Two Styles *, One User.

 * ... of viewfinder configuration

More than only the electronic viewfinder (EVF) definition, it might be the configuration of them that will definite the style of photographic approach the user will adopt in front of his/her main subject. Most of today's EVFs are good enough to get a good evaluation of the picture focusing clarity as for the exposure accuracy. But the EVF position on the camera body can be also determinant of how you will behave yourself as a photographer. 

Since the two inventions of the rangefinder camera and  of the pentaprism reflex models, the never finished debate rages over the photo planet: What is the best system of viewfinder? No final answer has been ever found but many have concluded that each of these different optical viewfinder configurations have their own advantages and ... flaws*! With electronic viewfinders, there is no more mechanical constraint for configuring its physical position on the camera body and what you see will be what you get. So, what is the point from now?

To be more specific today, the EVF configuration can be designed according the manufacturer inspiration of the moment. It simply replicate what we use to say during the analog-film era. Some technical astuces have been proposed over time like the presence of an in-board electronic flash over the EVF or the mobile off-center EVF that is tilt-able like a waist level finder. Beside those ones, the EVF performances will stay about the same. Some of them will get a better definition, a faster reactivity or/and a longer eye point. 

The "Rangefinder Planet" (off lens centered viewfinder) very popular at the introduction of the digital photography era are phasing down a lot for the profit of the centered EVFs (like the old pentaprism reflex viewfinder). You can still have access to some models like the Sony's or Fujifilm's ones in the APS-C or Full sensor image format. In the M4/3 image sensor format category, no actual new models are available if you except some ancient stock still found through  photo dealers here and there. It is a pity considering that "rangefinder style" (or off lens centered viewfinder) cameras are preferred by many street or travel photographers for their small size body dimensions and their notorious discretion in face of the main subject. Many are hoping that OM System and Panasonic will issued new versions of their Pen-F or GX series. 

The "Reflex" category refers to the lens centered viewfinders which are perfect for action photography and are easier to apprehend in terms of final perspective and subject physical position from the context without continually consulting the EVF. Sports, nature, macro photographic assignations are often better served by this type of viewfinder. Presence of an electronic flash that pop-up a little higher is also an interesting advantage if the option is available. However these camera models are usually bigger and heavier that the "rangefinder style" counterpart but hand prehension. larger functional push buttons and dials and fully articulated rear viewing screen are undeniable advantages proper to the neo-reflex EVFs. It is also notorious perception that a lens centered viewfinder seems better suited for tripod/monopod working set-up.

*** 

In regards of these two EVF styles, I have never be able to make a definite conclusion in favor of one from the other. It may be a question of what creative mood the photographer is trying to experiment. Let's hope that these two EVF configuration options will be maintained and expanded in the future for the benefit for all the enthusiasm photographers.

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* Optical viewfinder flaws and advantages: For the rangefinder, it was the parallax phenomena that present a different framing than the actual taken picture especially for short distance subjects but the rangefinder cameras have a reputation to be "silent" cameras because of the absence of the return mirror mecalnisism present into the reflex models and moreover the focusing by superposed images is often see as faster and more efficient. For the pentaprism reflex finder, it was the brief moment of blackness during the very exact picture taking moment but the precision of final picture framing and the accuracy of the final subject perspective were their big advantages over the rangefinder viewfinders. 

Photos Daniel M

Fix on Prime!

 Zoom lenses have obviously dominated the traditional photographic gear market for several years if not now decades but with the smartphone overwhelming popularity, the prime optics are coming back in an interesting fashion way. It has been transposed with some new iconic camera models such as the Fujifilm X100 or the Leica Q series (and many other offers). 

 The benefices of selecting a prime (fix focal length) lens are multiple. More compact package, less weight, larger maximum aperture for better discriminate the main subject from the foreground/background (bokeh), easier way to focus with the simpler lens construction are amount the most renowned advantages compare to the bulkier zoom optics. They are also much more discrete to operate in context and are less intimidated in front of your subject. And the prime lens can be versatile as long you agree to move yourself (physically) to get different points of views.

