Over the past several weeks (months really), Veta and I have spent much time discussing what our photographic style is. Some photographers have the fortune of being able to describe their style in a few words or sentences. We cannot. However we do have a goal that we continually proceed toward. We desire nothing more than to portray truth through our photography.
This simple concept, however, is not so easy to achieve as it is to write. In fact, it is impossible to convey complete truths in simple instants of time. The best we can do is to capture simple instants of truth. Acknowledging this, one question that Veta and I ask before we shoot is “How can we best capture the truth in this particular moment?”. There are many facets of this question’s answer, but we’ll focus on only one in this post.
Though camera bodies have become quite complex throughout the years, they are still simple in premise. The camera body is merely a light proof box which permits entry of light for a limited period of time. Just long enough for creatively correct exposure, in fact. But before entry, that light must be prepared and molded for the respective photograph. The lens on our camera is the most important photographic tool that we use to interpret what our heart sees. It’s quite possible to mount a standard zoom lens on a body, prepared to capture everything adequately. The photograph will be sharp, filled with contrast, and pleasantly composed. While a good zoom is often our weapon of choice and necessity, it is not the proper tool many times. When we have time and are not operating in documentary mode, we always prefer a prime lens. Here’s an interesting article on prime lenses.
Our most recent purchase is also our new favorite. It’s Nikon’s 45mm PC-E f/2.8. This lens is rather unorthodox for modern portraiture. So often modern portraiture is fast, immediate, as well as precise. The autofocus systems of modern cameras are faster than any speedy camera operator could ever hope to be. But this Nikon 45 is not an autofocus lens. It’s completely manual. Therefore, it’s slow to focus as it depends on us. It also has tilt and shift features that I won’t even begin to explain. Rather I’ll refer you to this article on tilt-shift lenses. But I will tell you that in addition to the focus ring, this lens contains three other adjustment capabilities. The lens can rotate about the camera body, can shift (translate) in one direction or another depending on its orientation, and can tilt. The photographs below are some of our first with our new lens. It’s become quite obvious that this lens will give us the ability to capture truths that only our mind could contain before. So allow us to close this post in the only way we know how:
This portrait below is not meant to contain real depth. It is one of my favorites though, because it portrays my lovely wife Veta in a flattering light. The tilt function of the lens allowed for Veta to be our single subject of focus within this forest of planted pines. The sun and some Lightroom dodging did the rest.
The photograph below is Veta’s work and like her spirit, is quite ethereal.
The photograph below is mine. It was taken somewhere on a two lane road in central Georgia. The planted pines’ undergrowth had recently been burned, allowing for a beautiful layer of new ferns at ground level.
The shift function of the camera permits distortion free capture of tall trees or buildings. We like to think of our work as partly architectural in nature and this lens will only enhance that aspect.
The lens is also designated as a “macro” lens. Veta took this photograph for one simple illustration. She notes that, when examined properly, even this simple road-side “weed” is so magnificently formed. Veta’s observation rings in my memory and reminds me that we are all God’s children and no matter how common we are, we are all masterfully formed.
Here is Veta’s perspective once again of an oat field just off of the highway.
Below is a wider angle of the same field to give another perspective. The photograph below also illustrates that our new lens is quite capable of taking “standard” photographs as well.
The photograph below was taken at one of our favorite stop-overs between Southwest Georgia and home. This empty store is quite the photographer’s treasure, as it actively transforms from a once modern and functional state to a more natural one.
The photographs below are two compositions from Veta’s mind. She remembered this broken window and the rusty items inside from an earlier trip. She equates her composition to a broken heart with all of the useless, rusty contents still inside.
