My favorite kind of light to shoot is fleeting. It consistently appears like a ghost passing through my awareness. Soft, delicate reflections that drift slower than our patience will usually allow us to notice moving until its gone. There are countless memories stowed away in my mind where these ghosts have shown themselves to me only to have me scramble to dig out my camera wherever it may be only to find by the time I was ready to shoot it had already passed. Light is a force of life that reminds us that we must absorb these fleeting moments before they slip by, camera in hand or not.

That said, if you fancy yourself a photographer here is a challenge for you. Capture one of these moments. Surely you know the type. That tiny window of time wherein light graces a surface in a way so perfect it could only exist this way on rare occasions. It’s not always just a beam of light creeping across a wall. Sometimes it sneaks in through the window of a bus like in the photo above, perfectly lighting everything inside until it turns to another street or ducks behind a building. Other times it may be that perfect combination of the angle of the setting sun and the spot you are standing in that causes the world to illuminate in front of you.

Here is the tricky part. Once you find it, take only one photograph. Even if it’s against better judgement to do so. Just go with your instinct, don’t over think it, use what you know about good exposure and composition and trip the shutter. In limiting yourself you are playing along with the transitory nature of the moment. I think it’s an important lesson to learn and one I hint at often around here. Don’t let the camera get in the way of the wonderful things you seek out to shoot. Let these moments find you and simply live your life.

For me, photography is an experience in which you hold close the romantic nature of life and do your best to keep it from being forgotten. So keep your camera nearby and look for those softly lit moments hiding in plain sight. If you capture something feel free to share it with me through email. Maybe I could share it here in the future.

Some of you may remember that I recently started shooting with an Olympus OM2 film SLR. Over the past few weeks I have grown to really enjoy having it around and I hope to write more about the experience eventually here on 50ft. I think it could make for a nice series of posts to cover the old film cameras that I love shooting with so much. Hopefully some of the joy that I find when shooting film will rub off on some of you. Today, however, I wanted to write about something related to, but not exactly about, this great old camera.

When I bought the OM2 I bought it not as much because of the camera itself but because of the lens system that exists around the body. Specifically, an older lens, the 55mm f/1.2. After a lot of research I knew I would be taking a bit of a risk because of its reputation for not being very sharp. I decided that I could have fun with the soft, dreamlike quality of the lens and hopefully take advantage of this characteristic while using it.

Once I decided on the lens I popped over to eBay to have a look and see what was available and ended up getting quite lucky with the price and condition of both the lens and the OM2 body (which also arrived with a 50mmf/1.8). While looking through what was available in the used market within the OM system I was amazed at the price and availability of some really great lenses and cameras.

Among my first thoughts when deciding to try a new camera system was wondering how easy it would be to convert the old manual lenses to mount on my 5D for the added bonus of having some new glass to shoot with on the digital side of things. You can just about stick any lens on any camera within reason. Of course there are limits to converting lenses to different bodies because they are designed with a specific body in mind when they are created but when it came to OM lenses on the Canon EOS mount I seemed to be in luck. As soon as I won the lens and camera on eBay I found a simple, cheap adaptor on amazon that seemed to get fairly consistent reviews and jumped in.

The simple option of being able to swap lenses between the old film SLR in my bag with my digital camera turned out to be even more satisfying and worthwhile than I had imagined. Both the 55mm and the simple, cheap 50mm are highly satisfying to shoot with and I have been getting some great results with both. When placing an old manual lens on your fancy modern digital camera there are a couple of things that will take some adjusting to if you are used to an automated shooting style.

First, you will be forced to forget your camera has automatic exposure settings. This is an exciting prospect, especially for photographers just starting out or novice ones wanting to step up their game. Because these old lenses have nothing automatic about them, there is no way for them to communicate with the camera leaving you to set the aperture physically on the lens and the shutter speed within your camera. While its common advice to shoot only in manual mode if you are studying photography I feel using an old manual lens takes things one step further and leaves you with a connection to your exposures that is often casually ignored otherwise.

