Nikon N2020 Review

/ / Film | Category, Gear | Category, Gear Reviews | Category

In 2019, I picked up a Nikon N2020 on a whim. I was looking for a 35mm Nikon that had a physical shutter speed dial and supported AF lenses. Originally, I thought I would be picking up a Nikon F4, but I didn’t want to spend that much. So, I started looking at other cameras from that period and landed on the N2020. The decision to go with the N2020 was only partially because of cost—there was also a sense of unfinished business. The very first 35mm SLR that I bought was a Nikon N2020, nearly 12 years ago. It was a short-lived experience. I shot a single roll and was so disappointed in the results that I sold the camera. Looking back, I know I didn’t give the camera a fair chance. In 2009 I was barely a competent photographer and knew nothing about shooting film. I thought it would be interesting to revisit the N2020 and see what my opinion was as a more mature photographer. Now, after owning this N2020 for nearly two years I want to share my experience with this unique—and oddly enjoyable—camera.

The Nikon N2020, or the Nikon F-501 outside the U.S., was released in 1986 and was Nikon’s first successful autofocus SLR. While the Nikon F3AF came out a few years earlier, it did not have much success and it also used AF lenses specific to the F3AF. The Nikon N2020, on the other hand, debuted the Nikon AF system that would be the standard for Nikon cameras for the next 30 years. The Nikon N2020 is based on the N2000, with the addition of autofocus. Both cameras marked a shift in design for Nikon. Gone were the film advance levers and an all-metal design. In their place, we have a built-in motor drive, auto film loading, and new polycarbonate construction. These cameras, especially the N2020, represented a transitional period in the photography industry. Cameras like this bridged the gap between the metal, full manual SLRs of the 60s and 70s, and the plastic, full auto SLRs of the 90s. As with any transition, it didn’t come without growing pains.

Nikon N2020 Autofocus

While the camera certainly has a lot of firsts to be proud of, it is objectively not that great. We’ll start with the thing that made the Nikon N2020 special, the autofocus. To say the AF is archaic would be incredibly kind. The N2020 uses an early form of phase detection, but it’s a completely passive system. Modern cameras have an active system that uses a form of range-finding to determine focus based on subject distance. Passive systems act similar to the contrast detection that was found in mirrorless cameras. The result of this early attempt at AF leaves a lot to be desired.  Even in good lighting the focus frequently hunts, and usually has a bit of back and forth before it settles. In low light—and I mean anything dimmer than an overcast day—the AF can be unusable. Many times I had to tap the shutter button multiple times to get it to focus. Sometimes it refused to focus at all. Even when the AF is behaving, it is loud and annoying. Speaking of sounds, the film advance is downright depressing. Every sound this camera makes harkens back to a bygone era. A time of electronic advancement, of unnecessary motorization, and blinking red LED lights everywhere. 

Nikon’s Design Philosophy

If we can move past the shortcomings of the N2020, of which are many, what’s left is something almost enviable. While other manufactures wanted to jump straight into the world of buttons, wheels, and LCD screens, Nikon tried to apply new technology to their existing design philosophy. The Nikon N2020 is a camera of duality—having one foot in the world of manual focus SLRs and the other foot (or perhaps just a toe) in the modern era. Save the AF and integral motor drive, the N2020 has more in common with the F3 than an F5. Shutter speed, aperture, ISO, and exposure compensation are all physical dials on the N2020. And it’s this sense of continuity and legacy that will forever endear me to Nikon. While Nikon has evolved over the years, it is always in a measured way. Nikon’s design philosophy honors their roots while treading new ground carefully. The N2020 exemplifies this. The design cues and tactical controls are very similar to an F3, with the addition of autofocus. It is a unique experience having the tactile control of a classic SLR like the F3, while using more modern AF lenses.

Lens Compatibility

On the note of lens compatibility, the N2020 can use almost any manual focus lens. The major exception to this is “Pre-Ai” lenses, a limitation many late model manual focus Nikon bodies share. For AF, the N2020 supports the “screw-driven” AF or AF-D lenses, but can’t drive new AF lenses with integrated motors. It is also important to note that lenses without aperture rings can be used, but only in “P”. These limitations are important to be aware of when looking at bodies from this era. Out of my 10 lenses, only half will work on the N2020.

