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danielm

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Everything posted by danielm

  1. Hi Mike, If this can help you, here is a short review about the Olympus Pen-F that I have done some time ago. Have a good day, Daniel M The Olympus Pen-F: Compact, classic and competent The love of rangefinder style camera The Olympus Pen-F with the M.Zuiko 17mm F1.8 as a fine all-around combination. It is true to say that I always have a special crush for any rangefinder style film or digital camera. It has and still represents the traditional way of seeing a (real) compact camera in my sense. All those models are usually fun to work with and can generate very original photo material. When Olympus had introduced the Pen-F I was charmed by the look of the product and now I began to discover its special abilities as a strong but funny photo device to experiment. The Olympus Pen-F has its own standards and cannot be assimilated or compare to other D-SLR style (or centered viewfinder) models. There is that modern camera style debate regarding SLR versus rangefinder categories that you can translate today by the choice of on-axis and off-axis (from the taking lens) viewfinder. Moreover rangefinder style cameras tend to be assimilated to compact and discrete devices nor that DSLR style camera have been associated as the center element of a complete and extended photographic system which is using longer telephoto and wider lenses and faster motorized advance film options. The best illustrations of those two “schools” are present in all major line of mirrorless products available from Fujifilm, Olympus or Panasonic cameras and lenses. It replicate in this digital era the same pattern observed in the past with the Leica film camera offer with the M and the R lines. With Olympus you can choose between the Pen and the OM-D lines. Accordingly their Premium and standard zoom lenses fit perfectly with the Pen models and their larger zoom and Pro lenses combine well with the OM-D series. Olympus EP-3 Pen series predecessor During the past decade I have the chance to use both Olympus series models including the earlier EP models with the add-on viewfinder (a bit similar to the ancient Leica film I-G series). You can refer with my previous blog-notes on these models such as the EP-3 or the OM-D E-M5 (first version) or the most recent ones concerning the OM-D E-M5 Mark II and the OM-D E-M1 Mark II. Both rangefinder and SLR styles have their own advantages. OM-D E-M1 and OM-D E-M5 are really all-weather devices with enhanced grips useful when combined with bigger faster lenses or external bigger flash units. The battery autonomy is greater and the viewfinder in the case of the E-M1 Mark II is clearly more confortable with its wider view. For many assignation works the OM-D series will get my preference. But for urban, travel or everyday spontaneous subjects the Olympus Pen-F is a perfect on-hand camera. The Olympus Pen-F Doing on the spot photography with the Olympus Pen-F is unbeatable because of its compactness and its own discretion. On travel and urban surrounding it is a strong advantage. And the Olympus Pen-F is far less intimidating regarding people or animal (domestic) photography. Using the silent mode option (electronic shutter) represent another strong advantage of the Pen-F if you are facing more quiet or calm conditions and subjects. It is already said that the Olympus Pen-F replicates many aspects of the ancient rangefinder film cameras. But in that sense the past ergonomic solutions of the analog film era may also apply to the actual digital devices. On the Olympus Pen-F some traditional dial functionalities have been transformed such as the On/Off interrupter that simulate the traditional film rewind knob and the front special effect dial which is recalling the old slow shutter speed selector of the time. You can also use the traditional screw-in shutter release cable as a remote trigger unit. The Olympus Pen-F is a slim and compact camera. Its “Pavé” design (like a slender decorative brick size) will dictate a less confortable and secure sense of handling. In three words there is “no protuberant grip” to rely and the use of a wrist or shoulder strap seem to be an obligation for the everyday user. There is also the possibility to add the Olympus ECG-4 optional grip. The slim design of the Pen-F is especially suitable for the combine use of the small Olympus (or Panasonic) fix or variable focal lenses. Examples of these fine optics are the Olympus M.Zuiko lenses such as the 12mm F2.0, the17mm F1.8, the 25mm F1.8 and the 45mm F1.8 lenses or the 14-42mm F3.5-5.6 zoom as an all-around optic. A lot of bigger lenses are fully compatible with the Pen-F but the handling of the camera will suffer a bit accordantly. Except for the On/Off interrupter all the important dials and function buttons are located on the back & front of the Olympus Pen-F right hand side. This disposition facilities greatly the right hand control of the camera and liberate your left hand for a better handling of the taking lens especially in regard of the manual focusing (and zooming if available) option. As usual for Olympus cameras many functionalities may be directly available after prior setting (via menu interface) of the control knobs and push buttons. Most manufacturer default setting are logical and nicely presented although it may be altered at will in regard of your specific requirements. EVF / Back live screen The “look through” electronic viewfinder (EVF) will give a well definite picture with a very short time lag not really noticeable if you are concentrate on your subject. As usual the more high contrast rendering compare to the final image output registered has to be considered. The Live/Review back screen is also very well