The need for getting lost

I find a strange pleasure in getting lost, intentionally.
In a world that is fully mapped with extreme detail, where the eye-in-the-sky of Google Earth can bring me to view any tiny remote place on the planet, I sometimes long for the feeling of not knowing where I am.
Being lost, at least temporarily, in a natural setting brings me the (false) sense that the world is not so small after all.
Where not essential, like in a busy urban environment, I prefer to not use electronic navigation aids. I roughly work out where I want to head away from busy places and then often I just want to explore.

Lately I have been finding myself more and more drawn to dirt roads where a clear direction is not defined. I choose a forest with a network of trails, some rather smooth, some very rough, not suitable for my riding choice. I have to make a judgment call not to bite more than I chew.
As they say: when you come to a fork in the road, take it.
Sometimes my gut feeling says right and other times left, according to what valley or mountain ridge  peek through the forest trees.


Getting lost, no longer sure of my heading

Last Sunday I had full tank of gas and enough water in my backpack to keep thirst at bay. I rode for a few hours, stopping at times when the views demanded it.
Slowly I could no longer work out the right perceived direction to get back onto the pavement. I knew if I rode long enough I could have popped out somewhere but the rutted, rocky and pot-holed tracks were tiring me out; I didn't want to make a mistake and crash.


Steep, loose and dusty

I stumbled across a 4X4 driver, stopped at an intersection and swallowing my manly pride rode up to the driver side and asked for directions.
She had a phone in her hand looking at a map and pointed me in the direction I came from: "take a left when you come at the last intersection, keep left and eventually you will get out".
I had my phone in my pocket with detailed GPS maps too but somehow it was easier and nicer to ask for directions.

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Birds on my balcony

Over the years I have befriended some birds that are territorial in my neighborhood; they live there and don't migrate.
Magpies are often seen roaming around gardens and are rather used to people in the suburban sprawl.
From my initial timid toss of some cheese towards them, the magpies soon regarded me as a "friendly" person (they can recognize dozens of people and they form an opinion if you are deemed as "safe").
It did not take long for them to fly in onto my balcony when they saw me around and started to expect a hand out every so often.
I was more than happy to have the feathered guest: after all they sing much nicer than the crows.



And then all of the sudden they disappeared: did not see them for a month.
Eventually returned and were more hungry than ever but rarely consumed their food on the balcony: they would fill up their beak and fly away to return a short time later.
Something was going on: they must have young ones that they are feeding?

I was right: one day I saw a brown looking, fluffy feathered nagging (for food) bird in the nearby tree with parents now shuttling food from my hand to him.


M.Zuiko 75mm f1.8 1/160sec

A week or so and the young one was able to fly well enough to be brought closer and soon he was right beside the parents, eventually accepting food from my hand.
A few timid bights (some to my fingers when he missed) he now can feed himself rather well.

At the same time the Butcher Birds also started to observe that good food was handed out at my place; they soon joined in and after some initial protests from the magpies are now on friendly terms: there is enough food for all.


adapted E.Zuiko 4,5cm f2.8 (for Olympus ACE) 1/160sec

Much more agile than the magpie these birds will catch food mid-air but I prefer the interaction of them reaching for my hand


adapted Jupiter-9 85mm f2 1/800sec

And yes, the butcher birds also has their young which is much more cheeky than the magpie chick.


Samyang 12mm t2.2   1/160sec



Samyang 12mm t2.2   1/1250sec


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Genuine feeling

While often I am drawn to the conventional "pretty features" of people, beauty can also mean something different to me: often not just their physical appearances but their sincerity and genuine disposition
I found that in a very small village on the Coral Coast in Fiji; somehow the look on their faces seems to radiate the altruism that they carry within.



refitted F.Zuiko 32mm f1.7  (from Pen EED)  1/25sec

They share their passion for helping others, would that be trough singing and praying, on a mission that doesn't discriminate religion; all are welcome.
I was invited to their humble premises where I was welcomed to sit on the floor to listen to their beautiful voices accompanied by a guitar.