Second, and perhaps more obviously, autofocus will be lost. Manual focusing can take a little getting used to but once the process clicks with you it’s hard to deny how helpful it can be to be able to quickly focus in on the exact space you are aiming for without having to rely on what the camera is guessing you would like to be in focus. These old manual lenses were designed for it so focusing is nice and smooth. One suggestion for any serious user of any prime lens with a fast aperture would be to invest in a focusing screen that better suits fast lenses. Unfortunately many modern cameras don’t allow you to change them out, especially Nikon which, unless they have changed in recent years don’t even pretend to have the option outside of a few third party manufacturers and hacks. The benefit of this is that most focusing screens are designed for slower lenses like the kit lens paired with autofocus and therefore is not as accurate when focusing at wider apertures. Just something to keep in mind but its beside my point.

The main reason for writing about using an old manual lens on a digital SLR is because I wanted to share the great experience I have had with it and encourage others to consicer this as an option when thinking of getting a new lens. There are hundreds of amazing old lenses out there and while there are only a handful of those cult classics such as the 55mm I bought there are plenty of others to be explored as well. Don’t forget the added bonus that you could easily buy the original SLR film body that these old lenses were designed for and have a nice film camera as well!

The images I have taken using the old OM lenses have a wonderful warmth to them that I really love and with a watchful eye on my white balance setting I don’t often feel the need to adjust much of anything in post work. As a point of reference, the image below was taken with the 50mmf/1.8 and has no post work at all applied, it’s straight from the cameras sensor.

Another thing to consider is that in many cases these old lenses were made with a higher build quality than many made today and can be found for great prices both locally and online. As of this writing I see a number of great 50mm OM lenses on eBay ranging from $30-100 depending on the model and condition. Heck, some of them you can buy WITH a camera for under $100. I wuoldnt be surprised if you found one at a local thrift store or yard sale for even less. A simple mount adaptor for Nikon or Canon will only run about $20 on Amazon and you are on your way to enjoying a new lens and new possibilities.

This of course is not limited to the Olympus OM series, old Canon, Nikon, or Pentax lenses can be easily converted to other digital SLR’s as well. Then again, if your shooting a Nikon with an F-mount design you can buy most of their old SLR lenses all you want as they never changed their mount when newer technology started to become prevalent in cameras.

To boil this all down, you don’t need to constantly thirst for the latest and greatest in camera/lens technology. There is an enormous amount of gear out there from the past 40+ years that is still alive and well just waiting for you to pick up and experiment with so before you drop a lot of money on a new lens take a couple hours and dig into the past to see what is out there, you might be surprised of what it is capable of.

Before we get into what I wanted to talk about here today I’d like you to take a moment, close your eyes, and imagine a photograph. What came to mind? Was it a snapshot of your significant other? A beautiful landscape? A classic work of art? Maybe you invented one in your mind, an image never seen outside of your imagination. Now, consider being the photographer behind the camera as the photo was taken, even if you were the one who took the photo. Can you imagine the smell of the air? The sound of the environment around you? The emotion felt as what lay in front of the lens transpired?

This is something that makes photography unique among other forms of art. These are not just arbitrary collections of light or pixels, photographs are alive. They are living breathing creations. Every snap of a shutter is another wormhole opening that bridges the past and the present. They collect memories, preseve them and hold the potential energy to thrust them back into your awareness. Even when they are not your own. A great photograph can take you anywhere, it can transform you. Of course, that is, if you let it.

Trouble is that we are currently drowning in imagery. The potential of any one image is being diluted with over exposure. I bet that when you closed your eyes, your mind didn’t jump to one, single photograph but leapt among a dozen different images, bits of each colliding into the next. Our minds move so quickly through an endless mental back catalogue of imagery that it can be hard to focus on any one thing for more than a split second.

It’s why you don’t see me posting a ton of images here or on Flickr. Being more mindful of what I choose to share allows them to have more of an opportunity to be seen, absorbed, and with any luck, remembered. Mental space is a precious thing these days and we can use all the breathing room we can get.

In light of this perspective on the value of any given image I have, in the past year or two, found myself shooting less than I once had. While out taking photos of something I won’t fire off a few dozen shots of the same scene. I find myself being more selective of when I trip the shutter. It has lead me to to a place where I feel more focused and confident in the process of shooting. At one point in the past year I lost my one lager capacity compact flash card and rather than go out and replace it with another I decided to stick with the few 2Gb cards that I have around. These give me around 120 shots per card and I rarely switch out cards unless I am traveling and shooting more often.

