Less better than more: a pandemic lesson!

I have never been particularly interested by crowded places or of big gatherings. It can be paradoxical for an urban fellow like me, but it may be because my mother had taught me in a very young age to be a self-sustained person more than a socialite one. For sure I am not the only one that secretly appreciate the more peaceful way to live that the pandemic crisis has provoked for almost a year now. But I won't argue the very human necessity to interact with our other relatives, friends and fellows.

Many have complained how much the new restrictions regarding mobility and social opportunities have depressed them deeply. I can understand partly them because it is never easy to adapt radically our behavior in a very short notice. For some like me, sincerely it was not that difficult. Simply put, it allows us to better concentrate our life on already more solitaire ways of doing things such as doing photography (my case).

Contextual photography doesn't necessarily need to be stereotyped by an obvious human presence. It can be as subtle as you can choose to visually interpret it. One small detail might do the difference between a powerful message or a complete soup of ignorance when too melted with other distracting details. We can call the process of "purgation". It is like presenting too many pictures instead of really pointing the only one that will impact the looker.

Our daily material surrounding is very rich and even, let's say, an empty wall can be revealed by the changing light and its own texture. The experience of observation is the one that will be questioning yourself first and before photographically register it. Every visual situation is a fest of diverse sensations that can be personally painted in our mind. This iconic interpretation is transposed on the bias of our photographic representation, i.e., on the taken picture and share.

We cannot emphasize more the importance of observing our always changing world, small and big universe of diversity in term of subjects and contexts. And the message we generate by doing photography is essentially an individual one opposes to an insipid majority and repetitive one because there is not only one universal comprehend of our world but multiple thinking variations.

What the actual pandemic situation, which is not new in the modest human history, should have learned to us at least is the vanity of abondance compare to the necessity of a certain spirituality of the things. The photographic wonders of this world are may be already beside you!

An Olympus(pic) Saga: Why, When and What to think of a beautiful but rocky story.

This is the story of my life, trying and trying again, be curious, be intense and be passionate for something, for someone, forever. It never finishes or if so, it will be the end of my own road. Many times as I think I have reached the bottom of it, there is always a rebirth of interest, of enthusiasm.

And so, we can resume the odd and tumultuous path that Olympus cameras evolution have followed during these past several decades and even today it seems that the pattern is staged again ... and again! Pen, OM, Camedia, E, OM-D, Pen-F, all those denominations are part of a long list of innovative but often forgotten product design through the analog film and digital photographic eras.

My love for Olympus cameras has started during my college years with the introduction of the OM-1 and OM-2 revolutionary models that a friend showed me. Those little 35mm film camera gems were fantastic reincarnations of the Leica G-M spirit into the SLR (Single Lens Reflex) world of that time (1974-1975). I was amazed not only of their inherent photographic capacity but also by their beautiful aesthetic. The stage was set for a loving affair that will last for a few decades only to be phase down by the autofocus cameras introduction.

Later on, Olympus reinvent themselves into the digital age with the Camedia and E series at a fast speed moment of technical challenges in term of photographic abilities to be conquered over the analog advanced camera models. Yes, that path was also very hazardous, and, except for the traditional two camera manufacturer majors (Canon and Nikon), it was very difficult to impose new digital standard over the photo equipment market.

When I first saw the Olympus OM-D E-M5, I cannot help myself to remember vividly of the cult Olympus OM-1 model presence of my student years. In my mind it was like a sentimental tsunami of the past-present times. And I could not help myself to buy one (E-M5) right from that moment of impulsion. What is particular about Olympus cameras is that they are inspiring photographic devices. You like to bring them with you, to play with them, to experiment the medium and to register without fear and intimidation your photographic subject. They (Olympus cameras) are part of a creative process of visual expression. It sounds lyrical but, in fact, it is!

Today, I am still using a OM-D E-M1 (Mark II) alongside with beautiful optics such as the M.Zuiko 12-40mm F2.8 Pro and the M.Zuiko 40-150mm F2.8 Pro lenses that are all competent and durable photo gear that deliver beautiful imagery. No camera is perfect, and no manufacturer is the best, but I have always found that Olympus is a kind of rebel into an industry more and more oriented by marketers of all kinds. And rebels are not really appreciated by conformists...

Long life Olympus, we are still there!

The imperfect camera user!

What will characterized the imperfect camera user?

A deficient eyesight (ex.: glasses wearers like me!)

