Fix on Prime!

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

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

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

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

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

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

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

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

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

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

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

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

***

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

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

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

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

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

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

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

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

Travel light

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

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

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

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

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

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

*** 

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

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

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

Upgrade ourselves with a photographic firmware of your mind!

 Upgrading a digital camera via a firmware is now part of a photographer routine. Yes, we are always looking to better our technical base of taking picture, as for to be able to cope with more difficult lighting contexts. Many times we don't really understand which technical challenges that are involved in the process and more important what technical compromises and par extension which creative bias will be applied in the complete process. We look at a pleasant result but often knowing that we aren't really in full control of it (which is also ok).

In some ways we may need a "neural" upgrade to better understand the hardware and software limits of our marvelous photographic tool, the digital camera. How many of us have even taken time to read and learn from their camera operating manual (I am the first to blame for this). It is true that those last have became more and more lengthly complete to apprehend and I don't blame you to get annoyed by their obvious absence of a more friendly approach that should be illustrated by good examples of pictures. Let say they are for the most of them boring to say the least. Considering all the "ambassadors" at their disposal, the manufacturers should do better by far!

But on the rear side of the viewfinder, there is the photographer her/himself that may need to be upgraded as well. Doing photography is shorting a lot more than picture snapping with a smartphone as we may seen today. It is about "controlling" many if not all the photographic aspects of a picture from the preparation, the decisive moment and the edition of the final result to share. And this why we choose to own and work with a real and firstly designed device for photography.

The world surrounding us is a lot more than only a 2D virtual picture shown on a screen representation. It is a intensive dynamic light universe in perpetual motion that can be difficult to apprehend even partially. So, our first photographic "task" is surely observing its complexity and try to understand its constant evolution. That way we refine our "photographic" mind to retain and store many diverse imaging subjects and contexts that will be references for future experimentations. We explore first instead of blindly picking without any creative premeditation.

Interrogating ourselves is another important part of the creative process of any artistic approach (as for many other approaches in life) because curiosity has to be fulfilled with some all sorts of answers that will get us further into the learning process of life. We are still into our humanity infancy or may be a bit further into an ado crisis thinking we know everything based on a fragmentary experience level in life. Be modest but having great expectation is OK and better more if we feel confidence in our (personal) star. Doing photography is more than only repeating ourself as it first seems but it is also going a bit further.

Master the basic of photography can essentially definite by the light, the composition and the decisive moment. All those element can be analyze through our visual perception and mind deduction. Yes the technical translation of these ones depend of the hardware/software we are using to record them but the initial and inspired impulsion is done before the final clicking. We can compare cameras and lenses as photographic tools as for painters brushes, palettes and colors that will be selected, adjusted and applied on the virtual canvas of the image sensor. Each elements will impact the final result and transmit the emotions that will generate the picture share to others.

Introspect your work and share your pictures. That are may be the most evaluating part of your creative process. Looking to what you have done on a critical positive point of view will motivate you to extend your photographic search and try further experimentations. Sharing your pictures can help you to understand your personal place into the photographic universe which can be far different from the usual stereotype proposed by the pseudo traditional approach in art.

Updating ourselves is a never-ending quest to push ourselves to higher levels of creative expression and might be one of the best way to appreciate our photographic passion. 

Photos Daniel M: Olympus OM-D E-M10 Mark III / Lumix G 25mm F1.7 ASPH; Olympus Pen-F / M.Zuiko 14-42mm R;  Panasonic Lumix GX85 / Lumix G Vario 35-100mm F4-5.6 ASPH OIS

Simplicity vs Complexity: parametric fantaisies

 Each time you are anticipating to start a new photo taking session, there is often the question on how to configure your photographic device. Since we can choose and select about anything we want (and even more on what we doesn't know it can be done) through imaging preset bias (and post editing too), it is becoming a very challenging and confusing task.

