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danielm last won the day on 2 February

danielm had the most liked content!

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28 of my posts have been liked

About danielm

  • Rank

  • Birthday 27/01/1957

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  • Real Name
    Daniel M
  • Gender
  • Location
    Montreal, Canada
  • Interests
    For sure photography but also I am curious by definition
  • Edit my pics?
    Ask Me
  • Fav. Camera
    Fujifilm X-Series
  • Fav. Lens
    Fujinon XF 18-55mm F2.8 R LM OIS
  • Fav. Editor
    Photo (Apple), previously Aperture
  1. Thank you Anthony for your nice appreciation. It is true to say that the Fujinon XF55-200mm F3.5-4.8 R LM OIS is not a real "sport"zoom lens such as the Fujinon XF50-140mm F2.8 but it can do good "action" photography if you concede a bit of quality lost by using an higher ISO. For bigger subject you can also pan it in following its movement. In auto sport events some (!) years ago I was able to get good results for a "slower" lens such as the old Nikkor 300mm F4.5 AI. Have a good night, Daniel M
  2. I am happy to learn that you are satisfied with the Fujinon lens. All pictures presented here were taken with the Fujifilm X-T20 operated directly by myself (No remote). All my three bird feeder are located on my house rear pergola and suspended to avoid the squirrel invasion. The camera-lens combo is located inside the house (for the weather protection and my confort) and is looking through a venetian blind that prevent the birds to see me. I have also a bird bath for the warmer seasons. To hold the camera I can use my hands or a monopod or a tripod for a prolonged period of watching time. The Fujifilm X-T20 is set on priority shutter speed (1/500sec. or better if possible), the lens is full open meaning F4.8 @ 200mm, autofocus is on continuous, Auto ISO and I use the JPEG Provia color rendering. Exposure correction is also use in order to counteract the snow reflection bias of the metering system. I hope this little piece of information can help you. Have a good day Daniel M
  3. I was thinking the same thing some years ago but it seems that I become more patient may be in getting older, who knows...!ūüėČ Thanks Dallas for the encouragement
  4. danielm

    What Do You Want From Fotozones?

    It is always sad to learn that a nice web site has been transformed in a controversial plate-form simply to deserve very personal and narrow minded views especially over manufactured products. This has polluted the entire Web communuty with the high expense of many very dedicated people who use to work hard for creating interesting photo contents. Now we are entering into a kind of slow recoveryof all these volontary effort to (re)conciliate people that share the passion on photography in particular. As I have said earlier it is not the the frequency of posting of each member of this community that really care but the sincerity of all to offer an open view on photography.
  5. Northern Cardinal (Female) Yes, yes I will offend a lot of real bird photographers who spend hours and involvement to their beautiful art of illustrating birds in their habitat. But since I am only a kind of spontaneous photographer my purpose was only to demonstrate how versatile and rewarding it can be by simply using the Fujinon XF55-200mm F3.5-4.8R LM OIS zoom lens. For sure you need some kind of preparation such have a good place like my backyard and possibly install a few bird feeder to attract them. After that you need to observe the result and be prepare to take pictures in a discrete manner. For those you this can be interesting I am located near a river on the north shore of Montreal, Canada. So here are some flying neighbors visiting my backyard: Black-capped chickadee Northern Cardinal (Male) Slate-colored Junco Hairy woodpecker (Female) Black-capped chickadee
  6. danielm

    What Do You Want From Fotozones?

    Many interest interventions here as for your introduction on the subject Dallas have pointed out what is happening to most Internet community of general and more specific interests. The instant curiosity factor has decreased steadily in the last few years and has been partly replaced by more focused community on subjects or even photo equipment. Another factor that didn't also help is the constant war between the different (manufacturer) photo equipment users that has been degenerated to hard conflict and recurring trolling into what used to be instructive forums. Many people simply disengage themselves (like myself) and are avoiding these none constructive discussions. The photo equipment continuous arguements have completely surpass the basic photo creative motivation. But at the end I think there is still a strong place for photo communities based on generosity, respect and share of ideas and...pictures. It is not the number of participants or "like" that are the most important, it is the quality of everybody exchanges. Thank you Dallas for maintaining the spirit of this beautiful photo web community of FOTOZONES.
  7. danielm

