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danielm

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About danielm

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  • Birthday 27/01/1957

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    Daniel M
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    Montreal, Canada
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  1. Is the Panasonic Lumix G Vario 100-300mm F4-5.6 II Power OIS zoom lens the ultimate super telephoto for less than $900CAN? A look into the latest Panasonic MFT lens line-up seems to confirm this assertion. But what about the qualities of this specialized telephoto zoom lens? Its very modest aperture (considering the MFT format), the absence of any tripod lens collar mount accessory, its lightweight construction are all parts of the criticisms that can be addressed for its design and its manufacturing. But despite those objections, the Panasonic Lumix G Vario 100-300mm F4-5.6 II Power OIS should be seen as an accessible opportunity to reach these higher magnifications. Because the Lumix G Vario 100-300mm F4-5.6 II Power OIS zoom lens will give strong magnifications (4 to 12X compare to your own vision), we can really classify it as a true long-range telephoto. But you may ask you if the image quality results will be or not sustain these big numbers. That is the essential question. Ergonomics At my first encounter with the Lumix G Vario 100-300mm F4-5.6 II, I was surprised by its compact size considering its long telephoto focal length range. Combined with a mid-sized MFT ILC camera body such as the G9 or G95, the zoom lens is perfectly handholding usable. Adding the furnished bayonet-mount dedicated lens hood will increase the total lens physical length and when selecting its longest focal setting (300mm), the lens will extend almost twice its original physical length. The two focus and zoom rings are smooth to operate and are easy to identify. The Stabilizer On/Off switch is clearly located on the left side. The 67mm accessory filter ring diameter is a bit large but it reflects the focal length magnitude of the zoom lens. No provision has been designed for an additional tripod ring collar which it can be annoying for long use at the same position during picture taking like for animal or action photography***. By no means the Lumix G Vario 100-300mm F4-5.6 II Power OIS zoom lens can be qualified as a close focusing optic. The minimum focusing distance is limited to 1,5 meters so, you certainly won’t disturb your subject by your own proximity! On the sunny side the high magnification of the zoom lens will allow you to isolate the subject in a very effective way. Speaking of those magnifications, the necessity of the internal optical stabilization functionality became obvious for the photographer as for selecting a higher shutter speed if the light level allows it. The apparent lack of definition from pictures taken by many long telephotos is often the result of a blurry effect induced by the photographer movement (shake). Special care should be taken in consideration by the photographer all the times when handling lens model that more than 2X magnification Picture quality output That is the second pleasant surprise that I have encounter in using the Lumix G Vario 100-300mm F4-5.6 II Power OIS zoom lens. The image result output was clearly comparable with its sibling trans-standard zoom partner (Lumix G Vario 12-60mm F3.5-5.6 Power OIS) perhaps with a bit of being more contrast but it offers the same consistency along its different focal lengths. The color and monochrome renditions were similar too. I was a little concern about that since the Lumix G Vario 100-300mm F4-5.6 II Power OIS zoom lens is manufactured at a different place (in fact "Made in Japan»!) but the manufacturer lens standards seem to have been respected. Big telephoto (zoom) lenses imply narrowed deep of field, a phenomenon that many photographers are please to profit. But because the Lumix 100-300mm maximum aperture is quite small (F4-5.6), that characteristic is less present for the farthest distance subjects. The Lumix G Vario 100-300mm F4-5.6 II Power OIS zoom lens is not really a "portrait" optic but it can be used that way providing that your main subject will not be located too close to you. Some reviewers will limit the good use of the Lumix G Vario 100-300mm F4-5.6 II Power OIS zoom lens to specific and sunny light conditions because of their higher requirements for the shutter speed and a low ISO and I won’t dispute the necessity of applying these criteria to many various situations. But it can be counteracted by using other picture taking techniques such as pan-follow-up your subject in action situations. It appears today that some photographers have forgotten to adapt themselves to more critical light conditions and were asking for a photo equipment that is answering theirs needs in a static point of view. That is generating more "standardized" results with less creativity (that is often incidental of a specific situation). Is the Lumix G Vario 100-300mm F4-5.6 II Power OIS zoom lens the ultimate bird (on-hand) optic? If not, it is may be not far from it considering its relatively low buying price. Right from the start I have pleasure to use it on the spot and the first result were very encouraging. For action applications, its smaller maximum aperture can be in fact an advantage by getting a little more critical deep-of-field. Setting your camera different parameters like shutter speed and ISO sensibility should be paramount to get a certain picture result consistency (yes, that could be applied to many other photographic subjects 😉). *** If you intend to use extendedly a long telephoto (zoom) lens with a tripod or a monopod, it may be better to get an optic that have already a tripod lens collar optionality that will allow you a better weight distribution (without stressing the camera lens mount), and will give you a more usable panning pivot and an easy switching between the horizontal view (panoramic) to the vertical one (portrait).