Nobody can pretend to describe an absolute and universal parametric guideline regarding doing photography but we can imaging that some sort of partial check list may help at least the ones who are asking for and as soon you already have determined which camera and optic you will work with, you may concentrate yourself on some very basic photographic parameters like:

-some technical aspects:

The choice of the image sensor picture mode and its effects;

The sensitivity (image sensor "speed" - ISO) and its pixel resolution level impact;

The shutter speed or the movement expression;

The lens aperture or the focusing discrimination;

-and some creative approaches:

The angle of view or the importance of the subject in its context;

The composition or the graphic canvas organisation;

The light distribution or the contrast of the subject surfaces and the importance of their respective details (or absence of);

The expressive and decisive "moment" of the picture taking;

Any of those have an important impact on the image final rendering and its ability to seduce the looker. The other ways around is letting the camera brain decide for you what will important to adjust, providing you have firstly program it on the type of picture you are looking. In fact this is not new (it already has been present during the last decades of analog-film photography) but the degree of sophistication is now so high that is often surpassing our human ability and motivation to do by ourselves.

The thing that doesn't change is our choice of subject and the moment we are selecting to take its picture (although you can literally "film" it with a large picture taking sequence). So, the intention of photographing is still there and its purpose stays into our hands. Some photographic parameters are easier to master and with the modern electronic viewfinder (EVF) or the live screen (LVF) you can control their final effect right from the start before taking the picture. In a way digital photography is a much more effective way of doing it with less incertitude for the final result.

Many "partial" automated camera programs allow you to control one parameter at a time such as the lens aperture (A) or the camera shutter speed (S). Even with the full program position (P) you can introduce an exposure correction factor. Most modern digital camera models are giving you the possibility to vastly reconfigure them. At this stage simplicity leaves place to complexity which is asking for a more skill approach from the photographer. But in any case, you have the choice do less or more and determine the level of technical implication you want to involve into your photographic essaies.

Photos Daniel M: Panasonic Lumix G95; Fujifilm X-S10; Olympus OM-D E-M5 III 

Sepia Views

 

 Old fashion photography is often associated with the sepia monochrome picture rendering meanly because the old analog-film print had a tendency to get a "browny" look with time for diverse reasons. Today we can produce very easily this effect with our modern digital cameras and their special picture effects.

Here are some personal picture interpretations of the Olympus Sepia Art Filter:

Photos Daniel M: Olympus OM-D E-M5 Mark III / M.Zuiko 45mm F1.8 Premium & ED 14-150mm F4-5.6 II

The pre-focus place into the autofocus era

 In still photography or simply in photography, doing prefocus has been a technique that many of us have adopted to make sure that the subject or part of it that will be sharp and detailed. Even in action photography prefocus has been used to precisely select the position and the specific photographic moment. Today with the huge autofocus system advancement in term of predictability and reliability, only very few of us are still working that way for active subjects.

Prefocus is demanding a good among of anticipation and analyst to get good picture results and it is not surprising that the technique have lost so much ground in popularity because it isn't a spontaneous reactive behavior. It is part of a pre-visualization scheme that will dictate the composition and the photographic taking moment of the picture and the long-time value of the picture is often related to the time and the effort we have consecrated to produce it.

"Auto" Pre-Focus.

With the introduction of the actual and competent camera autofocus system, many if not most photographers are privileging that way to do focus on their subject. It can be done continuously (AF-C) or in a single or stop manner (AF-S). The latter is representing the electronic version of the traditional manually pre-focus method. Single or stop focusing imply that your subject will stay still in terms of position and distance from the photographer. If your main subject is not already in position, the pre-focusing has to be performed on a substitute subject that will be at the same place.

This is not different from the older way to do it manually except the fact of maintaining the shutter release button half-way to prevent the lost of your selected focusing point. To counter this obligation, you can use the memorizing autofocus functionality of the camera that is often coupled with the auto-exposure metering one (AEL/AFL). In that case, most camera model configuration systems allow you to program this function in alternance of focusing and metering or in combination of both. Many systems will ask you to press and maintain pressure this function button in order to keep the focusing point memory or more conveniently to press first to activate and press again to cancel it. Each system has to be learned and can be configured to fulfill your personal preference.

