Something has to be different!

 Replication is not a new thing in photography as for variations over a basic theme but, at least, variations are a different exploration of the main subject opposed to simply an endless reproduction of the same formula. In many ways we are asking for stereotypes because we want to be reassured and comforted in our vision of this world and reassurance seems to be a (surviving) key word in this moving surrounding.

Differences are fundamentally provoking facts because they are questioning the establish order of our interpretation of this world. In photography and especially in the recent digital decades, we have definite a kind of esthetic algorithm that reproduce the ways on how we want to perceive our recorded imagery. But it is not about to be simply critical technically or not about the picture, it is about acceptation of its inner value in term of visual original expression. In one word, we don't accept any more differences even if we proclaim the opposite!

Without strong feelings and deep emotions, the art of photography is going nowhere except for its tapestry purpose which we can observe truly over the Web and the (social) media of these generations of (fanatic) adepts. Broking their rules and you are simply excluded or marginalized of this visual planet. Their way of thinking contradicts their artistic pretentiousness because they cannot accept to be generous outside their personal goals.

Accepting differences is not easy for many of us. It can be in highly insecure state of mind. If you intend to experiment something new, there is some chance that you won't be satisfied with the first results you will obtain. But that is leading you to try again and expand your exploration desire. That will push you to question your artistic and technical skills and go further and, at the end, will bring you to an higher level of emulation. Observing (and photographically recording) the world around us is opening our mind to different interpretations of this universe. It is a (very) complex environment which we can subtract elements or parts of it to better understand its nature. As they say, there is no real objectivity in our human curiosity but there is certainly a lot of differences that we have to respect!

© Photos Daniel M: Lumix G95 / G 25mm F1.7 / G Vario 12-60mm F3.5-5.6 Power OIS

Our Arkitektural Frontiers.

 Design is not a new thing in human history. Because we are essentially big constructer remodelers that distinguishes us from other animal species, we have created a very graphic approach how to rearrange our surrounding world. Straight line, curves lines, parallel ones, perpendicular others, triangles, circles, pentagonal, octagonal, and other representations, etc. are part our search and experimentation to draw a world at our minded image. It could be seen as artificial construction opposed to the "natural" state of the untouched things and it is an evident human civilization signature.

Over the past, we have largely documented the incessant human effort to reconfigure its own eco-system on a macro or micro point of view and architectural photography has been a vast field of recorded observations. We have even imposed some rules to do those pictures although they apply more for scientific or factual comparison purposes over times and locations, and we won't argue of their intrinsic pertinences.

But there is another part of it that is more esthetic and that require a far more artistic approach in visual arts such as drawing, painting, or photographing. And that part is the one that involve a fresh creative view where impact and emotions take the first motivation for their authors. Moreover, a world of rapid changes, substitutions and finally... material obliterations, there is a necessity to document and to interpret all these ephemeral human construction manifestations as a time and culture testimony. Today most of this past presence is vanishing in profit of a kind of standardization of our living space where economics has become the primordial factor.

Every human material organization can be appreciated by its "architectural" approach even if it seems sometime odd, unreasonable or futile. Recording these elements as a whole or in details can be a real photographic challenge not only in regard of the technical aspect to produce a picture but also and more important in considering the artistic point of view of the subject. Contextual examples of architectural photography can be seen into these previous posts. This visual experience is starting right into our own familiar surrounding at home and to our regular daily activities. Observing, noticing, taking pictures on a regular base and in different hours and sharing the results are a very rewarding way to experiment architectural photography.

No limit should be imposed to practice architectural photography and every interpretation can add to the cultural knowledge about the human habitat. It is a very inspiring visual subject to explore with interest and enthusiasm.

© Photos Daniel M: Lumix GX7 / G 20mm F1.7; Lumix GM5 / G Vario 12-32mm OIS

The Panasonic Lumix G95 / G90: Back to basics!

 

Many of us have a special affection for the Panasonic Lumix MFT products. Their functional esthetic reminds me all these German designs of the begin of the 20th century with simplicity, durability, and efficiency as essential characteristics of their products. Nothing flashy except maybe for the connoisseurs. But I must add that the different Panasonic Lumix models have never disappointed me over time starting with my tiny Lumix LX5 in 2011.

 The Panasonic Lumix G95 (G90) is incorporating the common 20MP image sensor following the actual standard used into almost every high and mid-range Micro Four Third image sensor format (MFT) camera models. The previous Lumix G85 (G80) has been such a successful camera model (both for users and critics) that Panasonic seems to have mostly replicated the basic design of it to its newest Lumix G95 (G90) which is in a sense a indirect homage of the pertinence of the ideas implemented onto the original G85 (G80). We must underline that the Lumix G95 (G90) doesn't use the exact same camera shell compared to the previous one (G85) therefore being a little bit larger and a little bit heavier. The camera model might appear more robust although there is no way to prove this assert. 