definite and can be relied as a good reviewing tool. It has also the great versatility of pivoting in almost every way. Interface and Quick menu Olympus interfaces are by tradition very extended and complete but the numerous accesses to the different setting options can be confusing and will ask you to invest on the learning curve of the menu. Many default setting are excellent and can be use right from the start. Furthermore the quick menu mode synthetize the most important factors usually chosen for the camera setting. There are also the Custom modes setting (C1; C2; C3; C4) that are very handy for the photographer who want to switch on the spot to a complete different setting. My suggestion is to experiment gradually the Olympus Pen-F and get use to its multi-possibilities. On a short note I have found that in many cases the multiple way (by going through the menu or the quick mode or even the direct dials and function buttons) of doing the same adjustment can be a bit confusing. As for many other Olympus models, it is suggested to bring an extra battery considering the limited autonomy of the BLN-1 battery pack. Shooting by using only the EVF can extend significantly the life of your battery pack charge. You just have to reverse the LCD screen to use this option. Flash options No in-board flash has been incorporated to the Pen-F. A small external Olympus FM-LM3 optional flash is included with the camera package and can be used as an emergency fill-in flash or as a commander unit of a multi external Olympus flashes arrangement. Otherwise you can rely on a more powerful and versatile unit such as the Olympus FL-600R that is powered by its own 4 size AA batteries. Image Output By using the 20MP image captor similar to the OM-D E-M1 Mark II or to the Panasonic Lumix GX8 the image quality has been optimized on the Olympus Pen-F. The extra resolution compared to the previous 16MP sensor will give an additional marge of manoeuvre for post treatment ability with a less visible lost of definition. In some case like monochrome picture taken on high ISO setting the difference can be notably appreciated. If monochrome represents most of your photo projects the Olympus Pen-F (like many Olympus M4/3 format models) will fulfil your tasks very nicely. The Pen-F offers you a lot of different pre-program color configurations plus the possibility to create your own color bias and record it into its different custom menu. Using the Art filter options is another way to experiment different picture renderings. In that sense there are no real limitations for the photographer creativity. The whole M4/3 format digital system has reached a great maturity. Action photography with the Olympus Pen-F ? Spontaneous photography as street or urban or travel subjects are well deserved by the Pen-F as everybody seem to agree easily but that perception differs a lot when you are speaking of action or sport photography. Many just points out a restricted ability of the camera to properly autofocus on moving subjects. Moving (often erratic) targets present a challenge to all autofocusing system and there are only a very limited camera models that can properly answer that demand like the Olympus OM-D E-M1 Mark II. So in the case of the Pen-F action photography is not the ideal situation to use it… but it can be done by setting for example a pre-focus area on manual position. For sure anticipation is fully required to do so but it got the advantage to more carefully plan our final picture composition. So with certain restrictions and more skill asked from the photographer part the Pen-F can fulfil the bill. At the end the Olympus Pen-F can be rightly assimilated as a perfect second very compact camera on hand for the sporty photographer. (Conclusion) In brief the Olympus Pen-F may represent the summit of their Pen series evolution simply by the fact that it reunite the slim design with the electronic viewfinder (EVF) like the ancient rangefinder film cameras. The Olympus Pen-F is complete in its features and performs very competently with the latest 20MP image captor. Although I did not intent to use the video aspect of the model the Olympus Pen-F is a very competent and compact still digital camera. Because of the compact size of the camera and the lenses that suit this volume (like the 12mm, 17mm, 25mm or 45mm) the Olympus Pen-F is very easy to bring all-around with you and is a very fine picture generator. It can fulfil many different photo projects on an everyday basis. Its 20MP image sensor will give very high quality output at the same level of the “Pro” OM-D E-M1 Mark II. The versatility of the Olympus Pen-F is on the side of its compactness: easy to bring, reach, show, shoot and share. Post-scriptum on the Olympus Pen-F Olympus Pen-F with M.Zuiko 14-42mm F3.5-5.6 II R lens There are many lens-body combinations available with the Olympus Pen-F. For sure the best image quality results will be obtained by using the Premium (prime) and Pro series lenses. But you can also explore a more modest approach with small zoom lenses such as the Olympus M.Zuiko 14-42mm F3.5-5.6 II R lens model that is very affordable, compact, versatile and will give very good pictures. It can be a small lens that facilities greatly spontaneous photography practice. Since my introduction to the M4/3 format with the Olympus EP-3 I have selected the M.Zuiko 14-42mm II R lens as an ever ready “everyday” on hand optic on several occasions without being deceptive by its output. It represents a king of normal trans-standard zoom lens. Its major flaw remains its very small maximum aperture and it is difficult to really extract your subject from its surrounding by using a shallow deep-of-field. But on the other hand it can be a fantastic contextual lens that will allow you to compose beautiful urban scape for example.