Prime lens have also limitations as they offer a fixed perspective that depend on their own fix focal length. It has the basic consequence to be obligated on specific contexts and diverse needs to change with other more appropriated lenses like the wide-angle or the telephoto ones. That is strongly illustrated by the use of different lenses on the more sophisticated smartphone models of today. With traditional cameras it induce the necessity of interchange different prime lenses or to simple use more than only one camera body as it was the rule during the analog-film photographic era.

Many good photographers of yesterday as today will kept their photo gear to a minimum of one lens/one camera only combination. It is inherent to their own signature technique and their iconic results simply reflect their master of the medium. And keep in mind that even one camera with one lens can be a very expensive outfit. For them it is not a real compromise as they are able to get an optimum in terms of creativity and output quality with these diminutive photo equipment.

With the compact image sensor formats such as APS-C and Micro Four Third (M4/3), the selection of products is very diversified and the manufacturers like Fujifilm, Olympus/OM System and Panasonic have been very prolific over times without speaking of some more exotic third-party ones. 

A "standard" lens for a "normal" photographer. Is it possible to be so definitive in regard what would be a basic optic for everyone? No, for sure, and mainly because we don't cherish necessarily the same visual approach for our surrounding universe. And because photography is, like other media or arts, a very subjective manner that can sustain a lot of different interpretations from the technique used to the final composition of the image we want to expose and to share. The choice of a particular lens plays a major role in this individual quest. 

We can categorize the prime lenses into some "elastic" segments like wide angle, normal or standard and telephoto ones. We can add specialized optics for macro, astronomical, medical, etc. The list is long and imperfect in view of the continual introductions of new optics over time.

 A Normal View. Many lenses has been designed to replicate the perspective and the proportion similar to what we usually see with our own naked eyes. Some models of those optics have a wider angle of view nor others have a more cropped composition. To take the example of the M4/3 image sensor format, focal lengths like the 15, 17, 20, 25, 30, 42.5 and 45mm could easily fall in that category. These lenses are easy to pre-visualize and to apprehend for the final recorded picture. They are physically compact and they have a good maximum aperture except may be for the very tiny ones (pancake type). They are also the cheapest available except for the F1.2 to F1.4 models. You can get from them a better deep of field control that help to discriminate the main subject from its contextual surrounding. Many classic photographers use to work with them most of time and get outstanding pictures. For others, these "normal" lenses have been a good starting point to emulate to a different category of optics.

 Reach your subject. Cropping and compression are ones of the most interesting features of the (long) telephoto lenses. Longer focal lengths of 60, 75, 90mm and more (m4/3 format examples here) are part of this category of optics. They are larger and longer in size by definition and often have a smaller maximum aperture except for the most expensive ones. They discriminate further the main subject from its context. Portrait, sport, animal, architectural details even macro photo among many others are examples of the type of photo assignments given to the telephotos. And they are not discrete and accordingly a lot more intimidating. Using the very long telephoto will ask special care from the photographer especially for its handling (stabilization) and exposure (shutter/speed selections) techniques. Focusing can be critical since the deep of field of telephoto appears to be narrowed (in fact it is the image compression that produce this effect). For all these reasons telephoto lenses are more difficult to master that it seems at first. 

 Entering the context. With wide angle (of view) optics the photographer will be incited to physically be nearer from its subject and its context. These lenses ( 12mm or smaller focal lengths in M4/3 format) are mean to be used in close range photographic situations as for panoramic purposes (that include astronomical tasks). They are not as popular as their telephoto counterparts partly because they are more difficult to master and to apprehend (visualize). Their big advantage on assignation is their smaller size and their better maximum aperture (F2.8 or larger). The wide angle optics are often associated with an apparent strong deep of field, a direct consequence of the decompression effect of these lenses. Because of that, hyperfocal setting will help the photograph to maintain a larger focusing margin that is appreciated in spontaneous photography like in travel or urban situations. You have also to consider that wide angle are subject to linear convergences if the lens is tilted from its ideal horizontal position. This effect can be as creative like as distractive. Street photographers often fully appreciate the complete potential of the wide angle optics. 

