2012-2022 Blog's Remains: Forgotten or anticipated changes!

 It is hard to comprehend that this blog has started its itinerancy December 9, 2012. But it is easy to understand how we became different from the beginning of this decade of blogging. For sure I was new and naive (and late) into this blog train that has been already surpassed by the Vlog tsunami that followed in different channels like YouTube. Even the venerable DPReview Web site have had to reflect that change of guard into our Web-media universe.

Photography has been a passion since my childhood, thanks to the inevitable presence of the press writing media and the magazine golden era. At that time photography was still a documentary reference of the human activity around the planet instead of the actual mainly decorative role that it has inherited from the Web and mobile networking revolution. Unconsciously all this has been reflected by the title of the blog right from the start: Back and Front the (compact) camera with Daniel M.

Speaking of the hardware-software evolution of the photographic devices, it became also very clear that the value that people is giving to the photograph in general has drastically diminished at an alarming point. Let's face it, it is not the pictures by themselves that are simply ignored but more importantly it is their subjects for what people become indifferent or insensitive and this tragic attitude is may be the real drama of our selfish society.

On a lighter point of view, I have spent a lot of money in trying different camera and lens models from various manufacturers. Like the camera conspirator sings over the Vlog channel, there is definitively no perfect camera but there is a lot of amusing ones, at least during short essays. Now we have reached a plateau of basic evolution of digital photography gear and we can speak more about refinements compare to the past big evolution step-ups of the beginnings. A personal sense of repetition has emerged and the enthusiasm frenetic level of new acquisitions is now replaced by consolidation of what we already own.

There are two important things among others that digital photography have revolutionized. First, with its more democratic access in term of owning gear and of using it, and secondly, with its facility to share the picture results through very efficient diffusion channels. In consequent, the multiplicity of image resources have certainly contributed to its depreciation over time and to its repetition (standardization) instead of the search of its originality. At the end, the photographic impact aspect has been highly commercialized in profit of the media money makers.

After ten years, there are still an interest about photography but our planet is facing a lot of challenges that will transform our behavior in the next few decades. Can photography be an instrument that will reflect that evolution by documenting it or moreover participate to its awareness, it will have to be seen in the future. Until then, stay tune here or where else!

Photo Daniel M: Olympus OM-D E-M5 III / M.Zuiko ED 14-150mm F3.5-5.6 II

2022: Photographic gear is still an active and rich market.

 Many have predicted the fall of the traditional photo equipment market often in profit of the multi-task mobile smartphone that have improved their photographic functionalities (but not obviously their ergonomics). In regard of what was happened in the year 2022, no such definitive decay has really been observed although there is a significative consolidation effort that has been done by the manufacturers. The latter trend is not a new one since we have seen such market tremors in the past for an industry (photo equipment) which is renowned for its perpetual technical evolution.

By definition, the photographic gear market is a niche one. For sure there is always over time a popular "instamatic" segment that is now fulfilled truly by the smartphone abilities and availabilities. For the specifically photo oriented devices, the offer follows a similar pattern as it has been the same since the event of the first Kodak introduced by Georges Eastman. Some (like smartphones) are intended for the mass market and the others for the specialized photo amateur and professional ones.

In 2022, there was an impressive arrival of new photo gear products. Technically most of them appear to be more upgraded camera and lens models than revolutionary ones perhaps with the few exceptions for the very higher and pricy examples. The camera manufacturers have also a better understanding of the market segmentations between populations, cultures and geographic repartitions. There is also a definitive trend to offer products that are ether video centric devices(vlogging oblige) or (still) photographic ones to accommodate these two user categories.

Among the other things we have observed this year is the apparent sensor format differentiation that has been maintained in terms of offer, between the Micro Four Third (MFT), APS-C and so-call Full Frame (ex 35mm-135-24X36mm). And about all manufacturers still introduced MFT and APS-C models which is a surprise considering the anticipated and proclaimed tendency to regroup all sensors into the 24X36mm format. It simply demonstrates that the compact design exigency cannot at this moment fully fulfilled by the so-call Full Frame technology (but it may happen in the near future with more nano technologies).

Today, buying a digital camera may appear expensive although, in comparative terms, it is in fact almost equal than fifty years ago if you base your calculation on how many working hours you have to cumulate to get it. What is changing is the obsolescence expected by the digital photo equipment compare to the past. It is due mainly to the actual tendency to clearly abandon (not maintaining) the hardware and the software involved into the camera and lens manufacturing. It is seen to be cheaper to simply replace instead of repairing which is certainly not ecological way of thinking and eventually not acceptable economically since the resources are limited on earth.

So, we can sleep well and be confident that the photographic gear market is not collapsing but still follows its own path of evolution for the years to come. We cannot predict an everlasting growing future for the photo equipment industry but for the next few years, there are a lot more important concerns we will have to address than this.

Happy 2023 New Year!

Photos Daniel M: #1: Montreal Stock Exchange Tower; #2 : Montreal's Convention Center / Olympus OM-D E-M5 II / ED 12-40mm F2.8 Pro

Advices from the past for a better future (in photography)

Being fascinated by photography and its process has been always profoundly inlaid into my life since my youngest years. As an avid reader of all kind of literature, magazines and newspapers, I was looking for first hand experiences, ideas or advices from experimented photographers and masters to learn the medium. All these marvelous books extracted from my ex-collection that only some of my precious hand guides have finally survived of my wrecked basement. One of those few was that small photographic hand book issued in 1972 by the Time-Life Library of Photography, named in french Le Guide du Photographe that was in fact a bonus gift attached to the Library of Photography complete collection. This short notebook was an introduction on how to take and process films and print pictures from them.

