From F-Train to Farmland - Part 2

How my photography seems to be shifting west.

This is part two of my recent move from the East Coast to the Midwest. Something I’ve discovered in my picture taking since I got to Nebraska. I’m sure this will be evolving over time.

Thanks for subscribing and reading about our adventures in photography.

---

On the way to Nebraska

Big change in my life: I picked up and moved from Brooklyn to Lincoln, Nebraska. The culture shock has been less intense than I expected, but the visual change is striking. Instead of the closed-in streets and avenues of New York City, I’m looking at open plains and the flat, bright summer light of the Midwest.

So how do I approach my photography here? I can still do street work when the chance comes up, but Nebraska doesn’t have the same density of people. Street photography alone isn’t going to cut it anymore.

I’ve been thinking about photographers I admire—Walker Evans, Stephen Shore, Todd Hido, Dorothea Lange, Matt Black. They focused on the quieter, less populated parts of the country. Their work is something I can lean on to help guide my eye. Even so, at first it was hard to find subjects that really grabbed me.

That changed when I brought my first Lincoln shots into Lightroom Mobile. I had images of road signs and storefronts—ordinary scenes that felt flat and uninteresting straight from the camera. But when I started experimenting with color presets, something clicked. One preset completely transformed those dull, harsh-light shots into something with mood and life. It wasn’t just editing—it revealed possibilities I hadn’t seen at all when I pressed the shutter.

Before and after an added preset in Lightroom

That hit me pretty hard. It made me realize that color isn’t just something to tweak later—it can shape the way I see in the first place. Suddenly I wasn’t just looking for subjects, I was looking for potential—scenes that could come alive through the color choices I knew I could make later.

It reminded me of shooting film. Back then, I’d choose my film stock carefully based on what I planned to photograph. On a two month long trip to Greece, I brought Fuji Velvia to get those rich, saturated Mediterranean colors. For studio portraits I’ve done, I’d use something softer and more neutral like Kodak Portra or Fuji Astia. I chose my film with the subject in mind.

Photos from Lincoln, NE

Now, it feels like that process has flipped. I see something that might have seemed too plain before, but I know I can transform it. That possibility opens up my eye to subjects I’d have ignored. It’s pushing me to pay closer attention, to imagine how things might look after the edit, and to seek out scenes with that in mind.

With my Fujifilm cameras and their built-in film simulations, plus Lightroom’s endless color options, I have this whole toolkit that doesn’t just process my photos, but actually changes what I notice in the first place. This is not new in the world of photography, but it feels new to me right now.

Lincoln, NE

I’ve found myself in a kind of feedback loop. I’m hunting for scenes that match this new way of seeing. It’s changing my approach fast. Honestly, it’s been surprising how much it’s opened me up creatively in just a short time.

I know my photography is going to evolve with this move to the middle of the country. And I’m looking forward to figuring out what my new look will be, because that’s how I’ll grow. I’m letting the tools lead my eye toward things I wouldn’t have considered before. I don’t see that as a bad thing—just something new.

How about you? Have you noticed the subjects you photograph being shaped by your cameras, apps, color presets, or even your choice of lenses? I’d love to hear how your tools change the way you see. Drop us a comment to start a discussion. I’m curious if this is something you’re experiencing.

Antonio - Lincoln, NE