 Small is better. Macro photography is oriented to the discoverer a small universe that is rich in details and interpretations.  Macro lenses are specialized in part because only few of them are selling compare the other categories such as telephotos or wide angles. The macro optics use the be called "flat field" lenses oppose to the "curvy field" of all the others. We don't know for sure if the todays macro are still characterized by this specific factor but most of them have at least an higher definition with often a more precise color reddition. Focusing is very critical in close range of your subject and deep of field is strictly limited (almost not). Because of these constraints, the macro lenses are typically slower to operate and don't have a very large maximum aperture (F2.8-3.5). The focal length of these specialized lenses are ranging from 30mm, 45mm, 60mm to 90mm ( M4/3 format). The macro lenses with longer focal length (45, 60, 90mm)  will leave a little more space between the optic and the subject preventing that way less light interference. The shorters one can be used as "normal" lenses and the the longer ones as "portrait" optics.

 Oddy ones. That is leaving with the very specialized lenses such as fisheyes, medical purpose optics like the dental ones, super long telephotos, etc. All these represent some sort of niche photography and their functionality is reflecting their special use. Communally they are not very versatile photographic tools. A preliminary rental for a first try on may a more reasonable way to start your experiment of them. 

***

Using a prime lens will ask you a different commitment physically, technically and creatively on your part. In other words, they are fine photographic tools with further exigences but the final results may often plus value the additional effort.  Among their avantages, they simplify certains choices, facilitate your approach (no more zooming), give you better exposure and focusing latitude and they less intrusive. On the back side they limit your focal length versatility and oblige you to be more pro-active. It is up to you to become or not of their adepts. 

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(First illustration) The Superlative Olympus M.Zuiko ED 75mm F1.8, the first real pro optic from Olympus before the official introduction of their designated Pro line of lenses.

(Second illustration) A classic Olympus OM-D E-M5 II / M.Zuiko 45mm F1.8 camera body/lens combination picture example.

(Third illustration) Micro Four Third format at its best with a light body/lens package, a fast optic and an outstanding output image definition (Panasonic Lumix GX85/G 42.5mm F1.7 Power OIS).

(Fourth illustration) The "cannot resist" Olympus M.Zuiko ED 75mm F1.8

(Fifth illustration) A "in between wide-normal" lens like the Lumix G 20mm F1.7 II give you both a contextual and a detailed picture.

(Sixth illustration) A piece of Macro with the Olympus M.Zuiko ED 60mm F2.8

Photos Daniel M: Olympus OM-D E-M1 II / M.Zuiko ED 12-40mm F2.8; Olympus OM-D E-M5 II/ M.Zuiko 45mm F1.8; Panasonic Lumix G85 / G Vario 12-60mm F3.5-5.6 Power OIS; Olympus OM-D E-M5 II / M.Zuiko ED 75mm F1.8; Panasonic Lumix GX7 / G 20mm F1,7 II; Olympus OM-D E-M5 II / M.Zuiko ED 60mm F2.8 Macro

Travel light

  If you are the kind of person who wants to deplace yourself with a minimum of objects you are not obviously alone in your search to get less stuff to bring and transport with you. That said you can consider that a iPhone or smartphone is the ultimate device for communication, documentation or photographic purposes. However most of these mobile phones have functionalities that are facing certain limitations even though their different manufacturers are racing to produce new generation of products that are better performing than the preceding.

If you are more a photo traditionalist, you prefer to use a device that reflect its specialized purpose especially if you are looking for characteristics like a real viewfinder or for lens interchangeability. These technical considerations still prevent the photographer to adopt the "mobile" way of doing pictures.

Another aspect to consider is the basic discretion now asked in this controversial world. The candid era of photography is long time gone because people are more and more defiant of what photographers are intended to do with their pictures especially if you are perceive as a professional one with a big camera you enter easily in that category. Small cameras are seen far less serious (dixit "amateur") and can be operate more liberately around you in different contexts. This is not really new but the tendency have been accentuated over the years and the decades.

For all these reasons and for sure others non-mentioned here, small size camera gear appears to be the right choice for many photographers who travel or are simply documenting their immediate surrounding. With my modest experience over the years, I have learned to privilege two type of camera-lens combinations. The "street one" like the Panasonic Lumix GX85 w/G Vario 12-32mm or the Olympus Pen-F w/M.Zuiko 17mm, or the "sport/nature alternative" like the Panasonic Lumix G85 w/G Vario 12-60mm or the Olympus OM-D E-M5 III w/M.Zuiko 14-150mm II (Similar examples can be found for Fujifilm APS-C products). All these examples are using a Micro Four Third (M4/3) image sensor. In any case those camera models are smaller in body/lens dimensions than their big brothers equipped with a larger image sensor format.