    18-55mm f/2.8-4.0R LM OIS XF

    Thank you Luc for your nice appreciation.
  8. danielm

    55-200mm f/3.5-4.8R LM OIS

    It may be a more existential question regarding telephoto lenses and more specifically long telephoto zoom lenses that have a tendency to extend almost up to the infinity. The good thing about this it is the fact that you don't really notice it when you are looking at your viewfinder but otherwise it could be seen as a bit of indecent... The Fujinon XF 55-200mm F3.5-4.8R LM OIS zoom lens is from the start a very fine product. Not fast as a "pro" F2.8 lens but it can deliver a lever of quality image output result that can stand on par compare to these more expensive products. Its design presentation is a mimic of the XF 18-55mm F2.8-4R LM OIS standard zoom lens and we can assimilate them as the four optic elements of the Fujifilm NMARX X-series lens models (None-Marked-Aperture-Ring-X-Series-lens i.e. NMARX) (the other ones are the Fujinon XF 10-24mm F4R and the XF 18-135mm F3.5-5.6R both OIS). The Fujinon XF 55-200mm is not a compact product. The "left-hand-holding" lens got a lot of inertia on which you can count to stabilize it. It will better fit with larger Fujifilm camera models like the X-T1/2/3 or the X-H1 for the weight repartition between the body camera and the lens. Using a center viewfinder will also work better with this powerful telephoto zoom lens especially when you select its longest focal length and doing more action photography. Because of its first nature of being a zoom lens, the XF 55-200mm is a kind of "all-around" telephoto optics that can be convenient into many different situations like portrait, sport, nature, detailed or compressed subjects. With a minimum focusing distance of 1.1m it is not a real close focusing ability lens but its maximum magnification ratio may be sufficient for bigger objects. By design and construction the Fujinon XF 55-200mm F3.5-4.8R LM OIS will extend a lot at its longest focal length which is less esthetically interesting to say the least. So you will not impress the pro photo intelligentsia of this small planet but other than that the XF 55-200mm is a very well built optic. Remember this is not a weather sealed product and it need to be protected to perform flawlessly in adverse conditions (a good translucide plastic bag used along with a rubber band surrounding the lens hood can easily do the job here). The variable maximum aperture of F3.5 to F4.8 is a good compromise that avoid the choice of smaller maximum aperture like F5.6 or F6.3 at its maximum length and in doing so it minimize the aperture-stop lost compare to more "pro" lenses of F2.8. For portrait situation, the aperture of F4 can be set within the focal range of 75 to 90mm which should be sufficient to get an average clear/blur separation between subject and foreground/background. Even with heavy cropped picture the Fujinon XF55-200mm F3.5-4.8R LM OISwon't prevent you to get good results. In action photography and with a maximum aperture of F4.8 you will have to compensate 1 1/2 stop opening by increase your ISO or panning the action of your subject. If you can keep your sensor sensibility below the ISO 1600-3200 mark the quality lost should be minimal. For years a 300mm F4 or 4.5 lens in 35mm film (200mm equiv. in APS-C sensor format) was the workhorse for many press photographers prior to the venue of the now inevitable 300mm F2.8 lens version. The in-board optical image stabilizer (OIS) of the Fujinon XF 55-200mm F3.5-4.8R is very efficient allowing us to select shutter that are almost three stop under the usual reference (1/focal length). For example you can get good results at 1/60sec instead of 1/250-1/500. In doing so you are less penalized by its more modest maximum aperture. Working with a long zoom telephoto such as the Fujinon XF 55-200mm F3.5-4.8R will ask you a more careful holding of the camera/lens combo because of the image magnification which is about 6 times higher compare to the standard 35mm lens for the APS-C sensor format. The use of an additional support like a monopod, a tripod or even an improvised one will help you to get a better rate of success. The Fujinon XF 55-200mm F3.5-4.8R LM OIS has good focusing abilities. Even in low light or with less contrasty subject, it perform well assuming that the camera model is recent. But in some specific situations manual focusing may be the only sure way to rightly lock on your subject. The "prefocusing" method can be also used for tricky subject in action photography. 62mm is the moderate filter accessory diameter of the XF 55-200mm F3.5-4.8R LM OIS zoom lens. A dedicated lens hood is part of the original manufacturer accessories that came with the lens which is always a good habit to observe in the industry. You can use it to prevent flare coming from light sources located in front of the camera but in some others light scenario it can afford be dispose. As I use to say a protective filter made of high quality optic is a safe precaution for preventing to spoil the front glass element of the lens or cleaning it or even replacing it (when it is possible!). Fully extended the Fujinon XF55-200mm F3.5-4.8R LM OIS is a fairly long lens! Despite its more standard size dimensions and weight I really appreciate to work with the Fujinon XF 55-200mm F3.5-4.8R LM OIS zoom telephoto lens. Part of it can be certainly related to its quality of construction which is giving confidence to use it intensevely. But I would say that the high level of the image quality output is may be its best asset. If can afford its limitations like the minimum focusing distance and its moderate maximum aperture you will enjoyed with very large variation of focal lengths that gives to the XF 55-200mm an outstanding versatility.
  9. danielm