A (Wrong) left eye dominant (The cameras are designed for right eye dominant people and  for small noses)

An incorrect hand and fingers size (The long or big fingers are not welcome)

A misuses of the camera functionalities (Why all those control dials and function buttons that confuse us?)

A lack of photographic general knowledge (Everybody can be a professional photographer)

A none "optimal" photographer height (Too short, too high, too late to succeed)

A (mis) use of the lens cap during the photo session (Decorative, easy to loose, obstructive)

No spare battery pack (What's the hell? The camera will shut off by itself!)

A wrong camera program setting selection for the subject intended (Am I a computer genius?)

And finally, a (complete) ignorance of the camera operating manuel content! (Why bother?)

" Ask yourself ...if you can fight WOR! " ***

*** WOR: Way-Over-Realism

Back to MFT (Micro Four Third sensor format) ... again and again! And back again with the Olympus OM-D E-M1 mark II ... again and again and again!!! After all, the OM-D E-M1 II has proven over the years how reliable as a competent photo device it can be despite the technical enhancements now present into the newest other camera models.

What is still attract me to the MFT sensor format system? Ergonomic with or without its vertical grip for sure. The silent of use with no big "clap" when you release the mechanical shutter . Its back screen that you can reverse completely without programming the EVF (Electronic Viewfinder) automatic shut off. Its spartan designed look which functionality virtues transcend over multi-gadgetry presentations. Its superb sensor monochrome rendering. Its weather resistant characteristics that fulfill its total "go-along" availability without being concerned by the possible adverse conditions. Etc., etc...

Is the Olympus OM-D E-M1 mark II THE perfect camera? Surely not and in particular for those who hate the model, or the manufacturer, or the sensor format, or the MFT system. For those ones I recommend simply to go elsewhere and be happy (or unhappy if they prefer to be). But what I have seen through the Web since a few years are these declarations of love for the OM-D E-M1 II even if we are in 2019, 2020 or 2021. That is certainly something special, something talking about the performance, the durability and the ergo-design of this model.

And what about the special secret about using Micro Four Third sensor format? Its greater deep of field!!! Yes, the supposed big disadvantage of the MFT sensor can be seen on the contrary a smarter one especially with voluminous subject (in 3D) located nearer of your taking camera. I mean what is the use to get (eye) pupil sharpness without focused eyelashes? Something I am still not understand after, let’s say, e few years into the photographic business... The MFT sensor format is great to work with if you like to be close to your subject AND get a minimal deep of field that preserve its volume details. But you can still maintain your (shallow) point of view regarding this absolutism of the absence of photographic deep of field. And you can call it "Way-Over-Realism"!

You can say that compact cameras are my way to love photography and using MFT models are my secret love to do pictures with lighter and easiest to bring the (discret) photo gear with me. And the bonus is that I am still finding their picture results pleasing and rewarding... Back to MFT (Micro Four Third sensor format) ... again and again! And back again with the Olympus OM-D E-M1 mark II model ... again and again and again!!! After all, the OM-D E-M1 II has proven over the years how reliable as a competent photo device it can be despite the technical enhancements now present into the newest other camera models.

What is still attract me to the MFT sensor format system? Ergonomic with or without its vertical grip for sure. The silent of use with no big "clap" when you release the mechanical shutter. Its back screen that you can reverse completely without programming the EVF (Electronic Viewfinder) automatic shut off. Its spartan designed look which functionality virtues transcend over multi-gadgetry presentations. Its superb sensor monochrome rendering. Its weather resistant characteristics that fulfills its total "go-along" availability without being concerned by the possible adverse conditions. Etc, etc...

And what about the special secret about using Micro Four Third sensor format? Its greater deep of field!!! Yes the supposed big disadvantage of the MFT sensor can be seen on the contrary a smarter one especially with voluminous subject (in 3D) located nearer of your taking camera. I mean what is the use to get (eye) pupil sharpness without focused eyelashes? Some thing I am still not understand after, lets say, e few years into the photographic business... The MFT sensor format is great to work with if you like to be close to your subject AND get a minimal deep of field that preserve its volume details. But you can still maintain your (shallow) point of view regarding this absolutism of the absence of photographic deep of field.

You can say that compact cameras are my way to love photography and using MFT models are my secret love to do pictures with lighter and easiest to bring the (discret) photo gear with me. And the bonus is that I am still finding their picture results pleasing and rewarding...