On the other hand the "one camera/ one (zoom) lens" combination is not a new concept by far. It facilitates the general approach to do photography. It is better for anticipation, for handling, for operation, etc. It prevents cumbersome gear manipulations that are slowing the photographer reactivity. For the subject it is less intimidating and simplify the interaction with the photographer. Some are avoiding part of this by using two cameras already coupled with a different optic (which was very popular with focal fix lenses) but again it represent more gear to bring with you and manage on place. As same having your camera already on hand without its front lens cap make a lot of sense.*

And how about to select a good compact camera model with a fixed optic (no interchangeable lens). That may be an excellent tool for the traveller despite some technical limitations that usually are the lens factor (too slow or not enough focal length versatility) and the viewfinder system (if there is one!). But the idea of a perfect compact companion like some Fujifilm (X100 Series) or from Sony to name just a few is excellent and could be very productive from a creative photographic point of view. With these camera models, you will free to take pictures at will and without constraints. And these compacts w/fix lens will give you a lot better definition on your pictures files to play with when you choose to edit them compare with the ones taken by a mobile phone.

*** 

Travel light is a good step forward to enhance your photographic experience and to ease effectively your journey. All gear combinations can be considered as long they suit you. At the end it simply prolongs the joy to do photography.

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* Using a protecting neutral filter may be the best solution to that.

Photos Daniel M: Olympus OM-D E-M5 III / M.Zuiko ED 14-150mm II ; Panasonic Lumix GX85 / G Vario 12-32mm F3.5-5.6 Mega OIS

Hey Now! *

 Hey Now! What I can do to do better! My picture is everywhere and I am young but old in my thoughts! I am not a genius but a kamikasi in a false society of individual materialist interests. Is it really that did that disturbance, that fatal shock for people that I ever know and will ever know. Did I am a confuse Oswaldof these days in this new century.

My confusion mind is the confusion of this society that is no more a real community but instead a melting pot of individual interest with no goal in their heart. I don't know if love is still a part of ou spectrum of life. Yes I am disoriented with a disturbed spirit that cannot an issue in what I think of my wasted life. For a moment she provoked a smile of my own but I decide to keep my resolution of sacrefice both the life of another one as my mine.

You may have recognize me at a metro station, at a youngster refuge or even at a Mc Donald restaurant but you don't need to bother about me and just leave me loose my own. I am sure you recognize me for sure because I am part of everybody life one way or another. *

* This reflexion is dedicated to all desespate young and beautiful people that need help from us before they do the irreparable.

* London Grammar

Photo Daniel M

A Place to Compact (Cameras)

 Traditional photography has been estrangler between the large and big dimensions cameras and the very smaller devices. It was a battle of different technology approaches that may be ignited in the 1930 with the introduction of the Leica 35mm cameras created by Oscar Barnack. At this point there was also the old debate about the relation between film-negative size and the quality of the final (print) picture. Suffice to say that the same clash is still vibrating concerning the modern size of the todays digital image captor and its relation with the final image output definition.

At first with the digital revolution many of us were thinking heavenly about the coming of a true “compact age” but after more than three decades the return of big and heavy camera models have now invested the market place entirely with only very few exceptions (thanks for the Fujifilm effort in that sense). The more appropriate image sensor format for designing compact cameras was the Micro Four Third but since at least five years or more no new real compact model have emerged from the two major players in that field.

Speaking of ILC (Interchangeable Lens Camera) and how it is difficult today (January 2025) to find new compact camera models is obvious and frustrating.OM System * and Panasonic are no more supporting the idea of a compact and versatile camera and only Fujifilm seems to stay solid in its offer of this type of photo devices as already mentioned. So, what can we reasonably anticipate for the immediate future of the compact camera category? I am afraid less than nothing since no strong pressure from the market can push the various camera manufacturers to invest in it. Many camera new developments have been more at first in act of faith then the result of a specific marketing plan (Thanks Oscar ;-)). Can we count on that again in this more then ever calculated world? It has to be proven.