I didn't notice any shyness and no reservation in me taking a few photographs there. Nobody asked me: "What are going to do with those photographs?"
A very refreshing interaction, so different than the self-image obsession of the Western world.


refitted F.Zuiko 32mm f1.7  (from Pen EED)  1/2500sec

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When grass is enough

Grass is enough for me to make me dream of wide open spaces, while still living in a city.
There is this open field left untouched by urban sprawl where the sun can though the horizon.


refitted projector lens RO501-1 100mm f2  1/6400sec

As the sunset comes I like to squat or even lay on the ground and observe the light filtered by the thin texture. As the breeze moves the sunlit field, one can imagine gentle waves on a golden sea.


refitted projector lens RO501-1 100mm f2   1/1250sec

There is something about the wonderful structure of the stalk supporting the grains of seed in the crown.


adapted Kodak Cine 50mm f1.6  1/4000sec



refitted projector lens RO501-1 100mm f2   1/1250sec


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The little park

There is a park along a creek on my way to work, that I pass every morning.
The drive is short and sometimes I opt to walk that 1/2 hour to get a bit of fresh air.
In winter solstice the sun has been rising later allowing some low light to filter through the trees creating an interesting scene for me.
A few times I wished I was earlier and that I had a camera with me (a phone is not one, for my style)
So, instead of being the usual lazy and sleeping in, I got out of the house earlier last Saturday, with my camera.


refitted F.Zuiko 32mm f1.7 (from Pen EED)  1/1250sec

There was a faint remnant of fog left in the low laying area and the sun illuminated it burning it off. A few joggers were about otherwise the place was still very quiet.
The dew was glistening on the grass blades asking me to have a closer look.

 
adapted Kodak Cine 50mm f1.6  1/5000sec


adapted Kodak Cine 50mm f1.6    1/1250sec


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The fire and the ghosts

When I see an image that doesn't just clinically depict a subject or a location my mind is left free to imagine what it could be.
Blurs and bubbles of light play with my creativity and I imagine things beyond of what I can see.


refitted projector lens 35KP-1,8/120    1/100sec

So, what good is that?
Well, it's no different than a book that vaguely sets a scene allowing the reader to create his/her own vision of the story. Some say that they prefer the book to the movie :-)
Images that don't state the obvious feed my dreams.


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Because storytelling is what engages us

Because storytelling is what engages us, not facts and figures*

That phrase resonates so well with me where in images I look for a story, not just a record of an event or place.
And that's why I am attracted to images that isolate the subject, take it away from the visual noise of the background and present it with a message, abstract if needed be.


refitted Russian projector lens 35KP-1,8/120 

It's where my mind then has room to explore the scene and create my own scenario or recall a similar situation or place close to my heart. And fundamentally that is why some images might evoke a reaction from some viewers and not from others; it's one's image bank that is tapped into to recall, subconsciously if you want, an emotion from the past.

That is why images with a story are so much more powerful


refitted Russian projector lens KP-16 50mm f1.2


* from this video at 2:44

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More Russian love

I had no idea that the cumbersome Russian would deliver so much love.
At first I had my doubts I would be able to handle such a big thing and appeared rather difficult to get along with.
Then I worked out where she shines best and how to focus on her strengths; if I am careful and don't push her too hard she does reward me.


refitted Russian projector lens 35KP-1,8/120  1/3200sec

The images I can create with that big lens, that never was intended to make but rather show (it's a projection lens after all), are unique.
The blend of relative sharpness and the quirky bokeh for the background really help to isolate subjects where I want to tell a story, instead of just mere recording a place or event.


refitted Russian projector lens 35KP-1,8/120   1/10000sec

refitted Russian projector lens 35KP-1,8/120  1/1250sec

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Texture and patterns in the bokeh

I am drawn to the abstract pattern that a lens can create when the the whole subject can not be in focus resulting in some areas of the image blurred.
Much can be said about bokeh and it's rather impossible to be fully quantified or describe it but most purist cherish the "smooth" out-of-focus backgrounds.
I, on the contrary, prefer to find lenses that offer "texture" in the blurred areas of my images.


refitted projector lens 35-KP 1,8/120   1/640sec

I do understand that such traits in these lenses are not so well suited for subjects where the attention should remain in the in-focus areas but a lot of my photographs are often of close-up and semi-abstract subjects where a "busy" bokeh might be the crucial component of an image


adapted Pentacon 50mm f1.8  1/1600sec

Initially my visual adventures were concentrated on "bubbles" in the bokeh; now I am pursuing the textured, busy and "weird" bokeh.
Some lenses are specifically sought after for those incredible traits and unfortunately my favorite looks are out of my price range (like the Dallmeyer Super-Six 102mm f1.9 lens)