  2. Seeing life with a more wide angle of view is not rare thing but for many it may be a photographic higher challenge compare to the more selective view of a telephoto lens. Yes there is already a lot of landscape (nature or urban) aficionados around the who are producing striking pictures so why limit the use o a wide angle lens to that specialized purpose? I have been a long time adept to wide angle lens that offer an angle of view of 84 degree or even a larger one. The 84 degree image perspective can be translate in different formats by the 12mm focal length into MFT (Micro Four Third) or by a 16mm in APS-C or by a 24mm lens in 24 X 36mm sensor size. All those optics are usually original (not streched) design with their own technical specifications. There are less available and usually more expensive compare to other lenses that have a more narrowed angle of view. In APS-C sensor format (17 X 24mm approx.), Fujifilm line-up is well represented by a couple of 16mm models and even an interesting 14mm lens. The latest Fujinon XF16mm F2.8 R WR has captivated my attention by its compactness and its weather resistant characteristic. As for many Fujinon WR F2 lens models (23mm, 35mm, 50mm), the 16mmF2.8 is a natively less intimidated optic because of its small size. Combine with a compact APS-C camera, you can do spontanious photography and you can easely brought the camera-lens combination all day around. The "spacious" lens Telephoto lenses are renown for their compression effect between the foreground and the background surrounding the main subject. Wide-angle lenses have just the opposite effect by "decompressing" the subject and allowing a virtual increase of the perceived space between all the elements composing the picture that will be register. So it is not really what or how you actually seing the image with your naked eyes but in term of angle of view it represent more your total pictural perception of the scene. This is particularly true when you are tempting to embrase "larger than life" subject such as landscapes, urban-scapes or interior-scapes. It is true also for larger subject taken in short distances such as groups of objects or of people. Because of this larger view emphasis, we have to be careful of the impact of all the elements included in the final picture. Working with a wide angle lens require a very special attention of our image composition. It is like doing a painting fresque each time if your subject is rich in several details. Or if the subject is more plain, we have to pay attention of the graphical arrangement that will be choosen. The Fujinon XF 16mm F2.8 R WR is a prime lens that have got its own signature. It is not a previsible optic that doesn't need to be really mastered before using it successfully. Many photographers outside their landscape needs will avoid using wider lenses. It is a pity because the wide lenses have the virtue of their compactness and the ability of using it much closer to the main subject. But a wide angle lens will be less forgiving if you dont care about your level position for example because tilting the lens is provoking a rapid shift of the horizontal and vertical direction lines. To help us, the Fujifilm X-mount camera models (as for many others maker digital camera models) have incorporated an optional electronic level that will appears into our viewfinder or our viewing back screen. DoF Critical Element The amount of deep of field optical effect is a constant subject of debates over the "photo" web. Some are praying to get the optimal good quality DoF in order to realize "scape" photography. Others just want to narrow it for the portrait purpose and be sure to "artistically" blur the foreground and the background (mainly). So what is happening when you are using the Fujinon XF 16mm F2.8 R WR lens. As many wide angle optics you have the sensation of an extended deep of field which in fact it is not really the case. For a specific focus (distance) point and aperture selected, the DoF will work the same way for the distance range whatsoever the lens focal length you have primarily chosen. So knowing those facts, the wide angle lenses seem to give you more DoF may be because of the illusion of seing smaller many elements composing your picture especially in the background area. Physical