It is normal to ask yourself if this long gone artifact, could be of some help today in our digital world. But when we take time to reread those ancient and venerable short texts, they appear to stay more actual and more pertinent than we may think first. Here are some extracts that have still their pertinence:

How to hold a camera is a science that has been lost in the furious modern evolution of todays fashion (especially with the none ergonomically smartphones as photo devices). And with the event of all kind of electronic stabilization system (optical, sensor or digital ones), people have loose the necessity to correctly support a photo device but with a more secure support of the camera, you enhance your picture experience and you will pay a better attention to your composition and your subject position and its behaviour.

Choosing a particular lens focal length can have a real impact how your subject and its context are related. And simply zooming in and out is not always the best approach to consider in doing your picture. Moving back or forward (from the subject) can transform your foreground and your background and imply a different visual signification. It is an exercise of relation between every details that will be selected in the final photo composition.

The deep of field secret or how to discriminate or not the photographic subject in its space by deciding what will be privilege to be in sharp focus and what will be blurry (and how) into the final picture. In doing so, you are creating the points of interest that will be explored by the audience of your imagery. There is no definite rule as you may experiment the different lens aperture values that are associated to different deep of field specific ranges. Dont forget that the photographer distance from her/his subject can play also an important role here.

Selecting a film simulation as for an ISO sensibility for your digital camera sensor is exactly doing the same think we use to do during the film analog era. The implication of those imagery sensor interpretations will dictate in great parts the atmosphere associated with the final picture. Moreover it can prevent too much post-editing of your picture afterward because too much of it may often imply a visible lost of the picture definition. Better doing the good thing first at the point of origin.

Using (digital) filters will also alter your picture rendering right from the start and their dramatic effects can be observed before you actually are taking the picture. Monochrome filters will create contrast differentiations for the tonal distribution (in black and white, each tone is personified by a color). Art filters will completely change the value of the color’s palette, may modify the contrast scale, simulate optical effects, etc. The possibilities here are enormous.

A good exposure metering is essential for many reasons such as for keeping a maximum of the subject details you want, and for deciding what general "image mood" you are expecting to offer to the people who will look at it. Although the dynamic of the modern digital image sensor are surpassing by far the one from the past analog film era, there's still some compromises to cope with. One easy example is that a certain image definition degradation can be observed into the less lit picture areas that often translate in (digital) noise or detail lost (partly because of the inboard camera image post-processor algorithms that will over-compensate the lack of visual information). Exposure metering is still an essential technical part to succeed in photography almost a science by itself because it force you to better analyze the light distribution on your subject and its surrounding and that basic is still existing today.

Questioning your composition in relation with your subject and its context is again a photographic challenge that stay actual because it represent often the photographer intimate perception of it. Composition is also the finest expression of the visual emotion in regard of this subject. The dramatic is not only in regard of her/his facial expression but also in relation of its graphical position into the picture space. High, low, on-level angles of view, distance from, exposition metering, shutter speed, all those photographic elements can be decisive factors.

Understand photo editing (post-processing) of your picture was the ultimate task of the photographer of the analog-film era. Many picture taking people were disregarding the darkroom processing work. In doing so they have missed to understand a lot of the fundamentals involving photography. Editing a picture is like to reverse the image taking process. That way we can often pinpoint problems that have not been correctly addressed during the photographic session. It also help to learn the technical limit of the hardware-software we are using. Yes, you can transform an image but is it the final picture you primarily looking for at the decisive moment you have taken it? Most photo editing will mimic the way we were dealing with the film-analog picture but the work can be done now in comfort in a safe context with ecological respect.


All these examples are only a small part of what we can learn from this Time-Life small but precious booklet (and from others of the same kind) to prove that many of the past photographic practices stay actual, digital world or not. As I use to say, I will really be outdated when I will stop learning (and in particular from the past).

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Photo Illustrations by Daniel M: Fujifilm X-E4 / XF27mm F2.8 R WR

In your eyes

 In your eyes, we have seen the universe from our first days in this heart life. We were looking with the naive amaze about the magical surrounding that it seems to us. Everything was pure emotion and sensations were at their pick. We were simply overwhelmed with sensitivity. And everything was magnificent but also mightily terrifying. We were young, utterly young among an incomprehensible world but curiosity had already planted its seed for knowledge.

 In your eyes, we are seeking for the understanding and the meaning of all things. We were young after all…

Inspired partly by In your Eyes - Peter Gabriel

Photo Daniel M: Fujifilm X-T3 / XF55-200mm F3.5-4.8 R LM OIS

The Fujifilm X-E4: The simplicity that could be complex without the complexes!

"We will work together... unwillingly at first, on your part, but that will pass."
"In time you will come to regard me not only with respect and awe, but with love." 

- Colossus: the Forbin Project (1970)

 This is a second time that I give a try to the Fujifilm X-E4 model although the first essay didn't last very long (few days at the most). I have to confess that I had a long love affair with the previous Fujifilm X-E3 camera which I have considered as an outstanding evolution from the preceding X-E2S/X-E2/X-E1 models. So, a crude direct comparison at the time was almost impossible because the new Fuji X-E4 interface/design is so differing from the X-E3 one.

The Fujifilm X-E4 is a real compact rangefinder style (off-center viewfinder from the lens) APS-C format digital camera. It can be compare in size and in weight to the Fujifilm compact X100 series although the 23mm lens of the latter must be substitute by the Fujinon XF27mm with a lens maximum aperture variation (F2.8 versus F2). If the Fuji X100 series benefit of their hybrid viewfinder (optical + electronic) the X-E series have the advantage of lens interchangeability that confer them a greater versatility.