"Manual" Pre-Focus.

Manuel pre-focus and hyperfocal settings have been associated with the analog-film era for several decades of analog photography for doing action, travel, street, journalism, etc. In those times the cameras had to be set manually in regard of their camera shutter speed, their lens aperture and their lens focus point. The most convenient way (and fastest) was to "pre-set" your photo device as much it was possible and be ready to take the picture (although that you were not able in these days to see the picture end result before processing the film). Du of the lack of dynamic range of the analog-film, exposure metering was a tricky business with almost no latitude (less than one stop/EV in many cases). So anticipation was a popular way of doing for the photo takers of the time.

Today only few photographers will not rely on the camera automatic exposure metering system that has a lot of pre-recorded light situation algorithms to compare and analyse the subject and its particular context. Moreover light and color/tone appreciation can be altered automatically via film, filter, scene options already available into the camera ready to be selected by its user. The same apply for the auto-focus system although the camera interpretation of a main subject can differ from the one you decide to privilege. At this point, the photographer can simply override the camera automation and manually focus its lens. It can be done fully from the start or on a final fine tune intervention. Both method are good and accurate as long the user keep a good picture reference with its electronic viewfinder or its live viewing monitor.

Hyperfocal aperture setting is also possible through an appropriate and specific aperture selection but the big problem is that most modern electronic optics have lost their visual aperture reference scale that was showing the distance focusing range as it was engraved on older manual focusing lenses (except now for certain exotics optic providers). But you can still have a ruff appreciation of the deep-of-field by using the camera menu option or the function button designed for this but it can cumbersome to use with. Some lenses such as the wide-angle ones are more prompt to offer you a larger deep of field which is useful for the more contextual photographic subjects. 

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The Pre-Focus place in modern digital photography is still important even considering the excellent automated performances of the actual digital cameras. And the todays photographers can be more than simple operator if they want to put their interpretation and their creativity underline and share an original visual experience to his/her other human fellows. It is up to us to put the extra but also valorizing effort and get a better self-appreciation of our work and our pictures.

© Photos Daniel M

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

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

Verti-Go Kompozitions

 

Pen-To-Glass

Tree-O-Fall-Beat-Win

Flo-Ro-Fall

Stri-O-Lamp

Sha-Do-Pal

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Photos Daniel M: Olympus OM-D E-M5 III / 45mm F1.8; Olympus PEN-F / 45mm F1.8; Olympus OM-D E-M1 III / ED 12-40mm F2.8 Pro; Lumix GX9 / G Vario 45-200mm II ; Olympus OM-D E-M5 III / ED 14-150mm II

Low light !

 When we speak about available light, many times we are referring to low light situations. Capturing these darker moments is not an easy task for any photographic classic or modern devices. It stretches them to their technical limits to get an acceptable image rendering. The "quality" of light is often associated with "quantity" of it meaning it add a lot of density of the picture definition and more density can help in image post-editing.

Be able to record low light contexts can be very rewarding because these pictures add a lot to the mystery and the magical of the subject. Intimate, strange, scary, ethereal, all these qualifiers can be evoked to describe a low light photograph. Recent digital camera models are now better equipped to record those special contexts. They have access to higher image sensor light sensitivities (ISO levels) that we had never expected to be available and sufficiently workable during the traditional analog-film era. Now it is manageable as long you take a minimal special care in holding your camera and be aware about the blur induced by the subject movement if it happens.

A special care could be also taken by the photographer not to destroy the "scarce" light distribution that definite the low light context of the subject. For most of the time the details of it can be more suggested than fully definite like in the daylight or well-lit contexts. Experimentations can help by bracketing your exposure to get a range of different light interpretations for example. Digital photography permits you these different image essays at low cost and with easy executions.

Many photographers are easily discouraged by low light situations, but they are avoiding a lot of original opportunities to get special pictures and it is a pity because these image contexts are often interesting more that their full lit counterparts. There is no reason not to try and not to succeed today in that very peculiar photographic task.