  2. danielm

    Motocross

    The close-up on the eyes action pictures are awesome. Bravo!
  3. Thank you for your beautiful pictures. I feel kind of bizarre knowing winter is near for you and that we just finally past it over here in snowy Canada! Have a nice weekend, Daniel M
  4. You know the GAS syndrome was already existing during the analog camera era... So even if the present techno nostalgic mania is a nice thing but it doesn't prevent me to observe and use the advantages of the newest digital technology. Best regards from an humble photographer.
  5. danielm

    Hmmm

    ... But you must admit that the two models are very attractive!
  6. I don't know if it could be the effect of the old Adaptall system that Tamron use to adapt the lens. Just a funny thought ...?
  7. danielm

    Hmmm

    Every tool and furthermore every artistic tool is impregnated of our cultural expression so there is no debate about this. And it is like that for every human activity. Differences and diversities are the wealth of humanity.
  8. It is very refreshing to learn more about the other interests and passions that passionate photographers have in life. It makes look at them, lets say, more human that technical as usual. It proves their own versatility to get involved in apparent far outfield from picture taking but in a sense we understand everything is related in some ways or others. I love to walk on a regular base for maintening my body healt but moreover for my mental one. That passion was transmitted from my young age by my late grandfather who was a daily walker on long distance (He hated to drive and love to be out of his home and visit places and people). I guess I have inherit a part of his life vocation. History and learning about foreign places and people is my other strong interest. Looking to the meaning of thinks, past activities et ancient artefacts always excite my incorrigible curiosity. You know "I want to know and understand why". In a way photography is only a pretext to fulfill that appel for moving myself and observe my surrounding. At the end I am passionate about people and the places they live.
  9. Thank you for encouragement. It is pleasant to share some mutual memories. Have a good day, Daniel M
  10. I fully understand your dilemma. Photography is a long passion for you but it is also an earning way of living. As I have modestly experimented these are two very different tasks to conciliate. Doing professional photographic works is intimately related with the needs of your clientele and is castrating many creative aspects of the activity especially compare to your personal photo agenda. At a point you assimilate photo equipment as essential working tools which are far less interesting than it was as used during your photo amateur sessions (in the good sense of the word). In my days of corporate photography work, I use to work with one specific photo kit (Nikon, Mamiya RZ) and to please myself with a more compact Leica M camera outfit. But over those years I have tried (and loose money) and owned several different camera models. So the GAS phenomena is certainly not new and... not cured! Your Olympus outfit is still a very competent photo equipment that can be upgraded if you have the motivation to do so but I semm to see a certain "fatigue" on your part of using the O system and a possible desire to refresh your photo enthusiasm with another new system (like I did a few monts ago). Perhaps my only suggestion is in saying that we have only one life so why restraint it with others considerations. Just do what you want (and can afford to do!). Good luck with your wishfull thinking about photo equipment.
  11. Thank you Luc, for your kind appreciation. I didn't really intend to present a specific photo project but a short view of the place (as I modestly interpret it ...) Back in 1992 I have seen the same phenomena as described by your wife with german male tourists over the Playa del Este (Santa Maria del Mar) located near La Habana.
