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