                                                                       

A "Low-Light" Setting Memo:
Hold steadily the camera or use a fixed stand (tripod, wall, floor, table, etc.); Pay attention to your (slow) shutter speed; Be aware of your focus point especially with a shallowed deep of field when using a larger lens aperture; Note your image sensor sensibility (ISO) that can influence your image quality (by definition increase image noise presence); Have a good comprehension of the light distribution of your subject that will compose your final picture; Don't hesitate to review the taken picture and do it again if the first result doesn't please you.

Photos Daniel M: Olympus OM-D E-M5 III / M.Zuiko ED 14-150mm II / ED 75-300mm II

Release the pressure!

 Pressing the shutter release button in photography can be a frenetic final action but, why not stay a bit longer with your subject, a lesson that have learned from my analog-film age (Oh boy! It was yesterday in my blown mind). Because when you give the order to your finger to press it there is a small delay even after the moment "you think" the picture has been taken. Therefore "anticipation" has become a key success word for many renowned photographers and for the none-renowned ones 😉. 

Be ready is a thing but staying calm and concentered is important too. We live in a constant moving world which we are learning that everything are not really staying still in place because there is always some kind of on-going replacement, or a growing (or its invert) or a changing in aspect, etc. So, taking a picture is not really finished the moment you have decided to press the shutter release button.

There is a technical prolongation to that initial shutter release action, and we must respect and cope with that fact. If you start exiting your attention of the subject just after you have pressed the button, you may provoke a blur or simply miss the peak moment of your subject.

Old cameras use to have a noticeable "shutter release delay" for mechanical reasons and the manufacturers have reduce it substantially over the years. Today and especially with electronic shutter release that delay is almost forgotten but still, there is also what we may call the "mind decision delay" between your anticipation and the very moment the picture is taking. We used to say: if you can see it with your eye, it is already too late to be register in the camera, and it is true. To counteract this phenomenon, some cameras have the option to record continuously pictures before you trigger it (In fact, the moment you half press the shutter, you activate a kind of prior picture buffer). That's a cute trick but it won't prevent that your subject peak action will happen between two pictures! (OK you can take 50 pictures/sec to prevent that and fill up your memory card or, at this point, why not doing cinematography instead?).

At the end, what we are trying to underline here is this: instead of hammering your camera shutter release button, rather do introduce more fluidity in the way you are interacting with it. Hold your lens with the palm of your left hand and liberate the pressure of your right hand. In doing so you will feel more comfortable and confident to get good, steady, and interesting moments to photograph. Photography may be relaxing too!

Photos Daniel M: Fujifilm X-H1 /XF18-135mm R LM OIS WR

Stories behind the pictures

We know this adage saying "A picture is worth a thousand words" and everybody agrees about the impact and the multiple signifiants contained in a photograph. But there is also a story behind all these visual testimonies that were not possible without a personal involvement and a contextual set-up. And it goes as far as the final presentation of the picture in including its sharing support and its specific audience. 

In reality there is no picture that can be sustained by itself because many circonstances have or will definite its (temporary) lasting impact. Without these fundamental factors, photographs cannot simply existed. 

So, what about these "off the record" or "between lines" stories that may explain more extendedly the context of the photographer's quest. There is a lot of these stories telled in books, articles, interviews done by the photographer itself or by third party interested people. The approch can be academic, journalistic or even literary for some and many are almost if not more fascinating than the picture it is based from. Yes, a picture is worth a thousand words but it can also provoke more thousands of words that will enrich the subject and its purpose. 

Here are few short memories extracted from my personal modest collection:

A racing weekend with Manon (July 1992)

Over my "racing" years of photography, many weekends were spent to motorsport assignations and my future and still beloved wife had eventually get frustrate to stay behind when I had these wonderful opportunity of enjoying the glamorous atmosphere of the world of motor races (with the charming girls and the splendid after-race afternoon gatherings!). Although I have mentioned to her that the reality of being a photo-reporter under these circonstances may be in reality a bit different, the doubts had been always there.