attributes of the Fujinon XF 16mm F2.8 R WR By definition the Fujinon XF 16mm F2.8 R WR is a short lens. Short in term of focal lenght but also physically short in size and lightweight. The aperture ring is located the standard Fuji X-mount way with click 1/3 stop and an "A" (for automatic diaphragm ajustement) which is located at the end of the f/stop scale but without any security lock button. The thin focusing ring is at the front but still manageable. A plastic dedicated lens hood is furnished with the lens which is always appreciated. Overall built finition follow the higher Fujifilm standards and the lens is proclaimed weather resistant. Close-up with a 16mm? Will we prevent ourselves to do close-subject photography with a wide angle optic? Many may pretend this is the case considering the particular perspective view rendering of this type of lenses. In a sens it is a pity to not experimenting the very particular way of seing that offers the use of a wide angle lens. I wont say that the Fujinon Xf 16mm F2.8 R WR lens is a very intuitive optic to operate in the very short distance from your subject but the results can be surprisedly intriguing and artistic. For example the apparent extended deep of field (DoF) will allow you to include in focus surrounding (graphics) elements that can enhance your main subject. The Fujinon XF 16mm F2.8 R WR lens can be rightly seen as a competent urban optic but that said it must not prevent ourselves to use it in many other photographic exterior and interior situations. Its compactness will allow you to bring it with discretion and efficiency. More you will experiment the 16mm, more you will appreciate its original perspective by creating none less persifle pictures. At this price point and considering its construction and optical quality, you should fully enjoy it yourself.
  3. Seeing life with a more wide angle of view is not rare thing but for many it may be a photographic higher challenge compare to the more selective view of a telephoto lens. Yes there is already a lot of landscape (nature or urban) aficionados around the who are producing striking pictures so why limit the use o a wide angle lens to that specialized purpose? I have been a long time adept to wide angle lens that offer an angle of view of 84 degree or even a larger one. The 84 degree image perspective can be translate in different formats by the 12mm focal length into MFT (Micro Four Third) or by a 16mm in APS-C or by a 24mm lens in 24 X 36mm sensor size. All those optics are usually original (not streched) design with their own technical specifications. There are less available and usually more expensive compare to other lenses that have a more narrowed angle of view. In APS-C sensor format (17 X 24mm approx.), Fujifilm line-up is well represented by a couple of 16mm models and even an interesting 14mm lens. The latest Fujinon XF16mm F2.8 R WR has captivated my attention by its compactness and its weather resistant characteristic. As for many Fujinon WR F2 lens models (23mm, 35mm, 50mm), the 16mmF2.8 is a natively less intimidated optic because of its small size. Combine with a compact APS-C camera, you can do spontanious photography and you can easely brought the camera-lens combination all day around. The "spacious" lens Telephoto lenses are renown for their compression effect between the foreground and the background surrounding the main subject. Wide-angle lenses have just the opposite effect by "decompressing" the subject and allowing a virtual increase of the perceived space between all the elements composing the picture that will be register. So it is not really what or how you actually seing the image with your naked eyes but in term of angle of view it represent more your total pictural perception of the scene. This is particularly true when you are tempting to embrase "larger than life" subject such as landscapes, urban-scapes or interior-scapes. It is true also for larger subject taken in short distances such as groups of objects or of people. Because of this larger view emphasis, we have to be careful of the impact of all the elements included in the final picture. Working with a wide angle lens require a very special attention of our image composition. It is like doing a painting fresque each time if your subject is rich