"Prendi alla leggera

ciò che ritieni importante.

prendi seriamente

ciò che ritieni insignificante"

N. Mitsushige

"Take it lightly

what you think is important.

take it seriously

what you consider insignificant "

N. Mitsushige

Posting feels so insignificant in the face of our current...our current reminder that the US is an incredibly broken country.

I need the escapism. The relief of just thinking about photos, simpler times, strange encounters with people.

I want to remember picking up Nettie from Koreatown, where she was staying with someone deep in the throes of drug addiction. I asked her if she felt safe, she said it wasn't a problem, and then we got down to taking pictures.

It was one of the rare occasions I paid a model just to shoot them, but Nettie was such a big deal in the Internet Modeling world, felt like an opportunity I couldn't pass by. But, as is true for each of those other occasions, I regretted it, after the fact. It made the whole shoot too transactional. Set a firm limit on how long we could shoot, so I always heard the clock ticking in the back of my head. Made it difficult to just relax and hit the note.

But we had a good conversation, though I wouldn't be able to tell you the specifics, now. I just remember the vibe, how relaxed she was, despite traveling all over the country. How at ease she seemed to be in her own skin.

I look at the photos now, of course I could've done better, but I'm not disappointed, and, most importantly, I'm glad I got to meet her...so maybe it Was worth it, after all.

We start to walk from the church to the sea. First, the grass vanished, then a furious wind tried to stop our path. Finally, an endless sandy desert swallowed us.

We were very small. An insignificant spot in the Nature.

Beauty doesn’t necessarily lie in the things that we constantly keep focussing on. At times we need to blur our lenses to experience the vibrant hues of life that we consider as insignificant.

This is it. One year and two months later I’m finally finished.

I’ve had this idea in my head since the beginning of February, when the possibility of finishing actually started to become real. Before venturing up to Mount Laguna to take this photo and the previous one, Andrew and I stopped by the store so I could pick out a bouquet of roses. My very first self-portrait of this project is of me holding a dead rose with a pessimistic description underneath it about how love and relationships are overrated. I wanted to incorporate that into this photo but with an entirely different feeling…optimism and hope.

This may not be the best piece I’ve ever created, but it was the most difficult to shoot. After taking my photo for day 364, we back-tracked down the mountain road to where we first saw snow. We thought it would be smart to confide in Siri for directions to a snowy place near a hotel lodge. She told us to turn on Boiling Springs Road, which was soon to become our personal hell hole for the next five hours.

The weather report said it was sunny and beautiful and that we would be ok without chains. We turned on to the little road and quickly realized that it was a big mistake. The road was slick with ice and muddy where the snow had melted. My Toyota Corolla didn’t stand a chance. We got stuck after driving for five minutes and had to dig the tires out to keep going. We managed to get out of that bad spot only to get stuck again driving up a muddy slope. This time the car wasn’t moving. We spent the next hour trying to get the car to move until I broke down and called AAA. I didn’t want it all to be for nothing, so while we were waiting for AAA, I got my stuff together and we went to scout out a place to shoot.

I found this untouched snowy clearing and starting setting up. As soon as I starting unpacking the tripod, a truck with two firefighters in it came zooming down the road. Thinking they were going to get my car, I sent Andrew running after them. The sun was fading fast so instead of going with him, I put on my dress and took off my shoes to start shooting. The pain was agonizing and my feet turned into bricks when they hit the snow. It hurt so bad I wanted to cry.

The firemen and Andrew got my car unstuck and he drove past me waving. The car got stuck again half a mile down the road and I had to walk to go meet them. Turns out AAA doesn’t cover you if you don’t have chains on your tires and they wanted to charge me $100 to pull the car out. Luckily the two firemen (who just happened to be going for a drive that day) offered to help us. I waited back at the fire station while the three of them got my car. Finally, at 8 at night we were able to go home.

I’ve imagined what this moment would feel like since I started my 365 project last January. Before that even, back when I was following the 365s of the photographers who inspired me to start my own. I never completed the 365 I started in the summer of 2011…it became too much for me and I dropped out at around 30 days. I entered 2012 with the New Year’s resolution to finish what I had started. While most started a 366 last year to honor the leap year, I started a 365 on January 2nd (due to alcohol-induced sickness from the night before…AKA hang over from hell).

The first week or so is always so exciting…I remember that feeling well. I started off taking a photo of anything and everything, just for the sake of taking a picture everyday. I’m not exactly sure when I decided to devote my project to purely self-portraits, but from that point on, I became more serious about what I was doing. At first, the thought of taking pictures of myself in public was absolutely terrifying. When I did venture outside, I made sure to scout out the most secluded locations possible. If someone so much as looked at me while I was shooting, I would immediately pack up my bag and take off. I didn’t have the slightest idea of what I was doing.