    18-55mm f/2.8-4.0R LM OIS XF

    How to compare the Fujinon XF 18-55mm F2.8-4 R LM OIS zoom lens from Fujifilm? I will be a bit controversial saying that this little first class optic can be put at the same level as the Leica MFT 12-60mm F2.8-4. I know that the Fuji XF 18-55mm R has obviously a less wider angle of view at its short end and is natively less powerful on its longest end. That stands for the focal length statistic comparaison between these two fine products but for the quality of their respective construction, their optic glasses, their control rings and their manual abilities, there are in the same league. And there is something else very important. The maximum aperture of the Fujinon XF 18-55mm at F2.8-4.0 is an exception compare to what we see useably in the compact standard zoom lenses market. And that simple point make a big different especially for the lenses designated for their on smaller sensor format like the APS-C and the MFT. In that field the Fujinon beats the Leica although it seems they share the same maximum aperture because the effect is different between those two smaller format sensor zooms. The Fujinon XF 18-55mm R LM OIS is remarquable because it has that maximum aperture of F2.8-4 and the internal optical stabilization, but also because it is still a compact lens in regard of all these factors. It breaks the actual tendency for the lens manufacturers to design and produce more and more inflated (i.e. big) lenses with larger maximum aperture or with a wider range of focal variations. When you will be introduced for the first time to the Fujinon XF 18-55mm F2.8-4 R LM OIS you may notice that it is an optic more oriented on the traditional design way. This is not a featherweight optic device and the zoom and focus control rings are more stiffer than many others zoom lenses. Direct access of an aperture control ring is another advantage of the Fujinon (as for all XF Fujinon lenses). Every bits of the XF 18-55mm R LM OIS is telling us about the quality of this zoom lens. We can considerer it as the introducing zoom lens of the Fujifilm NMARX X-series lens models (None-Marked-Aperture-Ring-X-Series-lens i.e. NMARX) (the other ones are the Fujinon XF 10-24mm F4R, the XF 18-135mm F3.5-5.6R and the XF 55-200mm F3.5-4.8R all OIS). There is a lot to say regarding the obvious optical quality results obtained by the XF 18-55mm F2.8-4 R. Many tests done over the Web by specialized photo test sites will tell you about its optimal definition compare to other products. I leave to them to give you a complete technical information. A full exposure stop gain at 55mm focal length is one the most appreciated strength that I have experimented with the XF 18-55mm lens. It qualifies the zoom lens to an upper class compare to all others products that give you a max. aperture of F5.6 or more at their longest end. I wont pretend it can replace a "pro" zoom lens (with a constant max. aperture of F2.8) but it certainly is certainly far more compact optic. On the purely none-objective side, we can already appreciate the image output of the XF 18-55mm F2.8-4 R LM OIS both in JPEG and RAW files issued from a Fujifilm X-camera. With an angle of view of 79 degrees at its widest focal length, the XF 18-55mm R LM OIS is doing just a little bit better than an usual 28mm equivalent to 24X36mm format (FF). So contextual photography into cramped areas can be a real challenge especially in interior photography. But that angle should be manageable if you take time to carefully select your angle of view and the distance from your subject. The Fujinon XF 18-55mm F2.8-4 R LM OIS is an enjoyable urban lens with a lot of flexibility. If you can afford to not use its dedicated lens hood, the lens become very discrete and non-intrusive At 55mm you have just sufficient magnification to partly isolate medium range subject with success. This is not a true face portrait lens but the Fujinon XF 18-55mm can produce good full-body (or partial) portrait. For sure we have access to any intermediate focal lengths available on the Fujinon XF 18-55mm f2.8-4 R LM OIS. Popular focal setting include 23mm and 35mm that replicate their fixed focal length counterparts. Close focusing is on the average and this Fujinon is not a genuine macro optic but it can perform with subjects like flowers or mid-sized objects (or parts of) with competence. The XF 18-55mm F2.8-4 R OIS lens doesn't have a special close focusing setting to activate to get its nearest focusing distance, an advantage for detail photography on the spot. I am not really found on the special function switches way and I prefer the solution used by Fujifilm on most of the others XF lenses with an "A" position on the aperture ring (this way you can preset your aperture value without looking at the viewfinder/screen like with the shutter control dial). If you are a frequent user of the Fujinon XF 18-55mm F2.8-4 R LM OIS (maybe as your first lens) you will probably assimilate the reflex to activate/deactivate that switch... Optical Image Stabilization (OIS) is in fact a commun "must be" with standard zoom lenses. Its advantage is obvious in particular when using slow shutter speed for less lit subject. Switching from a non-OIS lens, the Fujinon 18-55mm F2.8-4 R LM OIS will guaranty you a better rate of success by preventing micro blurs on the contours of your in-focus subject(s). The presence of OIS must not prevent you to still apply the best support you can give to your camera-lens. The OIS functionality can be shutdown for video or macro or tripod photographic situations. A last a word regarding the dedicated lens hood that came with the lens (a nice though from Fujifilm). Using it will prevent flare no question about it as the lens hood offer an additional protection for the front of the lens. Without it as already mentioned the Fujinon lens is becoming more discrete, less protuberant for your subject. So the choice is yours. It can be inverted for transport but the inverted accessory is covering the vital focusing and aperture control rings. Filter accessory size is 58mm a commun one available for a lot of filter combinations. It is up to you to use or not a protective filter. I do but the filter should be made with high optical quality glass that wont introduce more glare or glass distortion in my picture. Many people don't bother anymore about that and I respect their choice. Being a retired professional that have encounter many adverse conditions I have always preferred to change a filter than a complete lens... What to say more about the Fujinon only to qualify it as an "all-going" standard zoom lens of an higher level optically and with a more than average quality of construction. Fujifilm produces lenses in the upper standard that perform well over the years and offers products that in my sens surpass many big competitor counterparts. So try it and eventually own it with confidence. Since I am not in any ways paid or attached to them my only raeson is to encourage manufacturers that still have respect for photographers...
  10. danielm

    Digital B&W Photography

    Digital Black & White Photography Since the invention of modern photograph black and white representation have played a key role into the evolution of the medium. For sure color reddition have been preferred over time for its own added pictural information that eventually partly if not almost completely submerge the black and white (B&W) image reproduction. But suffise to mention that still today color processing is using multi layers of B&W sensitive areas with added applied color to the get the final result. But the real question for the photographic enthousiasms of this world is that black and white stays a pertinent way of recording and later diffuse an image output? Because the digital media photo output is now so cheap and easy to obtain that can be very simple to skip the choice between color and B&W reedition and rely in post-processing to make your final decision. So why working in B&W during your picture taking session? Is it redondant? Yes and no because even if it is true that the post treatment possibilities offer the final choice it remains impossible to modifie certains basic photo parameters after the fact like your picture taken position (angle of view) or the moment of the exposure. Those critical element depend on the initial selection done on the very premises of the subject. I wont argue here the virtues of every way of doing photography because in fact they are all justified by the creativity involved in every different processes experimented by the auteur. My point is the following. With contemporary digital camera there is a big new window opened for the B&W photographs in a way that you can actually previsualize your result on screen before the final picture taking action. And that the most interesting aspect of it. No more imperfect (at the most) polaroid tests on the spot to rely. What you over your back screen or electronic viewfinder or your external screen is the "real" visual output. And the technical advancement give a capital advantage to work your B&W output right on the spot something ever dreamed during the traditional film photography era. Doing black and white pictures As for many others picture reproduction techniques doing B&W photography have its own requirements and limitations. A beautiful color scene doesn't always be translated in a magnificent B&W picture. Sometimes yes sometimes definitively not. Because in part of the fact that the color palette offer psychological contrast (between the colors) that BW gray scale is not able to reproduce totally or simply not at all. So different gray patches will blend each other and the final results will be dull and the image information will be difficult to decode. So as you can presume contrast is a key point in B&W photography. As for any photographic processes the exposure (the light levels distribution) is another critical aspect to consider. Because your own eye has a very larger dynamic light perception between the highlight and the lowlight it has been always a challenge to produce image captor that can be able to mimic human eye perception. Today our recent image sensor have revolutionized that frontier limitation at a point never dreamed a few decades ago. But still the exposure factor is another key to faithfully master in order to get the full palette of gray tonal you need. On the opposite side you can always redirect you exposure setting to discriminate voluntary part of the gray scale you don't want to register as for example in creating silhouette subjects. Toning voluntary or not B&W photograph is not a new feature in photography. In the past during the film photography era many paper supports were generating different white tonal renditions from cool to warm as for paper chemical developers that were able to "tint" the silver oxide of the black and gray areas of the picture. Those possibilities have been incorporated in the inboard camera image processors or/and the post processing image applications. It is up to you to decide to register an already (tone) altered image or to wait et the post processing stage of it. B&W photography enhance graphic value by concentring the attention of the looker on the lines, on the forms and the texture of the subject. Tridimensional perception in B&W depends greatly of the composition of your picture. It rely also on the previous visual experiences of the people who will look at it. So selecting, positioning and exposing your main subject are important tasks to fulfill in the creation of a B&W image that will show impact and got a story to tell. Foreground and background will contribute to let the eye to prior focusing on the first glimpse then to voyage over all the picture but they can also play as a distraction of the main message of your picture. The expression of your main living subject will create a major impact to the first perception of the image because as human we will be attracted especially in B&W by the "face" of the subject. So interaction between the photographer and its model or subject is basically what we apprehend at first. Eyes, mouth and facial expression may be the most difficult photographic aspects to master a spontaneous or not portrait. (Partial B&W photography and special effects) Another interest optional feature present in some digital photographic camera is the possibility to remove the entire color palette in profit of only one selected. In that way we create a kind of B&W picture with added color. These studies can be interesting if you carefully compose your image and most important don't forget to still focus on the impact and story of the subject. An array of different "special" and easy photographic effects is now available in digital photography. The danger is that you can distract your auditoire from the main subject as many people can simply skip it. Finally I cannot emphasizes more the importance to explore the medium. Your (documented) research will help you to raffine your quest of a better picture that will suit your own visual expression. Because at the end B&W photography is just another way to communicate your perception of your living surrounding.
  11. danielm

