danielm

Ce qu’on devine est souvent plus important que ce que l’on voit effectivement. La photographie est souvent perçu comme l’expression de l’explicite peut-être par la précision et le réalisme de son propos qui a priori l’a distingué des autres formes d’art visuel comme la peinture ou la sculpture. Bien sur, cet aspect reconnaissable de la photographie n’est pas négligeable mais il omet tout de même que l’image photographe reste une représentation partielle de la réalité qui prête aux interprétations tant de leurs auteurs que de leur public. Une histoire démarre fréquemment à partir de fragments qui deviennent des pièces d’un puzzle à assembler dans notre conscient et notre subconscient. La photographie comme tout autre représentation iconographique peut entraîner le même processus déductif dont l’effet final variera d’un observateur à l’autre. Ainsi se crée une diversité de l’interprétation à la fois individuelle, sociale et, à la fin, puissamment culturelle. Deviner devient donc l’extension de la créativité initiale de l’auteur. (google english translation) What we guess is often more important than what we actually see. Photography is often perceived as the expression of the explicit, perhaps through the precision and realism of its proposal which a priori has distinguished it from other forms of visual art such as painting or sculpture. Of course, this recognizable aspect of photography is not negligible but it still forgets that the photographer's image remains a partial representation of reality which lends itself to interpretations both by their authors and their audience. A story often starts from fragments that become pieces of a puzzle to be assembled in our consciousness and our subconscious. Photography, like any other iconographic representation, can lead to the same deductive process, the final effect of which varies from one observer to another. This creates a diversity of interpretation that is at once individual, social and, in the end, powerfully cultural. Guessing therefore becomes the extension of the author's initial creativity. Photos Daniel M: Panasonic Lumix G9 / Leica DG Vario-Elmar 100-400mm F4-6.3 ASPH OIS

Observation and persistence are may be the two key words for birder photography. Sure the technical aspects are important but looking, be ready and repeat shooting are often the only ways to get some acceptable results. Birds are very fast moving subjects (macro and micro movements). Pre-controlling our background has to be done most of the time before the decisive moment. But since there is a lot of different species at our disposal, it can be rewarding. Let's keep this long telephoto lens (zoom or not) ready to be use on the camera body!🦉🦆🐣

Note: I am not a birder photographer in any ways but just a photo taker who loves to pick some interesting pictures of the birds occasionally. The "made in Japan" Panasonic Lumix G Vario 45-200mm F4-5.6 II Power OIS is not a "powerful" zoom lens designed to do bird photography. It is rather an all-around telephoto zoom optic to carry with you everywhere that can manage many different subjects that need to be discriminate from their surrounding and contextes. It isn't also a very expensive lens to own and its construction quality although fairly decent cannot be compare to more pro oriented product. Moreover its maximum variable aperture is definitively on the modest side (F4-4.6). But the Lumix G Vario 45-200mm II Power OIS has two interesting qualities with its internal optical stabilization system and its weather resistant envelope. So, to do bird pictures with the Lumix G Vario 45-200mm II Power OIS, you need to be enough near of your subject to prevent too much editing cropping. The photographic technique selected can be different from a photographer to another. Some will work at fixed location and wait for birds. Others will trek around themselves to visit different promising spots that they know to be productive. And some will visit specialized zoo places to get pictures of more exotic species. Each of these can produce excellent results of their own. Observation, patience, good technical parametric adjustments and ... a lot of "try and error" pictures and finally be sometimes rewarded with fine iconic results. Another good thing to experiment in doing bird photography is listing the different species and their particular habits by illustrating them. You can even participate to birder clubs or blogs and share your discoveries. Here are some examples of handhold bird pictures taken by the Panasonic Lumix G Vario 45-200mm F4-5.6 II Power OIS. Photos Daniel M: Panasonic Lumix G85 / G Vario 45-200mm F4-5.6 II Power OIS

Thanks Andrew for sharing your personal insight about compactness and camera in general. I have a strong and profound tendency since my youngest age to love cameras as a whole. I always challenge myself (and for the others acceptation) to seek out a way to like them and produce picture results that will celebrate them. Every camera has its own history and every user has its own unique experience with it. That is the beauty of human diversity that we have to preserve, as for its acceptance of the different points of views.

I totally agree with you, Chris. On the "western" side of this world, bigger mean better not only in terms of features but also in view of the "professional" look even if the camera is never attempted to be use in that purpose. You can see the same phenomena with the huge popularity of trucks and bigger SUVs.

