A couple of weeks ago, I shared the first part of my exploration of the waterfalls of New England here on Photography Life and promised that there will be a part two. This write up fulfills the promise and continues the story further. My focus this time were the forests of Western Massachusetts, especially those around Route 2 West from Boston. This freeway is also known as the Mohawk Scenic Byway and is a very beautiful drive once you get little beyond the Greater Boston area.
It is the month of May and spring has finally taken over from winter in New England. With the woods turning green again, color has returned to the landscape. Most of the creeks and brooks that crisscross the region and give rise to hundreds of waterfalls are flowing reasonably well. Together this combination of silver and fluorescent (almost) green highlights the effervescence of spring and I, together with a friend, decided to explore this juxtaposition one weekend at a
About a week ago, my inbox started filling up with new forum topic notifications. A day later, Nasim contacted me stating the exact same thing with a hint of fear in his voice – that, our dear readers, was how we experienced your reaction to the introduction of a new mini-project here on Photography Life. That slight shock me and my friend felt after seeing how enthusiastically the idea was received is of the good sort. All the work that’s been submitted is a compliment to us, and also an emphasis on just how much of a commitment Weekly Critique really is. What have we gotten ourselves into!
It was no easy task, choosing the images for this week’s article. As I said, though, these decisions were very subjective and in no way showcase what we believe to be “good” or “bad” work. With that in mind, let’s take a closer look at photographs submitted by Rick Keller, Levi Obarr and Betty.
When I submitted my photos of Acadia National Park as a guest submission on Photography Life, I was amazed at the response, especially on the fact that the majority of photos were shot using a Nikon F100 with Fuji Velvia 50. Nasim contacted me to do an article on film considerations for landscape photography as a follow up. So this is my stab at it.
As the maximum temperatures slowly drop below 40 F (6 C), the ephemeral autumn silently gives way to a long winter in New England; but not before weaving its colorful magic yet again. This year, I was fortunate to witness this magic from up close during a weekend camping trip in Acadia National Park in Maine. Colors in Acadia usually peak around mid-October, which roughly coincided with my trip and I found the foliage in good shape: either peaking or just past peak. Moreover, the forecast called for cloudy skies and occasional rain with breaks both in morning and evenings, which meant I can photograph all day: golden light at the fringes and soft, overcast light in between. My equipment was a Nikon D610 and a Nikon F100 (loaded with Velvia 50) along with the a host of Nikkor lenses (with polarizers): Nikon 24mm f/2.8 AI, Nikon 24-120 f/4G VR, Nikon 18-35mm, Nikon 50mm f/1.2 AIs, Nikon 85mm f/1.8G and Nikon 70-200mm f/4G VR.
I have a simple question for you. Why do you enjoy photography? When I first asked myself this question, I thought, “Well, it’s obvious, isn’t it? It’s what I do for a living! I never get tired of picking up my camera and “going to work.” But this doesn’t really answer the question, does it? It just states that I enjoy photography.
At a time when the digital photography world was buzzing with new gear announcements, I managed to fall in love with some of Nikon’s very old and cheap lenses, the E Series lenses. My experience with these lenses taught me a great lesson: it is really not about the gear. It is rather about being creative with what gear we already have, despite how limited and incapable we might think of it. This was a great inspiration to me, especially with my nagging habit of lusting after the latest and greatest gear announcements. The fact that I’m writing this article goes to show that I still struggle with GAS (gear acquisition syndrome), but for a change, this is a case about some of the cheapest lenses available.
Talking to Tadas Kazakevičius (in case you are having a hard time spelling that, he’s just as well known as Ted Kozak), a young Lithuanian portraitist, was precisely one of those times when you think you have a million questions to ask. But then you meet him at a restaurant for a glass of cold bread kvass and a pizza only to realize you’ve suddenly forgotten all of them. What do you ask a person who’s work you admire so much, you think he’s one of the future classics of his generation? Where do you start? “Don’t be nervous”, he told me. “Why should you be?” True. Why should I be? But then, whilst talking about his street portraits, he answered his own question: “Even after all the portraits that I took of strangers, each time I attempt to approach a person on the street, I need to bring myself to do it. It’s scary.”
This is a review of the Leica M7 TTL .72 rangefinder film camera that I used with the Leica 35mm f/2.0 Summicron M Aspherical Manual Focus Lens. I had the two for about a month and had a chance to shoot with the Leica gear in different conditions and shoots. Prior to the M7, I never had a chance to shoot with any Leica gear, but heard so much about them from other photographers and industry peers. So I decided to give Leica a try and see how it would fit my film photography needs. Below is a summary of my findings with the camera.
Generally, we try as much as possible not to re-publish stuff and provide our readers with original content. It does mean a lot of work needs to be done to write thorough articles and it takes equally as much time. But in the end, it proves to be more rewarding as well. However, every now and then we find something so spectacular, not sharing it with our readers would be a crime. The amazing century-old color photographs fell into that category. And so does Framed Network’s project.