I holed myself up in my room for hours each day, shooting, uploading and then editing. I wasn’t satisfied until my photo was up on Flickr before I went to bed. I sacrificed time I could have spent on homework or with friends in favor of this project. I was embarrassed to tell anyone about what I was doing…for a while the only people I confided in were souls I had never met in person- my Flickr family. I’ve been both praised and ridiculed for this project. I lost myself in it, but found myself again in the process. There was so much to lose and also so much to gain.

As the days dragged on, I became more comfortable going outside in the open. I got over what people were thinking about me and just went for it. The bigger the risk, the bigger the pay off and the better my photos turned out. Eventually, setting up for shoots became as routine to me as brushing my teeth. I brought my camera and tripod with me everywhere, never wanting to miss the opportunity to shoot in a new location or to run out of light. I became borderline obsessed with catching the sunset, which is NOT easy to do everyday between school, work, maintaining a social life and dealing with whatever else life throws at you.

So how do you summarize a year in words? Within the past year, I completed two semesters of college, attended my sister’s graduation, quit my barista job, became the photo editor of the newspaper, bought a new camera, got an internship, moved into a new house, traveled to Mexico twice, witnessed hundreds of sunsets, lost old friends, met new friends, turned 21, went skydiving, celebrated my grandparent’s 60th wedding anniversary in November and then attended my grandpa’s funeral in February, got the worst sunburn of my life, came down with the flu, laughed, smiled, cried, sobbed, had my heart broken and fell in love. But that’s just surface stuff. The truth is you can’t remember everything. Memories escape you faster than you can hold on to them. It’s easy to remember milestones in your life, but what about all the seemingly insignificant moments that happen on ordinary days? I had a fiery determination to try and capture these moments in photos. Memories come rushing back to me when I look at these pictures. I can remember where I was, who I was with, how I took the picture, how I edited it, (parts) of what I did that day and how I felt.

I owe the biggest thank you to all of my friends, family and all of you here who pushed me to finish this. I’m not trying to sound cliché, but I couldn’t have done it without your support. I owe the biggest thank you of all to Andrew who has believed in me from the beginning, even when I didn’t believe in myself. I’ve been working on this project since I first met him last March. It’s sort of surreal for both of us for it to finally be over. He never judged me. He was always willing to drive with me to scout out new locations and was always patient with me when things didn’t turn out as planned. I never would have finished this without him.

I’m so excited to finally put this behind me, but it’s a bittersweet feeling. I know now more than ever that photography is something I wouldn’t mind doing for the rest of my life. A week and a half later and I still get anxiety watching the sun go down without my camera….

Time for the next chapter…I’m ready.

I'll be posting behind the scenes and print giveaway information in a couple days on my Facebook page. :)

Please like and share!

"The Unexceptional" series

Olympus OM-2Sp + Zuiko 28mm f3.5 + Legacy Pro 400 @ 1250 iso + D-76 1:1 @ 16 minutes

Often, it's the insignificant things that catch my eye.

Middle Point, Northern Territory, Australia.

In the Kakadu region, the appearance of flowers on the Turkey Bush around May signals the end of the season of Banggereng and the beginning of Yegge. The flowering is spectacular, masking the insignificant leaves and giving the plants an overall pink appearance until about August (although, in other parts of northern Australia, it flowers earlier and later in the year).

It grows in dense groups, attaining heights of 2-4m, and providing a vivid splash of colour in the woodlands and margins of grasslands in which it occurs.

It is found from the Gulf Country of Queensland, through the tropical Northern Territory to the Kimberley in Western Australia. Although fairly uniform in its characteristics throughout most of its range, the Kimberley plants are more variable in their floral structure and leaf arrangement which might indicate that these are different (and new) species of Calytrix.

It is thought that the Turkey Bush is so named because the Plains Turkey (Ardeotis australis) would seek refuge amongst its foliage when pursued by hunters. The Turkey Bush is also a favoured shade-plant of wallabies.

When the flower is developing (before the long purplish petals spread open), it is protected by a structure called the 'calyx'. The calyx has long, stiff hairs that are almost as long as the petals. After the petals fall, the pink-red calyx remains. It was for this special calyx that the genus, Calytrix, was named by the French botanist, Jacques Labillardière, referring to the hairs ('thrix' in Greek) on the calyx. Calytrix is found only in Australia with most of its 70 or so species occurring in Western Australia. It belongs to the family Myrtaceae, which includes the eucalypts, bottlebrushes and paperbarks. Like other members of that family, the leaves of Calytrix exstipulata contains oil with therapeutic properties. Indigenous people use the plant for pain-relief. Commercial producers of the oil say that it enhances creativity.