Shooting with the N2020 is an interesting experience, and a bit of a guilty pleasure, if I’m being honest. Dealing with the autofocus speed is a challenge, even trying to get a decent photograph of my cats can be almost impossible. Shooting it requires patience and understanding of its limitations. Learning and overcoming these limitations is one of the most enjoyable parts of shooting older cameras like the N2020. Putting yourself in a box and having to work to make good photographs—it’s a test of a photographer’s skill.

The Bottom Line

I like to shoot the Nikon N2020, not despite its flaws, but because of them. I like taking a step back into the 80s and experiencing what our parents did. There are certainly better cameras out there, but the N2020 has its place. If you want to use a real shutter dial and aperture ring, and want to use some of your AF glass, this is the only option short of a Nikon F4, which is easily 5 times as expensive. I feel the need to drive that point home because it is staggering. As of writing this, October 2020, the N2020 can easily be had for ~$30. The Nikon F4 on the other hand is $150-200. 

If you are looking for a cheap way to dip your toes into 35mm or specifically looking for a more manual experience, this might be the right camera for you. After almost two years with it, I can safely say it is a camera I reach for often. Its unique experience keeps pulling me back. The Nikon N2020 isn’t perfect, but perhaps that’s the reason I can’t recommend it enough. You can pick one up for a decent price on KEH.com. (Note: This is an affiliate link and I may earn a commission from your purchase.)

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End of an Era: The Last Camera Store in Cedar Rapids Closes

/ / Film | Category, Gear | Category, Local Business | Category

Photo Pro had been a staple of the Cedar Rapids community for nearly 40 years, and was the last camera shop for nearly 200 miles. It’s not just the loss of Photo Pro, but the fact they were the last of a dying breed.

Anyone who knows me is likely to be aware of my tenuous history with Photo Pro. While I do not lament for the owner, I do for the employees and the community. All the same, I want to reflect back on the impact local camera stores had on my journey as a photographer.

Me, working the front counter at Photo Pro, 2009
Photo courtesy of Levi Zinser, shot on Kiev 4M

The year is 2009. I’m working as a supervisor at a Staples store — ironically also now closed. My work life had become more and more stressful, and I needed a change. At the same time I started to truly understand my passion for photography. I’d owned a DSLR for about three years, and this hobby was starting to seem like something more.

I knew the basics, and for the first time I felt like I was starting to grow. It was this realization that drove me to start spending time at local camera stores. These early interactions shaped my career as a professional photographer.

When I got started, we had two camera shops: Photo Pro and Porter’s. I didn’t find Photo Pro welcoming to a young photographer who wasn’t interested in weddings or portraits. Instead, I found my home at Porter’s. The staff seemed to both understand and appreciate the drive of a young photographer who wanted to shape his own path.

The spring and summer of 2009 is both a blur and one of the most significant periods of my development as a photographer. Much of this is thanks to the knowledge and kindness of Porter’s manager, Paul Adams. While Photo Pro filled me with doubt and skepticism, Porter’s welcomed me with understanding and encouragement. I found mentors that would inform my growth as a photographer for the next decade.

Porter’s put up a hiring sign in the middle of 2009. Paul asked me to apply and — even though I knew it would be a pay cut — I jumped at the opportunity. The thought of being immersed in the stuffs of my passion was inconceivable. To live and breath it was almost too good to be true. Sadly, it was. At least at that point. The bosses swooped in and filled the position. So, the dream was shattered.

But, “Life, uh, finds a way”

A month later, in pursuit of the newly released Nikkor 35/1.8 DX, I found myself back at Photo Pro. On this trip I interacted with an employee about my age who didn’t seem quite as judgmental as some of the other employees. They didn’t have the lens, but he said he would call me when they had another one. Sure enough, I got a call the next week. Same guy helped me again. As I was trying out the lens, I overheard him talking with another employee about tech specs on a camera and I corrected them. After confirming that I was correct, he told me to apply since they were looking for someone. Following a rather stiff and uncomfortable interview, I was hired.

Levi Zinser helping a customer at Photo Pro, 2009
Nikon F100 w/ Tokina 17mm f/3.5
Ilford Delta 100

I started on my 21st birthday, a point of early strife between me and the owner. I worked there for about 10 months. While it was far from the dream I had envisioned, it wasn’t without rewards.