  12. The Cayo Largo Island has been (and still is) a frequent destination for recharging your frozen batteries affected by our long Canadian winter season. Located south of the main island of Cuba into the Gulf of Mexico, this idealistic place is share by people in search of calm, of nice long white sandy beaches and of friendly Cuban people. Although many hotels installations are now more on the rustic side because the buildings are suffering a lot into the southern weather since the island seems not to have a lot of material resources to refresh them properly, vacationers from Canada and other countries are coming back year after year and some are paying visits for even a more frequent pace over the year! We know now that there is very few probabilities that the island of Cayo Largo will be ever "americanized" in any ways in the near future. The Italian travel agencies seem to be the only ones really interested to invest on the island and have created a group of specific resorts strictly controlled and only available for their clientele. I am particularly fascinated by the architectural point of view of many earlier buildings since they represent a kind of merging of the hispanic heritage blended into the Cuban modern way of building back in the 1980s and 1990s. And because it has not been reproduced in the last twenty years, it may be important to preserve some image temoignages of what may disappear in mid-term. All the pictures of this articles have been taken with the Fujifilm X-T20 camera and the Fujinon XF 18-55mm F2.8-4 R LM OIS lens. View full article
  13. The Cayo Largo Island has been (and still is) a frequent destination for recharging your frozen batteries affected by our long Canadian winter season. Located south of the main island of Cuba into the Gulf of Mexico, this idealistic place is share by people in search of calm, of nice long white sandy beaches and of friendly Cuban people. Although many hotels installations are now more on the rustic side because the buildings are suffering a lot into the southern weather since the island seems not to have a lot of material resources to refresh them properly, vacationers from Canada and other countries are coming back year after year and some are paying visits for even a more frequent pace over the year! We know now that there is very few probabilities that the island of Cayo Largo will be ever "americanized" in any ways in the near future. The Italian travel agencies seem to be the only ones really interested to invest on the island and have created a group of specific resorts strictly controlled and only available for their clientele. I am particularly fascinated by the architectural point of view of many earlier buildings since they represent a kind of merging of the hispanic heritage blended into the Cuban modern way of building back in the 1980s and 1990s. And because it has not been reproduced in the last twenty years, it may be important to preserve some image temoignages of what may disappear in mid-term. All the pictures of this articles have been taken with the Fujifilm X-T20 camera and the Fujinon XF 18-55mm F2.8-4 R LM OIS lens.
  14. Yes, I know I am repeating myself in saying that photography is a more precise medium than video. We sincerely love video because it is live, it is colorful, it is soundly, it is cinematographic. It is fiery tail on our animated visual and earring senses. All those things that photography cannot compete in terms of modern popularity. But strangely still images seem to last longer in our memory and be more informative than a stream of pictures. Glimpses of selected reality (as perceive by their auteur) photography offer a full view of an instant visual memory. Just think about the multiple aspects of a face expression photography is may be the best way to freeze those fugitive moments of great signification. Behind and beyond the image are always part of the mental process that a picture can trigger in our mind. There is the pictorial story on the paper (or on the screen) but there is this other story that our brain is developing about the picture itself. It is self-information added to the strict imagery of the picture. The complexity of the train of thinking triggered by a photo can be infinite as for the multiple personal interpretations we can give to it and this is the beauty of it. We have to not forget that photography is in fact an instant glimpse of the past since it is already a selective past moment. Every time we look to a photograph, we see an imperfect repetition of a subject or a context. Un-static Memories Is there a learning curve about imagery? Because photography is segmenting our timeline almost on an infinitive base every single picture got the glimpse of eternal history into our mind memory. So, it happens that picture became a reference you can remember under every circumstance you wish to do so. With time passing by all those pictures are stacking at a point difficult to apprehend and many picture frames of our distant past experiences seem to vanish of our voluntary recollection but time to time they appear without notice. Mind is complex because it memorizes not only pictures, odors, tastes, sensations but also impressions even interpretations. With age we sometimes experiment warp return of past moments to our astonishment. It demonstrates how the process of our mind is ongoing continually. I have once said that persistence is an important creative factor in photography because the subject of it is in continuous dynamic of change. Light, position, context, etc. are in constant evolution and the photographer as an observer should take all the opportunities to note and memorize the movement of life surrounding us. Training yourself to translate your impressions on a 2-D support is a perpetual task to accomplish with curiosity and will to repeat. So, photography is an expression of learning life through a mind process of apprehending selecting instants moments.
  15. Hi Mike, I have re-uploaded all the pictures (except one). I hope that will fix the problem. Have a good day.
  16. Yes by today's standard the noise level of motorsport events are considered more as a pollution than an annoyance. On a long run the Formula E (electric) should be the real modern evolution of car racing but there is still a very strong (and machismo?) resistance. I hope everything is returning to normal at your place. Have a good night!
