Reflections, 13 December 2010


The literal kind, not the philosophical kind. Yeah, I know…y’all are just dying to hear about the the latter from me, aren’t you? Well, I’ll spare you the discomfort. See what a nice guy I am?


Photo Information:

Camera: Nikon D80
Lens: Nikon Nikkor 60mm f/2.8 Micro [1]
ISO Equivalency: 100
Color Setting: Vivid [2]

I happen to like these circular traffic mirrors…one of these days, I’ll have relocate the first photo I shot of one of these. [3] I’ve got it somewhere, I swear. There’s something about the distortion of the view that appeals to me. Anyways, I found this particular one in Lakeview, after strolling through Lincoln Park. Oh, but wait…there’s more. This mirror has a twin on the other side of the driveway where I was standing. I’ll post the view from that one a little later.



[1]: Yes, I know it’s a macro lens, and I wasn’t using it as one. Since this was originally a full-frame lens, it actually makes a decent short telephoto lens on a DX-formatted camera. The equivalent focal length on the smaller sensor is approximately 90mm (60mm x 1.5 crop factor = 90mm). Kinda useful if you want to get close, but not too close. and with my telephoto zoom lens also being a full-frame lens and starting at 80mm, it effectively works out to be a 120mm lens on a DX-formatted camera: not quite a short telephoto anymore.

[2]: Not that it matters much in this case.

[3]: For the record, that would be part of ancient history; since it was during my undergraduate days, I know with certainty that I shot the photo in the fall of 1999, making the photo over 10 years old. Of course, since I originally shot it on black and white film that I subsequently fixed properly, the negatives are still viable, even now. [*] Of course, finding the negatives will take a bit of doing…

[*]: For those of you who don’t know, black and white film uses light-sensitive silver salts to capture an image on the acetate backing. Once the negatives are chemically processed (properly, of course), the resulting negatives should be effectively permanent; the chemical process converts the silver salts into plain old silver, so as long as the negatives are properly protected (kept away from light, excessive moisture, etc.), they won’t be going anywhere anytime soon. Ever wonder why photos from the 1860s are still around, but those 1-hour color prints you got a few years back are already fading? That’s because color films rely on dyes to capture color information, and these dyes are not as durable as the silver in black and white film and prints (assuming, of course, said B&W prints were made on photographic paper, and not on a digital printer). Even if properly protected, color dyes still fade over time.


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