One of the first important thing to remark about the Fujifilm X-E4 is its complete ability to be use completely manually in term of exposure and focusing parameters. Starting to this traditional way of setting the X-E4, you can gradually introduce a progressive automation. Except for the image sensor sensibility (ISO), the shutter speed and the aperture can be preselected visually without looking at the electronic viewfinder (EVF) or to the LCD back screen or live monitor (LVF).

The OLED 2.39 Mega dots electronic viewfinder resolution should be sufficient for the photographic composition purposes and for the visual focusing tasks but we have to admit that its definition is now surpassed by some new camera models. Its 17.5mm eye point is also quite short for the eyeglass wearers but we can accommodate ourselves to use it properly. The tilting (up & down) back screen (LVF, live viewfinder), with a "selfie" option that some may questionnaire its real utility, is excellent to preview and review our picture as for navigating into the camera settings and the menu. All the camera informations are clearly visible through the EVF and LVF and can autorotate to accommodate vertical composition.

The Fujifilm X-E4 control dials and function buttons as for the joystick are rather small in regards of larger sized cameras but it is often the price to pay for a more compact camera in particular if you don't want that these selectors interfere too much to the compact camera hand held which is already minimalist with the X-E4. As it appears like a mimic of a Leica M camera body design, you cannot anticipate to have a protuberant grip available on front of the Fuji X-E4. As it is usual now, there are some optional hand grip and thumb rest accessories that are available for those who need them but they may induce a more difficult access of some options on the camera (hot-shoe, battery/memory card fast access). On another side, the Fujifilm X-E4 will slip easily into a larger coat pocket or a small shoulder/messenger bag. Moreover the small weight of the camera permit you to attached it on a shoulder strap et let it around your neck without too much discomfort.

In term of picture file quality, the 26.1MP APS-C image sensor will give the same resolution already offered by the larger Fujifilm models such as the X-Pro 3, X-T3, X-T4 and X-S10. Providing you are using the same taking lenses and the same exposure parameter settings, no differences should be noticeable. This is one of the big advantage to use different Fujifilm models from their X-mount line without loosing image definition.

No IBIS (Internal Body Image Stabilization) and for the strong supporters of this modern camera feature, it is (again) a disappointment. Low light situations will ask you to be more attentive to the stability of the Fuji X-E4 and avoid slow shutter speeds that you cannot handle efficiently by using a tripod or a good support (as we use to do during the analog-film era). For the travelers in life, zoom and fix focal lenses with an optical stabilized (OIS) may be a better choice even though the optic will be larger size and heavier.

Navigating through the Fuji X-E4 menu system demonstrates its inherent versatility when you are interested to do so. You can also satisfy yourself by enjoying its simplicity by using the Fujifilm X-E4 default configuration and it will answer the most common photographer needs or, if you want, you can go deeply by selecting through all the options available and refit the camera to your own tastes. My only advice is to try and analyze these functionalities one at the time and, if necessary, to register them by using the custom modes (via Menu and custom setting: C1/C2/C3/C4/C5/C6/C7).

The Fujifilm X-E4 doesn't have the same facility to get a rapid access to functionalities such as the film simulations, the drive options and the exposure metering modes, the image sensor sensibility(ISO) and focusing settings, the custom ones, etc without using the menu, the quick menu (Q) and the touch screen functionality algorithms, as it can be done with the direct control dials or function buttons present on the larger size Fujifilm models. For on the spot requirements, the camera setting variations are far less spontaneous in profit of a more automated system you may rely on. The photographer creative part is more concentrate to his/her photographic picture composition and the chosen photographic moment. You are still able to select specific picture setting bias but with a more "presetting" approach. However the two schools (X-E4 and X-T/S series) can deliver an original signature imagery specific to its author.

If a big concern when using the Fujifilm X-E4 is how you can create customized configurations and to get access to them in a rapid and reliable efficient way as, for example, if you want to permute from a standard automatic exposure and focusing program setting to a fast focus tracking and spot metering action subject or if you want to do manual photography in a monochrome film simulation, you may follow my modest example. After struggling a bit at first (without looking the instruction virtual operating manual), I was able to create these configurations and to set them easily through the Q menu. The limit number of custom configurations has been fixed by the manufacturer to 7 which seems to be enough if you can remember all them! You can rename them for more comprehensive references. With these pre-arranged customized settings, the Fujifilm X-E4 will become not only a versatile digital camera but also a more competent one.

The fujifilm X-E4 is surely a nice piece of engineering that will deliver stellar picture results and don’t be fooled by its simplistic interface (not a lot of direct control dials and function buttons) because as it was my case at first, the more you get habit to use it, the more you will develop respect for its capacities.

Film simulations and Advanced filters.

One big reason to adopt the Fujifilm X-mounts series is surely their color and monochrome film simulation science that is present into the entire line of X-mount camera models. Although using RAW image file base is the finest way to get the maximum latitude to fine tune your final picture, Fujifilm JPEG film simulations are reproducing with great success all the expertise that have develop during their legendary analog-film era. This (Film simulation) setting advantage has been mentioned several times by the various photo gear reviewers over the Web and more importantly by the Fujifilm camera users themselves.

Fujifilm film simulations are very creative color and monochrome tone palettes that allow the photographer to select different and rich atmosphere signatures. Remember that many analog-film era professionals or amateurs used to choose certain type of films to get the image final effect they were looking for. Today these choices are now not only available through digital recording but can be permuted on the spot without any trouble process. No more need to own different negatives or slide films, no need to change film cartridges or have on hand different camera bodies, It is simply liberating in so many photo taking aspects.

Viewing the final result before taking it!

This is definitively another huge advantage of the mirror less camera category with a competent electronic viewfinder (EVF) or a fine LCD back screen (LVF). We came from a very long way to get that magic feature especially for those who have worked with the analog-film previous technology. The Fujifilm X-E4 may not have the latest EVF or LVF specifications available but the ones they have installed are largely sufficient to help the photographer in its imaging-exposure settings and its focusing adjustments.