    12-40mm f/2.8 PRO M.Zuiko

    Get in the "pro" side with the Olympus M.Zuiko 12-40mm F2.8 Olympus M.Zuiko 12-40mm F2.8 We know already all the big advantages of using a so-called "Pro" lens. Better construction, larger controls and grip, better quality glasses, constant aperture (most of the time), all weather protection, etc. But "pro" lenses are also larger, heavier and... more expensive. Usually their variable focal length latitude is narrowed compare to the "amateur" counterparts.So it can be tricky to suggest or moreover to recommend such an exclusive product. And I am not a big fan of "bazooka" lenses that are intimidating the subject by their lack of discretion. The only add credibility you can expect from other people when using this type of lenses usually came from persons without real knowledge of photography (especially press credential personal). So you can be rightly suspicious when I decide to bring you this specific and modest personal review about the Olympus M.Zuiko 12-40mm F/2.8 lens. On the Run (Olympus OM-D E-M5 II / M. 12-40mm F2.8) The Olympus M.Zuiko 12-40mm F\2.8 is in fact a big lens. It is true to say that it is a smaller lens compare to its equivalent in larger image actor format such as APS-C or 24X36mm so-called "full" frame format. Its focal length latitude offers a practical range starting with an interesting wide angle up to a modest telephoto setting. Its constant maximum aperture of F/2.8 is the usual standard for this kind of "pro" product. Olympus OM-D E-M5 II W/Grip / M.12-40mm F2.8 The Olympus M.Zuiko 12-40mm F/2.8 is an impressive piece of glasses in particular if you apply the compactness standards of the m4/3 format. To properly use it you may need a camera model with a greater potential handle grip to be able to handle it with confidence and confort. But I must add that the lens is still usable without add-on grip. As a "Pro" design lens its primary destination is without a doubt the Olympus OM-D E-M1 (in both variations). With the OM-D E-M5 (again in both versions) the optional grip will help you in certain situations like studio or action shooting sessions. That can be said also when you are using the OM-D E-M10 (again and again ... original or Mark II models). The feeling of the 12-40mm F/2.8 lens reveals its high class all weather construction especially in comparaison with the kit zoom lenses such as the M.Zuiko 12-50mm or the diminutive 14-42mm. Control rings for zooming and focusing are fairly larger and can be easily distinctive by the touch. On the spot manual focusing operation is possible by pulling the focus ring very conviently (that specific option is also present into the 12-50mm lens). We appreciate that the lens hood is part of the included accessory packaged with the lens. One of the big advantage of the M.Zuiko 12-40mm F/2.8 is surely its focal length variation starting with a real wide setting of 12mm (84 degrees of angle of view) up to an extended normal angle of view ( 30 degrees) at 40mm. I really consider that telephoto designation should start at 60-75mm focal length in M4/3 format which represent an angle of view of 20-15 degrees to make a visual difference. At that point you get a magnification ratio of 2.5-3X compare to your naked eye. The Olympus M.Zuiko 75mm F/1.8 should be an excellent complement to the M.Zuiko 12-40mm F/2.8. Like I have said earlier the bigger dimensions of "Pro" lenses is often generating intimidating reactions from many spontaneous subjects. It is a price to pay and you may have to earn the confidence of the people you want to photograph prior to the shooting itself. Even the non-initiated person in photography will be aware of the "pro" level of your photo taking device. The performance of the Olympus M.Zuiko 12-40mm lens is on the upper lever flirting with the stellar performances seen on the prime (focal fix) lenses. It is a good substitute product to the 12mm, the 17mm, the 25mm and the 45mm prime lenses although all theses models offer a much larger maximum aperture (F1.8-2) which support a better depth of field control. The extended focal range of the M.12-40mm qualify it as a good urban traveller optic to keep at hand. more than on your chest. And yes it can be a good action lens. If you are looking for a basic "pro" setting the Olympus M.Zuiko 12-40mm F2.8 will be a strong contender to fill the task. And the image results will speak by themself. Good Bye
  12. Guadeloupe: a visit to the French Antilles Island with the Panasonic Lumix GX85 iPhone picture by Manon Paquette Guadeloupe is the designation of a two parts island localized into the French Antilles. A dream island for many French vacationers and retired people with an ideal warm climate. For its own population it can be a different story considering in particular the lack of economical opportunities for the local and especially the youngsters. You can travel for weeks and months to be able to discover the very diversified facettes of the Grande-Terre and Basse-Terre territories which compose the Guadeloupe. Here is some photo extracts that I have done recently with the help of the Panasonic Lumix GX85 and the Lumix G Vario 12-32mm & Lumix G Vario 35-100mm f4-5.6 Mega O.I.S. lenses. The colours of the French Antilles are very attractive but you can also produce beautiful black & white compositions. Architectures subjects, people, flowers, animals, etc are all subjects of discovery and artistic experimentations. A Church at Saint-Fran√ßois, Grande-Terre March√© nocturne (Night Market) at Saint-Fran√ßois, Grande-Terre March√© nocturne (Night Market) at Saint-Fran√ßois, Grande-Terre Jardin botanique (Botanic garden) at Deshaies, Basse-Terre Jardin botanique (Botanic garden) at Deshaies, Basse-Terre Jardin botanique (Botanic garden) at Deshaies, Basse-Terre Jardin botanique (Botanic garden) at Deshaies, Basse-Terre Deshaies, Basse-Tesse Pointe-des-ch√Ęteaux, Grande-Terre Pointe-des-ch√Ęteaux, Grande-Terre
  13. danielm