The Lumix G95 (G90) is a weather resistant camera which is qualifying it as a real all-around photographic tool even in more adverse contextual conditions. Of course, the camera body must be couple with a lens which is accordingly weather resistant (WR) to be able to get a total profit of this feature. Panasonic is offering already in many worlds marketplaces the Lumix G95 (G90) with the Lumix G Vario 12-60mm Power OIS zoom kit (WR) lens. So, you just must be aware to select an additional optic that is WR.

The ergonomic of the Lumix G 95 (G90) might be conquer you when you will handhold the Lumix G95 (G90) for the first time. The G95 sense of proportion seems to be ideal (at least, for some of us!). The front and back control dials and the different function push- buttons are well positioned. The back thumb rest give a good prehension that complete the one (prominent) of the front face. The On- Off switch isn't perfectly located but, at least, it is positioned on the Lumix G95 (G90) right side. No joystick is available, but the touch screen optionality may be considered as a useful substitute.

The shutter release button has a two-stage (focus lock/shutter release) feather touch, and its action sound is discrete, a good characteristic for photographer who must operate in quiet surrounding. The two major control dials are rightly located in the right upper front and back of the G95.

The electronic viewfinder (EVF) eyepiece is noticeably recessed from the camera body living a breathing space for your eye and ... for your nose! The EVF image is clear and sufficiently detailed to be able to focus manually with accuracy. The Live Viewfinder (LVF) panel is fully articulated and can be appreciated by both photographer and videographer. All information data can be reviewed on the EVF or the LVF although they don't rotate to accommodate a vertical (portrait) composition.

Except for the lens release button, the Lumix G95 (G90) body front is exempt of any others function lever or button. The camera body top deck remains a model of simplicity. The ISO, the White Balance (WB) and the exposure correction bias have a direct access through dedicated push buttons. The exposure mode dial (P/A/S/M) is complete with two custom modes (C1, C2), creative and scene modes and a fully automatic mode (iA) is available on the spot if necessary. The B setting is available through the manual mode (M). On left side, the shutter mode dial give access to single and continuous shooting sequences, 4K and back focus modes, and finally interval and self-timer modes. Each camera body sides have specific accesses for the memory card and for the wired different connectivity options. The in-board tiny flash is practical for emergency short distance flash fill-in and is rightly positioned into the false pentaprism.

Other functionalities are positioned on the back side of the Lumix G95 (G90) and can be also reconfigured at will for some of them. Therefore, at some point, it can be difficult to remember all the functionalities selected for the multiple functions press buttons or for D-pad. It is up to you to stay familiarized with the G95 by reviewing the functionalities regularly.

The Panasonic Lumix G95 (G90) despite its basic presentation give you access to a very large spectrum of different ways of experimenting your creativity. You can set the camera the way you want, and it will behave to your own satisfactory. The menu is extended but comprehensible. Wireless connectivity is practical with both Bluetooth and Wi-Fi availabilities. The Lumix G95 (G90) is a very easy-going camera to work with since its interface is vastly intuitive. Playing with its different functionalities (even using the menu guide) will allow you to better understand and set the Lumix G95 (G90) your personal way.

The camera is quick to wake up and to be available to photograph. Therefore, the battery consumption is high compared to others competitor products. It is prudent to have on hand an additional battery pack and the use of the optional DMW-BGG1 power (vertical) grip can give you an extended power autonomy, but it stays an expensive accessory although it offers an excellent vertical grip for portrait or action shooting.** 

The autofocus system is efficient for still photography although the tracking option doesn't have the accuracy and reactivity compared to more recent competitor models that have both contrast and phase detection focus operation abilities. The continuous follow focus is manageable with a good success picture taking rate as long the subject movement is not too much erratic. Manual focus can be done through the EVF that have good definition to do so.

The Lumix G95 (G90) stabilization system is a big part of its successful photographic ability. It prevents efficiently to blur generated by the operator unintended movement especially in handheld picture taking situations. It is almost inconceivable today that the modern digital camera models didn't have that specific functionality. Moreover, Panasonic is offering a selection of different optics that carry their own optical stabilisation system (OIS) that can be rightly paired (Dual IS) with the sensor stabilization of the Lumix G95 (G90). It is a win-win situation when you are coupling the camera with a telephoto lens.

The picture review button is located just beside your right thumb and looking to your last recorded image is fast and logically easy compared to some other manufacturer camera models.

The image output.
When it comes to appreciate the Panasonic Lumix imagery output, my first very favorable impression (if not my everlasting) is about their black and white (B&W) special rendering. Coming for that (dark!) age of B&W analog-film, you cannot avoid the pleasure to set the Panasonic Lumix G95 (G90) at its monochrome mode (there are three actually) and enjoy it extendedly. I must add that the color rendering is good equally. The pictures are nice and well detailed especially into the lower ISO sensitivity scale but even in the higher setting (more than ISO 1000), the results are noticeably pleasing.

