Is popularity equals (original) content?

If you are a blogger yourself, you may ask this question from time to time. We like to receive some sort of feedback that simply tell us that we are not alone into this Web planet. Why him or her and not us? Is it because we have not been the first ones to do so? Is it my content? Is it my channel? How can we be able to break that barrier to audience posterity?

Web is a very elusive place. You may think you are part of a crowd that is shouting in every directions. But the first thing you know... it seems you are left alone without any attention. And we must add that generosity is not a first quality shared by the Internet users. So even if a small fraction of your "viewed" statistical audience, let's say 1/1000, have actually read part of your blog output, there is no real feedback from them most of the time.

It is strange phenomena that in this so-call new world of communications, it seems that interaction between humans have been so proportionally low. The demographic multitude is very misleading because over the numbers, you can sense the loneliness of many of them.

In the photographic field more and more you can see that people are in fact telling their own thoughts without really caring about what the "others" may thought of it. So the message is purely voice over by egocentrism. More and more we see content without any implication and further more questioning. It is simply reproducing the accepted norm of pseudo photo competence. But without impact, originality and provocation, all those commercially splendid pictures may vanish at a very fast rate of your memory.

Following existing formulas and subjects is not really advancement or break-through. Yes it can be sophistication at a certain level but it doesn't represent novelty in the strict definition. And that is the big trap with the search of having an instantaneous popularity. It is like to be the savor of the day, the week or the month that will be forgotten even quickly.

Original content is certainly not a strong recipe for easy success but it can be the essence of longevity of your work or craft. Somehow the two way of producing pictures (following formulas and exploring) can coexist for sure and a lot of professional (commercial) photographers are knowing this for a daily fact. But don't prevent yourself to explore, try and search again for a content that may part of your future imaging evolution.

The Fujifilm X-H1 strikes again!

Hard to believe, even a few months ago, that the Fujifilm X-H1, the professional APS-C format X-mount camera with IBIS, is now available at a selling price point of $999 US ($1299 CAN). Already offered since the beginning of 2019 year at a very attractive selling tag ($1299 US, $1699 CAN), this time Fuji surpassed all the odds with no indication (at least for the moment) of a release for an updated version of this pro model.

So what the point for us? I would say that if you are looking to buy an X-T3 or X-T2 models, you should certainly consider seriously the alternative. Because the Fujifilm X-H1 is in my sense the real Pro camera from them that give you not only IBIS but also the ruggedness we are looking for an intense use of a photo equipment.

It is true that the Japan Olympics in Tokyo are around the corner and we can expect something in 2020 from Fujifilm that will probably update the X-H1. But the special opportunity to get the actual version is unique especially combined with the grip and maybe an additional lens. And we know that Fujifilm is caring about its customers by issuing frequently useful updated of their models.

So what's preventing ourselves to have access to such a high profile product? It is now a moderate affordable option...

Le faire pour soi: le freelance photographique!

On parle souvent de photo-thérapie comme une activité dérivative de notre quotidien répétitif et angoissant d'aujourd'hui. Et il existe plusieurs chantres Internet de cette tendance grandissante de relier l'activité photographique à une recherche non-encadrée ou si peu de ressourcement personnel. Bien sûr l'idée n'est pas nouvelle en soi et répond déjà au plaisir de plusieurs de photographier.

Cette thérapie par l'image est un choix libre qui se veut lamons contraignant possible tant techniquement qu'artistiquement. Elle propose l'observation spontanée de notre environnement dans un cheminement subjectif dans le choix ouvert de moments picturaux personnels. Elle nous "décale" de notre schéma habituel quotidien et elle crée une espèce de nouvelle routine de créativité sans la contrainte du résultat obligatoire.

Pourrait-on parler alors d'un véritable freelance photographique? Certainement dans la mesure où cette liberté nous incite à franchir des frontières à la fois personnelles et sociales dans l'accomplissement de notre existence. Il n'y a plus de mandats spécifiques à l'acte de photographique si ce n'est que notre propre inconscient créatif qui explore ses sujets favoris et c'est bien l'essence même de cette photo-thérapie.

D'autres formes d'expression artistique offre les mêmes potentiels thérapeutiques. L'art engénéral est un formidable exutoire de l'esprit humain.

L'autre aspect intéressant de cet exercice libérateur est son point de vue individuel qui l'exclut de l'encadrement incessant et perturbateur de la pression sociale qui nous enveloppe de plus en plus de son coté pseudo-justificatif de notre existence. Ic pas de place pour le coté moralisateur de l'intelligentsia du monde photographique destructeur de l'inspiration, de la nouveauté et de la provocation. Le traitement du sujet ad-libed est ouvert à toute interprétation iconique.