I find that in limiting the potential amount of images I allow myself to capture I am able to drive myself into a mental space that puts a greater importance on the things I do choose to capture. It puts me more in the moment rather than constantly glued to the LCD display of my 5D. While this comes after years of constant shooting and learning, I think both beginners and pros alike can benefit from a few creative restrictions.

Photography is a lifestyle as much as it is a profession. The images you create are only as good as the places you allow yourself to explore or the situations you place yourself in, so rather than let photography control your desires, let your desires and passion drive your photography.

Point being is that I firmly believe that to get great photos that will leave a lasting impact you must live your life to its fullest. Don’t question yourself too much, just stay active, follow your instincts and passion, and surround yourself with things that inspire you. Take chances! Nothing ever happens just by sitting around. Sometimes to discover these things you have to go out into the world and find them.

This is something I realized a few years back when I started to shoot film again. I discovered that my favorite personal work was that which I left a little piece of myself in. Sometimes it may be an intimate moment, other times it could be a place or situation not typically thought of as deserving of a photograph. Years of tailoring my shooting and subject choices for what I thought others would like grew tiresome. Letting myself venture beyond my comfort zone helped me discover that I did in fact have a voice while behind the lens and it’s been a joy to explore the implications of this. Even while out shooting at my favorite lake or while on a job site, I look for things that speak to me. I compose the shots I take first in an obvious way, then I shift my perspective to look for that one magic spot where I feel the subject resonate with my point of view. A good example of this would be the seemingly out of focus image posted a few weeks ago.

Life as a photographer should be an open book. There should be no dividing line between where your day to day life begins and your photography ends. Share with the rest of us what makes you you. When I see an image I always search for its reason for existing as much as its technical achievements. No matter how great an image may be technically, it won’t leave a mark if it lacks a soul.

This is one of the most important lessons learned while developing my skills as a photographer which, of course, is never ending. As with every great photogrpher in the medium’s short history you never really stop learning, it’s beautiful evolution and it should be embraced. So, that said, get out there, camera in hand, and live.

Suwon Hwaseong Fortress. HolgaGN. Crazy lomo redscale film. (I posted this over on flickr but I thought I would share it here as well.)
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While in Seoul I found a decent price for a 3 pack of the Lomography redscale film and figured why not give it a go. Tossed it into the Holga and shot through the roll only later to discover it’s helpful to over expose the film a good amount in order to see better results. Guess I just wasn’t really thinking, pretty unlike me to jump into something without a fair amount of research beforehand.

From what I understand, redscale film is nothing too fancy, just normal color film only it has been spooled into the canister upside down so you are shooting through the base to the emulsion which results in strange color reactions. This shot was pretty much the only usable one from the roll due to everything being greatly underexposed. I suppose I will give it another go, maybe shooting through the hasselblad for more exposure control. While it was fun to try I am pretty sure I wont be using it again once I run out, a touch too gimmicky for my taste.

…to elaborate on my comment about it being gimmicky. I was thinking about it and realized its not particularly the gimmick that I find fault with, it’s more my personal approach to photography not having a place for this kind of image. I’m just not sure where it fits in with my other work. Like the X-Pro and double exposure ideas I have toyed with in the past the results can be fun but I never know quite what to do with them.

I have worked internally for quite some time looking for common themes and ideas within what I shoot and alternative processing never really seems to fit in with my end goals. Point being, I love this shot and have fun experimenting but its satisfaction feels very singular, like an island in that it feels isolated and disconnected from the rest of my work. Or then again, as YoungDoo mentioned to me, maybe its not simply a singular statement but the beginning of a new process I have yet to fully consider. We shall see.

I’m not sure how many readers reside in Korea but I once again have photos on display in Seoul and this time I thought I would point it out as I think its a great exhibition to check out. I only wish I were there to participate. The images on display/ for sale are a selection from the collaborative effort between myself and YoungDoo over at OurWindow.net. While it has been some time since we have posted to the series we hope to pick it back up again in the future to add to the collection. The photo art fair seems like a wonderful display of fine art photography and I am excited to be part of it, even from a distance. Here is a link to the flyer over on YoungDoo’s Flickr photo stream.