When we speak about the science or the art of creating a compact device of any kind (phone, camera, bag, tent, car), you can be sure to ignite a debate about the criteria to select and use to do so. Sure, compactness is often associate to be small and functional. Sometimes compact designs are cleverly built with a lot of surprising features like our modern cellular phones that are now more miniature mobile computers than simply an audio communication device. Compactness is also often referred when speaking about the traditionally oriented photo gear. In fact everything may seem to be compact depending the way you are analyze it at first. For example some medium format image sensor camera models (I am thinking about the Hasselblad X1/2D series in particular) have been introduced as compact and handy cameras. By opposite we cannot say the same for some others smaller image sensor format camera models such as the Nikon Z 9 for example. I love compact cameras since my introduction to analog photography, lets say a few years or decades ago! I can recall using a Fujifilm Fujica GS645 which was at that time a wonderful medium 6 X 4,5cm film format camera that was folding down to fit a larger coat pocket. Although it was a fragile camera in terms of our actual criteria, the Fujica GS645 was delivering outstanding high quality pictures. In one word, compact cameras aren't bulky and heavy photo devices by definition. So, what will be a good comparison between a "full" size camera and a compact one? To give an example among many others, I have put side by side two Fujifilm X-Mount series models (see here 😞 the Pro X-H1 and the diminutive X-S10 assuming that these two will deliver similar picture results and that both models have same basic functionalities especially in regard of internal image sensor stabilization system (IBIS). In terms of dimensions and weight the contrast between the two Fuji cameras is simply spectacular. As a Pro oriented model, the X-H1 is more than 40% heavier than the X-S10 and the X-H1 overall dimensions surpass the latter in height, width and depth. Facing your subject, the Fujifilm X-H1 is a much intimidating camera and further more when you combine it with a Fujinon Pro optic. On the other side, the Fujifilm X-S10 is a much lighter package, much less demanding to handhold for longer periods of time and less more intrusive for your subject. It is a camera you like to bring with you for travel, urban or casual photography sessions. Coupled with a smaller lens or zoom lens, it is a joy to manipulate and take pictures with its simplified interface and very competent automated modes. Its only real annoyance is the fact that the X-S10 is not a weather resistant (WR) camera model compare to the pro X-H1 which is on its part a true photographic tank. There will always a debate on how we can qualify something as a compact think. It can be related to physical characteristics or cultural perceptions or to the inner functionalities of the device itself that is replacing larger ones. Today's compact cameras (with the exclusion of the mobil phone category) are becoming rarer in part because photographic gear is now a very niche market (but still with hundreds of thousands users😉). Camera manufacturers are limiting their offer to some specific models such as the X-E, X-S and X-T(2 digits) series in the case of Fujifilm. And compact cameras are now comparatively from the past more expensive to get. But at the end the demand for compact devices had never been stronger than it is at this very moment. People want to be free in their mobility and bring with them less material things than ever. This is a tendency that even the best photo gear manufacturer cannot ignore. _______________________ P.s. Notes If you ask me which of the Fujifilm X-H1 or the Fujifilm X-S10 model is getting my preference, the correct answer is that I really cannot tell. Partly because they are so different camera models that comparisons seem to be irreconcilable. In brief I love to work equally with them. As an ex-professional photographer, the Fuji X-H1 is clearly a superior made (WR) product that shows in every ways like its magnificent electronic viewfinder (EVF), its sturdy interface (dials, joystick, D-pad, push buttons, etc) and its high levels features such as its two-memory cards port, its optional (two power pack) vertical grip. On the other front, the Fujifilm X-S10 is like a mini simplified version of the X-H1. It is light, small, discrete but competent and sufficiently reactive for a casual photographer like me that doesn't want to always use protuberant photo gear. Moreover, the two Fuji models are sharing the same battery packs (NP-W126S), the obvious same lens mount, the same flash accessories and are using the same memory cards formats (SD). These similitudes are limiting your gear investments and give a further versatility on the spot. The Fujifilm X-H1 and X-S10 have been already replaced by upgrading ones, X-H2 and X-S20. So it is possible to reproduce the previous duo but at a significant higher selling price level than it use to be (not far from 30% more for the X-S20 and from 40% for the pro X-H2), thanks to the general inflation tendency and the production higher costs. For those who are still interested to get a Fujifilm X-H1 or/and a Fujifilm X-S10, there is always the used market alternative where many of these good products have low shutter count. Photos-illustrations Daniel M

Thank you Andrew for this excellent review and, as usual, for this very fine illustrating pictures!

That is a difficult one! I will bet on a telephoto lens, may be the Oly Pro 40-150mm F2.8?