The employee who told me about the job? That was Levi Zinser, one of my best friends to this day. He and I bonded over art and the joy of photography. Levi was also the first person to get me to photograph live music.

The rest of the staff was older, but what they lacked in personality they made up for with experince. Most importantly, experience with film. I had never shot with film as an adult, so I was quite curious. At the beginning of 2009 I picked up a Nikon N2020 with a macro lens I was after — a lens that’s still in my kit to this day. I shot a single roll of film through that camera. It turned out awful. So bad that I sold the camera shortly after. Despite an initial bad experience I was still curious if film could create good results. It might seem weird today, but in 2009 film was largely considered dead. By this point Most photographers switched to digital and weren’t looking back. It was easily five years before the mass resurgence of film happened.

With the sage advice of my Photo Pro co-workers, I discovered my love for film. It stared with a cheap 35mm SLR similar to my digital — a Nikon N65 that cost me about $20. After running a few rolls through it and being generally happy with the results I moved up to the more professional F100. From there I went to medium format with a Bronica ETRSi, and then to large format with a 4×5 monorail view camera. The growth and experience I had in those 10 months helped shaped the photographer I am today.

While personal conflicts brought my tenure at Photo Pro to an end, what I learned opened a new world to me. That kept me going. Most of the people I worked with thought learning film was silly, but the experience lit a fire that burns to this day Although it needs occasionally stoking.

Paul Adams at Porter’s, 2010
Bronica ETRSi w/ 75mm f/2.8 PE
Ilford Delta 400

Fast forward a few years to 2012. I was given a second shot at my dream, and actually got hired at Porter’s. It proved to be what I hoped it would be — a welcoming environment for a young artist. I learned the value of being a teacher. Unlike at Photo Pro, I had co-workers less experienced that me. It wasn’t that our staff at Porter’s was less experienced. I had grown. I didn’t realize just how much I had developed as a photographer until I was back working in a camera shop. The years in between had be filled with learning, I wasn’t the amateur anymore.

Sadly, the dream had to come to end. At the beginning of 2013 Porter’s closed, just 8 months after I started. The loss of Porter’s still seems fresh. Our cohort was passionate about photography in a way that Photo Pro wasn’t.

The departure of Porter’s bought others a little more time. Iowa City’s University Camera shuttered in 2018, and now Photo Pro in 2020.

So, what’s next?

The void that is left isn’t exactly about being able to buy new cameras locally, but losing a resource for the community. Will we miss out on future photographers because we don’t have a camera store to get kids excited? If I didn’t start going into Porter’s in 2009, and didn’t have someone like Paul sharing his knowledge and passion, I wouldn’t have kept at it. I hope as 2020 comes to a close, and we eventually move past COVID-19, our community will have the space for another camera shop. I think having a space like that is vital to the creative community.

For now, I will focus on doing my part to keep the passion for photography alive in Cedar Rapids. I’ve opened my darkroom for business and I’m always down to answer questions about film shooting and developing. I hope having a local source for film developing, scanning, and printing will keep people shooting for now. We never know what the future might hold.

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319 Creates: The Quarantine Sessions with Dan Padley

/ / 319 Creates | Category

On today’s episode of Quarantine Sessions, we check in with Iowa City musician, Dan Padley. We reached Dan at his home by phone. 

You can listen below or find 319 Creates on Apple Podcasts, Spotify, and Stitcher. You can also follow on Facebook and Instagram.

Podcast Transcription

Mike Weber: Welcome back to 319 Creates. I’m your host, Mike Weber. On today’s episode of Quarantine Sessions, we check in with Iowa City musician, Dan Padley. We reached Dan at his home by phone. 

Dan Padley, welcome to 319 Creates. 

Dan Padley: Thanks for having me. 

Mike Weber: So how are you holding up in the quarantine?

Dan Padley: Oh, it’s going alright. I’m still working. I’m still going to work at the hospital, so it’s not as wildly different as it could be. I mean, obviously when I’m coming home, I’m staying in and it’s been nice to make music way more than I have in the past. Keeping all my stuff set up so I can just plug in and play and record whenever. But that’s kinda what’s keeping me sane, I guess, is just playing guitar every day and making sounds. 

Mike Weber: So for those who don’t know – and I don’t remember if I know, actually – what do you do at the hospital? 