    12-32mm F3.5-5.6 ASPH. MEGA O.I.S

    The Walking Twins: Panasonic Lumix G Vario 12-32mm & 35-100mm Mega O.I.S. Panasonic Lumix G Vario 12-32mm F3.5-5.6 Mega O.I.S. & Panasonic Lumix G Vario 35-100mm F4.0-5.6 Mega O.I.S. A pocket pair for everyday everywhere travellers! Behind the fact that the traditional camera users tend to be older it is a universal phenomena that most of the people regardless of their respective ages want to be more mobile. In doing so we are looking for devices or equipment with less inconvenient in size and weight. You just have to look at the sport and outdoor accessories evolution since two or three decades to be convinced. Compaticity in photo equipment is an historical quest since the beginning of this new medium. Some photo experts or enthusiasms have and still denigrate the ability of using smaller devices and obtain quality photo results. This debate was particularly fierce during the golden age of 35mm film. Today we know for sure the futility of these assertions. Digital photography is another step to the direction of creating compact, simpler and performing cameras and the introduction of the micro 4/3 image captor format has contributed to establish the credibility of it. Today M4/3 camera system is world widely used and appreciated. For sure in the vast photographic universe there is always place for larger format as it has been proved by the reintroduction of "medium" captor format by Hasselblad and Fujifilm preceded by the Ricoh-Pentax offer without forgetting the digital backs designed by Phase One. Olympus and Panasonic have been the commercial pioneers of the M4/3 format cameras. They have designed very compact devices with different interpretations and priority intended uses. Moreover they develop accordingly an optical offer that suit the compactness primary idea of the new format. Today we will look at a typical lens combination available from the Panasonic line-up. Smart and Compact A small reminder in the recent time-line of the different Lumix models recalls us the Panasonic first introducing of the GM1 and GM5 successor model declinations. They were very small M4/3 cameras and Panasonic had rightly associated these ones with their newest Lumix G Vario 12-32mm f3.5-5.6 Mega O.I.S. diminutive in size standard zoom lens. (see my GM5 report). Soon after Panasonic added the Lumix G Vario 35-100mm F4.0-5.6 Mega O.I.S. tele-zoom lens as a complement of the first one. The whole package is simply the correct expression of many of us consider the real purpose of the compact M4/3 format system introduction. The Panasonic pair lenses are contracting lenses for easy equipment carrying. The Lumix G Vario 12-32mm Mega O.I.S. will be considered by many photographers as their primary lens since it deliver a very useful wide angle of view of 84 degrees similar to the 24mm lens into 24X36mm film format. That wide angle of view is rightly appreciated by many as a very fine and creative contextual lens for street travel, interior or social photography. On the other end of the zoom 32mm focal length you will obtain a narrowed 37 degrees angle of view which is practical but won't have the same versatility compared to others bigger trans-standard zoom lenses such as the Lumix G Vario 12-60mm option. You may consider the 12-32mm more as a wide to normal focal lenght utility lens. No lens hood has been included by Panasonic for the 12-32mm although you may find one from independent manufacturer such as JJC. The filter size diameter is 37mm and could be considered for adding some kind of optical protection or special effect filter. My only complaint is that Panasonic didn't "standardized" its filter size between the 12-32mm and the 35-100mm F4.0-5.6. I would also love that Panasonic have been added the automatic camera shut-off option when you are contracting the lens to its storing position. Lastly no manual focusing ring of the lens. That "flaw" can be partially compensated by using the pre-focusing option on the camera and than reframe your picture thereafter. Using the Lumix G Vario 12-32mm lens more extendedly over the years prove to be a very handy optical device for doing photography "on the spot". Image results are pleasing and could be shared or presented without complex. Even if the 12-32mm have a small maximum aperture you can rely on its ability to do good interior pictures, thanks to its internal optical stabilization combined with the camera in-body counterpart if available. This is a good urban traveler option. The very compact design assimilated with more amateur camera models and in doing so give you a more discrete presence regarding the people surrounding you. If you add a ranger finder style camera the intimidated factor will decrease a lot. For sure quality won't be at the same level compared to to the higher and bigger lens models offered but for most of the digital presentation channel the difference should not be noticed. As usual I never pretend to analyse lenses or cameras on a purely technical point of view knowing that there already exist a lot of more competent people that do so over the Web universe. The Lumix G Vario 35-100mm f4.0-5.6 Mega O.I.S. can be assimilated as the compagnon lens of the 12-32mm if you are looking for that focal length range. The Lumix 35-100mm F4.0-5.6 is a compact optic that can be slip in a coat pocket or in a hand bag without adding volume or exceeding weight. This 2 inches long lens will give you an angle of view variation between 34 and 12 degrees. It comes with a lens hood and you can add a 46mm size filter if you wish (As already mentioned this 46mm diameter is different from the 37mm size of the Lumix 12-32mm). The stabilization lens and cameras options are very essential tools to be activated when you are using the Lumix 35-100mm f4.0-5.6 lens mainly because of its modest maximum aperture and its long focal length. While I have been a strong adept of small focal fixed telephoto lenses such as the Lumix 42.5mm f1.7 OIS and the Olympus M.Zuiko 45mm F1.8 lenses I consider the Lumix G Vario 35-100mm F4.0-5.6 variante as a very good substitute product. For sure it lacks the shallow deep of field characterized of the larger maximum aperture of the two prime but that