Among all of the news reports and ongoing coverage of what is happening you can’t help but notice the huge amount of creative support people have been giving to aid the people of Japan in whatever way they can manage. At one of my favorite local coffee shops I noticed a bowl full of folded paper cranes along with a note reading, 1000 cranes to raise $1000 for Japan, or something to that degree and a glass next to the basket where you could donate a dollar and have a paper crane as a token of appreciation for the support given. On a larger scale, all across the web I see a number of amazing efforts to raise money for those in need including beautifully designed shirts, compilation albums featuring original music, amazing posters and now, photographic and illustrated prints for sale.

A few weeks ago I was asked if I would participate in a project that was being started up by a few great photographers called The Print Aid Project. I thought this would be a fantastic way to do my part to help out and so I went searching for a great photo to share. I settled on a favorite of many of my followers, one of the images from White Sands, NM. Perhaps not as bold as some of my other photographs but I love the subtlety of the image and thought it would make a great print for anyone to enjoy around their home or office.

So while I continue to work on getting a store page up here on 50ft this is a great opportunity to grab a printed version of one of my photographs at a great price and at the same time show your support for the people of Japan as they go through these rough times. You can head straight to my image on the Print Aid website here.

It has been a while since posting anything to my One Shot posts. I am realizing now that I never formally introduced this series. I typically use them to share some of my film photography with readers of the site that may not follow my flickr stream closely which is where I usually share more of my film work. Due to continuing hold ups with the new site design I have been pushing back the launch of my expanded writing ideas and focus on the site but you can still expect more around here in the future! Anyways, I loved the classic feel of this shot, soft and filled with warm grey tones I feel as though this moment existed only in black and white. I developed this film a little differently than I usually do. While shooting I underexposed 100 ISO film by two full stops and then pushed the developing time to make up for the underexposure. This can be a bit unpredictable but the added contrast and grain I was searching for ended up being too much for my taste and a lot of the shots on the rolls I tried this with ended up more or less unusable in my eyes. As I continue to scan them in I will be posting a few more over on flickr if you would like to see more of the results form this little experiment.

For anyone wondering this was shot with my Voigtlander R3M and 40mm f/1.4 lens using Fuji Acros film. I typically do not use my film photography for desktop images but may reconsider this in the future if I get my hands on a better scanner.

On April first I decided to have a bit of fun with April fools day again this year and chose to add a gigantic watermark to a nice new desktop image as the joke. Looking back on it now I think I was a bit too convincing! I failed to remember how quickly conclusions are drawn online and how many visitors to 50ft are simply stopping by for the lovely wallpapers and running off else where online. This lead to more confusion than I had anticipated so I made the decision to pull out early and leave a note explaining it was only a joke. After thinking about it I discovered that I had never taken the time to write about my feelings on watermarks on images. I have a list brewing full of post ideas and topics to help me get started when I start devoting more time to posting soon and this topic was defiantly on the list.

Here is a simple fact. No one likes watermarks. I am certain that it is impossible to look at a heavily watermarked image and get any real sense for the emotion or feeling behind the image. This completely defeats the purpose of sharing it to begin with. That much should be obvious by looking at the two versions of the wallpaper I posted on April 1st. I think that it all comes down to trust and understanding. Those who add obtrusive watermarks show no trust in their viewers or the users of the web in general but this is easy to understand due to rampant theft of images and other creative works online. Which leads me to the fact that it takes at least a moderate understanding of how todays socially driven internet functions to fully grasp the ups and downs of watermarks.

When it comes to trust, it seems almost impossible to have any faith at all in the online world. It’s so easy to imagine there are people out there hunting your images like prey. Stealing them away from you and selling them, making ads with them, or claiming credit for them. I imagine dark ghostly carbon figures passing through web pages when no one is looking lifting copies of our precious pixels. It is an endless loop of thought and imagination that leads us to be so overly protective of our work and understandably so. No creative wants their work stolen from them but you really must learn to have a trusting attitude when sharing online if you ever expect to grow. I am often criticized for being too trusting of others at times but I can’t imagine being any other way. Life is too short to be so damned skeptical all the time. The truth is that there is always a risk of someone taking your image and passing it without credit and sometimes that person somehow gets that image landed in a highly contagious circle of sharing without your name attached to it which is just so horrible right! Ack!