Dan Padley: I’m in the food service department, in the catering section.

Mike Weber: So has that changed at all with extra precautions with COVID-19?

Dan Padley: A little bit. We’re actually relatively slow right now, just because there’s not many service events going on. We’re kind of more or less on call, I think. I’m salaried there, so I’d have to be there.

Mike Weber: Lucky you.

Dan Padley: So it’s slowed down. But yeah, we’ve taken precautions. We just got issued the face shields yesterday. So that definitely made things feel a little more real. Not that it wasn’t real before, but it’s just like, yeah. Stuff’s happening. 

Mike Weber: So then you said that you’ve been working on more music recently.

Are you just writing more material or are you trying to figure out – I know you did a live stream. We’re recording this on… I don’t even know what today’s date is. 

Dan Padley: It’s Friday, the third. 

Mike Weber: Friday, April 3rd. So, Thursday, April 2nd you did your first live stream. So why don’t we talk about that first.

Dan Padley: Yeah. 

Mike Weber: Was that a new process for you? Have you ever done anything like that in the past? Were there any hiccups?

Dan Padley: I haven’t really. So, my friend Brian Johannesen, he did a live stream early last week, and then sent an email out to a bunch of musicians because that was kind of a guinea pig run for IPR to do their promoting of it. He said they wanted to do more, so reach out. So I emailed. It was kind of an impulse decision. And I realized that this weekend would’ve been Mission Creek and I was slotted to play there. I scheduled that for when my set would have been at Mission Creek. IPR was very kind to put that on and promote it and get the word out.

I haven’t really played solo much, until recently. I did a show at Goosetown early March. More like background music, like the ambient guitar stuff that I’ve been doing just kind of on my own. But in a live setting is new for sure. And then the week after that I had the great pleasure of opening up for Julian Lage and Dave King at Trumpet Blossom, which has been the last show I’ll play for a while. So it was a good one to take a break on, I guess. Then I kinda took those two sets. And I kind of  realized I can carry some time. A lot of it gets eaten up by weird ambient loop stuff, which is fun. It’s fun for me anyway. I hope it’s fun for people that listen. 

Mike Weber: Yeah. We actually tuned in last night and was listened to most of it. I’m constantly surprised with everyone doing these. I never really listened to or watched any of them before. And it’s interesting to me that we’re at a point technology-wise that this is not only doable, but you can actually sound pretty good doing it. When people started telling me that they were going to be doing live streams, I was just thinking of how a couple of years ago when I saw people doing it – putting their phone in the middle of the room and playing their guitar and nothing sounds good. 

Dan Padley: Yeah. 

Mike Weber: And now Facebook Live has gotten to the point where it’s able to utilize different audio sources and you can actually use a decent field recorder and pump it into your computer. You can sound pretty good doing it. 

Dan Padley: Yeah, I was hoping to get that figured out. Truth be told, I just had my phone on a music stand and that was the audio coming in. I’m lucky that I just have the guitar amp as the only sound source and my voice when I was talking very little in between.

The quality just across the board is pretty incredible. And it’s been nice to see how many people are doing it and making music and making it happen. It makes you think that hopefully – I mean, obviously we all want to go see live music again when this crisis winds down, whenever that is – but it’s heartening that hopefully there’s more music in the world all around with people doing these streams. Then you get friends from other places across the country – across the world – that can tune in and see you. 

Mike Weber: Yeah. I was talking with Miss Christine earlier in the week – that episode actually should be going out today.

They were saying the same thing, that they have friends across the country that very rarely are able to actually come see their shows. To do a live stream was something that got a lot of their friends excited because it gave them the ability to see Christine perform live. I think that’s an interesting thing. As much as we all like going out and seeing a performance live – myself especially – there is a different dynamic to being able to do a live stream. There’s always going to be people that, for various different reasons, aren’t able to experience it in person. Just broadening your audience and being able to get your material in a live capacity.

I think there’s something very unique – you can record a music video, you can record a live performance and put it on after the fact. But there’s another layer to it when you are doing it truly live. 

Dan Padley: Yeah, yeah. There’s that engagement too. Last night I looked over to my computer because I had to go in there so I could see the comments better.