flaw can be partly compensated by the longer final 100mm focal length of the zoom lens. Because of its inherent compactness the Lumix 35-100mm fF4.0-5.6 is again a very non-intruse lens that facilite the casual picture session. In my view there is no quality issue regarding the image output of this lens. And again stabilization option is a key factor for reaching beautiful picture results. Because of its particular medium telephoto focal length the Lumix 35-100mm f4.0-5.6 can be a real composition tool with a good isolation and compression of the main subject. As I have already mentioned in the past I consider the mirrorless camera category as the real modern successor of the basic idea of a compact camera device with the interchangeable lens option. A kind of Leica legacy of our today world. For sure direct Web connectivity has to be addressed by the different M4/3 format camera manufacturers in the near future to respond to our actuel need of personal communication. But at least the basic of the photographic technique parts are fulfilled already. Yes the Panasonic twins Vario G 12-32mm F3.5-5.6 and 35-100mm F4.0-5.6 Mega O.I.S. are representing a very attractive and competent combination for compact photography.
  14. Le Panasonic Lumix GX9 (GX7 Mark III): la synth√®se de la continuit√© / The summation of recurrent ideas (Please note that the english version follow the french text) La synth√®se de la continuit√© Le Panasonic Lumix GX9 est un incompris pour certains photoblogistes qui anticipait lors de sa pr√©sentation la reproduction d'un nouveau mod√®le Lumix "√† la GX8" sur-vitamin√©! En fait l'ancien Lumix GX8 √©tait plut√īt une sorte d'anomalie dans l'univers jusque l√† connu de la s√©rie GX par la plus grande dimension de son boitier particuli√®rement si on le comparait √† son pr√©d√©cesseur, le GX7. Ce qui fut confirm√© par Panasonic m√™me dans la d√©nomination nippone du mod√®le GX85 / GX80 r√©pondant au nom de GX7 Mark II sur le march√© japonais. Et le Panasonic GX9 retrouve maintenant un format de boitier plus compact et discret. On peut parler de v√©ritable synth√®se des diff√©rentes caract√©ristiques propres aux mod√®les GX ant√©rieurs et r√©cents √† partir du GX7. Certes l'abandon de la caract√©ristique unique de la protection accrue contre les intemp√©ries du GX8 (mais qui √©tait absente de tous les autres anciens GX il faut dire) est peut-√™tre l'√©l√©ment le plus choquant, j'en conviens personnellement. Mais une fois aval√©e cette pilule un peu am√®re, le Panasonic Lumix GX9 reste un appareil tout √† fait √©patant sans √™tre clinquant cependant. Son apparence modeste, une signature r√©currence des designs de Panasonic pour la s√©rie Lumix, est un atout s√©rieux pour le ou la photographe urbain(e), le ou la voyagiste ou encore la photographie spontan√©e de tout genre. Le capteur MFT de 20 m√©ga-pixels est maintenant un produit √©prouv√© sous plusieurs d√©clinaisons tant chez Panasonic qu'Olympus. La qualit√© d'image reconnue de ce capteur lui conf√®re un rendement sup√©rieur et son traitement post-prise de vues est tr√®s bien maitris√©. La colorim√©trie embarqu√©e est plaisante et tout √† fait para-m√©trable au go√Ľt des utilisateurs s'ils le souhaitent. Les options monochromes noir & blanc sont riches et facilement accessibles de l'interface car comme √† l'accoutum√©, le Lumix GX9 est d'ailleurs presqu'enti√®rement configurable au choix de son ou sa propri√©taire. Il n'y a aucun doute √† √™tre en mesure de produire des fichiers d'images tout √† fait utilisables et d√©taill√©es pour le tirage d'art sur du papier d'impression sp√©cialis√©. La tenue en main est celle d'un compact avec viseur d√©centr√© (√† la rangefinder) qui est la r√©sultante d'un compromis entre le petit format du boitier et l'accessibilit√© aux fonctionnalit√©s du boitier. √Ä ce propos il est inutile d'entamer un d√©bat d'o√Ļ il ressort que le choix logique du photographe d'action ou sportif serait plut√īt un Lumix √† viseur centr√© √† la (D)SLR comme les G85 / G80, G9 ou GH5! C'est donc dans l'ordre des choses que la pr√©hension du Lumix GX9 apparaisse minimaliste pour les tenants du design de type SLR. Il y a toujours un apprentissage √† consid√©rer dans la manipulation un boitier compact et le Lumix GX9 n'√©chappe √† cette r√®gle (Rappelons toutefois que le GX8 √©tait une exception √† cette r√®gle compte tenu des dimensions accrues du boitier). L'√©tude de la poign√©e optionnelle DMW-HGR2 est int√©ressante mais rend l'acc√®s au compartiment de la carte m√©moire et de la pile plus difficile, un remodelage plus pratique serait bienvenue. Le viseur √©lectronique (EVF) du Panasonic Lumix GX9 reprend essentiellement les caract√©ristiques techniques de celui utilis√© dans le mod√®le Lumix GX85 / GX80 avec cependant l'option du pivotement vers le haut comme chez les pr√©c√©dents Lumix GX7 et GX8. Cet option d'orientation peut simuler ad√©quatement les anciens viseurs-poitrines offerts pour certains mod√®les d'appareils reflex argentiques professionnels. Ce viseur √©lectronique g√©n√®re une bonne qualit√© d'image avec un biais typique un peu contrast√© pour un sujet au soleil √† contre-jour. Son relief d'oeil est bien pour un usage √† l'oeil nu mais peut paraitre √©triqu√© pour un porteur de lunettes correctrices (dont je suis...). L'√©cran-arri√®re ACL est √©galement orientable vers le haut et le bas ce qui lui conf√®re un avantage ind√©niable en reprographie, photo-macrographie et proxi-photographie. Les diff√©rentes touches et rondelles d'op√©ration sont ais√©ment accessibles mais compte tenu de leur proximit√© le risque de mise en route involontaire est plus √©lev√© que pour un appareil de plus grandes dimensions. L'interface est classiquement celui √©labor√© par Panasonic pour ses appareils photo num√©riques. Les inspirateurs Lumix GX85 / GX80 / GX7 Mark II Il est √©vident qu'√† plusieurs points de vue le Lumix GX85 / GX80 a servi d'inspiration et de moule cr√©atif pour le Lumix GX9. Cette parent√© n'est pas pour autant r√©ductrice si on consid√®re que le GX85 / GX80 constituait comme un retour √† l'esprit original sous-jacent du Lumix GX7 par ses dimensions et son flash int√©gr√©. Sur le terrain ces deux qualit√©s sont sp√©cialement appr√©ci√©es par l'utilisateur