adds a bit of three-dimensionality to the image and makes it seem like I am peeking in on a hidden world.

Anyone who has spent time up north is surely familiar with the call of the loon: the sound that signifies summer sunsets, evening campfires, and time spent with friends and family by the lake. I grew up in Minnesota and also lived there for five years as an adult, and all it takes is one high-pitched warble to immediately transport me a thousand miles to the north woods at dusk. I took this sound for granted most of the time I lived up in that part of the country but now, having spent more than a decade living in the sweeping prairie of Oklahoma, I miss it a great deal. And that’s why pictures like the one you see here are so special to me :)

While this might appear to be a loon swimming on a lake, that’s not actually the case at all. This is a small painted-wood replica of a loon, about 1.5 inches from beak to tail, sitting on top of an overturned glass bowl in front of a crumpled piece of aluminum foil.

This is a technique I have used before but never with an actual macro lens, and the results are kind of stunning. At least to me, anyway. I shot this at f/11 but it looks more like f/2.8 because the background is so blurry and the depth of field is razor-thin. That’s the benefit of using a macro lens though, especially a telephone one like the Nikon 105 f/2.8 FL-ED. It lets you get super close to subjects, even tiny things like this little loon, and get amazing photos without the need to zoom in or crop in post. Originally I had not planned on using an overturned bowl but I kind of like the effect, almost like this is a real loon making ripples on the surface of a calm lake.

Incidentally, I got this loon from my mom years ago and I love having it sit on our shelf in the living room–If you’re reading this entry, thank you Mom!