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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The menace of geotagging

I enjoy the outdoors.
I have been enjoying the outdoors before it became trendy, actually when it was still uncool.
At school I didn't want to reveal that I enjoyed walking in the forest, or hike up mountains; it just wasn't the done thing.




With the advent of social media, specifically YouTube, I started to see a shift in the perception of the outdoors: it no longer was just a place for misfits and simpletons. Add a bit of adrenaline sport and suddenly every kid wanted to be a hero outdoors with his GoPro.

But GoPro video footage requires an attention span from the viewer slightly longer than the one of a kitten. Still images are viewed much faster and easily, especially on mobile devices with possibly sketchy reception.
Welcome Instagram: a portal of vicarious life for the masses.

I don't think one needs much talent to create compelling images for Instagram: just about all of them are viewed on a tiny screen. Any camera can produce the perfect photograph and the mobile phone, constantly in the hands of any "adjusted" young person, is the ultimate enabler of projecting a life that we want others to see. We trim the mundane, the ugly and the boring; we only want the best to shine. My life has to look fabulous; only that way I will have a social status among my peers.

And what better way to show how successful I am than constantly showing my life is better than theirs?
Bling and toys only can influence so much but nothing is more desirable than visiting exotic locations, in my book.
It was 1990 when a tiny image on a small shoe brochure stunned me: Arches National Park (Utah).
6 months later I bought a ticket and I was on my way to discover the untamed West. Well, it was by then tamed but I saw just one other car in the whole park; I hiked the few established trails and then took off track and camped at (now) iconic locations.

This is the very same location today, where years ago I pitched my tent for the night, all alone.



What happened?
One word: geotagging

In the me-too world where the masses want to emulate their (Instagram) heroes the simple act of geotagging a posted image can literally destroy a once unique and pristine place.
And while I do respect a photographer for his/her art I loose all respect for selfie-stick toting crowds that all all costs must include themselves in the scenery. And you guess it: to prove that their life is also worthy of social status.
The problem is that the masses are large, and just like a plague of locust of biblical proportions, have been known to trample an destroy natural beauty.

That brings me to last weekend.
I visited a friend of mine that lives a few hours away from the city. I like the countryside there, the rolling hills and mountains with rainforest tops. The area is not well known and he treated me to an off road adventure in his 4WD to a secluded location.




The scenery stunned me as much as the absence of any crowds. There was no sign of tramping, rubbish or even much traffic. I loved the scenery.
At the end of the day I was truly content: I wanted to share that wonderful place with other close friends.
And then it dawn on me: is it safe to do so?
I am now in two minds: it would be selfish to keep it all to myself but at the same time I fear that a careless act from my friends of simply posting a nice photograph on some (anti)social media, describing the location, could lead to trampling Insta-crowds.
If only I could blind-fold them and disable their phones prior leading them there :-)



Off the beaten track, literally



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Inverted autumn

The Northern hemisphere is enjoying that wonderful time of the year where leaves turn pale, yellow and eventually fire red. In some locales the spectacle is indeed a feast for the eyes and I envy the photographers that have the opportunity to witnesses such beauty.


early autumn colors in Sweden, adapted Canon TV-16 50mm f1.4   1/640sec

While in here in Australia the opposite is happening right now: spring is in full bloom. Trees are covered with flowers and some have new growths that mimic the autumn foliage.


adapted Kodak 102mm f2.7   1/1000sec


adapted Kodak 102mm f2.7   1/500sec


Trees bloom and loose the petals at a fast rate covering the forest floor with flowers instead of leaves


refitted F.Zuiko 32mm f1.7  1/320sec



adapted Kodak Cine 63mm f2.7  1/25sec

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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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Tiny rainforest mushrooms

The mushrooms I find in my area's rainforests are usually small, very small.
They often grown on rotten downed branches where there is plenty of moisture.


adapted Fujinon 55mm f2.2   1/13sec

Some are really delicate with an almost see-through consistency, some are very colorful but I don't believe any are edible.


adapted Fujinon 55mm f2.2  1/6sec

Trying to capture the magic in the depth of the rainforest requires a steady hand and careful focusing: I also wanted to emphasize the beauty by consciously framing them with lenses that produce an unusual look.


refitted Helios-89 30mm f1.9 (from 1/2 frame FED Mikron)  1/50sec

adapted Fujinon 55mm f2.2  1/60sec


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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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Autumn leaves

Finally the summer heat has given up and opened the doors to more temperate days, the harsh light replaced by more subtle and lower angle with softer warmer hues for a longer "golden hour".
And while there are no frosts around to change the color of the leaves, like typically in the Northern hemisphere, autumn foliage takes its own twist here in Queensland.


adapted Kodak Cine 63mm f2.7  1/400sec

Recent heavy rains have reversed the typical role of spring new shoots making it happen now, in autumn. Some bushes have come alive with new pink and purple leaves


Kodak Cine 63mm f2.7    1/320 sec



Pentacon 50mm f1.8    1/1250sec

On the other hand other trees are starting to change color and shed some of their leaves. It's a mixed combination of spring and autumn at the same time.


Kodak Cine 63mm f2.7   1/10sec



Kodak Cine 102mm f2.7  1/200sec



Kodak Cine 102mm f2.7   1/80sec


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Damsels and Dragons

It has been a rather hot and long summer.
I usually stay out of the sun in the middle of the day but these strikingly beautiful insect have kept me chasing them even in the blazing sun.


Kodak Cine 102mm f2.7  1/500sec

Where most other animals worthy of attention are hiding in the shade or sleeping, dragonflies are most active buzzing around hunting.


Kodak Cine 102mm f2.7  1/1600sec

The delicate cellophane wings are in stark contrast to the menacing looking body, certainly inspiration to the modern helicopters.
And every so often they land to rest, usually in the same favorite high spot, giving me the opportunity to take a few quick images.


Kodak Cine 63mm f2.7  1/200sec



Kodak Cine 102mm f2.7  1/3200sec



Kodak Cine Telephoto 152mm f4.5  1/100sec

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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 foreground bokeh

In an image, bokeh quality is more important to me than sharpness.
While most of the photographic world seems to be stuck on one single way to measure I.Q. (Image Quality) by carefully analyzing resolution of a lens, I go beyond the simple charts and brick walls test-shots.
I look for how a lens renders the areas that are out of focus.


adapted Kodak Telephoto 152mm f4.5   1/125sec

There were a few lenses that reportedly sounded absolute stunners and I was interested in them. Through sample images I found however that they displayed horribly looking (to my eyes) out of focus areas. The whole image was kind of ruined for me: my eyes were drawn away from the main subject that was in focus, there was a certain "nervous" look to the background, the bokeh was not pleasant.
I never got those lenses despite being very sharp...

From the creative point of view a lens must have a certain look, character if you want, for the areas that happened to be not in focus. I often specifically look for subjects where the areas of blurred background will add so much interest to the image to sometimes become the main point of interest.


adapted Meyer-Optik Trioplan 50mm f2.9  1/400sec

In my quest for creating images that are more fantasy than reality I am constantly experimenting with new optics, mostly of them are old and obscure, some never intended to used on a camera
The focus has now shifted to create images with a dual field bokeh, where the intention is to look for subjects that have a busy depth of field, often natural elements.
On my photowalks I look for vegetation that is veiling a subject that is interesting to me and then I try to photograph it. By carefully focusing and shifting my point of view I search for the angle and composition that will create that dreamy surreal look.


refitted projection lens Will-Wetzlar Maginon 85mm f2.8    1/250sec




refitted projection lens Will-Wetzlar Maginon 85mm f2.8    1/6400sec


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