Just turn the (control) dials!

Just turn the control dials from their respective “A” position and you will ether select the shutter speed or the aperture you want. To get a fully manual settings, just press the front push button to select the image sensor sensibility (ISO) you will prefer and put the focus in manual through the quick menu, or better than that, simply create a Custom setting with all these bias. In this fully manually controlled approach, the EVF or the LVF will show precisely the effect of your selected parameters.

Spontaneous, discrete, amateur look

Although many photographers prefer to work with bigger size cameras that may help them to get credibility and attention, some others are preferring to better work "behind the scene" and, in doing so, to appear less intimidating in front of their subjects. The Fujifilm X-E4 is a discrete photo device not only in size dimension but also in its operating mode especially with you are electing to activate the electronic shutter option (ES). With this approach, spontaneous photography (street, travel, visual) is easy to perform. Even with its more "amateur" look, most people won't pay attention to the potential serious aspect of photographing and the Fuji X-E4 can give to the photographer an amusing touristic look.

Commented bits

No internal electronic flash has been incorporated to the Fujifilm X-E4. This useful option had already disappeared with the Fuji X-E3 previous model. Therefore you will need at least a small flash unit to bring with you if you have the intention to do some fill-flash photographs. Furthermore, Fuji is no more furnishing an external one with the X-E4 as it was in the past for the previous X-E3 with the EF-X8.

The Fuji NP-W126S dedicated battery pack is the unit that is required by the X-E4. It is the same unit present in many other Fujifilm X-Mount digital camera models (with the exception of the more recents with higher price). Common to the newest camera model introductions, no battery charger is furnished by the manufacturer but the camera is doted of the newest USB-C port that allows a faster battery charge that can be available through your different accessory USB-C ports from your computer or mobile devices or chargers.

The none lens centered tripod accessory screw mount hole of the Fujifilm X-E4 doesn't have my preference to work with a tripod or monopod combination. Yes, that can be counteracted by using a screw mount tripod accessory plate or by adding an accessory grip w/integrated Arca-Swiss type bottom plate but it will also add to the bulk of the camera body.

About the construction quality of the Fujifilm X-E4, you may find that it is similar to what you can already observe to the others Fujifilm models like those from the X-T10/20/30 series for example. The Fuji X-E4 is not qualified as a weather resistant (WR) camera body and precautions must be taken when you are expecting to expose it into adverse conditions. At this moment of time, no report have been stated that the Fuji X-E4 is more fragile or more prompt to cease operation under climatic stronger variations (cold, humidity, altitude) but gradual acclimation is always a good recommendation.

If you are considering to buy the Fujifilm Fujinon XF27mm F2.8 R WR lens, the cheapest way to do it is via a kit or combo offer, no question about it. However be aware that Fujifilm won't furnish you the dedicated lens hood with the lens! If you are traveling, the Fujinon XF18-55mm F2.8-4 R LM OIS standard zoom lens might be ta good optical solution to keep the Fuji X-E4 combo compact and versatile. This Fujinon XF18-55mm zoom lens have earned a well deserved high reputation of its own over the years.

Doing photography

At the end, the Fujifilm X-E4 will help you in what is the most important task, doing photography. It is a powerful tool that is hiding many features and capacities with its simplistic camera body presentation. Feeling comfortable with a camera model has not to be only in consideration of its technical interface but also in regard of its minimalist design that will help the photographer to easily bring and use the camera in every spontaneous situations. In one word, everybody can love the Fujifilm X-E4 and the more you take it, the more you will appreciated its photographic skills. 

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P.s. As usual I have limited this short review of the Fujifilm X-E4 to its photographic abilities and didn't review its cinematic functionalities since I am not in any way a videographer.

Photos Daniel M: Fujifilm X-T30II / Fujinon XF18-55mm F2.8-4 R LM OIS (X-E4 illustrations with the friendly collaboration of Hall 9000); Fujifilm X-E4 / XF27mm F2.8 R WR.

ACROS made by the Fujifilm X-mount system: Black and White into the digital photographic world.

 Monochrome has always been synonym of photography for multiple generations of amateurs over the past two centuries. Yes, color photographs have gained their own respectability especially with the event of the news and people magazines and also through the democratization of the travel. But black and white photography have preserved its remarkable credibility over the decades and even today for many it remains a very popular way to visually document our surrounding world.

Although many have praised the Kodak and Ilford black and white analog films over the years like the famous Kodak Panatomic X(32ASA/ISO), the Plus-X (125 ASA/ISO) and Tri-X (320-400ASA/ISO) or the popular Ilford Pan-F(50 ASA/ISO), FP 4(125 ASA/ISO) & HP 5 (400 ASA), Fujifilm have always offer their own version of monochrome films with the NEOPAN series that have evolute to the Acros newest interpretations.

With the introduction by Leica Camera of exclusive monochrome digital models, Leica M Monochrom, Leica M Monochrom (Typ 246) & Leica M10 Monochrom, we have seen the start of a keen interest to own specialized black and white camera models. Moreover It is fascinating to observe that all digital cameras can be configure to monochrome photo devices since the start of this technology. Parallel to that B&W rush for niche photo devices, there is also an analogue-film resurgence that appeal for many monochrome lovers.