Enter understanding; Stage right. This would not happen if your image had a big gaudy watermark slapped across its face but is this kind of exposure really a bad thing? Your ego may bruise a little after seeing your work floating around without credit but if you play your cards right and seed your name in the right places you can generate traffic to your original, dignity in tack. It’s important to understand that for your work to  be seen, people need to actually see it and for it to have its intended impact it needs not be seen through a fence, it needs to be seen in its original unfiltered splendor or else whats the sense in sharing to begin with? If you choose to share online and wish for anyone other than close friends to ever see your work you need to come to terms with the fact that by allowing your image to be posted online you are letting yourself be venerable and thats OK. It is not the end of your photographic carrier if an image of yours appears on another site or elsewhere without credit. If anything you should see it as your’e doing something right if so many people loved your image enough to share it. Besides, you, as the copyright holder of your original art, always has the upper hand and while there are exceptions to this optimistic viewpoint it’s still something to keep in mind.

When I come across an image of mine on a site that did not ask permission to use it I first check to see why its there, then check to see if there is any link or credit back to fiftyfootshadows.net. I then either decide to just let it slide or write a simple note to the site host with a notice to take the image down or agree to a few simple terms. When sharing your images if you don’t want someone to be able to print it well simply don’t make it available in overly large resolutions, stick with somewhere around 1000px wide at the most. No one with any real ambition can use an image that size for any print design. There will always be people out there that have ill intentions but the best you can do it keep an eye out out for abuse of your rights as the image creator and continue to press on with your’e own self promotion. I can’t help but say this tired old expression but, you can’t make an omelet  without breaking a few eggs.

Getting back to the idea of watermarks. They don’t always have to be so intrusive. Most of you probably notice the tiny watermark I leave in the bottom right corner of all wallpaper images here on the site. I have been using the same micro/pixel font for years now while posting desktop images and it has proven to be an incredibly simple, unobtrusive way to tag the images I make available at higher resolutions. The idea is not to permanently brand the image in efforts to make it unusable but to simply include it as a tiny source if it manages to loose its way along the span of being shared with friends or illicitly posted somewhere else online. In it’s true essence in my mind, it is a digital signature. An unobtrusive mark to show its worth and credit its creator and source. In higher resolutions the pixel font down in the corner is rarely even seen. Especially when a screen is not exactly the same resolution as the wallpaper and crops the image slightly. When I think it’s feeling too heavy in white I add a hint of transparency to help it fade away from sight. (Funny thing about iPad wallpapers is that you can put anything you want in any of the four corners of the square image because they are cropped out of sight by the iPad anyway.)

While a small pixel font works well with higher resolution images it can be much more obtrusive when adding them to smaller resolution files. I find even modest logos or clearly visible watermark tags highly distracting when looking at a photograph and rarely end up enjoying them because I get so distracted by the elephant in the room. If you must add something to your image, add it in a way that allows it to be ignored and not even seen unless you really look for it. The bulk of photographers that I see using watermarks are amateur photographers who somehow have an irrational fear of posting their photos online. Many of which have never had anything stolen from them to begin with. Ironically, these are the type of photographers that often struggle to find eyes to look at their imagery so why fuel the fire by hindering your audience from enjoying the image as it was intended?

All in all, I firmly believe that the benefits of tagging your images heavily is a mistake in todays world of rapid fire consumption not only because the negatives greatly outweigh the positives but in those precious few seconds you have to capture someones attention and make them feel something for your photograph the last thing you want to do is give them a reason to skip over it. Simply put, images with prominent watermarks often come off as amateurish and can send a message to the viewer that the creator doesn’t trust them to look at the image without stealing it.

This is simply my personal feeling on watermarks, certainly not everyone has this point of view and any artist is obviously entitled to make any choice they wish when it comes to this topic. I can’t help but be curious to hear readers viewpoints on the idea of using watermarks and should anyone have something constructive to add to the topic feel free to chime in with a comment below. As always I am open for discussion.