Stone Angel

Camera: Nikon D200
Lens: Nikon 18-70
f/4.2 at 1/200
ISO 100

Last night I was watching a movie called “The Stone Angel” where a family plot in a small graveyard played an important roll in the main character’s reflection on her life. I immediately made a connection between the angel in the film and this picture I took last year in a cemetery in Dundas, Ontario.

This is where I grew up and most of my family is buried here. For some reason this stone angel captured my attention. I still am not quite sure why. Perhaps it’s her facial expression? There is a certain sadness I sense in her gaze that is fitting for such a place.

Perhaps it is something more spiritual, something I have suppressed within for most of my life that she is trying to draw to the surface. Perhaps it’s her permanence that I envy as I reflect on the fragility of flesh and blood. Whatever it was, she will stand there long after most of us are gone.

Scary Monster

Camera: Nikon D200
Lens: Tamron SP90 Macro
f/4 at 1/125
ISO 200

Well, here it is. Up close and personal with a dragonfly. Its kind of scary looking isn’t it? This shot was hand held and I was working only a few inches away from the subject. This is the actual framing I achieved. The photo is not cropped.

It was difficult because I would focus the lens but I couldn’t stop myself from moving. Eventually I just left the lens alone and just moved the whole camera back and forth snapping shots as the subject came into focus.

I think dragonflies have a rough life. This one had a damaged left eye and parts of its wings were missing. I suppose we all have our own scars and wounds.

Organic Biplane

Camera: Nikon D200
Lens: Tamron SP90 Macro
f/4 at 1/500
ISO 200

This was one of the most patient dragonflies I have ever seen. Most often they don’t even land so you can take their picture. This one not only landed on an interesting object, the purple flowers, but also stayed there for a longtime while I fumbled around him quite close up with all my gear.

I handheld the camera with a macro lens. I wanted a fast shutter speed so I could freeze subject as the flower moved back and forth in a light breeze. The result is a reasonably sharp subject with a completely blurred background.

I was shocked that it did not fly away. As I look at it now, it reminds of an old biplane. After shooting at this distance, I moved in closer and closer and closer. I will post the resulting close-up image tomorrow.

Tangles

Camera: Nikon D200
Lens: 70 – 300 Nikon VR
f/32 at 1/10
ISO 100

This is another attempt at breaking away from the literal. I used a small aperture on purpose to get a slow shutter speed. I then hand held the camera and gently moved it in an up and down motion while I pressed the shutter release.

In post I de-saturated the image to make it black and white and boosted the contrast a little. The location was once again Vandusen Garden.

Flower Impression 2

Camera: Nikon D200
Lens: Nikon 28-105
f/8 at 1/200
ISO 200

Continuing with altered realities, this photograph also takes on a painterly effect using the same technique as was used in my Self-Portrait 2 shot. I am going to use this technique more often this year.

The shot above was simply my attempt at using the technique for the first time. I learned it from an old Kodak photography how-to book from the 80s. As you can see it doesn’t matter whether you shoot digital or film. Older photography books can still have information that is usable in the digital age.

The technique is simple. I bought a sheet of silver mylar and taped it to a piece of corrugated plastic so I could handle it without it bending. I then positioned it so my subject could be seen reflecting off the Mylar and I took a picture of the reflection.

Because the mylar is not flat like a mirror, the texture in the mylar distorts the reflection and therefore can be seen in the photograph. I really like the effect it produces.

Flower Impression 1

Camera: Nikon D200
Lens: 70 – 300 Nikon VR
f/6.7 at 1/60
ISO 100
Manfrotto 055 tripod

Like many photographers, I spend lots of time in search of techniques that help me to express myself in ways more satisfying than just copying reality. In fact just like drug addicts some photographers live for creating altered realities.

This is an example of something that was created using reality for paint but altering it using a photographic technique to create something more like an impressionistic painting. I created it by setting my camera to its multiple exposure setting and shooting ten frames that combine to form one image.

The more shots you can combine the more painterly it becomes. I have seen examples of 30 and 40 shot multiple exposures that are amazing. My camera is limited to 10 shots on one frame. There are ways to get around this but I have not yet tried. I am reasonably satisfied with what it produces.

Hangin' Around

Camera: Nikon D200
Lens: Tamron 70 – 300
f/8 at 1/250
ISO 320
Manfrotto 055 tripod

My attempts to shoot new pictures everyday seem to be thwarted at every turn. During the week my 10-hour workdays get in the way. This weekend my time has been taken up by shopping for a newer car. Our old car has seen better days. We think we have found one so this won’t be an issue next weekend.

I am forced to show you something from June 2007. Once again my wife and I headed to one of our favourite spots, Vandusen Garden. Along with the flowers, trees, and shrubs there is plenty of wild life. There are a couple of ponds at the garden, which attract dragon flies, one of my wife’s favourite subjects.

The lesson I learned with this picture is to look back at my images every now and then. I didn’t even remember this photo. I discovered it today while searching for something to post. Technically it is not as sharp as it could be but it is passable. What I do like about it is the composition. It is a good example of the use of the rule-of-thirds.

I also like the lack of depth-of-field which allowed the background to blur. That was accomplished partially by the aperture I was forced to shoot at due to poor available light and partially by the fact that I used the lens at full zoom but was relatively close to the subject.