The creative filters are useful. I love creative filters because they often open our mind to other pictures interpretation bias. Some of them are more anecdotic but some are clearly less intrusive to the picture rendering and can be assimilated as a basic image canvas to explore and exploit. And many of these creative filters (as for the monochrome modes) have a nice setting range in regard of their final effect. 

The future of Micro Four Third image sensor format. 

Again, we must answer this inevitable questioning about the MFT long term perspective as a system. First, we may notice that the MFT system is already a very mature one in terms of offer and variety of products such as camera models, lenses, accessories. Second to consider, compare to the larger sensor size format other systems, MFT is still more compact and will stay considering its smaller sensor advantage. Third, although the dead of MFT has been anticipated several times, the two major manufacturers, Panasonic, and OM System, are maintaining the availability of the complete line of products. Nobody can clearly predict what will happen in the next 3 or 5 years because it is the way things are working now but don't prevent you to adopt and stay faithful to MFT even if some reviewers or other format fanatics were implying that you must do.

In Brief.
The Panasonic Lumix G95 (G95) is a good camera model that reunite all the characteristics of a competent, durable, and enjoying photo device. For a photo enthusiasm like me, the G95 (G90) answers my search for a compact camera (and lenses) that replicate many "pro" advantages without breaking my small budget. The G95 (G90) can be conveniently coupled with the BGG1 power (Vertical) grip for more battery autonomy, with an external electronic flash for more additional light output and with other specific accessories that are meeting your own choices and needs. The G95 (G90) ergonomic is excellent and its interface complete and easy to interact with. Finally, its image output is very satisfying even for the more asking ones if you stay out of the eternal image sensor format web war. Yes, the Panasonic Lumix G95 (G90) is a fine evolute successor of its beloved predecessor, the G85 (G80).

** If you can afford the purchase of the additional BGG1 power (vertical) grip and the size increase of the camera body, it could be an excellent recommendation for getting a noticeable better handholding of the Lumix G95 (G90). In some country markets, the BGG1 comes already with an additional BLC-12PP battery pack to be use with this accessory.

© Photos Daniel M: Lumix GX8 / G Vario 12-60mm Power OIS; Lumix G95 / G Vario 12-60mm Power OIS / G Vario 45-200mm Power OIS; G Vario 100-300mm Power OIS

The few (pictures) that really count!

 While scanning through the Flickr Photo public bank, a sudden reflexion strikes me about the futility of presenting a massive number of pictures compare to be more selective and choosing the few ones that can generate more impact, questioning and inspiration. Because, in fact, you don't have to prove yourself in front of others by overwhelm them with a large and motley photo album that will simply induce a fatigue effect from the observer.

Let's be clear. You want to gain the heart of all the people and especially the ones that are often negatively critical by habit, by malice, by insecurity of their own inaptitude to produce and share pictures. These false proclaimed amateur "art directors" cannot understand anything that won't fit their narrow-minded interpretation. They don't want to be surprised, chocked, and learn sometimes new or different. It is a lost cause for you and for them.

Some pictures will survive in your heart and more importantly, will survive from their first taking context which is meaning that the message they convoy is more universal, less limited. Other pictures are often the repetition of something already presented several times in a kind of "pastiche" of the theme they try to reproduce. By opposition, some pictures are another kind of(artistic) search variations that expand the interest of the subject. Finally, some others are more consumable fashionable image representation that may see for a time (if you are lucky) as long they survive to the taste of the day.

Exploring the different Flickr galleries is a good indicator of the kind of documentation work or artistic exploration propose by their respective authors. Although we never really sure about the profound intentions of them, we can, at least, get a certain idea of the impact of their imagery output. By picking a very few of them to be part of my small "favorite" gallery, I want to encourage new talents with a fresh view of our surrounding world. There are often not technically perfect, but they are authentic and inspiring, two qualities that I am looking for in every photograph. That gallery is not only an homage but also an encouragement to go further and to share among other photographers.

There is a misconception about specifically "news" photography and why they do such number of pictures in a short time. Many of these pictures are in fact regarded as safeguards of the moments of the event, the context, and the subject. News photographers already know that will be only an infinite fraction of these pictures that will be selected like 1 of 100, 1,000 or 10,000! And most of these pictures are repetitive with very small variations. At the end, you can summarize them into small subject packages in very few theme and subject developments.

Everyone that is a bit serious about photography like to share his/her pictures but often feel very insecure to do so. It is normal because, in a way, it is a very intimate act that represent you, and your believes, your intentions. But it is an error to submerge your audience with a lot of pictures that will confuse and tired them. We must be more confident and audacious in your attempt to strike people about our pictures. Less pictures but with far more impact!

© Photos Daniel M: OM-D E-M5 III/ED 14-150mm II; OM-D E-M1 II/ED 12-40mm Pro