Slowly I am starting to understand which subjects, what patterns and what light will be a suitable theme for my experiments. Repetition of small objects and lines, combined with the correct subject/background ration and lens will reveal surreal images.
And it's a look that the mighty iPhone has not conquered yet :-)


adapted Kodak Cine 63mm f2.7  1/50sec



refitted Helios-89 30mm f1.9 (from FED Mikron)  1/4000sec



refitted Russian projector lens 35KP-1,8/120  1/800sec


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Images from a Russian projector lens

I have a case full of modern lenses that can deliver ultra sharp images, all with the comfort of auto-focus, yet I am drawn to use old manual lenses that somehow give me a feel in my images.
In my book sharpness is overrated and the bokeh is king, but that must be textured and dynamic, not just soft out-of-focus blandness.
In my search for unusual glass, that often was never intended as photograph-taking lens, I came across an old Russian projector lens that is rather long and bright allowing for particularly interesting shallow depth of field.


refitted 35KP-1,8/120 (120mm f1.8)  1/1600sec

The lens is heavy and very cumbersome to use: it took some effort to refit it and make it usable on my small cameras. The images I take with it are often a bit soft, low contrast and they exhibit flare easily if pointed towards are strong light source, yet I love the results.


refitted 35KP-1,8/120 (120mm f1.8)  1/8000sec

Images that come straight of the camera could be considered a fail by some but with a bit of contrast and sharpness enhancement often they give a feel to my image that modern lenses can not.


refitted 35KP-1,8/120 (120mm f1.8)  1/1000sec

The eye has not got the opportunity to scrutinize the details but rather takes in the whole scene as one and draws on my recollection of places I have vised before for an unconscious trip down memory lane.


refitted 35KP-1,8/120 (120mm f1.8)  1/1000sec


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Closer look at the bark

The simple natural beauty of a tree, looked up closely.


refitted Hexanon 45mm f1.8 (from rangefinder camera) 1/160sec

There is great variety of trees in my part of the world and the bark is most intriguing at times.
I particularly like the shape and texture of some gumtrees that shed the bark and reveal a smooth and colorful new skin. The "exfoliation" seems to be constant and the colorful patterns revealed are most abstract.


adapted Pentax-110 50mm f2.8   1/100sec

Often when having a close look I notice a miniature world of ants and insects that are often hidden to the casual passer-by


refitted projection lens 16-KP 50mm f1.2   1/100sec

And then everything suddenly changes; the fire completely alters the look of a once smooth bark and creates new textures.


adapted Kodak Cine 63mm f2.7   1/640sec


adapted Kodak Cine 63mm f2.7   1/60sec


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Role reversal

What happens when one reverses the role of the intention?
When a lens that was meant to "show" images suddenly "captures" them?
That is what actually happens when I use a projector lens mounted on a camera, the role is reverses.


refitted projector lens Meyer-Optik Diaplan 100mm f2.8  1/30sec

Technically speaking a lens from a projector lens is designed and optimized to show images there were once created with a different lens.
A projection lens, apart from being often not corrected for optical "faults", lacks mechanisms that most camera lenses have: a focusing helicoid and an aperture control diaphragm. They are really just a tube with several lenses arranged to project an image on the wall or screen.


refitted slides projection lens Will-Wetzlar Maginon 85mm f2.8    1/2000sec

So why would I want to cripple myself trying to capture images with a tool that clearly is "inferior"?
There is no clear answer and most likely not one that most people accept: because images photographed with projection lenses for me are more capable to deliver the concept of fantasy rather than reality.


refitted projector lens Meyer-Optik Diaplan 100mm f2.8   1/2500sec

Since trying to faithfully represent real life in a 2 dimensional format is a futile exercise that is simply limited by conventional constraints (perceived accepted unspoken rules) I much more prefer to explore the emotions that an image can create. Projection lenses enable me to create an in-camera look that modern lenses designed for digital imagery often can not.
While I am not interested in manipulating excessively a concept in post production, by compositing and editing conventional photographs, I allow myself to exploit the design faults of old simple optics to convey a sense of supernatural in my images.