But there is, at least, a more reasonable solution in terms of dollars and future versatility and it is to buy a small ILC (Interchangeable Lens Camera) and use its monochrome ability. For example the compact Fujifilm X-E4 and X-S10 are offering two different black and white rendering (Acros and standard monochrome/old Neopan) with an integrated B&W filter functionality (Red, Yellow, Green). In my sense it represent exactly what you might looking for a real black and white photographic full experience similar to what people have during the analogically-film era. Another optionality allows you to mimic the analog-film texture into the picture. Finally, a good printer alongside with specialize photo paper can reproduce the whole traditional cycle with a final and tangible print. CQFD

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Photos Daniel M: Fujifilm X-E4 / Fujinon XF27mm F2.8 R WR; Fujifilm X-S10 / Fujinon XF18-55mm F2.8-4 R LM OIS / Fujinon XC50-230mm F4.5-6.7 II OIS

Human pixelization

 Days are passing for the photographer as images are vanishing even in our remembering faulty mind because, you know, photography has always been an instant frozen past that we have carefully recorded to grab some of that ephemeral reality that is surrounding us everyday. Yes, we cherish those pictures of something that simply doesn't exist anymore. Our memory is full of these souvenirs and nostalgia is always around the corner like a flavor that we want to preserve eternally. Ah! those moments are precious and by the cruelty of life they will disappear into the oblivion ocean.

We are living in the instant flash of digital civilization that never really understood the importance of the historic continuity of human cultural preservation. There is no more big collective historic preoccupation since secluded individualism have replaced cultural identity that have always been an essential of the human kaleidoscope. I don't really care about the universe, a notion that our small mind (or brain) cannot embrace even partially. No, I care about us, about my family, my friends, my fellow humans but it seems for this moment of our history, we are fewer and fewer to do so...

Who is interested to take the relay among us to perpetuate, all least momentarily, our perilous path in particular in regard of our inherent fragility to survive and to progress? Documenting is also a strong cultural representation of humanity and photography use to be one of the most powerful way of doing so. Man (and Woman, of course) in its reality, man in its action, man in its thinking, man in its progress but also man in its failures, man in its cruelty, man in its desperation.

We cannot simply abstract what we don't like or not agree and distort reality to some king of our own and false virtually that will sooner or later be vaporized. All the photographers of this world have a duty to preserve even a small instant of lucidity about its surrounding universe and share it.

Photos Daniel M: Fujifilm X-T20 / Fujinon XF18-55mm F2.8-4 R LM OIS (Lisbon, Portugal)

Reaching a « pro » altitude with an enthusiast but amateur budget!

 The question is: Do I have to spend a lot of money to get beautiful pictures? The answer is no as everybody already know perfectly. But why many of us cannot resist to the professional gear temptation?* That answer is less simple and far away from the usual assertion of getting more skillful, robust and durable camera gear.

In the bottom of our mind (but without admitting it), we love to own pro stated photo equipment of any kind and camera manufacturers have understood that ever growing trend into the consumer market. We like to mimic the "pro" perception that has been developed during the past four or five last decades of the traditional and analog photography era. It seems that nobody escape this "Graal" attitude even among the newest generation that have never been present during this "golden" era of photography.

So spending this huge amount of money for professional level camera gear is now a known fact that have spread all over the Web planet and can be seen for many other similar consumer toward product attractions including cars, electronics of all kind, computers, phones, etc. Are all these "pro" things really useful for us? We can debate it for hours, days, months and years but there is no definite answer. What is also symptomatic of this obvious trend is that the race for the best seems to never end because each manufacturers is renaming their products in reference with the previous ones but with updated improvements that you cannot ignore.

We are seeing this high-level or high-status consumerist phenomena That is corrupting almost all the space occupied into the photographic Web articles, chronicles, reviews or blog posts. And most important it seems also never end or, at least, reduce in pace or in importance because people are asking for it and if you don't respond to this appeal, you fall in disgrace and indifference. 

Is there a remedy for the "pro" enthusiast consumerism? Simply put, No! I would like to say yes but it isn't realistic today to go back to the basic idealistic interest for photography as it was decades ago. What we can assert about the pro endemic attirance, it is its obvious always rising cost. Since a few years the price level for such supposed niche photo gear have skyrocketed meaning that many of us are beginning to reflect about the futility to maintain this peculiar materialist attraction.

We won't try to launch an appeal to reason and ask people who are already determine to own pro photo equipment but we may say to the others that have a more realistic and practical approach about the gear they really need that, at the end, it will be for most of the time your pictures that will finally be seen and appreciated compared to the pile of "pro" ones that will not ever be finally show.

* P.s. I confess that I'm the first one to fall in this "pro" tempted people category! 

Photos Daniel M: Fujifilm X-E3 / Fujinon XF18-55mm F2.8-4 R LM OIS ; Canon ELPH 330

A photographic or an idealistic society that have lost its compass!

 Contrary of a today commun idea, pragmatism doesn't guide most of our actual social behavior. Instead it is almost only individual idealism that dictate the way we are choosing to live. In photography it reflects in our material search and acquisitions that are more intentions to show something that simply doing photography. Yes, this tendency to show more than simply doing is not new. We have seen this phenomena using the analog-film era where many people were "wearing" cameras that rarely been actually shutter released although we must add that the film support and its processing were substantially more expensive at the time.

Doing photography is not only about taking pictures but also to share and to show them. In that context, we are seing today much more auto-portraits (selfies) than documented pictures that offer a personal interpretive window of our surrounding universe. All those "self-faces" testimonies are creating a narrow-minded view of this planet and its diversity of places and peoples. Taking pictures is now a consuming act that limit its impact to the next ephemera picture that will replace the previous one.

All this is posing the fundamental purpose question about the place of photography in our life. Hopefully, since a few years, it seems that a conscious (or unconscious) reflexion have begun to emerge over many people involved into the many photographic fields. For one, the gear frantic acquisition syndrome (GAS) have lost its absolute dictature influence over many photographic enthusiasts as sales are now oriented to mature designed products however at an higher selling price point we must add. On a more cultural point of view, you can observe that photo exhibitions are still well alive offering that way good opportunities to look at different photographers works and projects. In one word, we are restarting to look over our personal fence to be again interested by someone else or by somewhere else.

