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

Every year my family goes to Milford Lake, Kansas, to spend a few days catching up on things, fishing, swimming, boating, tubing…all the normal kinds of things you might do while vacationing at the lake with siblings, nieces, nephews, and parents. And the occasional four-legged family member too :) Normally I return from those trips with a handful of shots to put up here on Weekly Fifty, but this one was a little different. I found that, contrary to most of our trips over the years, I did not take as many shots of the world around me and instead most of my pictures were the people around me. Not that vacation-based photography has to be one or the other, but I didn’t find that I had my usual inspiration or creative spark for taking photos of nature, even with my macro lens that I specifically brought with on the trip for that exact purpose.

The exception to all of this is the shot that you see here, which is one of the last pictures I took during the entire trip. It was a warm Monday evening in late July and those of us who were left at the cabin, after some others had gone home due to work and other obligations, were sitting by the campfire watching the light fall and the fireflies begin their daily dance while we roasted marshmallows and chatted about life. As the sun settled behind the horizon I saw a great opportunity to take a picture before the last bits of daylight faded away, so I ran to the cabin, grabbed my tripod and Fuji X100F, and hightailed it to the beach to take a few pictures.

The key to shots like this is a long shutter, which smooths out any ripples or imperfections in the surface of the water, and it’s the kind of scenario that the X100F is practically made for. It’s built-in 3-stop ND filter means you can leave the shutter open for much longer than normal, and get some great results that are basically impossible with a smartphone. I ended up shooting this at f/16, ISO 200, with a 13-second shutter and I’m super pleased with how things turned out. (After a bit of tweaking the RAW file in Lightroom, of course.) You know what I really like about this though? The reflections of the grass, or whatever those things are, in the water. The stalks are still but the reflections are blurry, because there actually were some subtle movements on the surface of the water. It lends an almost dreamlike quality to the image that isn’t present in a lot of my other sunset pictures I’ve taken over the years, and while I didn’t expect it I do quite like it.

I was looking through my gallery of macro shots recently and discovered something a little surprising: I had no close-ups of mushrooms! The last time I got low on the ground to take a macro picture of fungi it was this shot from May 2021, and that was with my 50mm lens and close-up filters. (And also my first real experimentation with focus stacking, something I have not done since. Mostly because it’s more work than I’m used to doing, not because it’s particularly difficult to get the hang of the basics.) So when the sun was rising on a warm June morning, after a couple of rainy days to really get the ground nice and soaked, I ran outside and took this photo of a mushroom that had recently popped up in my back yard. Only this time I did it with my 105mm macro lens, which made a pretty big difference :)

I want to stop short of comparing the two images, since a discussion about which one is better kind of misses the point. Both are similar and unique in certain ways, and I used the former to inform my compositional and exposure choices about the latter. In short, they’re both good images and I see some things to like and appreciate in either one. As for this specific picture though, there are some things that I quite like. I used an f/11 aperture to get the front mushroom tack sharp which still left a depth of field shallow enough so as to make the blades of grass just a bit out of focus. (Something I continue to learn about shooting close-up images is that even smaller apertures can still give you razor thin depth of field. It’s still weird to wrap my head around that.) I intentionally composed the shot with one mushroom in front and another in the back to give a sense of space to the composition: foreground elements, subject, and background elements all working to form a complete picture. The only real issue I had when taking this picture was related to ISO: I didn’t want to go super high and lose detail or editing headroom, but 1400 on my D750 works just fine and has hardly any of the problems that can be associated with high ISO shots.

Mushrooms don’t pop up too terribly often in my daily life so when they do it’s fun to go out and take pictures of them, especially in the early morning while the dew is still fresh and the sunlight is just barely poking over the horizon. I hope I get more opportunities to take pictures like this soon :)

Alright, enough with the Wichita Mountains pictures of sunsets and bison and lizards…here’s a classic Weekly Fifty shot like you might expect when you come to the blog, check my YouTube channel, or open up the email that shows up in your Inbox every Wednesday morning. The composition here is simple, classic, and highly effective: a clear subject, something in the foreground, a rich and layered background, and some cool bokeh to boot. This won’t win awards for creativity, but I’d be lying if I said that pictures like this aren’t a ton of fun to take.