in several details. Or if the subject is more plain, we have to pay attention of the graphical arrangement that will be choosen. The Fujinon XF 16mm F2.8 R WR is a prime lens that have got its own signature. It is not a previsible optic that doesn't need to be really mastered before using it successfully. Many photographers outside their landscape needs will avoid using wider lenses. It is a pity because the wide lenses have the virtue of their compactness and the ability of using it much closer to the main subject. But a wide angle lens will be less forgiving if you dont care about your level position for example because tilting the lens is provoking a rapid shift of the horizontal and vertical direction lines. To help us, the Fujifilm X-mount camera models (as for many others maker digital camera models) have incorporated an optional electronic level that will appears into our viewfinder or our viewing back screen. DoF Critical Element The amount of deep of field optical effect is a constant subject of debates over the "photo" web. Some are praying to get the optimal good quality DoF in order to realize "scape" photography. Others just want to narrow it for the portrait purpose and be sure to "artistically" blur the foreground and the background (mainly). So what is happening when you are using the Fujinon XF 16mm F2.8 R WR lens. As many wide angle optics you have the sensation of an extended deep of field which in fact it is not really the case. For a specific focus (distance) point and aperture selected, the DoF will work the same way for the distance range whatsoever the lens focal length you have primarily chosen. So knowing those facts, the wide angle lenses seem to give you more DoF may be because of the illusion of seing smaller many elements composing your picture especially in the background area. Physical attributes of the Fujinon XF 16mm F2.8 R WR By definition the Fujinon XF 16mm F2.8 R WR is a short lens. Short in term of focal lenght but also physically short in size and lightweight. The aperture ring is located the standard Fuji X-mount way with click 1/3 stop and an "A" (for automatic diaphragm ajustement) which is located at the end of the f/stop scale but without any security lock button. The thin focusing ring is at the front but still manageable. A plastic dedicated lens hood is furnished with the lens which is always appreciated. Overall built finition follow the higher Fujifilm standards and the lens is proclaimed weather resistant. Close-up with a 16mm? Will we prevent ourselves to do close-subject photography with a wide angle optic? Many may pretend this is the case considering the particular perspective view rendering of this type of lenses. In a sens it is a pity to not experimenting the very particular way of seing that offers the use of a wide angle lens. I wont say that the Fujinon Xf 16mm F2.8 R WR lens is a very intuitive optic to operate in the very short distance from your subject but the results can be surprisedly intriguing and artistic. For example the apparent extended deep of field (DoF) will allow you to include in focus surrounding (graphics) elements that can enhance your main subject. The Fujinon XF 16mm F2.8 R WR lens can be rightly seen as a competent urban optic but that said it must not prevent ourselves to use it in many other photographic exterior and interior situations. Its compactness will allow you to bring it with discretion and efficiency. More you will experiment the 16mm, more you will appreciate its original perspective by creating none less persifle pictures. At this price point and considering its construction and optical quality, you should fully enjoy it yourself. View full article
  4. Thank you for your nice appreciation. Hope to see your pictures of Madrid soon.
  5. Praça Dom Pedro IV (Rossio) Estacao Cais Do Sodré Praça Do Comércio Mercado Da Ribeira Chiado Praça Di Figueira Rua Do Arsenal Campolide (All the pictures have been taken by Fujifilm X-T20 and X-E3 camera models)
  6. What can I add to all those various camera Fotozone members remembers (and have bought) only that I have spent over the years too much time, money or expectation for so many different or fine photo equipment. I had hoped that reason will eventually prevail with age but I am still awaiting that will happen!