I can't find better to see in that world A street, a cross road, two mannequin, a motorbike Sitting at the corner observing the passing of life Clicking in the absurdity of observing What are we more than this, I don't know! Photos Daniel M: Fujifilm X-S10 / Fujinon XF 18-55mm F2.8-4R LM OIS

Each time you are anticipating to start a new photo taking session, there is often the question on how to configure your photographic device. Since we can choose and select about anything we want (and even more on what we doesn't know it can be done) through imaging preset bias (and post editing too), it is becoming a very challenging and confusing task. Nobody can pretend to describe an absolute and universal parametric guideline regarding doing photography but we can imaging that some sort of partial check list may help at least the ones who are asking for and as soon you already have determined which camera and optic you will work with, you may concentrate yourself on some very basic photographic parameters like: -some technical aspects: The choice of the image sensor picture mode and its effects; The sensitivity (image sensor "speed" - ISO) and its pixel resolution level impact; The shutter speed or the movement expression; The lens aperture or the focusing discrimination; -and some creative approaches: The angle of view or the importance of the subject in its context; The composition or the graphic canvas organisation; The light distribution or the contrast of the subject surfaces and the importance of their respective details (or absence of); The expressive and decisive "moment" of the picture taking; Any of those have an important impact on the image final rendering and its ability to seduce the looker. The other ways around is letting the camera brain decide for you what will important to adjust, providing you have firstly program it on the type of picture you are looking. In fact this is not new (it already has been present during the last decades of analog-film photography) but the degree of sophistication is now so high that is often surpassing our human ability and motivation to do by ourselves. The thing that doesn't change is our choice of subject and the moment we are selecting to take its picture (although you can literally "film" it with a large picture taking sequence). So, the intention of photographing is still there and its purpose stays into our hands. Some photographic parameters are easier to master and with the modern electronic viewfinder (EVF) or the live screen (LVF) you can control their final effect right from the start before taking the picture. In a way digital photography is a much more effective way of doing it with less incertitude for the final result. Many "partial" automated camera programs allow you to control one parameter at a time such as the lens aperture (A) or the camera shutter speed (S). Even with the full program position (P) you can introduce an exposure correction factor. Most modern digital camera models are giving you the possibility to vastly reconfigure them. At this stage simplicity leaves place to complexity which is asking for a more skill approach from the photographer. But in any case, you have the choice do less or more and determine the level of technical implication you want to involve into your photographic essaies. Photos Daniel M: Panasonic Lumix G95; Fujifilm X-S10; Olympus OM-D E-M5 III

The Artificial Intelligence (AI) debat cannot only be about the accuracy or the pseudo-realism of fake or "creative" alternative views of our surrounding life (including people). It concerns also our profound believing of what can be, would be, prefer to be, reality is for us. In other words, we cannot change the perception of somebody else if this very person won't accept any critical point of view that contradict their already conceive interpretations of facts. For photographers, it is interrogating their own convictions about integrity and honesty in regard of their imaging subjects and their specific and artistic interpretation. In this very competitive world of explosive demographic, the social, economical and political pressure has never been so high and it is an easy understanding that people want to get a psychological and simpler refuge face to the always growing individual and collective challenges that each next days are bringing. And the photographic world cannot escape this new "reality". Manipulating picture has been part of the history of photography since its very beginning. Using it as a propaganda tool also. Photography is not an "objective" technique or art. But saying this doesn't allow us to simply withdraw any responsibility concerning our subject interpretations. When we speak about integrity, we often refer to honesty in front of the others but we often forget that this process must begin about ourselves. If the main purpose of register and share pictures is showing something before demonstrate a preconceive argue, there is always a chance that those iconic representations deliver a message larger than the first impact intended by their authors. Integrity is proposing an open door instead of a close minded perspective. One part of doing photography that is very interesting is its exploring value of the subject. We want to expose this subject with different aspects and contexts that will confer to the picture its originality. It is also part of an intention of seing openly, differently, unlimitedly our surrounding world. It questions us and contributes to the evolution of your thinking. And it creates alternatives to a stationary state of mind that often cannot cope with dissident but true realities of life. Photographers can and may contribute themselves to this human salvation search and progress. *** Creativity implies the use of many interesting techniques and those techniques are by definition tools without any predetermined opinions about the subjects we apply them. It is to us to consider if the interpretation of the subject will correspond to our own integrity. Photos Daniel M: Olympus OM-D E-M1 Mark III / M.Zuiko ED 12-40mm F2.8 Pro; OM-D E-M10 Mark III / M.Zuiko 14-42mm R

The Olympus M.Zuiko Premium lens series is surely their best combinations!