Every spring we see an emergence of Indian Paintbrush flowers all over the state, but despite being quite commonplace their simple beauty is always pleasing to look at. I have taken lots of pictures of these flowers over the years and shared many of them here on Weekly Fifty, but never with a true macro lens. Not that there’s anything particularly macro about this shot, just that I was able to compose this image without any considerations for, or concessions being made because of, the distance between my camera and the flower. Instead I simply looked at the basics: subject, lighting, and exposure settings. I used an aperture of f/5.6 to get a relatively sharp image while still leaving plenty of headroom for creating beautiful background blur, and intentionally shot into the sun to capture the glistening droplets in the early morning after it had rained the night before. I think my favorite individual aspect of this image isn’t the flower but the bright spots of light dotting so many aspects of the composition, which is something you can only get under specific post-rain conditions like this. It elevates the shot above a simple flower photo, and when you add in other subtle details like the frizzy edges of the flower illuminated with white light and the stalk of green in the foreground on the right side, the result is a picture that just about captures everything I had hoped to on this warm April morning.

If you have been following Weekly Fifty for any length of time you know that I’ve never posted an image like this. At all. Nearly every picture I take is fairly simple and, to be perfectly honest, kind of similar. There’s usually a clearly-understood subject, some foreground and background elements, and often some additional things that add a bit of context. I don’t like to go for abstract art and I’m not one for over-complicating the image-making process. Normally, and especially since I got my macro lens, I just take simple pictures of things I see in my daily life.

Not this time.

I took this picture at the top of Mount Scott right as the sun was setting on the evening of our final day in the Wichita Mountains. I actually have a few shots that include the sun, but decided to specifically compose this image (as well as crop it in Lightroom) so as to exclude our closest star. It felt more interesting to just show the mountains without the sun, and in fact the sun ended up distracting the viewer from the rest of the scene with the mountains and hills slowly receding into the distance. It was incredibly windy throughout the day, which lent an ethereal, almost otherworldly, quality to the atmosphere thanks to all the dust and other particles that were mixed in with the air.

I’m not going to say that this is one of the best pictures I have ever taken (far from it!) but it ranks among the most unique and singular images in my entire collection. I don’t think I have ever been able to capture a picture of a hazy sunset from the top of a mountain, and even if we make it back to Mount Scott I don’t think I’ll be able to get a shot like this unless the weather is just right. One thing that took a bit of experimenting with this composition was the exposure settings, and in the end I think it came out fairly well. I shot this at 116mm, f/8, 1/1000 second, with an ISO of 720. I prefer not to use high ISO values on my D500 and while I could have used a slower shutter speed to get something like ISO 200 or 400…I just plain forgot about it. I had my Auto-ISO set to a minimum speed of 1/1000 second thanks to some pictures I was taking earlier in the day, and I didn’t even realize it until we were back at the Airbnb later that evening and I was looking through my shots on the rear screen of my camera. As it turned out, I was able to get a more-than-usable image with ISO 720 and plenty of room to edit the shadows and a bit of highlights too, and end up with the shot you see here. I’m quite proud of it, and if I may say so I do think it would make for a good phone or desktop background. Feel free to click on the picture and download the original from Flickr, and make sure to let me know if you do use it on your device :)

This shot strikes me as something unique to the American west, even though I suppose it’s possible to get similar pictures elsewhere in the world too. The grassy plains in the foreground, the mountains in the background, and of course the gigantic bison at roughly the bottom third of the picture all combine to create a scene that makes the viewer think of an Old West aesthetic: Native Americans, cowboys, frontiers, and untamed wilderness beckoning one to adventure. That might seem a bit grandiose, and perhaps it is especially considering that I took this shot not from horseback but from the side of an air-conditioned Subaru, but it makes me think about things much bigger, and much older, than this present time and that’s something I find to be incredibly powerful.

I took this picture one morning on our trip to the Wichita Mountains Wildlife Refuge when my wife and I loaded up the kids and decided to get started with our hiking early so as to avoid the hundred-degree temps that were predicted within a few hours. We drove through the refuge for several miles on our way to Elk Mountain Trail, but found our drive unexpectedly interrupted by a herd of bison: some on the road, some grazing on grass, one one that was using a 20MPH speed limit sign as a scratching post. My wife pulled the car to a stop on the side of the road and all four of us just kind of sat there in the relative safety of the Subaru while watching these massive beasts go about their business, and making sure to keep our distance, ready to hightail it out of there at the first sign of trouble. After a minute I stepped out with my D500 and 70-200mm f/2.8 lens to see if I could get a few shots of these animals, and eventually got the picture you see above.

What really sells the image, at least in my opinion, is the sense that it is a complete composition. It’s not just two bison on the prairie. It’s the entire scene, in which the bison are but component parts. All the elements (sky, mountains, trees, grass, and bison) work together to create a complete whole and the animals, necks bent and tails wagging, are just as essential as any of the other parts. It’s a visual representation of 1 Corinthians 12, and a reminder to me of why it’s important to have something greater in mind than just the subject you are photographing when you take out your camera and start to click away.