We cannot emphasize enough how important it is for the future of photography (and humanity) to share all the diversity of visual interpretations created by photographers. Our recent human history is full of significant pictures that have guided and haunted us to our everyday life. Photography has a documentary duty and a cultural obligation to report, to share and to preserve the best as the worst of this humanity for the benefit of all the future generations. Let that shutter release working again and again, and show your pictures!

Photo Daniel M: Canon ELPH 330 (Antigua and Barbuda) ; Photo Manon P: iPhone 7 (Lisbon, Portugal)

Minimalist Kompozitions

  Small is beautiful or we might say that just few people can be more appreciated than a complete crowd, at least for some of us. But what the simplicity limit point in photography? Surely you need some kind of subject or a recognizable context as a reference. If not, it is only a blank white or black sheet (virtually or not). So, the challenge is to reduce the complexity of the picture subject but also to be able to leave enough visual information to the looker.

It is a bit like art painting where some great artists have created minimal canvas image presentation with just few patches of color. You can ether see in it as a scandalous way of provoking people or a new way of a very basic universe visual interpretation. We can also add that, at this point of the discussion, without any cultural references, it begins very difficult to define a specific emotion toward the work of the author. It is like symbolism without symbols.

We cannot really disregard some human tastes over our own and that can be said for the multiple photographic creativity interpretations. You just have to leave space for everybody to express themselves and we may discover at the end something new and inspiring.

Photos Daniel M: Fujifilm X-S10 / Fujinon XC50-230mm OIS II

The imperfectionist photographer

 What is perfection? Trying to answer that is like trying to explain what is love (you may try but you won't be able to ever cover the entire subject for everybody!). Yes, we do use extendedly the word "perfect" on many occasions like a human reflex in face of a particular context or subject that may greatly impacted us. In photography, perfection is tabou because generally we don't accept that anybody can produce something perfect or near perfect except for some very rare pictures issued from reckoned master photographers. 

If there is no perfection in this world (that is still looking for!), but there is a lot of "imperfections" which, in my sense, represent the real essence of humanity by its diversity and originality. If you ask me, I have a tendency to avoid the stereotypes induced by perfection especially with people. In a way, perfection is not realistic as it should be desirable. Differences are part of our cultural heritage. It is part of our unique identity and imperfection can be observe in the nature of this universe.

In this fascinating world of photography, imperfections are observed into different narrative levels both technically and esthetically. In each case, it is a highly personal interpretive analysis because it depends which specific perspectives and references you are using to do so. For example a blurry subject or context in a picture can be acceptable if it is part of the intention of its author by suggesting movement or any other emotion involved when you are looking at it. 

Imperfection is often associated with derogations from the artistic traditional pattern imposed in the picture treatment. Composition is a good example of it because if you are exceeding the proclaimed rule of third to position your subject, you may be considered as an anathema in this wonderful photographer world.  So. perfection is dividing your frame by three horizontally and vertically "zones" that are creating  four line intersections for specific points of interest. But with time and observation, you may discover that the eye can travel very erratically when it is scanning a picture in its deep. So, the rule of third may be dismissed in profit of different subject distributions. 

We can argue the same distressing point of view about the so-call exposure accuracy for a specific light context. For example, strong contrast associated with black and only white tonal grades can create beautiful silhouette effects. The choice of how you want to "expose" your subject is only revelant of which   final rendering you are looking for. And so again, imperfection is becoming a kind of perfection f its own.

You can go further by discussing about focus or unfocus, clear or blurry, color accuracy, etc. All these are part of the photographer own interpretation and experimentation. They can emphases the author emotions upon his/her photographic subject. And finally they can provoke to his/her attended auditoire different retroactions for the everybody beneficial. Photography is an art and as an art, all kind of "imperfections" can be reached over times and over people. 

Photos Daniel M: Panasonic Lumix G95 / G Vario 12-60mm Power OIS

Repeat recipes for the (not really) new camera models!

 Is it a new (!) trend for the camera manufacturers who are taking almost the same recipes with few cosmetic alterations and introduce mainly with only new appellations camera models? At least it seems so at this moment that everybody is facing some Mondial production challenges in terms of infrastructure availability and industrial and resources discontinuities.

For some of the photo novelty avid, that can be highly deceptive in particular when you are looking to the different web photo forum. They are badly in need of real and different photo gear equipment introductions as a same rate we have seen during the digital era beginning. But effervescent productive time periods cannot last for ever and consolidation is now part of the process as the overall market is shrinking as we can see with the present planet economic situation.

There is no harm to simply refine good existing products as we have done for decades with many iconic camera models during the film-analog era of photographic gear. And we are now producing digital cameras that, in fact, are exceeding our image quality needs in many ways, exposure, focusing, ergonomic, etc. So, the initial race for major improvement for that specific gear format has been replaced by a maintain of the market for (little) upgraded new products that are more and more looking like their predecessors.

That been said it also true that this actual market stabilization won't prevent an eventual complete breakthrough innovation in non-definite future, it is in the nature of things especially with the human technological history. And it can happens as soon as tomorrow, you never know!
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 On a lighter discussion base about photo gear, I still hope that the camera manufacturers won't neglect the enthusiasm (but less financially provided) photographers and they will care to further introduce cheaper camera models with competent interfaces and performing image recording sensors. After all these "amateur" photographers are often the backbone of the photographers (pro or not) next generation.

Secondly, compactness should be a constant preoccupation for the designers of the tomorrow's cameras. There is no necessity to always verse into the photographic equipment size inflation. That can be apply to any photo equipment since mobility is a key point for all the photographers on the run of this fast moving planet.

