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

This is the third in a series of long-exposure sunset pictures I took at Milford Lake in June, 2019.

Alright, first things first: I know this isn’t Sunset Cove. The real Sunset Cove is located on Cass Lake in northern Minnesota and it’s where my extended family went for a week each summer from roughly 2000-2012, give or take. That being said, the name seemed quite à propos for this week’s photo give that there is both a sunset and a cove.

The fun part about taking this particular photo was that there was basically no wind at all, which meant that I could leave the shutter open for a good long while and still get perfectly sharp leaves, twigs, and trees. In setting up the image I used what I learned from the two previous nights as far as metering, time of day, height from the surface of the water, etc., and I was also quite careful to place my camera in such a way that the various components of the image (such as the tower on the right and the tree sticking out of the water just to its left) were right where I wanted them to be. I focused manually, as on the previous images, which made me really appreciate the X100F’s ability to use focus peaking.

I used similar settings too, such as f/16, ISO 200, and a 30-second exposure to get the metering right before switching to Bulb mode. To get this shot I left the shutter open for almost 3 minutes and even in that time you can see how little movement there was in the trees, as each leaf is basically tack sharp. Even though this picture doesn’t exactly show the sunset, which was out of the frame on the left side, it still clearly shows a warm orange glow as the sun worked its way down and the cool night air began to settle in.

This was a fun way to end our annual trip to the resort, and a good reminder of what was really important: family. I purposely didn’t spend too much time here taking the photo, and as soon as I got this shot I ran back to the cabin to play cards with my wife and siblings. Because all the pictures in the world aren’t worth a good night of cards, chips, and queso dip with family.

Side note: For reference on how full the lake was this year, here’s a shot from roughly the same location in 2013. Everything you see in the foreground was completely underwater.

This is the second in a series of long-exposure sunset pictures I’m sharing here on Weekly Fifty. I shot this at Milford Lake on June 23, 2019.

After I shot a sunset photo on the night before this, I had a better idea of what kind of image I wanted to capture as well as what settings I might need in order to do it. To get this picture I walked to the west edge of Acorn’s Resort about 9pm, found the spot I wanted, set up my tripod and camera, and waited. My mom was with me at the time and I was trying to describe the photo to her that I was attempting to get, and she was clearly having some trouble wrapping her mind around it because I kept telling her I needed less light.

“But don’t you need light to take a picture?” she asked, a little confused.

“Yeah, but in this case I want less light so I can leave the shutter open longer. That will make it look like there’s more light.”

To which she had a quite logical response: “Why not just take your picture now before the sun goes down?” I tried to explain it to her but without actually showing the end result it was a little tricky. Eventually, she went back to the cabin and I settled in for some long exposures. I set my Fuji X100F to 30 a 30-second shutter, f/16, and activated the ND filter while I waited for the meter to read 1, 2, and then 3 stops underexposed.

I eventually got to the point where I was able to take a nearly four-minute exposure, which I thought would look aaaaaaawesome and have the water super silky smooth. Well, I was right about the latter but not the former. True, in my 4-minute exposure the water was polished to a mirrorlike shine, but the photo just wasn’t that interesting to look at. The issue, I realized, had to do with the sky.

In this 30-second exposure, which I took almost as a practice picture while I waited for things to get really dark, you can see a mass of clouds moving that gives a sense of kinetic energy to the frame which was almost entirely gone in later pictures. Soon after I took this picture the clouds blew away leaving the sky a deep, empty blue. The water was smoother but the resulting image felt dull and lifeless, especially compared to this particular shot. It felt strange, but despite my efforts to capture a super long exposure I ended up preferring this one by a wide margin.

Funny how things turn out sometimes, isn’t it?

This is the first in a series of long-exposure sunset photo I’m going to share with you, all of which were taken in June of 2019 at Milford Lake, Kansas. Each year since 2012 our family has spent a few days at a resort on what is, apparently, one of the largest lakes in Kansas and it has yielded some really nice photo opportunities in the past. This year I wanted to try something a bit different and do some long exposures, which were only made possible thanks to the purchase of a cable-release for my Fuij X100F. It’s a simple, no-frills piece of gear I had been thinking about buying for quite some time, and I’m so glad I finally got one. I don’t see myself using it every day, but it sure was fun to see the creative possibilities it unlocked when shooting long exposures.