Although C. exstipulata makes a great garden plant requiring little attention, the only species that is used widely in gardens is Calytrix tetragona, which occurs naturally in southern Australia, from Western Australia through to southern Queensland.

Who are we? We find that we live on an insignificant planet of a humdrum star lost in a galaxy tucked away in some forgotten corner of a universe in which there are far more galaxies than people.

Carl Sagan

An O/T Trident approaches Rosthwaite n the Borrowdale valley viewed from the top of my Father in Law's garden.

“As a result of trying to solve the big problems we face in life, many of us end up sacrificing individual relationships by doing things that we may consider as being small or insignificant at the time. This reminds us of the George and Gracie routine where George asks Gracie, How do you cook a pot roast? She replied, I put both a big pot roast and a small pot roast in the oven. When the small one is burnt, the big one is done just right!”

I was considering walking up to this homeless man today and asking for a close up, then I thought, how disrespectful that would sound, "hey sir do you mind if I shove my expensive camera in you're face for a second" at least that's how I assume he would take it. I don't know maybe there's nothing wrong with that, it just seemed insignificant at the time.

So if I had to give advice to anyone still reading this it would be this: Step outside you're world before you say something, consider how that person may perceive what you are saying...

Side note... This was truly the worst photo I've ever edited, I wanted to get it perfect but still couldn't achieve that, I gave up on this one for a while partly because of computer crashes and my short temperament but then I though if this is the worst thing that happened to me all week, life's pretty good.

Thank you all for the support.

Photo from mountain river that runs usually in mountains, in narrow, deep valley with steep banks, rocky stream bed, and accumulated rock debris. Mountain rivers are characterized by high slope and flow velocity, insignificant depth, frequent rapids and waterfalls, dominated washed out processes.

That's why being a UNESCO World-Heritage Site is not insignificant

Look closely - they're quite insignificant...

have a good day toaday and Thank You for your visit!!

I haven't noticed it while taking the phtot but there is someone hidden in there... ;-)

The truth that many people never understand, until it is too late, is that the more you try to avoid suffering the more you suffer because smaller and more insignificant things begin to torture you in proportion to your fear of being hurt.

Thomas Merton (1915 - 1968)

January view of the snow-covered hills of Knoydart and Loch Hourn from the path to Leitir Fura. Beinn Sgritheall can be seen towering above making the one lonely fishing boat in the Sound of Sleat seem very insignificant!

I haven't shot or posted very much lately (winter's uninspiring, short-lived light), but have been going over a few shots I did last year...I'm messing with some effects to give this image a painterly quality, circa 1500's.

Sincere thanks for the group invites, but without comments, these are insignificant.

"Apartment" series

Bessa R3a + Nokton 40mm f1.4 SC + HP5+ @ 400 + D-76 1:1 @ 12.5 minutes (agitation every 1 minute)

Two cloud formations colliding, while a plane insignificant to their massive size passes through.

[in-camera b/w conversion with contrast++ and snapseed 'fine-art' preset]

Due to illness I have not been able to keep up with my schedule, but I'm back again and I think this is a good one to start it all off with.

I have chosen not to title this shot with the normal method or 'artistic' titling, instead this time I am leaving the meaning of this image and the title to this image to your imagination. A mellowed life small and insignificant, is boldly emphasised when all the life has been drained. Taken with a Canon EOS 400D Digital.

Birmingham Bridge, South Side

"Apartment" series

Bessa R3a + Nokton 40mm f1.4 SC + HP5+ @ 400 + D-76 1:1 @ 12.5 minutes (agitation every 1 minute)

Icebat 52 - Week 5

The Nikon FE2 is a significant upgrade to its predecessor, the Nikon FE. The FE2 came out in 1983, about five years after the release of the FE in 1978. Like the FM2N, the design of the FE2 was highly refined over two generations and various other upgrades. The FE2 is a great travel camera for film. It is relatively small and light, compared with both large fully-automated film SLR cameras and large full-frame FX or even crop sensor DX digital SLR cameras. However, the quality of the images it can produce are the same or better than those of a full-frame digital camera, especially when the film is scanned with a commercial-grade scanner. You can fit the camera with two or three small prime lenses and an electronic flash in a regular size fanny pack. The FE2 has most of the advantages of the FE and then some. The main improvements in the FE2 over the FE, which will be discussed in more detail below, are (1) TTL flash metering capability, (2) maximum shutter speed increased from 1/1000 sec. to 1/4000 sec., (3) 1/3 stop exposure compensation instead of only 1/2 stop, (3) brighter viewfinder than the FE, with improved focusing screens, and (4) flash synch speed and mechanical shutter speed both increased to 1/250 sec. from 1/90 sec. for mechanical shutter speed and 1/125 sec. maximum flash synch speed on the FE.