  17. You can try through the "Headliners" link presented on the Home page. It should work better. If not I will try to configure the pictures via another option. Thanks for your understanding.
  18. I like the black and white dramatic rendition of your picture. The sky and the mountain are simply overshadowing the human presence.
  19. Yes his pictures (and post processing) are simply excellent.
  20. We had the same problem in Canada with the only live TV coverage during the Canadian Grand Prix but we use to look on BBC coverage rediffuse very late sunday night by the CBC (Canadian Broadcast Corporation). Back in 1968 I have the chance to have seen the excellent John Frankenheimer movie Grand Prix which its photography and cinematography has been very inspiring through times. For sure as Canadians we were following the meteorical ascension of late Gilles Villeneuve and later on of his very talented son Jacques Jr. But too of my favorite pilots at the time were Keke Rosberg and Nigel Mansell. But I must add that except for very few of them we like to follow the careers of all the F1 pilots of the time. It was like big family. We love also to follow the car concepters like Gordon Murray or Gérard Ducarouge. I am still following the Formula 1 actualities and drivers like as Kimi Raikkonen or Daniel Ricciardo among few others although I don't really appreciate the present format (circuits, cars, classification rules, etc.) of the races. But the passion (to my own surprise) is still remaining ...
  21. Thank you for your nice appreciation. Motor-racing photography have always been a big challenge that require a lot of dedication. But it can be very rewarding if you really persist in your effort to get satisfactory results. My first real Formula 1 souvenir has occur at the dead of Jim Clark in January 1968 during a Formula 2 race in Germany (I was a youngster at the time!). But like you I really start to enjoy following the series with the arrival of Gilles Villeneuve (father of Jacques Jr) in 1977-1978. The racing conditions have now evolute in a way that fans and local photographers are contained in far stands and are not allowed to be in very close contact with the racing participants. The races are by far less risky and all the circuits have been much standardized. For your amusement I have found a front cover I have done for Pole Position magazine showing Michael Schumacher in its Benetton racing car at the Montreal Canadian Grand Prix. Thanks again for all your help, Daniel M
  22. Foreword: Please note that most of the pictures illustrating in this article are scanned from the original publications or past archives and were taken by the auteur during that period of 1987-2001. Sorryfor the very variable image quality since almost all my original slides have been lost or destroyed. Many people that I have known during my active fifteen years in motorsport photography were very curious about the "glamour" side of the job (assignment). But .... almost all of us (mainly men along with a few courageous women) were mainly motorsport fanatics that are loving at first auto racing and ... were dreaming to be themselves real racers. So, doing photography was may be one of the nearest ways to be involved in the sport. At that time period (1987-2001) auto racing was still a dangerous sport with frequent accidents, injuries and time to time deaths even into the smaller and local series. Race track organizations and installations were most of the time on the minimal side and security manners were crude compare to what we see today (which are almost clinically controlled). And most of us (speaking of the regulars) who were covering the whole season were freelancers often attached to the few different Canadian auto-sport publications. The search of the required credential to get free access to the site was the primary task to fulfil. In our small community of fellow’s car racing photo takers who were able to see a mix of old timers, ambitious, groupies and beginners. Sometimes we had the visit of some newspapers correspondents which were notorious for their lack of experience in that domain.  Because doing auto racing pictures is not really an easy task. It requires dedication, physical effort (most of the time for moving yourself to strategic places or simply anticipate and follow the action), good reflexes, a good sense of the environmental movement, an interpersonal involvement, persistence, to be highly auto-critical of your work, the capacity of fast learning, etc., etc.. At the end you have to remember in this nasty (translate by "competitive") world of communication that only results are counting. And what about equipment? Sorry but my little experience in that field have teach me that racing photo editors don’t give a damn of which camera or system you are actually using to do your work. But I can understand the amateurs when they are saying they cannot really make good pictures like the other fellows on the other side of the fence because they don’t have the right equipment and ... the necessary access credential. Doing auto-sport photography was a bit like war photo reporting ... but with less risks for everybody involved. But physical fitness and mental awareness were similar in many ways. Some of us love to work in staged areas, others were more adventurous. Some were well advised, others were more gamblers. Some were very PR, others were shyer. Some were egocentric person, others were very generous. I have enjoyed all the time I was part of that special group of colleagues. Sure