This was shot on the evening of June 22, and earlier in the day my kids, some of their cousins, and I came across this scene while out walking around:

What you might not know from looking at this is that there should not be any water here at all. When we visited the resort this year the lake was at almost-historic levels, and everything in this picture used to be either dry ground or a parking lot. In fact if you look really closely you can see, just to the right of the tree, a metal railing leading downward alongside what used to be a staircase. So yeah, it was kind of an interesting year at the lake.

When I saw this scene with a tree in the middle of what looked like a lake I thought it would make for an interesting picture, so I returned that evening as the sun was setting and tried to capture in my camera what I was seeing in my mind. Calculating exposures when shooting in Bulb Mode is a little tricky, but I started by setting my aperture at f/16, activating the three-stop ND filter in my camera, and metering the scene based on a 30-second exposure. When that was showing about one stop of underexposure I switched to Bulb mode and left the shutter open for 77 seconds, which smoothed out any motion in the water along with giving the sky a bit of a painted feel, with clouds showing a bit of a wispy look. The slight breeze also gave the tree leaves a bit of a blur which I didn’t like too much, but it’s not nearly as bad in this shot as it was in some of the others I got.

All in all I had a lot of fun taking this picture, and it set the stage for two more long-exposure images that I would go on to capture over the next two nights.

I was out in my backyard with my youngest son one day earlier this year when we both noticed a large patch of very small strawberries that had appeared almost overnight. Ever since we moved in to our house here in Oklahoma we have had wild strawberries show up at roughly the same time each year, in roughly the same location, but I’ve never thought to photograph them or really notice them much at all. But it’s interesting what comes to mind when you’re with a child, and seeing the world through their eyes can help open yours a little larger to take in things you never previously considered.

Once again, as in last week’s photo, it was my Nikon D750 and 50mm lens, along with some close-up filters, that allowed me to get this image. I forget which filter I used here but it might have been the +10 again, which is one that I have traditionally not liked all that well compared to the +4. And yet, here we are :) It’s difficult to tell from the photo but this particular strawberry was about 1cm in diameter and I really liked how it was nestled in between green leaves and yellow flowers. I shot some other images where strawberries were on their own or paired with just greenery, but this one felt like I was peeking into a hidden world of sorts.

This shot, and the one from last week, were fun reminders that sometimes you need to go back to basics as a way to reset yourself. I’ve got a collection of cameras and lenses I’ve acquired over the years but it’s nice to go back to the classic 50mm lens to get shots that really are special.

Once again I have my friend Gina to thank for this photo, who has given me several other picture ideas over the years and whose input I always appreciate having when it comes to photography. With all the rain we had this past spring there were all sorts of animals around that we don’t normally see, or perhaps just don’t notice, especially the creepy crawly variety. As we were chatting at work one soggy morning in May she asked if I had my camera with me and suggested that I go out and take some pictures of snails that were hanging around on a particular sidewalk near our building. I didn’t, but I thanked her for the suggestion and the very next morning I showed up with my Nikon D750, 50mm lens, and (you know it) my set of close-up filters to see what I could find.

Sure enough, I soon found a whole rout of snails so I got out my camera, attached the +10 filter, and set to work. The first thing I realized is that height was definitely going to be an issue: my camera was too far off the ground to get a really good look at any of the snails head-on! I would have liked to get some shots that were more at eye level, but that wasn’t really an option given the equipment and time I was working with, so I made the most of the situation anyway. I don’t normally use my +10 filter because it’s just too close for most situations I encounter, but it proved quite adept at capturing pictures of snails. I was able to get really close to this one, and others, and shot with a fairly small aperture of f/8 to get a wide enough depth of field so you could actually see what was going on. And even then, as you can see in the picture, the total in-focus area was only as wide as a few grains of sand! Thankfully these snails moved really slow or else it would have been a total wash.

At one point I went so far as to pick up one of the snails, set it on a leaf a few inches off the ground, and wait for it to come back out of its shell for a photograph. Sadly it did not oblige, though I can certainly understand its trepidation, and the best I could get in that scenario was a picture its shell sitting on the leaf:

While this picture was a little more colorful it was also a lot less lively, and in the end I decided I would rather have a photo that shows the actual snail and not just its portable abode. But who knows…one day maybe I’ll get a picture that does both :)