I became a constant user of the original FE soon after it came out in 1978 as a backup body to my pro-level Nikon F2 Photomic AS. Then, for a long time, I variously used an F3HP, F4 and F90X together with an FM2N for a second body. Of course, after that, digital SLRs started to take off and film became obsolete for most applications. However, for travel, especially in the modern age of restrictions on flight check-in and carry-on baggage, I like to keep my travel camera system as small as possible but still keep maximum image quality. The fully mechanical FM2N itself is almost the perfect travel camera. However, may people like to use flash with film lots of in addition to shooting landscapes and street images, may shooters like to take pictures of my friends and family, sometimes inside a building or at night. So the ability of the FE2 to support TTL flash is a big advantage over the FE or FM2N.

The FE2 was in production from 1983 to 1987, concurrent actually with the experimental and more high-tech FA. Finally, in 1988, both the FE2 and FA were replaced with the new style F801 (N8008), which had the metering system of the FA plus autofocus and built-in auto-wind. There was actually one additional major upgrade to the FM2N/FE3, and that is the FM3A, which was released much later (2001-2006; 1991). The FM3A is the most advanced of the FM/FE Series, with a hybrid mechanical/electronic shutter, an FE2 style metering indicator, and all of the other features of the FE2.

The FE2 was available in silver chrome and black paint. I have the black paint version, and the finish still looks great today, with only a bit of very minor wear and tear. When I compare the black finishes on the FE and FE2, the finish on the FE's black metal plates and dials is significantly more matte than the relatively shiny finish on the FE2. Comparing side by side, the matte finish on the older FE is definitely cooler. I have not looked closely at a chrome FE and FE2, but I have read that the chrome FE's finish is also slightly nicer than the chrome finish on the FE2. Anyway, the black FE2 also looks great. Although my FE2 has been to the shop a few times for regular maintenance, it has thankfully never had any breakdown. Some might argue that the all mechanical FM series is more repairable than an electronic camera like the FE2 over a multi-decade lifespan, and that may be true. But the FE2 is relatively simple compared with later advanced electronic cameras, so I am hopeful that my favorite camera technician will be able to keep my FE2 running for a long time to come.

All FM/FE-style bodies work great today with a wide variety of old and modern Nikon F mount lenses. Some people prefer the FE over the FE2 due to its ability to shoot more images per roll, slightly more convenient battery check, and most importantly, ability to mount pre-Ai lenses with the camera’s retractable meter coupling lever.

Unlike the single large 6 volt battery in the older Nikon EL-2, the FE and FE2 alike take either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. This was standard for Nikon bodies of that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too. Even though the small batteries control both the light meter and electronic shutter (but obviously not film advance or any autofocus), they still seem to last forever. I really liked the battery check lever on the back left of the FE, which is missing on the FE2. On the FE, you just need to push the lever down with your left thumb, and if the batteries are good, the red diode will light; no need to look through the viewfinder to check the batteries. On the FE2; you have to check battery power by movement of the viewfinder needle instead.

The FM/FE series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FE2 to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the F2AS or F3HP. It is not as small as the (mechanical) Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FE2 weighs in at only 550g, without lens, even less than the FE's 590g. Of course, the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. You can actually hang the FE2 with a small lens around your neck or shoulder and almost not notice the weight. The FE2 fits great into a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses.

The FE2 body, like all cameras in the FM/FE series, feels a bit light and even insubstantial when held without a lens attached (The FE2 weighs virtually the same as the FM2N, which is only 10g lighter at 540g). However, once a lens is attached in the wide-angle to medium telephoto size range, especially any Nikkor manual focus primes, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used, although the sound is perhaps not as pleasing as that of the FM2N. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod spacer ring to keep the lens rings from touching the tripod head.

