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

This one was really fun to shoot. What you’re looking at is a very small snow globe, about 2.5 inches tall, sitting on a clear surface in front of a crumpled sheet of aluminum foil. The setup is really simple, but the result is a photo I am quite proud to have taken. This isn’t the first photo I have posted here on Weekly Fifty that follows a similar format (one single subject shot against blurry aluminum foil background) and it likely won’t be the last, mostly because these images are just so much fun to create. I learned how to take these kinds of photos years ago with my 50mm f/1.8 lens, and it’s even more fun to revisit this concept with my 105mm f/2.8 macro lens.

There were a few tricky aspects of getting this picture to look just right, but maybe not in the way you would think. The first problem was getting the aperture just right in order to make sure enough of the tree was in focus, but I also had to rotate the snow globe to be in just the right position so the tree was facing the proper direction. You might think that’s a pretty simple issue but it got to be rather complicated because I couldn’t get the entire tree in focus without using a small aperture, which I didn’t want to do. I eventually found a few branches that I wanted crystal clear, but then I also had to deal with the lighting issue.

See that giant window being reflected on the surface of the globe? Yeah, that’s our dining room window right behind my camera and it presented an interesting challenge. I needed a big light source to get this photo to look right, but I couldn’t exactly move the light source to keep its reflection from obscuring the tree. I didn’t even notice this at first, and it took a while to get everything to line up just right: the aperture (and thus, the depth of field), the focusing, and the window behind me. My wife offered a few helpful suggestions as well, and I was glad to have her input because it’s her snow globe in the photo, and in the end I’m super happy with how this turned out. And now I want to make more shots like this :)

One thing I am really enjoying about my new Macro lens is its power as a storytelling vehicle. I’m finding that some of my favorite close-up photos aren’t just everyday objects, but things in my life that are part of a larger story or narrative. Of course it’s fun to take pictures of ordinary everyday objects like leaves, flowers, bugs, and the like, but I’m finding that I get greater satisfaction out of shots like this one that carry some degree of meaning or tell a particular story.

My dad was a railroader for his entire adult life, starting at the age of 18 and working until he retired over 40 years later. He wore a lot of (hard)hats during those decades, worked first-, second-, and third-shift, and drove his bike instead of his car almost every single day. (When I was a kid we were a one-car family so his practice was partly out of necessity, but I think he just rode his bicycle because he enjoyed it more than driving a car.) When he finally punched the clock one last time, BNSF presented him with this watch as a way of commemorating his years of service–a watch that he wears to this day, and as you can tell by the nicks and scratches on its face, has seen more than its fair share of use. That’s something my dad taught me that has stuck with me over the years: if you really value something, you shouldn’t keep it in on a shelf or hidden in a box. You should use it, and in so doing, show your appreciation for the value it brings to your life.

When my parents were visiting for Thanksgiving I asked my dad if I could take a picture of his watch with my macro lens, and he gladly acquiesced. The setup for this photo was pretty simple: the watch and my camera were just sitting on my living room floor, and there was a big light source off to the left thanks to the door to our porch. I played around with the exact position of the watch, how I wanted the light to be reflected around the bezel, and what exactly I wanted to focus on which was particularly crucial given the extremely shallow depth of field. I decided the most important element was the “Railroad Approved” moniker, especially since the BNSF logo would still be discernible even though it was slightly blurry as a result. I intentionally set the hands to the classic ten-and-two position common for timepiece photography, but didn’t stop the second hand in order to capture just the smallest bit of movement and dynamic energy in the frame. This meant that I had to wait until it came around to roughly the 20-second mark to take a few shots, because it just looked strange in most other positions. (Try it for yourself–there’s a reason most watches are shot with the hour and minute hand at ten-and-two, and the second hand pointing downward.)

I quite like how this turned out, though it’s a far cry from actual timepiece photography with good lighting and a photographer who knows what he or she is doing. Still, I had fun taking it and I’m glad I could capture this bit of my dad’s history at the railroad with one simple photograph.

As I learn to use my Macro lens, one of the things find most enjoyable is its ability to transform everyday objects into something unique and special, and at times, almost otherworldly. That’s my impression here, anyway, though I’m curious to know what you think. This is one of the tuning pegs of the electric guitar I bought when I was in high school (or was it college? I forget, honestly) and still play to this day. It’s a pretty basic Epiphone Les Paul with one or two modifications I made long ago, including a Seymour-Duncan humbucker that I put in backwards for some reason. It was intentional, but I honestly don’t think I could tell you if it affected the sound at all. Maybe I just did it to look cool? In any case, while the guitar itself isn’t going to show up in a museum anytime soon, it means a lot to me and still brings me a lot of enjoyment–especially since my wife took it in to the local music store for a bit of an overhaul two years ago. It hasn’t looked, felt, or sounded that good since I bought it :)