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The judgement

"Yes, but that is Photoshopped..."  with a consternated tone of voice.


refitted projection lens Will-Wetzlar Maginon 85mm f2.8   1/125sec

So, if those images were created in camera, would it have more value?
If one works magic with in-camera settings, plays with lenses that are unusual, uses unconventional angles and cleverly crops an image, is then held in higher esteem?

I have that discussion often when on topic of editing: some are up in arms that images are manipulated but perfectly accept black and white ones :-)
To me however sounds like ignorance and laziness; somebody's defense for unskilled results.

*PS for the record, above image was created in camera....

We are all photographers

We are all photographers. Some like to record the world in front of their eyes, others create art from reality.


refitted projection lens Meyer-Optik Diaplan 100mm f2.8  1/400sec

Pretty much we are all photographers, from the simple tiny mobile phones to the invested amateurs with hefty monsters around the neck. The difference lays in what we want: a record of an event or place to share socially (or file for posterity), or is it an outlet to express our creativity?
This goal alone will define us as we pursue our passion.

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Going deeper into the weird

Further and further I slip away from the norm, from what most want.
I find the pursuit of perfection futile and senseless if only applied to one parameter: sharpness.
I find less focus in images that are regarded as technically sharp but lack direction and emphasis on the subject that matters.


adapted Kodak Anstigmat 63mm f2.7  1/640sec

Lately I have been exploring the style applied to impressionist paintings: dots and brush strokes that form an image but are not intended to document a scene but rather give a feel for the moment.


refitted Helios-89  30mm f1.9  1/800sec

Purist photographers are applauded by such "low standard" style and a few years ago I would have been too...
Oh, how things change :-)


adapted Jupiter-11 135mm f4  1/250sec



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Water dragon: 3 different views

I like to see wild animals unrestrained and I am very saddened by anything that is meant to be free kept in captivity. I can't stand images taken at the zoo, they bother me.

 At my local botanical gardens among the many plants there are resident bush turkeys, magpies, ducks and other birds. They are of course free to go as they please, no cages, but they hang around and are much less timid than in other outside areas, knowing that they won't be harmed by humans.
There is also a healthy population of water dragons and in the early hours, before too many visitors come, they often are found warming up in sunny spots.
If approached slowly they can be observed at relative close distance.

I have on occasions photographed them and each time I had a different vintage lens on the camera. The same subject (not the very same dragon) looks a bit different with each lens and the background blur is more or less pronounced with a different character. While each lens has its quirks and strengths some are easier to use on moving subjects and some are more suited for contrasty scenes than others.

The easiest to use is this series is the C-mount Navitar 75mm f1.3. Extremely sharp lens with a relative fast aperture it forms an interesting bokeh. It is the closest in resolution to my best Olympus lenses but with a different character, and of course it's manual, focus and aperture.


D.O. Industries Navitar 75mm f1.3    1/1250sec

The longer reach of the super-diminutive Rotar (made by Fujita) 135mm f4.5 is harder to get focus since it shows less contrast, while exhibiting a more bubbly bokeh. 


Rotar (Fujita) 135mm f4.5  1/250sec

 The hardest to use it the refitted Russian projection lens that can be only used at a super wide aperture of f1.2. Any slight mis-focus and the image is not usable. The strongest trait of that lens is that it can isolate the main subject from a busy/disturbing background while giving a more structured bokeh 


refitted Russian projection lens KP-16 50mm f1.2    1/1600sec

 Which lens is the best? All of them, depending on what I want to create and what my subject is.
 If I had to keep only one? ...well, I would not want to part with the Navitar :-)


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Around the stables

My girlfriend is mad about horses, for me is something new. There was a local event that I went to visit on invite from my friends and wondered around the stables not knowing what to look for, photographically.


Nikkor-P 105mm f2.5 RF  1/1600sec

I had to be cautions enough to know when a horse was not happy having my big lens pointed too close to his body.


refitted Sony Precision Projection 60mm f1.5  1/200sec (adapted here)

 I loved the people around the horses: genuine and unpretentious, friendly and approachable. A warm rural atmosphere pervaded the event.


SMC Takumar 50mm f1.4   1/500sec 

I was also there walking around with the most ridiculous refitted lens that I have tried to date. It was awkward to handle as it was never intended to be fitted onto a camera but the results I achieved were worthy of the trouble.


refitted Sony Precision Projection 60mm f1.5 (?)  1/1250sec


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