Operation of the FE2 is really smooth. The shutter speed ring is large and has an easy to turn knurled grip, although it is not quite as tall as that on the FM2N. The shutter speed dial on the FE2 offers noticeably more resistance than the dial on the FE due to the more robust click stops on the FE2. But still, it is easy to grab the shutter speed dial with your thumb and forefinger when the film advance lever is pulled out to turn on the camera. For safety purposes, you need to push the central button on the shutter speed dial to turn it off of "Auto". The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stroke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is set by a ring that surrounds the rewind lever. The exposure compensation setting is located on the same ring as the ASA/ISO setting, and has a range from -2 to +2 EV in one-third stop increments, an improvement over the half-stop increments on the FE. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FE2 (and also the FE) is 12 - 4000, wide enough to handle virtually all situations, though slightly narrower than the FM2N, which reaches up to 6400. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The shutter release button is located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button on the FE2 (and FM2N) is a more modern, wider design compared with the relatively narrower release on the FE. The shutter release button on the older FE seems to have a slightly shorter travel than the FE2 and FM2N, and therefore feels slightly more instantaneous. Anyway, the shutter release on the FE2 works well with just the right amount of resistance to allow you to half press for an exposure reading, with just a short continued push to achieve an immediate shutter release. The electronic shutter on the FE2 has about the same loudness as the mechanical shutter on the FM2N, but the character of the sound is different. My FE2 has a honeycomb titanium shutter. Apparently, on later serial numbers, the FE2's shutter was changed to an even more improved aluminum design. The film counter is just in front of release crank and is easy to read.

One of the biggest advantages of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses can be used on all old manual focus bodies. I don't know of any other manufacturer that can make such a claim. Thus, it is convenient to use the FE2 together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.

The FE and FM were the last bodies in that line to directly accept unmodified pre-Ai lenses because they included a retractable meter coupling lever. Of course, with pre-Ai lenses, you still need to use stop-down exposure metering. There are many excellent pre-Ai lenses available on the used market, and to use any such lenses that have not been converted to Ai, the FE and FM cameras would be a better choice than the FE2 or FM2n. Alternatively, you can probably still get an independent camera technician to convert any pre-Ai lens to Ai using scavenged parts, although Nikon itself presumably long ago stopped providing such service.

Loading Nikkor lenses onto any FM/FE Series body is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meter pin on the body; this old system became obsolete after the Nikkormat FT2/EL-W generation. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.

To load or unload film, twist the back opening lever counter-clockwise and pull the rewind crank upwards to open the camera back. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the sprocket in the spool engages a film perforation. In my experience, this system is slower but more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. Unlike the FE, the FE2 prevents you from accidentally loading the film with the shutter speed dial set to "A" and ending up with very long shutter activations if you try to wind to the first frame with the lens cap on. I can't count how many times I ran into this problem on my old FE. The FE2 defaults to M250 until the first official frame is reached. The slight downside is that you are unable to squeeze a few extra exposures off the beginning of the role (unless you use 1/250 sec. and Sunny 16 or an external exposure meter!).

The focusing screens of the FM/FE Series were improved and brightened with the release of the FM2/FE2. The original screens on the FE are about 1 stop dimmer than the later second generation. (Note: first and generation screens are interchangeable with exposure compensation). A slight disadvantage of the FM/FE series viewfinders is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FE2's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in the viewfinder will be captured on your film. The viewfinder contains all of the information that you need for convenient camera setting. There is an aperture direct readout (ADR) at the center top of the viewfinder, same as on all FM/FE series cameras. The exposure meter uses a match needle system on the left side of the viewfinder. I actually prefer the three red light emitting diode system of the FM series, which is easier to see in all light conditions. However, the match needle system on the FE2, like the FE, is perfectly fine and is just as easy to see in most normal lighting conditions. The viewfinder of the FE2 is exactly the same as the FE, except that the shutter speed display range has been expanded beyond 1/1000 sec. to 1/4000 sec. Also, the FE2 adds a red LED on the right side of the viewfinder that lights up then exposure compensation is set to other than "0". This fixes a problem on the FE, where you could easily set exposure compensation then forget to turn it off, since there is no indication in the viewfinder that it is still on.

I often use both Manual exposure measurement and Aperture Priority exposure measurement on this camera, depending on the situation. In Manual metering, you simply adjust the shutter speed and aperture until the green and black needles line up. The black needle indicates the recommended shutter speed for the given aperture, and the green needle indicates the set shutter speed. In Auto metering (Aperture priority) you set the shutter speed dial to Auto which causes the green needle to lock on "A" in the viewfinder. The camera automatically selects the appropriate shutter speed, and the black needle indicates that speed in the viewfinder. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments. On the other hand, an advantage of the match needle system is that you receive direct visual confirmation of a wider range of exposure divergence, compared with the LED system.

The FE2, like the FE, FM2 and FM2n exposure meters uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FE2 is the same as all FM/FE series cameras, i.e., EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports an aperture/shutter speed range of 1 sec. at f/1.4 through 1/1000 sec. at f/16. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FE2 is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the later Nikon F4.