And then I was reading a comment as I was playing and I messed up and had to get back on track. But it’s that thing of like, “Oh yeah, this is happening right now.” I’m not just practicing in my room. Yeah, it’s live. It’s alive. 

Mike Weber: I really wonder now that more musicians are experimenting with this, how much of this is going to carry on after we get past the COVID-19 pandemic?

I almost wonder if we’re going to start seeing more venues starting to stream portions or all of the live shows, just to keep more people engaged. I’m looking at the situation and trying to find – there’s no silver lining in any of this, but that doesn’t mean that we can find something good to pull out of it.

Dan Padley: Mhmm.

Mike Weber: And I’m really wondering if – talking specifically in the realm of music – we’re all traversing the landscape of live streams, are we going to pull something good and useful out of this whole situation?

Dan Padley: Yeah, that’s a great point about venues getting involved in this, because I’m sure some already do this from time to time.

Just bringing the music even farther to the people. That reach. I had friends tune in from all over. Like I mentioned earlier, I had friends tune in who hadn’t seen me play in the decade, like friends from high school. It’s always fun to have that experience and this is one way to make that happen. 

Mike Weber: Yeah. It’s interesting. I think it’s really cool that musicians have this outlet, but as a photographer, I’m still trying to figure out a way to do something right now. 

Dan Padley: Yeah. Right. I mean music is such a temporal medium that it just happens.

I mean, it’s recorded and you can relisten to stuff. But yeah, I don’t know. It’s a different medium altogether. That engagement becomes gone in a certain way because you can’t – I guess you could live stream you taking pictures of something. Not sure how that works out logistically.

Mike Weber: Yeah, people have been making jokes that I should start taking pictures of the computer screen during a live stream and start posting those. 

Nicole and I have talked about that. I think that there might be something there – at least from the realm of satire. Speaking as a creative in this moment, trying to find new outlets to put out creative work into the world – I think that’s why I fell back so heavily on the podcast because this is something that I can still do. 

Dan Padley: Yeah, absolutely.

Mike Weber: And, even in this realm, what we’re doing right now. Doing this interview over the phone was not something that I had even remotely considered doing prior to the pandemic.

Dan Padley: Yeah. 

Mike Weber: The first round of the podcast I did in 2018, I hit a wall logistically trying to get people to be in the same room as me. And now, I think we’re on the fourth or fifth one that I’m recording right now. This just seems to work. I think I’ve got the system hammered out.

Dan Padley: Yeah, I mean, there’s always those extra tech hurdles when you’re doing stuff like this. It’s really not that much to overcome.

Mike Weber: Yeah. To me it’s interesting. I think all of us, especially the creatives, are just trying to find different ways to make the most out of this moment of history that we’re living through. I think it’s really interesting and I’m really hoping to see that a lot of this stuff will carry on past the social  distancing that we’re trying to live through right now. 

So I’ll ask you the same question that I’ve been asking everybody. Once all this blows over, what would you say is your number one thing, what you’re looking forward to doing again the most?

Dan Padley: I think it’s gotta be either playing a live show or going to a live show with friends and just sharing space with people.

I mean, I have a roommate, but, yeah. I wouldn’t call myself an extrovert really. There’s something about being at a show, especially in Iowa City. There’s such a big music community of all different genres and it’s always a good hang with so many different people. And the shows, the big shows, kind of bring that all out and bring people together. 

Mike Weber: Yeah. I’m really hoping that once this all blows over, the community as a whole will pull together and do a big show at one of the venues or multiple venues. Especially with us missing out on Mission Creek.

I think it would be really cool to see Trumpet Blossom or Gabe’s or both just do a long Saturday show. Start early, go late, and just bring everybody back together. As a member of the music community, I think that could be one of the most beautiful ways to wrap up this point of our history.

Dan Padley: Absolutely. I would agree with that 100% 

Mike Weber: All right, Dan Padley, thank you for taking the time and talking with us today. 

Dan Padley: Thanks for having me. This is great. 

Mike Weber: Alright. Bye. 

Dan Padley: Be well. 

Mike Weber: You can find Dan Padley on Bandcamp, Facebook, Twitter, and Instagram. His latest EP Unscene is available now. Dan also plays with a number of well known Iowa City musicians, including Crystal City and Elizabeth Moen.