At the end my love for compact cameras is at the stake to find new "old" models that are still of some interest in photography today. Recently I have bought a brand new Panasonic Lumix GX85 that may have been forgotten on a camera store shelf (as for a Domke gadget bag!). Manipulating the GX85 and moreover use it as an everyday handy and small camera has been revelating of the joy of doing photography with a small, competent and discrete photo device. I hope that heritage will be preserved and may be flourished again in the future. 

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* In the case of the OM System, the Olympus OM-D E-M10 Mark IV remains (temporary?) the only last very compact ILC  (but for all long) although the OM-5 is also a smaller size camera of its own.

Photo Daniel M 

A Mix-Up Mind

 This is the a story of a mix-up mind of myself in a mix-up society stranded in its mix-up evolution in a mix-up universe. 

This is the story of a mix-up thinking about a mix-up of subjects in a mix-up contexts  in its mix-up continuity.

This the story of a mix-up cry confused in its mix-up energy into a mix-up of opportunity ever mix-up with incernities.

This is the story of a mix-up life plagued by a mix-up of sensations that mix-up with no understanding that mix-up reality and fantasy.

This is a story of an eternal mix-up that will mix-up with its finality…

Photo Daniel M

Notes about a Gadget Bag...

 

Curiosity is a good human habit (but sometimes bad for few others). If you are reading about photographic gear and their use, there is always this question in our mind concerning which specific gear the author is really using. And it is a tricky one especially if you changing it at a fast rate (as myself) or you don't want to influence people with photo equipment that don't suit their needs and their preferences.

So, before going in some depth about my own and modest photographic bag of the moment, please consider those before hand precautions. I love photo, I love photo gear but I love also to bring the less equipment that I can afford and to be honest I love the one camera/one lens only combination especially when I am on the go. So, the level of compactness can be the strongest determinant point of choosing a specific gear from another.

When the compact factor is on the discussion table, it englobe not only the camera body but also all the lenses and the auxiliary accessories. That leaves us in practical with two major types of camera image sensor format systems, APS-C and Micro Four Third (M4/3). The M4/3 offers an assortment of downscaled optics especially if you are looking for the biggest maximum apertures, or for the larger zoom focal ranges. Using bigger sensor formats such as the so-call Full Format (which is the equivalent of the old 35mm film format) or for larger ones, will induce inevitably photo gear with larger physical dimensions and more weight to hold and bring with you.

If you are looking for a specific camera system, Fujifilm, OM System (former Olympus) and Panasonic Lumix are each equally interesting and competent and can offer good quality products. Using any of theirs models will give excellent image output as long you respect their fondamental limitations which is the case of any photographic gear. I have used them extendedly with pleasure and satisfaction although I have understand that nothing can be the best choice for all of us. But for the compact factor, the M4/3 system seems to be the best for their choice of camera bodies and lenses (even thought they have abandoned their respective "rangefinder" style models such as Olympus Pens or Panasonic Lumix GM and GX series).

As an ex-pro photographer (meanly during the analog-film era), my preferences will go for the camera models that seem sturdy and durable and weather resistant. Presently I am using an Olympus OM-D E-M1 (first generation) that the external body dimensions and weight is not far from the ones seen on the Olympus OM-D E-M5s (original and Mark II) models that I have appreciated in the past for their performances and their easy-going virtues. Yes, this original E-M1 has been surpassed by the Mark II and III versions and by the actual introductions of the first OM System OM-1 and its Mark II version but I have chosen to stay on a realistic budget level and try to find the smartest deal over the Web for a used photo equipment.

Find good optics is another challenge for all photographers of this planet. Even today selecting a lens model that will answer all your needs is almost impossible depending the kind of your subject diversity. The Olympus M.Zuiko ED 12-40mm F2.8 Pro stays certainly my first choice. This lens is a gem, built like a rock and offers you an outstanding image definition. Its zoom focal range starting at 12mm (wide angle) and going up to a small telephoto setting of 40mm is versatile and its constant maximum aperture of F2.8 is also a strong virtue. The focusing clutch system is very handy although it get a propension to be activated too easily for my taste.

