Tag Archives: 50mm
Andrew and Jamie brought me out to one of my favorite areas in this state — McCall, Idaho. Not only does this town share the same name as yours truly, it is one of the most scenic slices of land in the entire Pacific Northwest.
The wedding screamed Idaho, and reminded me of why I love calling this state home.
Congrats guys; it was a privilege documenting your day!
Jake and Mariah’s wedding at the Hayden Lake Country Club was spectacular. Awesome couple, beautiful venue, blue skies and great company and made it one for the books. Thanks for having me along Jake and Mariah, and congrats!
This wedding threw me a curve ball — in a totally good way.
Bob & Cyndi held their wedding at a vacation home overlooking scenic Lake Roosevelt in Eastern Washington. With only immediate family attending the wedding, I was given a whole new playing field to work with — one that I fell in love with.
I instantly felt completely comfortable around these folks as they treated me like family from the get-go. This gave me access to much closer, intimate photos that really showed the bonds that hold these families together. As a result, the 70-200 stayed in the bag for all but 10 minutes of the entire day (none of which photos became keepers). The 50mm on my main body provided 90% of the pictures taken, with the remainder shot with my wide angle on the backup.
A quick jaunt from the home which the ceremony was held provided vast, open fields complete with rustic barns and the whole works. A quick portrait session out there provided for some great country-feel shots, and we were back to the house for the reception.
I’ve never felt more welcomed and at home with clients before as I did with these guys, and I’m so thankful for their hospitality. It was a fun day of shooting and Bob & Cyndi’s love for each other radiates through the images I took of them. Thanks for the great time guys and best wishes to many happy years together!
Sometimes you’ve gotta be selfish.
I love all the work I’ve done for clients. It keeps me busy doing what I love and pays my bills. However, I decided to take a break from taking pictures for anyone, opening the door to a world of pure freedom for my camera and I.
I set out on my road bike with my camera and 50mm lens strapped around my neck. In the matter of an hour or so, I managed to snap 24 shots in the downtown Coeur d’Alene area I thought I would like to look at. Nothing more, nothing less. I came away with 12 keepers.
Some people might hate some of these photos. Some people might hate all of them. But that doesn’t matter — see, that’s the point. If every time you click your shutter you’re making a photo that will appeal to everyone, you’re never going to find your style. I’ve been thinking a lot about what defines what I like in a photograph. This might be just a small glimpse of what that something is.
I’ve found that reducing what I see through my viewfinder to mere colors, lines and shapes tends to help me think outside of the box, coming up with something the average person wouldn’t see. Many of these shots were merely walls or doors on common buildings around town — Goodwill, a grocery store, etc. But for some reason, these rectangles caught my eye and deemed themselves worthy of clicking my shutter over.
I realize shots like these have little to no value for any sort of publication or potential client, but that’s the point. It’s not as if I’m going to start shooting the carpet or a wall during a wedding ceremony because I like the way it looks. It’s just that sometimes you need to shoot entirely for yourself, and that’s what the following images represent.
I love feedback, so please comment if you have any thoughts.
I recently picked up a Pentax K1000 film camera with 50mm f2 lens attached for $35. The camera is one of the most, if not the most popular film slr produced from the ’70s through the early ’90s. Anyone from photojournalists to budding photography students were liable to pick one of these cameras up. Lucky for me, I got mine for about $200 less than what they sold for new (Thanks digital photography!)
I tell people I shoot “fully manual” with my DSLR cameras, but I realized after shooting a couple rolls with the K1000 that putting a DSLR in “manual mode” is far from a true manual camera like the one I just picked up — manual focusing, manual film advancing, manual everything.
I’m not sure how photojournalists were able to use cameras like these, especially when shooting sports, but I bet they were less lazy than we are with our digital cameras. Every time I went to make a frame with the K1000, I had to carefully think about what was in the frame and make 100-percent sure my exposure was where I wanted it and that I was focused in the right spot. Taking a garbage photo means nothing with a digital camera — no cost, no consequences. But with film, that’s a waste of time, money, and film. When you only have 24 exposures in a roll, you tend to make each one count.
Most of the photos from the two rolls I shot in the morning to afternoon along Santa Monica, Venice and Muscle Beaches in Southern California. I have a lot to learn about film (as I know practically nothing at this point) but I was pretty satisfied with my results. I used Fuji 200 speed film (cheap stuff — $6 for four rolls) and had my film scanned at Costco and put onto a cd as jpegs. I did minor editing in Adobe Lightroom 3 and sometimes Photoshop CS5.
My first mistake was probably using cheap film as it seemed quite grainy for 200 speed. My second mistake was underexposing most images a stop or two. I typically do this shooting digital because I always shoot in raw and am able to bring the exposure up while maintaining excellent color detail due to the underexposure, allowing me to add extra saturation in selective color, making the colors really pop after processing. I realized with film that this just results in dark faces that can’t really be recovered successfully in post. I converted most of the files to B&W because I’m really fond of the documentary stuff shot with B&W film. There’s definitely something to be said about making frames with a 50mm. I’m starting to really take a liking to shooting with a 50 again.
Hope you guys enjoy these and I’m sure I’ll be posting more down the road.
You never know what you’ll be dealt.
When the Angela Marie Project emailed me about shooting a gig last night, I was already on board for it. I had shot them performing outdoors in Downtown Spokane on Earth Day; but this gig would be the extreme opposite of the Earth Day performance. I knew I was in for a challenge.
The venue was Carr’s Corner — A cozy little joint on the corner of an intersection just a few blocks off the freeway exit in Downtown Spokane. Having dealt with awful stage lighting at other joints, I didn’t set my hopes too high. Sure enough, the lighting was dim, but luckily this little spot had a lot going for it.
Being that it was a Wednesday, there were few people. Not so great for business, perhaps, but this meant I had a wide open space to move about without getting in others’ way, or vice versa. The band was set up in the corner of the venue, with a colorful brick wall on one side and a nice big window on the other. The brick wall and the artwork on it made for a great backdrop, and the open window allowed for some nice bokeh from the street lights in a few of the shots.
Now, on to the lights. There were two small, dim lights shining on the stage from above. The great thing about these lights? They stayed on consistently, which meant I wouldn’t have to combat flashing or moving light sources. And the best thing — They were colored. One was green and one was blue. Without the blue light, albeit a very dim blue light, the images would be far less colorful. The splashes of blue against the brick wall made for awesome color. It’s funny how one small detail, such as a small blue light, can make a world of difference in the outcome of the photos.
This definitely pushed the limits of my gear. I tried using flash with my wide angle on my backup camera, but I wasn’t feeling it. The flash kills too much of the color that makes the pictures, leaving me with a black-and-white conversion as the only pleasing way to pull it off.
When all else fails, I throw the 50mm on my K20D and shoot wide open at f1.7. There’s not a lot that f1.7 and ISO 6400 can’t tackle. Since noise becomes a little much past ISO 4000, I ended up backing my ISO to 3200 and my shutter to 1/30. This is where my camera’s in-body stabilization is such a huge help. Granted, not many shots are going to be keepers at this shutter speed due to motion blur and focusing issues in the poor light, but at least the shots are vivid with color from using the available light rather than relying on flash. It becomes a matter of locking your focus point and just waiting for the right moment when the musician’s movement will be frozen (or mostly frozen) in the shot. I ended up with about one of every ten shots being a keeper.
It’s always a blast working with musicians. They are naturally creative and artistic people and are easy for me to click with. It was great to work with these guys again and hopefully I will be shooting more of them this summer!