I have encountered some difficult working situations like conflicts with officials or very adverse weather conditions (sun, rain, wind, cold, snow!) or very emotional disturbances or simply bad photo output after all these efforts. Many times we were staying at cheap motels (Rooms shared by 4-5 of us!) or in a tent or even in a car and we were eating scarcely at sponsored tents if it was possible or at infamous snack bars. We were begging for taxiing around the circuit from the different teams or circuit workers. And don’t forget we had to bring this fabulous but annoying 20-25 pounds camera bag filled with few cameras bodies, 4-5 lenses, electronic flash, exposure meter, film rolls, without forgetting the monopod for that heavy extra telephoto "dream" lens (a 300mm telephoto lens). Drinking water was another priority to be addressed for surviving around the circuit. Clothing was also an imperative to be consider. At the end you really looked as a war correspondent. And there is a lot of noise (ear plugs were a must!) surrounding you. But during the races we finally all had this adrenalin rush to perform our "duty". No time to think or postpone anything because the action was taking it all. At the end of race day program, we were totally exhausted but really proud to be part of that special group of auto racing passionate photographers. A Racing Portfolio by Daniel M Note: Most of the pictures illustrating in this article are scanned from the original publications or past archives and were taken by the auteur during that period of 1987-2001 All my thanks goes for Formula, the Canadian auto sport magazine; Pole-Position magazine; World of Wheels, Canada's auto magazine; Le Monde de l'Auto, le magazine québécois de l'automobile; Canadian Grand Prix program and to all my photo editors (Thanks to Marc, Luc, René, Philippe among all others) who have believe in my work. A special thank also to my occasional sponsor Fujifilm Canada. Jimmy Vasser: An American in Canada! For a time, Jimmy Vasser did his basic open wheels racing classes in the Canadian Formula 2000 racing circuit before graduating into USA racing circuits. Vasser is the last American born driver to win a Cart championship in 1996. He became eventually a successful Indy racing team owner. Stéphane Proulx: The gifted but uncontrollable Canadian young telegenic champion. The destiny has crushed one of the most talented auto racer of his generation. He was "mediatic" before the hour and before Jacques Villeneuve (son of Gilles). At a time, everybody wanted to be near him but finally almost everybody ignored him at the last moments of his very short life. But he was so a dashing personality even after knowing the complete story. The Fuji Photo of the Month: Every Canadian auto racing photographer wanted to get it (and the pay check of $250!). It finally happened in 1990 for the first time for a Canadian fellow (i.e. me!) and it happened again for me one year later in becoming the first one to get it twice. Thanks Fuji!  Danger around the circuit: All racing editors were loving action pictures (meaning accidents) and many racing circuits of these times were not really fully secured like today. The photographer was able to be very near the racing car at a point you were able to feel the exhaust pulsation on your shirt. Many times, I have selected a normal or semi-wide-angle lens to be able to cover all the subject. Sliding, collisions or mechanical failures like fire were popular. Many colleagues voluntarily ignored these moments for various reasons, but it was not my case. Danger was part of the auto racing context and was adding a lot of dramatic to the sport.  Elio de Angelis: This portrait snap shot have been taken in 1984 at the Canadian Grand Prix. At that time Elio de Angelis was driving for the Lotus team of Colin Chapman. He will be the last driver to win a Grand Prix race for Chapman (before his death). Then, de Angelis changed team for Brabham where he lost his life during a private test. Rain (and cold!) around the circuit: Mont Tremblant mountain circuit is reckoned for its rapid change of weather during a race weekend. During this particular event the light was so low that I have to rely on electronic flash aid and for this reason I have position myself to take side picture of the cars preventing that way to disturb the drivers. Another rainy picture shooting with the "King" Richard Spénard at the Trois-Rivières Grand Prix. Spénard was one of the most experimented Canadian racing drivers of its time. I was talented but also a very generous fellow racing teacher. Greg Moore: Another Canadian sensation young racer that everybody was hoping the best. His short live ended during a Cart Championship race at Fontana, California in 1999. Jacques Villeneuve (Jr): He may be the best Canadian racing driver who was able to win the Indianapolis 500 race, the Cart championship and the Formula 1 Grand Prix season championship (against Michael Schumacher among others) in only three years’ time! He was certainly gifted as a natural driver, but he was also very clever. And he has a charming attitude toward press and photograph people. He can be also a very independent guy that may have affected negatively in the last part of his racing career. Patrick Carpentier, the next "Villeneuve"? Hopes were high right from the start. Carpentier manage to make a professional racer living in the USA before becoming a tv commentator and an enthusiasm race ambassador in Canada. And other fine Canadian auto racers: David Empringham Martin Guimont Claude Bourbonnais Didier Schraenen Michael Valiante Isabelle Roy leading a front pack of astonished guys! My last published racing picture in November 2001: Certainly not my best one but in some way, it announced that change has to occur into the auto racing world if they want to survive. The introduction of women in the sport has to be a real changing factor but seventeen years later it still has to be seen as a general evolution. A special thanks for all the people who have supported me along these years of freelance motorsport photography and more specially to my wife Manon who has understood and encourage my passion for this sport. And a special thanks to Dallas who patiently has worked a lot to reconfigure this article! View full article