A second optic companion like the Olympus/OM System M.Zuiko ED 75-300mm F4.8-6.7 II is fulfilling my specific needs for part-time snap-shot birding and for the telephoto extreme compositions. It is an extended zoom lens model that is obviously slow to use in low light conditions but its physical dimensions and its weight fit well into my narrow photo bag limits (an antique Lowepro Passport Sling first version!). Price point speaking, the M.Zuiko ED 75-300mm II is difficult to beat for preserving a minimum of image quality level and get a large zoom range (but I reckon that the best deal in that sense is still the M.Zuiko ED 40-150mm F4-5.6 R).

If you are in adept of vertical compositions, an optional power grip (with replicated control dials/buttons and shutter release buttons) can be appreciated in term of handling and long session use. The Olympus HLD-7 has been rightly designed for this task and is giving you an additional autonomy with its own battery embarked that double the potential number of pictures/time available. With longer lenses such as the M.Zuiko 75-300mm II you will felt more secure with a more balance combo. Giving the supplementary of weight it involves, it creates a more stabilized plate-forme to rely on.

Doing interior photography is another challenge in particular when you are facing dim and/or unequal light distribution. This is why I am still using occasionally an electronic flash with an orientable head (for bouncing). With the Olympus FL600R you have sufficient output for medium distance subjects and moderate space contextes. The flash works with its own four size AA batteries preserving that way the camera (inside) one. Surprisingly I did a good amount of pictures with this flash (in booth Olympus and Panasonic versions) with a good rate of successes.

Tripod and monopod cannot be totally ignored even today. I still have a venerable Manfrotto 190B tripod with a Sinnofoto Q-08 ball head as an occasional sturdy plate-forme. A very old and small Cullmann 741 monopod (with some alterations) is completing the camera standing department.

To conclude with accessories suffice to say that all my lenses are protected with a good (high quality) neutral color filter that avoid me to carry front lens cap and prevent me to clean the lens front first glass. Replacing a scratched filter is cheaper than a lens repair or replacement. Spare batteries and additional memory cards are also a must in my bag. USB cables, charger, portable power bank, cleaning kit, etc cannot be forgotten.

Gadget bag. Alongside the Lowepro Passport Sling already mentioned, a Vanguard Up-Rise 38 is my companion at the airport for its stocking ability for a computer and other accessories even a few clothing items. A Kanken Photo Insert (small) bag offers a safe long term space for non-used equipment. Regarding strap I try to avoid the shoulder ones but I keep a Tamrac model for the exceptional occasions. My repeated choices for years are the Jobe wrist strap, a simple non-intrusive concept that appears to be sadly no more available from the manufacturer.

At the end, be simple and lightweight with photo gear has been my moto for several years and help me a lot to concentrate on the most important parts of photography which is observing and taking pictures. In brief save your back and wallet, clean your mind and stay ready are may be a good way of enjoying more this beautiful activity.


Photos Daniel M

Don't dream it's over *

*  Crowded House

 How things will take to be forgotten for ever? Think about all our dreamed paradises since our veering infancy beginning. We are always full of hopes that have fuel our life motivation to pursuit this very path to a better future, an exhilarating one with brightness of enthusiasm and joy. 

Nothing is really over because time will continue to follow its eternal road to infinity destiny. It is the profound dreamscape for what we are looking for voluntarily or not. It's a frenetic sequence of pictures that are blasting our narrow mind road. No it is not over and we cannot dream that is over it!

Photo Daniel M

I am a man , a simple man, a man of colours... *

 

* Man Of Colours - Icehouse

A simple man, that what's many of us are dreaming to be "simple" in this complex world, in this complex mind of each of us, in this complex way of life, a simple man should I say a simple human being as to be more inclusive...

To be alive is a so overwhelming experience, an experience of sensations, an experience of colors, an experience of differences that were shaping each of us in our diverse individualities.

Are we alone in this vastly universe as it seems to submerge our spirit into imaginative religious or philosophical thoughts that are trying to justify the meaning of your long and small life and to reassure us from the anticipated emptiness that appears ahead of our inevitable death. 

Man of Colours or Colors of Life, the choice is yours!

Photo Daniel M