discret, spontan√© et flexible. Lumix GX7 original Avec l'usage on peut appr√©cier √©galement la pr√©sence d'un s√©lecteur de type de mise au point bien accessible, de la roulette des coefficients de correction d'exposition, du bouton d'activation de m√©morisation d'exposition et de l'option du menu rapide (Quick Menu) entre autres touches-fonctions. Le flash int√©gr√© permet de d√©boucher les ombres pour des sujets peu distanc√©s. Il peut servir aussi d'unit√© de commande dans une combinaison de multi-flashes sans-fil. Comme √† l'accoutum√©e je ne traiterai pas des fonctionnalis√©s propres √† un usage vid√©o. Avec le format plus r√©duit du Panasonic Lumix GX9 le choix de l'optique appropri√© tant par son utilit√© propre et sa capacit√© √† se marier physiquement au boitier revet une importance incontournable. Le manufacturier propose d'embl√©e l'objectif-zoom trans-standard Lumix G Vario 12-60mm F3.5-5.6 Power OIS, un choix judicieux de par sa versatilit√©, son faible poids (210g) et son tarif coup√©. √Čvidemment toute autre optique au choix du photographe reste la pr√©rogative de celui-ci. Le Lumix GX9 s'harmonise tr√®s bien d'un objectif √† focale fixe et les r√©sultats obtenus avec cette combinaison sont souvent sup√©rieurs √† la moyenne et √† ceux offerts par les objectifs-zoom sauf exception. Avec ses dimensions compactes Panasonic pourrait nous proposer une combinaison appareil-objectif qui combinerait le Lumix GX9 avec le diminutif Lumix G Vario 12-32mm F3.5-5.6 Mega OIS √† l'exemple de son pr√©d√©cesseur le Lumix GX85. Pourquoi le 12-60mm a √©t√© pr√©f√©r√©? Peut-√™tre en vertu de son design optique plus r√©cent, sa stabilisation plus efficace (Power versus Mega) et sa plus grande amplitude de distances focales. Il se peut que l'exigence du capteur de 20MP soit un peu trop √©lev√© pour l'ancien 12-32mm. √Ä titre de comparaison personnelle j'ai bri√®vement √©quip√© le Lumix GX9 de l'objectif G Vario 12-32mm F3.5-5.6 Mega Vario sans observer une chute spectaculaire de la qualit√© des images obtenues par rapport au 12-60mm. Peut-√™tre ma copie du 12-32mm est exceptionnellement fabriqu√©e! Je m'en voudrais de ne pas vous sugg√©rer quelques accessoires d'appoint comme une pile-accu suppl√©mentaire (ou plus) indispensable pour l'usage prolong√© de ce type d'appareil, un flash externe qui √©vite de taxer indument l'alimentation de l'appareil si vous avez une propension √† utiliser fr√©quemment cet √©clairage d'appoint et peut-√™tre une poign√©e optionnelle si vous utilisez des objectifs de plus grandes dimensions et de poids plus √©lev√©. Comme la plupart des appareils photo num√©rique √† viseur d√©centr√©, le Panasonic Lumix GX9 est beaucoup moins intimidant que ses coll√®gues √† viseur centr√© de type (D)SLR. Cette caract√©ristique rend beaucoup plus ais√© la cohabitation du sujet avec son photographe. M√™me en cette √®re d'√©go-portraits en toute occasion le contact entre l'auteur et son sujet reste complexe et exige toujours d'une relation de confiance minimale. Le Lumix GX9 r√©pond bien √† cette exigence de discr√©tion et de comp√©tence demand√©e. Si vous l'associez avec un objectif "toute √©ventualit√©" comme les Lumix G 20mm ou 25mm F1.7 ou encore comme le petit t√©l√©objectif Lumix G 42.5mm F1.7 Mega OIS, vous serez en mesure de r√©aliser de superbes images et de maintenir la spontan√©it√© de votre sujet principal. Le Panasonic Lumix GX9 n'est peut-√™tre un appareil de poche mais c'est assur√©ment un compact qui r√©pond bien √† la d√©finition originale de faible encombrement du format MFT. En tout comme en particulier il s'av√®re un appareil photo num√©rique traditionnel comp√©tent, versatile et complet. Plus encore c'est certainement un compagnon id√©al mais discret pour la photographie au quotidien qui encourage l'impulsion cr√©atrice de son utilisateur. Tous mes remerciements √† Panasonic Canada et √† Yannick pour leur support et le pr√™t de ce nouveau mod√®le Lumix GX9. P.s. Pas de panique! On ne peut pas s'emp√™cher de sp√©culer des intentions d'autrui et de ce que nous r√©serve l'avenir. Ainsi il y a cette rumeur de l'abandon de produire des appareils MFT √† objectifs interchangeables dont le tarif serait d'entr√©e et de moyenne gamme par Panasonic pour sa s√©rie Lumix. Bien s√Ľr une telle perspective n'est pas souhaitable et le maintien de mod√®les plus abordables comme dans les s√©ries GX et G nous garantie l'apport renouvel√© de nouveaux adeptes du format. Mais il existe cette r√©alit√© d'un march√© pour l'appareil photo num√©rique traditionnel en plein resserrement qui contribue √† une psychose de l'extinction de l'esp√®ce par la disparition des marques et fabricants certes toujours possible mais pas seulement li√© √† ce seul facteur. L'industrie de l'√©quipement photographique comme toute autre du domaine technologique a connu et connaitra toujours des √©volutions et des mutations profondes de temps en temps, c'est √©crit dans le ciel de notre monde mat√©rialiste. Mais aujourd'hui ne diff√®re pas fondamentalement d'hier et qui put vraiment "pr√©dire" l'avenir! - DM The summation of recurrent ideas Handholding a camera can be a very deceptive experience and can give you that you think you have finally found one of the best photo device you ever have tried. Certainly it was my own impression regarding the late Panasonic Lumix GX8 which was a bigger package compared to the previous Lumix GX7 but was doted with a more secure grip and a new and more definite image sensor (20MP vs 16MP). So memories on the Lumix GX8 were pleasant especially if you compare with the Lumix GX85 (GX7 Mark II) smaller version and its reduced dimension and its less interesting image captor (again 16MP). Many previous users of Lumix GX8 and even GX7 (Mark I) were badly surprised Panasonic have chosen to recycle the GX85 design concept to their newest GX9. Many early reviewers (if not almost all) were badly astonished by this choice from the manufacturer. So the Lumix GX9 (named elsewhere GX7 Mark III) has disappear from the reviewers radar on a fast pace. In my book on the search for compactness it is a pity to simply ignore that new model Lumix GX9. If you consider the very nature of the M4/3 sensor format the Lumix GX9 rightly respond to that mandate in size and