First things first. I’ve always admired the technical skills demonstrated in the kind of photography that gets up close and personal with the subjects. Having spent the last two days doing almost nothing but attempting to come up with just one good shot, that admiration has increased considerably.
It’s not helped by the fact that I’m using an adapter. If there is a way of setting the f-stop prior to attaching the lens plus adapter, I haven’t found it yet. It would be helpful to have a smidge more depth of field control.
Still, I’ve got to know three garden spiders very well this weekend. With the right conditions and more practice, practice, practice …………
Spiders, having spun, stand sentry.
Persistence means I get to show you two of the better attempts at capturing web work in the wind.
I think the package that arrived in today’s post may turn out to be the best $21.00 plus postage I ever spent. I’d seen them on sale for closer to $90.00, so was pleased to take a chance on this for the price.
It’s an adapter (FOTGA brand) that attaches to Sony E-mount lenses (eg NEX and A6000) to enable the use of Canon EOS lenses. The other factor contributing to the future success of this gamble is that another person in my household happens to own a Canon EOS and assorted lenses.
Within a couple of hours of receipt of the adapter, I’d put it through its paces in the garden. It was not the most suitable day to attempt using the 60mm macro lens. Another storm is brewing and the wind is rising up in micro gusts. I’ve also got to get lots of practice with the shallower depth of fields and, short of using a tripod, find a way to stablise a hand-held Sony A6000 which is being asked to carry the additional weight. The wind was a huge factor in missing the mark on some spider and web shots today.
Here’s what came out of the new combination on the first pass. The only editing that’s taken place is cropping.
I was finishing breakfast on Saturday. The shape of an empty glass of water took my attention, and as I had my iPhone nearby, I thought I’d see what happened if I took a photography through the bottom of the glass.
I thought it looked pretty interesting so posted it on Facebook. Photographer Laura Goyer thought it was fun too, and asked the question, “Have you tried free lensing?”
Not only hadn’t I tried it, I had no idea what it meant. Cue Mr Google where I found these instructions on A Beautiful Mess blog.
Free lensing involves removing the lens from your camera and holding it in a tilt fashion in front of the sensor.
It didn’t take me long to have a play. At first I thought, that because I have a mirrorless camera and not a DSLR, it might not quite come off. In addition, a few settings on your camera need adjustment to make it possible eg enable the shutter when a lens is not attached.
It’s clearly going to take a lot of practice, and you wouldn’t try it in a dust storm, but there’s no doubt I’ll have some more play with this to see what surprises emerge. Thanks Laura!
Aboriginal and Torres Strait Islander readers are respectfully advised that this post contains the name of a deceased individual.
A large storm came through parts of the state’s south-east on Wednesday night. Something prompted me, despite the continuing humidity, to make my first visit to the Boondall Wetlands** with the camera. It’s fair to say that the prospect of any shore bird activity mid-morning was nil-to-slight. It was hot and sticky and, if I’d asked them, I’m sure the mosquitoes could have lifted me along the path.
In a landscape like this, though, the Billai Dhagun Track didn’t disappoint. Casuarinas, tea-trees, and mangroves. Butcher birds and ibises. As a bonus, along the track, there are eighteen cast aluminium totems (the Nurri Millen totems) created in 1996 by artist Ron Hurley in a shared public sculpture program.
Here’s some of the camera play.
** Before these wetlands were designated, in a land and time long ago, my 14 year old self (and a friend who I will not out here) did spend the odd afternoon after school in this vicinity. It’s possible that cigarettes may be an element of that story.
How one responds to works in an art gallery, and the gallery space itself for that matter, is personal. Perhaps that’s why I’ve never been able to stay the path with anyone else, even if I arrive and/or leave the gallery with that person.
Here’s my personal response to our visit to The High Museum of Art in Atlanta today via the camera.