  23. Foreword: Please note that most of the pictures illustrating in this article are scanned from the original publications or past archives and were taken by the auteur during that period of 1987-2001. Sorryfor the very variable image quality since almost all my original slides have been lost or destroyed. Many people that I have known during my active fifteen years in motorsport photography were very curious about the "glamour" side of the job (assignment). But .... almost all of us (mainly men along with a few courageous women) were mainly motorsport fanatics that are loving at first auto racing and ... were dreaming to be themselves real racers. So, doing photography was may be one of the nearest ways to be involved in the sport. At that time period (1987-2001) auto racing was still a dangerous sport with frequent accidents, injuries and time to time deaths even into the smaller and local series. Race track organizations and installations were most of the time on the minimal side and security manners were crude compare to what we see today (which are almost clinically controlled). And most of us (speaking of the regulars) who were covering the whole season were freelancers often attached to the few different Canadian auto-sport publications. The search of the required credential to get free access to the site was the primary task to fulfil. In our small community of fellow’s car racing photo takers who were able to see a mix of old timers, ambitious, groupies and beginners. Sometimes we had the visit of some newspapers correspondents which were notorious for their lack of experience in that domain.  Because doing auto racing pictures is not really an easy task. It requires dedication, physical effort (most of the time for moving yourself to strategic places or simply anticipate and follow the action), good reflexes, a good sense of the environmental movement, an interpersonal involvement, persistence, to be highly auto-critical of your work, the capacity of fast learning, etc., etc.. At the end you have to remember in this nasty (translate by "competitive") world of communication that only results are counting. And what about equipment? Sorry but my little experience in that field have teach me that racing photo editors don’t give a damn of which camera or system you are actually using to do your work. But I can understand the amateurs when they are saying they cannot really make good pictures like the other fellows on the other side of the fence because they don’t have the right equipment and ... the necessary access credential. Doing auto-sport photography was a bit like war photo reporting ... but with less risks for everybody involved. But physical fitness and mental awareness were similar in many ways. Some of us love to work in staged areas, others were more adventurous. Some were well advised, others were more gamblers. Some were very PR, others were shyer. Some were egocentric person, others were very generous. I have enjoyed all the time I was part of that special group of colleagues. Sure I have encountered some difficult working situations like conflicts with officials or very adverse weather conditions (sun, rain, wind, cold, snow!) or very emotional disturbances or simply bad photo output after all these efforts. Many times we were staying at cheap motels (Rooms shared by 4-5 of us!) or in a tent or even in a car and we were eating scarcely at sponsored tents if it was possible or at infamous snack bars. We were begging for taxiing around the circuit from the different teams or circuit workers. And don’t forget we had to bring this fabulous but annoying 20-25 pounds camera bag filled with few cameras bodies, 4-5 lenses, electronic flash, exposure meter, film rolls, without forgetting the monopod for that heavy extra telephoto "dream" lens (a 300mm telephoto lens). Drinking water was another priority to be addressed for surviving around the circuit. Clothing was also an imperative to be consider. At the end you really looked as a war correspondent. And there is a lot of noise (ear plugs were a must!) surrounding you. But during the races we finally all had this adrenalin rush to perform our "duty". No time to think or postpone anything because the action was taking it all. At the end of race day program, we were totally exhausted but really proud to be part of that special group of auto racing passionate photographers. A Racing Portfolio by Daniel M Note: Most of the pictures illustrating in this article are scanned from the original publications or past archives and were taken by the auteur during that period of 1987-2001 All my thanks goes for Formula, the Canadian auto sport magazine; Pole-Position magazine; World of Wheels, Canada's auto magazine; Le Monde de l'Auto, le magazine québécois de l'automobile; Canadian