weight. The Panasonic Lumix GX9 is a compact ILC in MFT sensor format as we were trilled to discover in the early years of that format. The conceptual idea to produce a very small photo device along with the appropriated lenses was without contest a very critical success although not so good commercially. But in some ways it has survived mainly with higher end models like the Lumix GX7 and GX8 or the Olympus Pen-F. The Lumix GX9 is not obviously a SLR type camera with a centered viewfinder since it mimiques the "rangefinder" style with an off-center electronic viewfinder (EVF). The swivel EVF option to the upper position allows the photographer to experiment a kind of chest level position that will give a more equilibrated point of view in helping to preserve the lateral and vertical straight lines. In some ways it refers to the older waist level viewfinders of the film era. The Lumix GX9 is a compact camera but it has in own surprising weight that give more stability induced by the inertie phenomena. That can annoying for those who are looking for a very light pocket photo device which is not the case with the GX9. Furthermore in associating the Lumix GX9 with the Lumix G Vario 12-60mm F3.5-5.6 Power OIS lens (a good optic in many ways) the combined package is relatively large in dimensions and partly destroy the compactness idea. For very discrete street or urban photography many will prefer to use a smaller lens such as the Lumix G 20mm F1.7 or the 25mm F1.7 or even the G Vario 12-32mm Mega OIS. As usual Panasonic have designed a very classic interface presentation with almost all the function buttons and dials located on the right upper deck and rear side of the camera leaving main control on the right hand, your left palm hand serving as a stand under the taking lens and giving you a natural option to control your focusing ring and zoom cal range if available. Direct autofocus lever selector is a very handy feature as for the AE/AF locking button. Separate exposure correction dial is also a very appreciated option but the reel is located a bit far on the right upper edge of the camera body to an easy thumb control. Multi-fonction front and rear dials make easy selection of basic parameters such s shutter speed and aperture depending which exposure program you have chosen. The Panasonic Lumix GX9 offers you an infinity of configuration variations that allow a very deep personalization of the camera. The viewfinder will give a good preview (but seems to be a bit too constraty) and the back screen definition is fine and will give you a nice appreciation of the scene and a good preview of the final image result. I didn't feel handicapped compare to a classic optical viewfinder. No lag impression are generated by panning the subject. It is true to say that EVF have come a long way their first technical interpretation a few years ago. They are now reliable tools for the photographer. In the camera body the small electronic flash is a fine addition to perform fill-in flash on the spot. Mixing available daylight and flash burst can be done with confidence once you master the different options of memorizing the ambiant and flash light exposures. As usual for that GX series you can add an external compact flash light in order to get greater output and have an independant battery flash power. Taking pictures with the Panasonic Lumix GX9 is an easy task. The camera can stay on hand and be ready on the spot if necessary. You just have to remind you that the Lumix GX9 is not weather protected. In comparaison with the previous Lumix GX8 it is surely a deception. So you have to think about securing the camera under fairly adverses picture taking conditions. Is this point could be addressed in the next GX one digit itineration of the model? It has to be seen in the future. The best definition that can suit the Panasonic Lumix GX9 is its summation of recurrent ideas that we have already seen on the previous GX Lumixes. Cost considerations forced Panasonic to drop beloved features like the weather sealing and may be a larger body size for a better handling. But this model is available at a price level similar today of the previous GX7 which was a very successful model in the recent past. For a reason of my now I have not found that the Lumix GX9 is such a strong departure from the GX85 but you have to consider its improved image sensor (20MP vs 16MP) but other than that the two models are similar in many ways. Finally I have noticed that since a few months there is a kind of Panasonic Lumix GX9 renaissance partly du of the very early negative reviews which is funny and demonstrate the lack of distanciation of the more instant reviewers. Like they said: "Moderation have always better taste" Publi√© par Daniel M √† 09:53 Envoyer ce message par courrielBlogThis!Partager sur TwitterPartager sur FacebookPartager sur Pinterest Libell√©s : Panasonic, Panasonic Lumix GX9
  15. I must confess that I was not thrill at all with the advanced announcement of the Nikon and Canon mirrorless 35mm digital cameras-lenses systems. I had a strong concern about the will of these manufacturers to offer real compact mirrorless system. And I was not the only one with that fear of incomprehension from them to the very basis concept regarding mirrorless design. Now that we are looking at Nikon and Canon answers to an anticipated decline of their customer bases it is not surprising that they simply import the D-SLR bias into theirs new model proposals. Big, somewhat already outdated and by far expensive photo devices couple with with very traditional bazooka lenses. Is this innovation? Certainly not. Is this photo equipment interesting alternative for passionate photographers who like now to travel and shoot lightly and be less intimidating for their subjects? For sure not! So it is a profound disappointment for many of us who like photography as a visual expression of the everyday life. And so I must salute the courage of those other manufacturers who seem to be maintain the stand of compactness of mirrorless system like Olympus, Panasonic and Fujifilm. For Nikon and Canon all hopes seem to vanish in their D-SLR profit reassignment...

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