Photography

Series 1 — Portraits of Produce by Adrian Galli

Project Kr, begins with Portraits of Produce, the first series of the year.

Inspired by shapes, minimalism, macro, and an affinity toward dramatic, one point lighting, a project of what I expected to be half a dozen or so images just kept growing. In fact, I might continue this with other produce items that I didn’t get to photography (or couldn’t find) like fresh figs, several types of squash, and more.

I hope you return because a black and white version of this series may also appear. I decided this needed to be color in the moment but some of these images look really spectacular in black and white.

A funny take away: lighting an aubergine proved to be much harder with anticipated. The Story of the Aubergine, behind the scenes, on Hexagon on the way.

Series 2 coming January 21, 2019.

Portraits of Produce

Project Kr — A Year in Photographs 2019 by Adrian Galli

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In 2017, I embarked on a photographic journey. Feeling a bit stale and uninspired creatively, a New Year’s resolution of mine was to enjoy a creative endeavor just for my own growth, enjoyment, and challenge. No matter what was happening professionally, I would have a voyage of my own, that I controlled and made into whatever I wanted it to be.

A Year in Photographs (2017) was a massive challenge. Taking a photo every day for 365 days was not only hard to maintain from a time standpoint but a massive exercise in discipline. In fact, while creativity and performance was an important goal, the discipline was probably greatest accompaniment. Nothing stood in my way and nothing did. I succeeded in that journey.

On December 31st, 2017, I had to decide whether to continue the journey into 2018 or move onto new New Year’s resolutions. One January 1st, 2018, I did not continue the photography path. But there was a bittersweet feeling I had for several days. With a great sense of accompaniment, I still felt like I was leaving behind something that had become apart of my life—like a friend moving away or leaving a team of people who one loves working with. But there was also a sense fo relief. I one thousand percent recommend one take on a 365 Days of Something because it is such an incredibly rewarding challenge but no one can really relay the intensity it can be.

A good friend of mine, Tonja, is a music creative and my photography journey inspired her to make a beat every day. I know how difficult it can be and her stamina is inspiring to me.

So on this day, January 1st, 2019, I start the year by saying, I’m back and the feelings for this beginning are as anxious and exciting as in 2017.

Project Kr—36 series in one year. For each series, I have ten days. As much a creative endeavor as it is an exercise in quality, determination, and persistence.

It is difficult to put this moment all into words so I think the best way to start is:

Series 1 coming January 11, 2019

K&F Concept Lens Adapters by Adrian Galli

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I run several camera systems at the same time... crazy I know. Most systems are very similar and very capable. My Nikon system is really my high end professional gear—big, powerful, strong ecosystem. My Olympus gear (Micro Four Thirds) is small, great for travel, some wonderful lenses, and impressive innovation. Finally, I also have a FujiFilm X-T20 and a clue of lenses—Fuji is making some of the best camera and lenses around these days and also the only affordable medium format cameras on the planet.

I can get into more details about why these systems are all in my camera bag but one of the reasons I have my Fuji system is for using adapted lenses.

There is a common fallacy that “old lenses” are not functional for digital cameras. It is an unexpected and untrue statement but I assume it is for two reasons: camera companies want you to buy the newest gear and a lot of people believe that old is bad and new is better.

I can’t speak for the camera companies but they are in the business of selling equipment so it seems likely they wouldn’t dissuade someone from believing that their old film lenses from the 1960’s aren’t good. Fact is, normal and telephoto lens optics haven’t really change much. Mostly is is some technology like image stabilization and various lens coatings. Wide-angle lenses have come a long way—Nikon is probably the front running in this area but in past, wide-angle lenses weren’t so hot. Otherwise, lenses from decades ago frequently have some very wonderful and unique qualities that aren’t found in many lenses today because, you know, sharpness is everything according to so many photographers.

I’ve been fortunate to find and play with some absolutely incredible old lenses from long before I was even born but the problem is, these lenses have mounts that are all but extinct. Or, like my Nikon 50mm ƒ1.8 E-series, does use Nikon’s F-mount and still work on my Nikon cameras but it is also a great lens to mount on my Olympus or Fuji cameras—it is worth using on any camera.

FujiFilm X-T20 with K&F Concept Nikon F to Fuji X mount adapter, Nikkor 50mm ƒ1.8 E-Series

FujiFilm X-T20 with K&F Concept Nikon F to Fuji X mount adapter, Nikkor 50mm ƒ1.8 E-Series

Lens adapters can be very expensive—$99+ in many cases. However, I was searching around on eBay for a few deals on said adapter when I stumbled on K&F Concepts.

These adapters are usually around $25 and are really well made. All metal construction, these adapters come is a protective case, and K&F have adapters for just about every mount imaginable. From Nikon F to Fuji X mount to Exakta to Micro Four Thirds, all of my fun “vintage lense” have new life on my cameras.

Nikon F mount to Fuji X mount

Nikon F mount to Fuji X mount

Nikon G (F Mount) to Micro Four Thirds

Nikon G (F Mount) to Micro Four Thirds

Nikon G (F mount) to Fuji X Mount

Nikon G (F mount) to Fuji X Mount

It is important to note that adapted lenses do not communicate with the camera; one will not have any meta data such as aperture, focal length, and the like. Some lenses, Nikon G-type for example, do not have aperture ring and therefore specific adapters with an aperture ring are needed.

Notice the different between the general Nikon F adapter and the Nikon G adapter. The scalloped metal ring controls the aperture lever for G-type Nikkor lenses. It is important to also note, the aperture ring does not have actually click stops to certify what aperture one is using but there is some feedback from the ring (clicks) to know it is functioning. Using these adapters ensures one will get comfortable with both manual focus and manual controls as a whole.

Sadly, as it stands, the E-type (not E-series) Nikkor lenses are not supported at all because only a Nikon camera can control the electronic [E] aperture. The good news, those are very new lenses. Nikon only makes a few. But since these adapters are really about working with older, vintage, or specialty lenses, it should not pose a problem.

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I can’t recommend these more. For $25ish, one can get a bunch of these for the price of one Metabones adapter. They are low enough cost to allow one to collect all sorts of old lenses and enjoy the artistic elements of lense that are essentially extinct.

An old photography adage: You date the camera but marry the lens.

Keep those old lenses around and put them to good use with these simple and great adapters.

K&F Concepts

Price: $25

Waves, Chicago, 2018 by Adrian Galli

While I just posted about my continuation of Geometry and how I was concerned I would run short on structures in Chicago, no sooner did inspiration hit and I took my Nikon D500 + Nikkor 70-200mm ƒ2.8G out to photography a building I’m intimately familiar with. 

A photographer colleague of mine said, “You’re doing some really impressive work. This Geometry series is like you’re taking photos and making them into graphic design.” For the record, and I always stress this because people question it always, there is no Photoshop, Illustrator, vector graphics, etc. Geometry series is minimally processed in Photos on a Mac—it’s all exposure and timing.

Photography is seeing common things differently and capturing one’s vision like no one else can.

Waves, shot on Nikon D500.

Waves, Chicago, 2018

Waves, Chicago, 2018

Dedicated to Michael.