Exposure lock is one thing that is slightly inconvenient on the FE/FE2. I sometimes find it easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. I find it quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button in while recomposing and shooting. However, exposure lock on the FE2 is certainly usable. On the older FE, while locking exposure locks the shutter speed at the time the lock button is pressed, the black shutter speed needle in the viewfinder continues to move. This situation was fixed in the FE2, where the black shutter speed needle locks in place when the exposure lock is pressed. By the way, I am more apt to use Aperture priority exposure measurement and exposure lock with electronic Contax SLRs, which allow you to turn on the exposure lock by turning a switch after you achieve the proper exposure setting, and it stays on at a fixed EV until you turn it off. In other words, in the Contax world, after locking the exposure, changes in aperture affect the shutter speed and vice versa in order to keep correct exposure. The Nikon exposure lock only locks the shutter speed, so any changes to the aperture after the shutter speed is locked will change the exposure.

The center of the viewfinder display, with the standard K-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings on the Ai-S lenses, focusing is quick and accurate. The FE2 provides three different interchangeable focusing screen types for various applications. I never needed to use any except the standard K2-Type screen. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. As indicated previously, FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens on the FM3A were further improved so that their split-image rangefinders don’t go dark with lenses that have maximum aperture of f/5.6 or less.

The outer circle in the viewfinder encloses the central area that carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on a Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to compensate the exposure by appropriately changing the aperture or shutter speed in Manual mode, or by changing the exposure compensation dial in Auto mode.

Two contemporaneous Nikon bodies with the FE/FE2, the F3HP and the FA, had different exposure metering patterns. The F3HP, with its 80/20 heavy centerweight, makes it easier to find an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include, in addition to 60/40 centerweight, a multi-segment metering pattern (called AMP or "Automatic Multi-Pattern" in the FA; in later Nikon bodies, this metering pattern is referred to as "Matrix Metering"). The 5-segment pattern on the FA and its first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most normal situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, as is utilized on the FE2. Of course, you have to know what you are doing in such situations! Newer film cameras, such as the F5 and F6, as well as advanced digital Nikons, with their advanced color matrix systems, finally do a good job even in difficult lighting situations. Modern Nikon bodies generally use a 75/25 weight in their center-weight metering modes.

The FE2 incorporates a vertical-travel, metal focal plane shutter with honeycomb titanium or aluminum curtains. Shutter speed range on the FE2 is an expanded 8 sec. through 1/4000 sec, which is acceptable even today. This is a big improvement over the shutter on the original FE, which maxed out at 1/1000 sec. On the slow end, the longest 8 sec. shutter speed (same as the FE) is a convenience to those of us who were previously used to using a shutter release cable for any exposure longer than a second. One advantage of the FE2's electronic shutter over the FM2n's mechanical shutter is that when in Auto (Aperture Priority) mode, the FE2 can select any intermediate shutter speed. In manual mode, you can only select the standard shutter speeds that are indicated on the shutter speed dial. The FE2 has one mechanical shutter speed, 1/250 sec., which is a separate selection on the shutter speed dial. The single mechanical shutter speed on the earlier FE is 1/90 sec. Users might argue whether it is better to have a backup speed of 1/90 sec. for available light, or 1/250 sec. for bright daylight. In any event, given the FE2's great reliability and long battery life, I have never had a need to use the 1/250 sec. mechanical shutter speed.

There are just a few more features that I want to mention. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set for maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FE2 bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.

Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. As already mentioned, the FE2 supports automatic TTL flash control with a four-contact hot shoe. The older FE only had a two-contact hot shoe for manual and non-TTL auto flash exposure. The FE2's maximum flash synch speed is 1/250 sec. This capability is still basically current today, significantly better than 1/125 sec. on the FE, and an improvement over all prior Nikon bodies except the FM2. On both the FE and FE2, one of the flash contacts communicates the flash charging status to the camera and lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FE2 works with any Nikon flash unit. I use my SB-24 and SB-26 and they work great. If you will be doing a lot of flash photography, the FE2, along with the FA and FM3A, with TTL flash support, are better choices than the FE and prior Nikon bodies.

In addition to the vast selection of Nikkor and third-party lenses that are available for the Nikon F mount, the FE2 also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive (and also the earlier MD-11). This motor drive unit works on all FM/FE series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack, the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.

Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.

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A walk under the stars in Snowdonia. Makes you feel really rather small and insignificant.

Yes, I know. I'm doing pretty bad on committing myself back to my 365. I know, it's only a project, and in K's world, it's only one of many. They've all been sliding. So at least I've been fair to some extent.