Thirdly, the manufacturer computing departments have to develop better user friendly interface environments alongside in using a more comprehensive and universal language. That could be done easily with the participation of all the people involved into the photo industry and beyond as it has been done in the past film analog period. That standardization will be saluted by everyone.


At the end, the photographic gear industry is facing the same challenges as all others sectors with shortage of resources, environmental preoccupations, significative market (demand) variations over time, and always changing competition nomenclatures. Only the more evolutive ones will ultimately survive until the next moment. This is also in the nature of (material) things.

Photos Daniel M: Panasonic Lumix G95 / G Vario 12-60mm F3.5-5.6 Power OIS / Bleach By-Pass Effect

Before the OM-1: The Olympus OM-D E-M1 Mark III breifly summarized by Daniel M

 Before OM System has taken over the ownership of the photographic gear division of the Olympus company, many products have been release during their name(Olympus) into the last few years at the control of it. Among them, we have found the OM-D E-M5 Mark III and the OM-D E-M1 Mark III. Except for the OM-D E-M1X introduction, the OM-D E-M1 series has represented since the avent of the Micro Four Third (MFT) image sensor format the Olympus "professional" flagship offer. That was completed with a specific line of "Pro" lenses that have larger maximum aperture, stronger construction and weather resistant quality and higher image definition.

We know now that OM-System have taken the ownership of the OM-D series development and manufacturing and have concretizing this effort by introducing a new OM-1 (and greatly simplified its appellation!). Lately I was looking about the opportunity for buyers to get a new "pro" MFT camera body and many good deals in regard of the latest Olympus OM-D cameras might appear to be the logic way to go without spending a huge amount of money (I must add that those "deals" are not part of the official OM System selling network).

The Olympus OM-D E-M1 Mark III is a very mature product that has been improved over the succession of the three different versions of the E-M1 series. This camera model can be used with reliability in very adversed contexts and with intensity and competence. If you put aside the never ending discussion about the virtues of each image sensor format, the facts and the picture results have proven that the E-M1 can be consider seriously as an ambitious photo device that can deliver excellent picture results on demand.
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The Olympus OM-D E-M1Mark III has been release in 2020 year as an updated model of the previous OM-D E-M1 Mark II introduced in December 2016. Their camera bodywork is similar except for the presence of a joystick at the back of camera, a feature that has been standardized among the "pro" and advanced camera manufacturers. Ergonomics of the E-M1 III is equally appreciated but no improvement has been done to the electronic viewfinder (EVF) which is the exact same as the Mark II one and the same can be said for the overall camera interface. The image sensor has remained the previous 20MP but some performance updated have been done to get a more reactive camera model especially in regard of the autofocus system.

Compare to the mighty OM-D E-M1X model, the E-M1 Mark III can be assimilated as a kind of modular photo device that can be relatively compact (body only) or fully dressed (body + vertical power grip HLD-9), which may remind for some of us the film-analog pro Nikon F4 model thirty years ago. It create in my sense a more versatile tool in particular for people who intend to work in very different photo-taking contexts. The E-M1 III is a wide camera body model partly because of its bigger grip that add confort for photographers who the (good) habit to leave the camera on their right hand ready to shoot. Incidentally, most of the E-M1 III command dials and functions can be selected on that (right) side which is a logical thing in term of design and the camera abilities.

As for most of the camera manufactured for a professional use, the Olympus OM-D E-M1 Mark III is rugged and environmentally sealed which explain its higher selling price point to some extend. It is an everyday photo device that can withstand an intensive task (At least four hundred thousand shutter releases according to Olympus claim). You can easily feel it when you manipulate the E-M1 III and stay confident about its durability although this is not an invitation to drop or to bang the camera voluntarily.

As for almost all photographic specialized devices, the OM-D E-M1 III cannot be slipped in your pant pocket. It is clear that in bringing the camera, you will concentrate your efforts to produce pictures with higher levels of quality and creativity. Yes, you can also do snapshots with the E-M1 III as a complementary task or pleasant activity in particular over an exploring journey on travel or else.

Under the most recent performance criteria, the OM-D E-M1 III is not a spectacular camera model. Although most its inherent specifications are rightly decent and can be highly sufficient for the picture uses you may have selected, some if not many will argue that others manufacture gear offers will plainly surpass the Olympus model on purely statistic base which is true but not necessarily relevant on a real world expectation. Yes, the MFT image sensor is limited (!) to 20,4MP (Mégapixels), the electronic viewfinder (EVF) to a 2,36 mega dots, the autofocus is base on a 121 cross reading points, etc. But the Olympus OM-D E-M1 III expertise, as for many modern digital cameras, will exceed most of the actual photographer needs. The very partial use of its interface is just proving its over-ability compared to the day-today selected settings by its owners.

What does very well the Olympus OM-D E-M1 Mark III is its capacity to be personalized for each specific photographer setting by using its impressive interface and its customized dial functionality (4 of them are available). This prove to be that the OM-D E-M1 III is a good practical and designed professional camera model for the field assignation and not only for the Web bla-bla discussion (Sorry for the "pro" YouTube reviewers of this planet...). If you are looking for a "for action" photo device, the OM-D E-M1 III may answer to the call flawlessly.

Image rendering.

At the end, you may find that the image rendering on your picture files is THE final factor for choosing a specific camera model over other counterparts. Each manufacturer has its own picture signature especially for the photographers who are intending to privilege JPEG image file formats over RAW files which are often selected by people that have further picture editing extended needs or special image renderings. As I have often experimented in digital photography, the final picture quality results are most of the time exceeding what you first observe on the electronic viewfinder (EVF) or on the back screen although the latter is noticeably more accurate over the first. Many time EVF will increase the perceived overall contrast of the viewing picture compare to its recorded file. The OM-D E-M1 III is simply another practical example of that phenomena (but we must add that the latest EVF are far more better that the previous ones).