Grand Prix program and to all my photo editors (Thanks to Marc, Luc, René, Philippe among all others) who have believe in my work. A special thank also to my occasional sponsor Fujifilm Canada. Jimmy Vasser: An American in Canada! For a time, Jimmy Vasser did his basic open wheels racing classes in the Canadian Formula 2000 racing circuit before graduating into USA racing circuits. Vasser is the last American born driver to win a Cart championship in 1996. He became eventually a successful Indy racing team owner. Stéphane Proulx: The gifted but uncontrollable Canadian young telegenic champion. The destiny has crushed one of the most talented auto racer of his generation. He was "mediatic" before the hour and before Jacques Villeneuve (son of Gilles). At a time, everybody wanted to be near him but finally almost everybody ignored him at the last moments of his very short life. But he was so a dashing personality even after knowing the complete story. The Fuji Photo of the Month: Every Canadian auto racing photographer wanted to get it (and the pay check of $250!). It finally happened in 1990 for the first time for a Canadian fellow (i.e. me!) and it happened again for me one year later in becoming the first one to get it twice. Thanks Fuji!  Danger around the circuit: All racing editors were loving action pictures (meaning accidents) and many racing circuits of these times were not really fully secured like today. The photographer was able to be very near the racing car at a point you were able to feel the exhaust pulsation on your shirt. Many times, I have selected a normal or semi-wide-angle lens to be able to cover all the subject. Sliding, collisions or mechanical failures like fire were popular. Many colleagues voluntarily ignored these moments for various reasons, but it was not my case. Danger was part of the auto racing context and was adding a lot of dramatic to the sport.  Elio de Angelis: This portrait snap shot have been taken in 1984 at the Canadian Grand Prix. At that time Elio de Angelis was driving for the Lotus team of Colin Chapman. He will be the last driver to win a Grand Prix race for Chapman (before his death). Then, de Angelis changed team for Brabham where he lost his life during a private test. Rain (and cold!) around the circuit: Mont Tremblant mountain circuit is reckoned for its rapid change of weather during a race weekend. During this particular event the light was so low that I have to rely on electronic flash aid and for this reason I have position myself to take side picture of the cars preventing that way to disturb the drivers. Another rainy picture shooting with the "King" Richard Spénard at the Trois-Rivières Grand Prix. Spénard was one of the most experimented Canadian racing drivers of its time. I was talented but also a very generous fellow racing teacher. Greg Moore: Another Canadian sensation young racer that everybody was hoping the best. His short live ended during a Cart Championship race at Fontana, California in 1999. Jacques Villeneuve (Jr): He may be the best Canadian racing driver who was able to win the Indianapolis 500 race, the Cart championship and the Formula 1 Grand Prix season championship (against Michael Schumacher among others) in only three years’ time! He was certainly gifted as a natural driver, but he was also very clever. And he has a charming attitude toward press and photograph people. He can be also a very independent guy that may have affected negatively in the last part of his racing career. Patrick Carpentier, the next "Villeneuve"? Hopes were high right from the start. Carpentier manage to make a professional racer living in the USA before becoming a tv commentator and an enthusiasm race ambassador in Canada. And other fine Canadian auto racers: David Empringham Martin Guimont Claude Bourbonnais Didier Schraenen Michael Valiante Isabelle Roy leading a front pack of astonished guys! My last published racing picture in November 2001: Certainly not my best one but in some way, it announced that change has to occur into the auto racing world if they want to survive. The introduction of women in the sport has to be a real changing factor but seventeen years later it still has to be seen as a general evolution. A special thanks for all the people who have supported me along these years of freelance motorsport photography and more specially to my wife Manon who has understood and encourage my passion for this sport. And a special thanks to Dallas who patiently has worked a lot to reconfigure this article!
  24. I am tempted to answer you in both directions like you have done. And the good thing about it is that you are able to use the very same lenses if you are staying in the same system. As every photographers know already no camera is really perfect in any picture taking situations. So having on hand the two types is very handy but i must admit more expensive also!
  25. The eye relief of the different camera model viewfinders have been always a big issue for the glasses wearers (like me). With the Fujifilm X-E3 I can see the complete image framing but you have to concentre and be near of the eyepiece as good you can do. Unfortunately it is the case for most of the recent new others models except for the very expensive ones. The sunny side of this situation is that it is forcing you to better concentrate on your photo composition and on the essential exposure infos. For sure "anti-scratch" lens option is a highly recommended option for your eyeglasses!
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