Just feeling lately as if everything has this uncanny way of hitting you all at once. I feel like my finances, my priorities, my simple stupid joys in this world...all just went kaput, and took my emotions along for the ride.

A little part of me feels weird, and empty, and just as if I'm playing a game in my everyday life.

It's a ridiculous slump to allow oneself to fall into, and I refuse to succumb to all these bitter things in life and let myself miss the good things.

There are so many good things.

In an optimistic note, I've been applying myself rather diligently to work suddenly. I'm guessing it's the mechanics of it that appeal to me. I put on my "manager hat" from 8am to 5pm and somehow it all becomes easier to breathe during.

Bah. Well, I'm okay. This too, shall pass.

In the meantime, I'll just keep seeking out the doorways that have light, and hope that whatever is on the other side isn't something that will fade quickly.

kinda miss you guys. I need my rhythm back.

xoxo

TRF somehow I managed to scratch my leg right before putting on these socks...and now I have a bloodstain to fuss with....crappity. :-P

&

On an unrelated note: All this stress and emotion lately, I do believe I've lost some weight. booyah. ;-)

Collaboration with Dylan Murphy.

This is the first picture from our Seven Deadly Sins series. It represents Sloth, wasting one’s time on insignificant things, idleness.

Porto

For the short and rather insignificant Pagönnienstraße over the centuries are more street names and name variants handed than most other streets in the Old Town of Lübeck. It is now established name come about through a long series of sometimes bizarre acting malapropisms and misinterpretations, largely meaningless: The term Pagönnien does not exist, neither is it a Low German expression, nor was there ever a religious order of that name, or a little famous saint named Pagönnia, as is sometimes supposed.

The St. Peter's Church in Lübeck is a church, which was first mentioned in 1170. Over the centuries it has been expanded several times until the 15th Century was finished. During World War II it suffered severe damage and was completely restored in 1987. Since the interior was not restored, no services are held in it. Instead, it is used for cultural and religious events and art exhibitions.

"The Unexceptional" series

Olympus OM-2Sp + Zuiko 28mm f3.5 + Legacy Pro 400 @ 1250 iso + D-76 1:1 @ 16 minutes

Being small doesn’t mean being insignificant. It means being unique. Greatness comes in all shapes and sizes.

This is a beautiful place to watch and hear the waves crash, and no matter how many people are there, I still fell very small and insignificant compared to the power of the sea.

Seen in EXPLORE on Aug 7 # 258

Not a good shot again, then it flew off before I could containerise it, but nonetheless, very excited to have found another one of these! Not quite as hairy as the last!

Upton Magna - Shropshire

I have always loved Red Mountain. It is the most colorful part of the San Juan Range. I have photographed it several times and my images are quite insignificant to seeing it in real life. The iron rich ore that composes this wonderful mountain oxidizes in the air and hence gives it it's rich red tones. The peak raises from and flat area, as you can see in this image, called Ironton Park, This is about the only passing spot on the highway between Silverton and Ouray on the Million Dollar Highway. At one time there was a town here and several mines. The narrow gauge railroad traveled through this area to transport the ore out of the area.

This past Sunday Dan and I made a quick trip to Durango, As normal I had my camera in my lap and the weather looked much like fall on this late July day. Dan spoiled me by pulling over for a couple of shots of the storm clouds hovering in the crevices of these peaks. The entire day in the area was constant rain of varying intensity, as was the following day too. Thank goodness, this rain helps the whole Uncompahgre area.

I think, perhaps, this is my favorite shot that I have taken to date of Red Mountain. The scene was serene and lovely and the moisture saturated the beautiful color or the area.

Thanks for looking and leaving a comment if you should choose to do that,

Susan

Last Friday, it was sunny in the morning, but it typically clouded over and rained as I headed out at lunchtime... I explored a field nearby, and started to find Scymnus haemorrhoidalis in grass tussocks along the fence line around the field. The most I'd previously found in one outing was 4, during a five mile walk. Here, I sometimes got up to 5 individuals from a tussock!

In the end, I found 23 of these little ladybirds!!! That was in just ~ 200 m of fence line! I had such difficulty tearing myself away, as I can only wonder at how many more I might have found if I'd carried on, but I had to get back to the office!! I was half hour late as it is!!

Upton Magna - Shropshire

An otherwise insignificant and unremarkable thorn berry on Gun Hill, Swythamley, Staffordshire Moorlands

Lead Me Home

[ Who are we? We find that we live on an insignificant planet of a humdrum star lost in a galaxy tucked away in some forgotten corner of a universe in which there are far more galaxies than people. "

Carl Sagan ]

This was not the initial photo I had imagined for this scene. But after a full night of editing yesterday, I got fed up & decided to restart today. The idea that I had for this particular area was very different, & I was going to make it into a series, however, hope is not all lost. As I'm not letting this idea go, just setting it aside until some of the snow melts, & when Spring finally arises.