  7. Totally agree with Dallas! Thank you for sharing your nice pictures.
  8. Very properly summarized! Thank you, D
  9. Thank you. As you have rightly said, photography is part of your way of life and express your creativity everyday. Have a good day, Daniel M
  10. Number 1 is ... number 1 !!! Thank you for sharing to us, D
  11. Off-planning a photo subject Find your subject. Be focused. Concentrate your effort. In brief don't improvise! Is it true? Is it the real inspiration? Or it is more redundant and less provocative? That's maybe the real factor... What is creativity if not doing something out of the usual path of thinking and be free to improvise something that exceed the precoder limit imposed by the other's frozen mind. Because in fact although the algorithm of all images from the past is interesting and can be inspiring for certain, it is also a closed store of imagination that justify its dogmatism by saying wrongly that everything has been already done and is now repeated in this today world. Choosing a starting point, for example a subject, is in fact a way to motivate a new search and open a blank page that has to be written, sketched or registered. Every time it can offer a new perspective if we accept to explore the subject without (too much) pre-conceptions or pre-perceptions that are stopping our creativity. In visual art such as photography is, there is an esthetic to be found in every different subject and which can easily exceed its traditionally known profile. Each new moment in our brief life has its own particularities. But its uptake (freeze moments) can be challenging for the observer like us. And as we want to transmit this diversity of views perceptions, it tends to vanish instantly. We have to train ourselves to be ready and pre-perceptive of what is happening and be able to participate to the endless flux of life. Because photography is a way to register a moment (action) in the chain of life. At the end the photographer is the center subject of its contextual surrounding which will define the originality of its own personal perception. Creativity is a fragile thing, a kind of flower of your mind. And this beauty is not really appreciated by many of us that live a gray life because they are submerged by the overwhelming pathologic search of their physical and psychologic security. But it happens that somebody, somewhere, sometime will indeed open its mind and be emotively involved by our work. This why you must persist in your life search, it a human duty!
  12. Revisiting What we have first in mind into many artistic fields is the word “inspiration”.Inspiration can be seen as the motor or the fundamental motivation to experiment and produce a pure artistically expression through different medias or techniques. And photography is truly part of this (as for all others visual arts). Having the motivation can be translate to a spontaneous envy to register something you have seen in the real or foreseen in your mind. This process can be pro-active or reactive and will trigger a series of actions on your part to (tentatively) produce an output that will represent your interpretation of you have seen and what, I hope, you will photograph! Human are in perpetual evolution to try, to change, to sophisticate their ways of doing things. We can call it refinement or the search for better if not the best. When we stop doing so, we regress or die simply (or disappear) by not being able to follow progress of life. Clock and Frame Fragmentation. Revisiting is, in the same time, the observation what it was, what it became and what it would be. It is going beyond of a first view or a first impression of someone, something, some context or situation. It is like to try to represent less trivial aspects of it and better translate its profound signification, sentiment or motivation. Yes, we can be lucky to get at first glance the essence of the subject but consider this as a very rare event. This is also why doing professional photography (seriously) is so a difficult task considering the incapacity to revisit the subject of assignation more than one time most of the time. For sure you can train yourself to photograph similar subjects and gain a precious experience and knowledge that will serve you in other critical moments. But very often during a professional assignment you may be never really able to explore, experiment and revisit your subject after giving you some time to evaluate your previous work and to plan a new approach to it. That is the beauty to be an artist (amateur or not!) because these factual constraints of commercial photography don’t exist anymore. A personal favorite among others: The chair. How many times will I revisit a specific subject? In fact, it never ends because there is always something to observe, to select, to interpret a different way. This on-going eternal sophistication of our life is infinite and even after our own death, someone, somewhere can retake the torch to pursuit our path as we may have done ourselves for works from preceding photographers. That is the beauty of revisiting a subject and enhanced it ad infinitum.
  13. danielm

    Be-Leaves me!

    A leaf can personify the brief time of living life with its rapid grow from almost nothing to its splendid apogee.Then its downfall is magnified by its change of color up to its final extinction. Multi-Leaves Life-On-Leaves Fragi-O-Leaves Op-O-Leaves Family leaves On-Leaves Leaf-Slope Leaf-O-Pick Over-leaf Leaves and Die
  14. We all have the assumption that Niki Lauda was indestructible. He was so voluntary in his way of resurrecting in many different situations. And he was sincere and direct to the point when he was talking. Independant, contreversial, systematic and a true racing champion!
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