All that is perhaps beside the point, but it’s related to another aspect of my Macro lens that I have found I quite enjoy. Rather than taking pictures of just random objects up close, I like shooting subjects that have a sense of meaning and purpose. This isn’t just any guitar tuning peg…it’s the one on my guitar, the one with a rich sense of personal history to it, and the one I am using to teach my kids now that they are old enough to learn. It’s things like this that make close-up photography super cool :)

As for the nitty-gritty details, oh my. There was so much to consider when I shot this picture: lighting, angle, subject, background, distance to subject, and of course aperture. This was taken at f/54 using a ten-second exposure, and even then the depth of field was almost too small. One of the side effects of such a small aperture is that every tiny speck of dust on the lens (not to mention the surface of the guitar) was visible on the final image, and required a lot of clean-up work in Lightroom. I am quite fond of the final image and I like that it has a story to tell, if not on its own then at least from the one who took it. And maybe it will even make you think about something similar in your life 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!

If you have been following Weekly Fifty for a while, you know how much I enjoy doing close-up shots of…well, pretty much anything. I got a set of close-up filters way back in…2015? 2016? I can’t remember anymore but my goodness I have used those things a lot over the years. It’s so fun to discover the beauty in everything around us that is often overlooked simply because aren’t looking close enough. Ordinary objects like pencils and toys and flowers become works of art when viewed up close, and a cheapo set of screw-on filters can help you unlock this magical world just waiting to be discovered.

But you know what’s even better? An actual macro lens :)

In October I finally got a lens I have been looking at for a long, long time: The Nikon 105mm f/2.8G IF-ED. I know there are newer F-mount macro lenses with similar focal lengths from third parties like Sigma and Tamron, but I have had my heart set on this particular lens and was glad to finally pick it up when Nikon had a sale recently. And my goodness, this thing is incredible. What you’re seeing here is the first of many close-up shots you are likely to see over the coming weeks and months, all thanks to this lens. This was actually one of the first pictures I took with it, and it showed me how incredible this lens is but also how much I have to learn. And when it comes to photography, I sure do enjoy learning.

A couple of things to note here: First, this was shot at f/19. Seriously. That just goes to show just how insane things like depth of field are when working at close distances. This piece of candy is less than an inch from front to back and yet, only about half of it is in focus. Maybe a third. And that’s at f/19! I used a tripod, ISO 100, and a 3-second exposure to get this shot and it hopefully gives you an idea of how little the margin of error is when working at such close distances. This is just an ordinary piece of candy, but it could almost be a work of art just because we are seeing it so close.

Yeah…I’m looking forward to learning more about this lens :)

I just love shooting pictures in the fog. It’s one of the most challenging conditions in which to take photos, but the results are singular. There’s just no other way to get shots like this unless conditions are just right. You can’t fake this, and most of the time you can’t even plan for it. You just have to keep your eyes open, recognize these opportunities when you see them, and have your gear ready (along with a knowledge of how to use it) to get a shot. When my kids and I went outside on this particular morning in mid-October during the fall of 2021 I didn’t even have any specific intention to take this picture, but as soon as we left the house and started playing in the street we all realized just how incredibly thick the fog was. We could barely see across the street, much less down the street to our neighbor’s house. Right away I knew I could get an interesting photo but it would require some quick thinking before the fog evaporated.

I told my oldest son to get my bike, ride to the corner, and then cycle back slowly so I could take a few pictures. While he was on the way down I grabbed my d500 and 70-200 f/2.8 lens, and after a little while I honestly couldn’t even see him through the thick cloud that had descended on our neighborhood. He soon turned around and started the return trip, and I basically just fired off dozens of shots at f/2.8 hoping I would get one where he was right in the middle of the street like you see here. I didn’t want to bark orders to him about where to go and how to look, since the entire scene had a strange, calm stillness to it that was almost palpable. The result is something that looks like a shot out of a scary movie, and one that I don’t think I’ll be able to repeat any time soon…if ever.

Three notes about the image: Yes it has been edited to remove my son’s face. I don’t post pictures of my kids online publicly, but I really wanted to share this particular image, so the result is the compromise you see here. I used Photoshop to essentially copy/paste some fog over his head so you can’t see his face, and if that’s too much editing…well, it’s a creative choice I can easily live with. The other note concerns the car in the background, which you might not even notice at first. It’s actually much farther away than it might seem, and I can assure you my son was not in danger at all. A few seconds after this I did let him know that a car was coming up the street, and he had plenty of time to pull over and let it pass. I think it adds kind of an interesting layer to the image though, almost like he is being stalked by a nameless monster–one that you might not even see at first but is definitely there once you look a bit closer. Finally, even though this looks like it was edited to be black-and-white, I can promise you that what you see here is what we saw on this morning: a world shrouded in fog, devoid of color. It was really cool.