You can subscribe to the podcast on most platforms, including Spotify, Apple Podcasts and Google Play. Thanks for listening and we will catch you next time on 319 Creates.

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319 Creates: The Quarantine Sessions with Jordan Sellergren

/ / 319 Creates | Category

On today’s episode of Quarantine Sessions, we check in with Iowa City musician, Jordan Sellergren. We reached Jordan at her home by phone.

You can listen below or find 319 Creates on Apple Podcasts, Spotify, and Stitcher. You can also follow on Facebook and Instagram.

Podcast Transcription

Mike Weber: Welcome back to 319 Creates. I’m your host, Mike Weber. On today’s episode of Quarantine Sessions, we check in with Iowa City musician, Jordan Sellergren. We reached Jordan at her home by phone. 

Jordan Sellergren, welcome to 319 Creates. 

Jordan Sellergren: Thank you. Thanks for having me. 

Mike Weber: So how are you holding up in this quarantine?

Jordan Sellergren: Oh, I’m fine. I cannot complain.

I’ve certainly been making the most of it. My business is still moving ahead, but some of the non-essential tasks have been reduced. So I’ve basically got time off and I’m taking advantage of unemployment. 

Mike Weber: That’s always a good thing. So you work for Little Village and you also have your own music project?

Jordan Sellergren: Correct. Yup.

Mike Weber: So why don’t you talk a little bit on the effects on both of those. 

We’ll start with the music project first. Have you had to cancel? Did you have any shows coming up that you had to cancel? Are you looking at doing any  live streams or anything  that? 

Jordan Sellergren: I don’t have any plans to do live streams.

Well, I had a Codfish Basement Stormer show on the 21st of March that was canceled. And she called it off a bit before things started getting crazy in the States and really before a lot of the closures started happening. But it was totally the right move. There’s no way it would’ve happened.

And then the next show I had scheduled is our album release, which is May 23rd. And I will tell you that I think that’s looking less likely, not necessarily because of the state of business openings and stuff, but because I think my record pressing is actually going to be delayed about a month because they’re a non-essential business in Ohio.

Mike Weber: That makes sense. 

Jordan Sellergren: But you know, it’s really no big deal. I don’t make a majority of my income – at all – from music. It’s just kind of a labor of love for me. I know my bandmates – they do way, way more than I do, you know, teaching and performing. But my personal show cancellations are certainly not going to be my ruin.

Mike Weber: So then let’s talk a little bit about Little Village. I’m assuming you’re working pretty much entirely from home at this point, correct? 

Jordan Sellergren: I am working from home and it’s fairly intermittent. Like I said, we’ve had to, well, basically we’ve ceased printing for the month of April.

And I’m a print designer. That’s what I do. I do the magazine. I do a few other publications that are also temporarily ceasing print. So I kind of took a furlough and have just been focusing on homesteading, I guess, in the meantime. 

Mike Weber: Let’s talk about that. What kind of projects have you been trying to get done around the house? 

Jordan Sellergren: I’m a landscaper/gardener, kind of a novice. We bought our house in 2018 and ever since – I’m walking around the yard right now, actually, if I sound at all out of breath. So ever since 2018 really, I have devoted a lot of energy into making our yard kind of like a sustainable paradise. We have some really nice wooded area in our yard. We don’t have a huge yard – we’ve got about a half acre. But, there’s just a lot of really awesome shit that grows – a lot of native woodland plants, we’ve got garlic ramps. And then there’s also a lot of landscaping projects that you constantly have to fine tune. So yeah, I’ve been plenty busy. The weather’s been good. I think that it’s very possible there will never be time like this again. So I’m taking advantage of it.

Mike Weber: Yeah. I think it’s really interesting seeing the ways that different people are utilizing the extra time that they have. This whole project of mine – 319 Creates – has been a backburner project for me personally. I’ve always been more focused on my photography. This has seemed like a really good opportunity to be able to do multiple interviews with different people, but all around the same topic. 

Jordan Sellergren: For sure.

Mike Weber: And, having the time to do that is… Not only having time personally, but the fact that we collectively as a society have extra time right now.

Jordan Sellergren: Everything is on hold.

Mike Weber: Yeah. So I find it really interesting just seeing all the different ways that people are finding to utilize the time.