The texture is one of Brooke Shaden's "textures from India"

Facebook: www.facebook.com/pages/Logan-Collin-Photography/279397412...

A thousand people or more,reach the summit cairn of Green Gable every year,yet it is probably true to say that no visitor to Lakeland ever announced at breakfast that this fell was his days objective; and if he did his listeners would assume a slip of the tongue,of course he must mean Great Gable.

The two Gables are joined like siammese twins,but they are not likenesses of each other..Great gable is a great mountain which every walker wants to climb; Green Gable is a stepping stone to it but otherwise of no account..all eyes are fixed on Great Gable..Green Gable is merely something met on route,so think most folk that pass from one to the other.

But Green Gable is not at all insignificant. At 2603 ft,its altitude ,by lakeland standards is considerable,a sharp peaked summit,more delicately wrought than Great Gables,adds distinction...

I recognise Green Gable as a fine mountain in its own right.

Look how insignificant we are...

Follow me on instagram for more photos: www.instagram.com/jeff.camphens/

www.grandview.com.jo/petra_monuments.html

The first, and one of the most imposing, is the Urn Tomb, named from the fairly small and insignificant urn at the top of the pediment. The tall, narrow façade towers above the city, its terrace supported by two rows of vaults which emphasise its height. The Bdoul bedouin call these vaults as-Sijn (prison), and the tomb above them al-Makhamah (court of justice). This may be pure myth, or it may reflect a later function of the monument, though not its original Nabataean purpose. Dated to the first half of the first century AD, it could have been the tomb of Malichus II who died in AD 70, or perhaps of his predecessor, Aretas IV, some thirty years earlier. Whoever it was, his burial place was not in a hole cut into the floor, for there is none, but in the central of the three burial chambers carved high in the façade between the columns. The remains of a carved bust can still be seen in this aperture, but those which must have similarly blocked off the two other chambers are missing.

In the mid-fifth century the Urn Tomb was converted into a church, and the cavernous interior still shows signs of the adjustments that were made, in particular the chipping away of the stone that separated the two central recesses to form one large, shallow apse. On the far left of the rear wall, a painted inscription in Greek records the dedication in 446/7 of this erstwhile tomb as a place of Christian worship: 'In the time of the most holy Bishop Jason this place was dedicated... to Christ the Saviour.'

Do you feel insignificant, expendable in this vast world? Remember, the mightiest trees grow gradually against the wind, and with each gust, you are cultivating your own wisdom.

Depending on your perspective, this little world of rocks and waves may seem insignificant. When you move in close enough, even the minimal surf we saw this day seems overwhelming.

Life comes with different ups & downs, but when I open my eyes and see this… every down becomes insignificant. When you wake up in the morning, you are healthy, and you can move your life around anywhere 360 degrees. Walt Whitman said everything in life is a miracle. It really is! And traveling as nothing else opens these invisible horizons in our brains.

"The Unexceptional" series

Bessa R3a + Nokton 40mm f1.4 SC + HP5+ @ 400iso + HC-110 B @ 5 minutes

♪♫ ♪♫

Just a small insignificant flower which never ceases to amaze me.

Giving the 85mm a run for its money. Nice to try other lenses and take us out of our comfort zone.

cosas insignificantes- (sentir tus pies arder sobre la arena de Akumal)

Compare the stark contrast to the full moon on a black sky in the previous photo. From the power of the moon on us, to the insignificant weed at our feet, the symmetry and similarity were interesting. I also liked how much this looks like the crystal encrusted New Year's ball in Times Square, New York.

As I sat on my downstairs back deck today to enjoy the relatively warm Spring days we have on Long Island. I noticed this weed at my feet, swaying in a strong breeze.

I realized it would soon sacrifice its existence on the altar of genetic distribution, a fatal honeymoon after a quiet wedding, high on weed, under a full moon high a few days ago.

Neighbors may have wondered why I was lying down on my deck's steps to zoom on grass (maybe wondering if I was on grass! LOL).

A 200mm zoom with the awesome Nikon 18-200 lens on the D300, and an exposure bias of -1.00, gave this Noon time shot a "wedding night" darkness to the half fresh half still dry grass, making the subject look almost like a photographic object on a dark painting background. But it retained so much detail, you can see the natural scratches on the stem.

Two hour after I took the photo, this had disintegrated, Gone With The Wind.

© 2010 IMRAN

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