So, exceptionally, for one of those three days event, Manon served me as an assistant-photographer into the beautiful (and very scenic) Mont-Tremblant mountain circuit site which can be compare to similar from Spa (Belgium) or Nurburing (Germany) in Europe. And as usual, we have encounter the usual mix of extreme temperature changes (sun, warm, rain. wind, cold). And although we had lot of fun, Manon never ask me again to be assistant and preferred to stay into the full services spectator areas!

Photos Daniel M: Nikon F3 HP / Nikkor AI 300mm F4.5

A German interest (May 1997)

1997 was a big year in my life! I have get married to Manon in previous September 1996 and I started a brand new job on the road for several different photo equipment Canadian distributors as an agent for the Eastern part of the country. As a Leica representative, I had to follow a special seminar about their products and visit their German manufactory at Solms near Wetzlar. As a North-American individual, Germany was a fascinating country considering the recent past history of the second World war and the cold war. The lands, the buildings and the German society have been completely regenerated since forty years but it seems that further past heritage has been also revisited as there were not a lot of in situ testimonies left about the considerable war material and human damages. It proves simply that humanity is a lot stronger than we first think of.

Photo Daniel M: Leica Minilux 

The analog days are almost over *** (Key West, August 1997)

*** and I didn't know it!

During a three weeks road trip along the USA east coast, we had finally reached its southest point, Key West. I was still an "analog-film" photographer at that time although I cannot remember exactly which specific camera I have used to do this slide (probably a Nikon F90X / Nikkor AIs 35-70mm F2.8). This picture illustrate my ever interest to do graphic composition with a humanity zest and obviously show the limitations of the analog-film dynamic compare to the digital modern sensors but the special blend of the color rendition and the grain texture of the film was unique by itself. For the record, it will take, at least, another seven years before I definitively adopt the digital gear wave.

Photo Daniel M: Nikon F90X / Nikkor AIs 35-70mm F2.8 (to my best recollection)

A strange new world (Tulum, March 2006)

We were visiting the fascinating Tulum Temple remains and we did record all those antique assembled and sculpted rocks but there was something missing which appeared to be the human essence this new world for the "conquering" Europeans that we were at the time (and not very respectful I must add). Suddenly, I decided to go further near this small beach and I was seduced by its different atmosphere when I saw this mother with her youngsters spending time in the Atlantic breeze. Recording that moment was the highlight of the entire visit.

Photo Daniel M: Nikon D70S / AF-S DX 18-70mm F3.5-4.5

Frames over Frames (Montréal, August 2012)

A snap shot is always a snap shot but without a sharp eye and a sense of anticipation, it is rarely a strong storytelling picture. Picture frames are like small cells of life that contain their own universe and drama. Humanity can be framed into infinite possibilities, contexts and situations. And sometimes these frames are melting themselves or collides in various and interesting ways that photographs can record for posterity. This moment happened just through my beautiful office windows in Old Montreal.

Photo Daniel M: Nikon 1 V1 / VR 10-30mm F3.5-5.6

Cat People (September 2018)

We are "cat people", no doubt about it but, by far, not the first ones, egyptology can attest! And the real question behind this fascination about cat is "what they (the cat) are really thinking of us"? (beside the proven fact that we are their best servants). And why there are so many "cat pictures" all over the Web planet? Yes, we, humans, love them but is it a  mutual feeling? 

From all the cats that have decided to share their life with my wife and I, we never have received a clear answer. May be they, the cats, kindly decided to tolerate us as a philosophic and a practical point of view. May be they, the cats, want to educate us to a better living manner. May be they, the cats, simply want to enjoy life with our company. May be...

Photo Daniel M: Lumix GX9 / G Vario 12-60mm F3.5-5.6

Golden Light (September 2021)

We are facing difficult times since a few years despite the fact that many of us are still privileged with life but we cannot ignore that many others fellow human are encounting a substantial degradation of their material and psychologic situation. We are searching for hope and a better future far less scary from what many are predicting for us, the kind of "golden" future that will enlighten our universe. 

Photo Daniel M: Fujifilm X-Pro2 / XF 50mm F2 WR