Jordan Sellergren: Yeah. And you know, I really thought I’d be working more on music, and I’m sure it’ll kind of come rushing back at some point. But, the first week that everything was shut down, I was definitely focused on music. I was playing guitar for hours a day, and putting up some recordings and stuff like that.

Then the weather got nice. And I honestly, maybe I play guitar for half hour a day, maybe, maybe, maybe. So yeah, it’s interesting. I mean, I have a lot of different interests. So my focus is kind of spread out.

 And it’s really nice. I mean, you don’t get bored when you have a lot of different things to do. 

Mike Weber: Yeah. And it’s nice for people, just having the time to do that. I know personally, I’m constantly looking at different things to do.

One of the things, aside from the podcast, that I have recently gotten into learning how to do… Not specifically because of the quarantine, but it just so happened that’s when I decided to do it. I’m learning how to screenprint.

Jordan Sellergren: Oh nice.

Mike Weber: I’ve had the time. Last week, I didn’t have any shoots going on. I didn’t have anything else in my world happening. You know, I’ve got most of the stuff in the garage… I think I’m going to try and build a printing press. And I did. 

Jordan Sellergren: Awesome.

Mike Weber: And it’s been cool to have that type of extra time. But you know, I wish it was under better circumstances.

Jordan Sellergren: Well, we all do. You know, I think a lot of people who are in a position where we’re not essential workers. So we can just kind of take a break and accept the isolation, you know, home shelter for what it is and focus on other things that we normally wouldn’t have time for. But it’s basically like, when else do we have time to focus on this shit?

You know, I just don’t. I have to carve out moments of my life. I’m exhausted at the end of the day. I feel for people who are still busting their asses and going out in the world, sacrificing their safety. I dunno, I feel really lucky. That’s all I have to say.

Our kids are home. But they’re at an age where they’re not really demanding. They’re pretty self entertaining. 

Mike Weber: Yeah. It’s interesting seeing how different people are just adapting to this period.

Jordan Sellergren: For sure.

Mike Weber: I’ve talked to other people who – not even just from the financial aspect of being furloughed or laid off or losing gig work – but just as people who are very extroverted are in dire straights right now. And I’m not gonna lie, I’m one of them.  

Jordan Sellergren: I’m an extrovert, absolutely. But I totally appreciate the time. It’s nice to have – to be forced to go inward a bit. But yeah, I mean, I miss shows. I miss seeing my friends. I miss seeing music and I miss playing music for other people. I miss my band. 

Mike Weber: As you’re processing through all this and enjoying the extra time, as you look forward to when this inevitably blows over and life resets back to normal – what do you think you’re looking forward to the most? Being able to go back out and do and experience?

Jordan Sellergren: Oh God. I don’t even know if I’ve thought that far ahead. I will say it’ll be really nice to get Little Villages back on stands. We have an awesome web team of journalists and editors, and you know, developers and social media people who are still busting their asses. But, the print magazine is my baby and this is the first time we’ve ever not printed. So getting that back to normal will be a relief, I think, for us. And I hope for the community. I think people may not miss it right now because they’re not leaving their houses. But, it’s odd. It’s odd for Iowa City and to some degree Cedar Rapids to not have our physical presence out there. So that, for sure. 

Honestly, otherwise, playing shows. Obviously it’s just so fun and it’s such a great creative challenge, and personal challenge. It’s constantly challenging to get over your own fear of presenting your art and doing it well. Leaving at the end of the night and feeling like you didn’t suck. So having that opportunity to get back and kind of hone that again. I look forward to that. 

Other than that, I’m fucking enjoying myself so I dunno. In a way I think it’ll be difficult to readjust to going back to normal life.

Mike Weber: Well, I’d say you’re doing pretty well.

Jordan, thank you for taking some time and talking with us today. I’d say take care of yourself, but I think you’re doing a pretty good job. 

Jordan Sellergren: Yeah thank you. I’m doing alright. I’m mitigating all the garlic mustard in my yard right now as we speak. So I’m trying to do my part.

Thanks for having me. 

Mike Weber: You can find Jordan’s music on Bandcamp. She has a new album coming out May 1st with a physical release to follow. You can order the vinyl today.

You can subscribe to the podcast on most platforms, including Spotify, Apple Podcasts and Google Play. Thanks for listening and we will catch you next time on 319 Creates.

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