The Olympus OM-D E-M1 Mark III is offering you a complete choice of different picture interpretations as it is now a common feature with digital cameras plus the possibility to select the RAW file optionality only or with an alongside JPG counterpart second image file. The 20MP picture file should be sufficient for most of picture finalities intended by the photographer. A lot of reviewing picture quality tests are available over the Web already but be aware that they often represent very specific conditions used in their partial analysis.

Personal specific points

The Olympus OM-D E-M1 Mark III have all the qualities that are associated with a true professional photographic device. It is a sturdy constructed camera body that withstand the most adverse environnemental conditions. It can be used intensively and stay reliable. It is also a very reactive camera model for action photography. Its exposure metering system is accurate and all the exposure modes are available on demand. Dealing with mixing light temperatures (Kelvin) may be its only one lower user point in still photography that you have to pay attention with the OM-D E-M1 III, a commun remark that can be said for many Olympus digital camera models.

Handling the OM-D E-M1 Mark III is requiring more muscle effort and a stronger hand prehension compare to more compact lightweight models such as the OM-D E-M5 Mark III. So, photographer fatigue will certainly be a factor to count with although this phenomena is less pronounced than when so-call "full-frame" professional camera models are selected. This is especially noticeable when the OM-D E-M1 III is combine with a "Pro"optic and the HLD-9 vertical power grip. That leaves us with a combo that have a lot of inertia and that, with the help of the internal stabilization system, allow us to work with slower shutter speeds in low light situations for example. Finally we can underline the more "angular" body design approach of the OM-D E-M1 III compare to the Panasonic Lumix G 9 Pro model for example.

Color and black and white (B&W) excellent picture renderings are a strong if not the "central" feature of the OM-D E-M1 III without any doubt. As a mostly exclusive JPEG picture file adept, I fully appreciate the Olympus image quality even more when I am reviewing my latest picture entries on a computer monitor. In one word, you can feel confident about it and rely on the camera for the best results available into the MFT image sensor format camera offer. Moreover you can configure your own color bias and much other camera settings if you need to do so and the four custom settings (C1, C2, C3, C4) are excellent to keep them available "on the spot".

No internal flash is available on the OM-D E-M1 III which can annoying if you are a fill-flash adept for one example. It puzzles me that "professional" camera designers have always disregarded the true utility to have on hand this very useful feature that has been reserved for the "lower" grade camera models. More than that this feature allows an easy access to an emergency light source very handy in high contrast back light situations. And the "all-weather" requirement is really a poor excuse to avoid the internal flash availability.

There is a lot of command dials and function push-buttons present on the OM-D E-M1 III., so, direct access to the most important functionalities should not be a problem and many of them are re-configurable by the user. Menu is complete and comprehensive as long you are interested to invest some time to learn it. No fully automatic exposure mode has been incorporated to the OM-D E-M1 III again under the assertion that a "pro" camera dont need it which again is a complete absurdity in my book but, you know, we have to satisfy the pretentious of this world who are claiming to be in full control of their (failing) destiny.

The electronic viewfinder (EVF) of the OM-D E-M Mark III is competent and sufficiently detailed to be a sufficient reference for the manual focusing purpose. In high contrast situations, it may struggle to give an accurate exposure rendering of the very low lighted areas especially if you compare it to the final picture file result, a commun behavior of all the OM-D E-M1 series versions. The viewing eye point (distance between your eye and the EVF eyepiece) is excellent for none glass-wearers although for the others like me (glass wearers) you may struggle a bit to check the four image corners simultaneously. The fully orientable LCD back screen is very accurate and give you excellent picture reviewing opportunities. All exposure, mode, function information are clearly displayed on the EVF and back screen but won't rotate to accommodate a vertical (portrait) subject framing.

The feather-touch shutter release will trigger the OM-D E-M1 Mark III in a very discrete fashion. No internal vibration are perceived and the camera seems to be ready on demand without obstructive delay. The camera can be configure to take very fast sequences of several pictures if you are the anxious type of photographer and not very good in subject anticipation. As usual I will not speak about the video virtues of this model since I am not in any way a videographer.

Last potentially irritative factor is the price level of the Olympus Pro system in general (as for all the other pro system manufacturers of course). At these pompous price tags, you have to think twice before selecting each different piece of gear you are interested to add to your photo equipment set. In a way, that can be also a good contraint preventing over gear stocking.*

The OM-D E-M1 Mark III is a versatile photographic device with multiple configurations adaptable for the needs and the preferences of the different types of photographers. The branding Olympus has been always a reckoned trademark with most of their camera designs since many decades and over the two technical eras, of analog-film and now digital. As I have already mentioned in the past for the previous OM-D E-M1 Mark II, that OM-D E-M1 series and the M.Zuiko Pro lenses are mature products addressed to sophisticated users that will appreciate well crafted camera models but you won't see a lot of them into the photo press reporter sidelines which is not new and tell us only that the old Olympus corporate professional event support level was almost absent compare to the Canon or Nikon ones. However, for those few professional photographers that have adopted the Olympus system, most of them have no desire to quit it for the obvious reasons of reliability, compactness and good quality picture results.

* P.s. The Olympus OM-D E-M1 Mark III camera models are still available for a time even considering the replacement introduction of the newest OM-1, you may have access to some interesting deals over the Web planet.

Photos Daniel M: Olympus OM-D E-M1 Mark III / M.Zuiko ED 12-40mm F2.8 Pro & ED 75-300mm II (E-M1 III photos) OM-D E-M5 III / ED 14-150mm II