It is one of a kind never preceded, never replaced (by Olympus) after all those years of love and discussions about its possible future. But, in one way, the Olympus Pen-F digital camera was already at its evolutive pinnacle right from its introduction. Sure you may argue there is always place for improvements and it has been a pity that Olympus has stopped its effort after this very unique camera model. This spring I was totally unable to resist to own a third copy of the Olympus Pen-F. Finding one a good shape at a reasonable selling price on the use market was an outmost challenge (Thanks to Louis, a fellow Canadian, that made this dream to happen again). The Olympus Pen-F (2016) was release only seven years ago and have appeared to be a very niche Micro Four Third (MFT) digital camera model right from its start. Controversies about its video interface (No microphone & headphone ports) have introduced certain doubts about its overall capability but photographically speaking, the Pen-F have certainly equaled and have surpassed the Olympus OM-D E-M5 Mark II model available at the time. The absence of the weather resistant (WR) characteristic has been also a deterrent factor for some others. At the end, all these reserves regarding the Pen-F have been proven to be less important today if you consider that the Olympus Pen-F in use condition is selling an higher price than it was brand new! The fact is that the Olympus Pen-F is a very discrete camera model (even more in its black livery). For street photographers, for travelers, for everyday photo takers, the Olympus Pen-F is a small marvel to interact with and can give excellent picture results. Moreover it perfectly suit the use of small lenses with good maximum aperture of F1.8-2. Its handling is similar of what we can expect of a rangefinder style digital camera. Additional grip can be obtained with the optional ECG-4 grip but at the cost of a more bulky photographic device. The electronic viewfinder (EVF) is detailed although its magnifying ratio stay modest compare with the Olympus OM-D E-M5 Mark II or Mark III models for example. The back screen is fully articulated and can fold in for maximum anti-scratch protection. All the control dials and function buttons are easily accessible. The mode dial have four different custom setting available which is exceptional. The dedicated exposure correction dial is also an exception compare to many other Olympus models. The special effects front dial allows you to set directly the Pen-F at its monochrome and color modes. The shutter release button is smooth and its pressure reactivity is predictable and you can use it with a traditional photo cable release cord. The On/Off switch mimic the older rewind reel used into past analog-film cameras. No flash has been incorporated to the Pen-F body but an add-on and head-orientable mini-flash (FL-LM3) was furnished by Olympus with the other usual accessories. You can consult these further personal reviews of the Pen-f here. The Olympus Pen-F interface is very complete although it will ask you a certain learning effort on your part (as for all Olympus camera model interfaces). I suspect that more and more the camera manufacturers will introduce new camera models with extendedly integrated artificial intelligence (AI) that will take charge of all the parametric aspects of their camera. That could be tricky considering that the personal bias of the photographer might be ignored and be overpassed in favor of implanted algorithms. Creativity and originality may be the last frontier to preserve for the art and cultural human evolution. Only the future will tell if this artistic threat can be overpassed. One of the best lens combination with the Olympus Pen-F can be obtained when you are selecting one of their Premium series optic: M.Zuiko 12mm F2, 17mm F1.8, 25mm F1.8 and 45mm F1.8 (the ED 75mm F1.8 is also a brilliant choice but with a larger size factor). All those Premium lenses will perform neatly with the 20 megapixels Pen-F image sensor. Pictures will be crisped and fine definite and color rendition will be similar along the entire focal range. Because of the bulk of the M.Zuiko Pro lenses, you can felt much less handheld comfortable to attach them on the Pen-F except if you intend to use your left hand as the main support of the lens-camera combo. Few words about the esthetic presentation of the Olympus Pen-F: it is classic, it is gorgeous, it is glamour. It is still a reasonable pleasure that a photographer can afford to pay for (in the used market) at this very moment in time that digital camera "rangefinder like" new models tend to disappear from the actual camera manufacturer catalogue. For the record, specialized photographic devices have been always a niche market (but it is true to say that all the past Brownies and Instamatic of this world have been replaced by the today multi-fonctional phones). The Olympus Pen-F is a very creative tool as least for its supportive users like me. It suit a specific style of photographers that want to be less intrusive with their subjects, let say, more casual in their approach. If you are an observer type of person that like to further analyze your preferred subjects with a repeated visiting, the Pen-F will be an almost perfect companion. Photos Daniel M : Olympus OM-D E-M5 Mark II (Pen-F Illustration); Olympus Pen-F

Hi Dallas, I love your stories with your wife and receive from us our warmest congratulations for your 30 years and more of married life! The place you have visited is magnificent, a true pleasure for the eyes and thanks for sharing your nice pictures. Have a nice evening with your lovely one, Daniel M P.s. For sure my wife would be absolutely delighted to have a stay at this hotel!🐘

We have became a high-tech dependent society especially for the ones who can afford it, the others are now simply "tech-out" and destituted by the economic system owners. It is not far from the George Orwell's 1984 nightmare book or the Ray Bradbury's Fahrenheit 451 novel. Being dependent allows the global industrial elite to control their market base like us to increase their mega enrichment. My only hoping dream is that our cultural and geographical differentiations may one day not only compete with them but put them obsolete. All my best for you Dallas and your family!