Quant est-il du résultat de cette démarche libératrice? Assurément un contenu qui diffère de notre grille habituelle d'images enregistrées. Mais surtout un témoignage de notre force créative à produire une photo plus provocante qui peut peut-être demander un effort supplémentaire à celle ou celui qui la regarde. L'émotion est au rendez-vous car elle traduit celle que vous avez éprouvé au moment de la prise de vues.

L'être humain est souvent à la recherche du soi à travers ce qui l'entoure et chaque élément de cet environnement contribue à sa connaissance et son expérience personnelle. La photo-thérapie prolonge cette observation en la figeant sur des moments particuliers que vous avez retenus en toute subjectivité.

The Fujinon XF 16-55mm F2.8 R WR: the expensive (muscle) Fujifilm trans-standard!

Not another big bazooka lens to hand-hold all day long! I cannot contradict my own preferences for using more compact and lighter photo equipment. But first I must confess that I had really like working with the Fujifilm X-H1 model. And optically my preference have been always for wide-angle, standard and (short) telephoto lenses. And many "pro" standard zoom lens models offered by manufacturers are in fact fulfilling these various tasks. So why not a test run with the Fujinon XF 16-55mm F2.8 R LM WR trans-standard zoom lens.

The Fujinon XF 16-50mm F2.8 Pro is a very beautiful piece of optic and very well carefully crafted too. Yes it is big and heavy, I won't contradict you in that matter. And don't try to put it into any of your pocket even the largest ones. No, the only way to bring it is holding it in your hands which can be convenient if you are attempting to do pictures with it! But what I love the most regarding many of the "pro" optics is their level of consistency along all the range of their focal lengths and apertures.

The Fujinon XF 16-55mm F2.8 R WR is not a compromise lens in any way and that explain mostly its dimensions and weight. Although it is not really a discrete optic device you can manage your behavior to counteract the effect of its relatively larger size. With its largest angle of view of 83.2 degrees the XF 16-55mm offer a perfect flexibility into urban, travel spontaneous photography subjects. And it can also manage interior photography to a some extend. At the long end (55mm) it can be used as a portrait lens. Its close focusing distance is modest but may be sufficient for standard size objects like flowers or food plates.

All the basic lens control rings (Aperture, Zoom, Focus) are easy reachable and their specific "grip" can be identifiable with after a short learning time. The filter-accessory size of 77mm is simply gigantic, so prepare you to spend extra money for even a basic protection filter and remember that at this big diameter the optical glass quality of these add-on accessories is a paramount factor to consider before buying (just for not helping you to keep your economy money). Lastly a beautiful but prominent plastic petal lens hood is included with the lens.

The red badged Fujinon XF 16-55mm F2.8 R LM WR is part of the select "pro" Fujifilm series X lenses. It insure certains specific characteristics that all these special optics share like the weather resistant feature and an implicite better design and manufacturing for a more intense use of the lenses. And on a long term those red badged XF Fuji lenses represent a better value on the resale market. The three control ring (Focus, Zoom, Aperture) are fairly large and smooth to operate. The aperture ring is click-set for 1/3 stops.

Fujifilm proclames that the Fujinon XF 16-55mm F2.8 R LM WR is ideal for portraits, landscapes, action/wildlife, urban/ street photography and video. Sure it attests of its own great versatility for all these various subjects. And the temptation to keep the XF 16-55mm F2.8 as a permanent resident on your X-series camera body can be overwhelming. Pairing the lens with complementary one(s) will probably ask you to select another red badged X-series zoom or fix focal length lens to get the same level of overall quality.

An interesting question can be asked concerning the focal length flexibility of the Fujnon XF 16-55mm F2.8 R LM WR? Can it replace all these fix focal XF lenses such as the 16mm F2.8, the 23mm F2, the 35mm F2 and the 50mm f2? If you eliminate the size and weight factors of the equation, the respond will be probably yes. Having working with some of those fix focal optics, I cannot see significant differences between their (high) picture quality output compare to the zoom one.  So yes it is a very good combine all-in-one product (however you may have to muscle your arms and shoulders a little bit!).

I was debating myself about the pertinence of selecting a weather-resistant (WR) lens over very good optic such as the Fujinon XF 18-55mm F2.8-4 R LM OIS which a more compact unit with optical stabilisation (OIS). Obviously the stabilisation feature doesn't really have to be considerate with a Fujifilm X-H1 model that have already in body image stabilisation function (IBIS). But the WR option can be an issue even if I am not always photographying in adverse conditions, it can happens very often in North America (Rain, cold, severe wind, snow, etc) and sometimes during travel (especially high humidity factor). So for a complete peace of mind you may want to fully rely the WR feature that also facilite greatly the maintenance of the lens.

The red badged Fujinon XF series lenses are expensive products. If you are considering to own some of them it can be a strong financial issue. Surely to get one or more of them, you will have to down play your acquisition pace (providing you are not millionaire!). The good thing about it is the fact it will allow you some time to consider seriously which type of lens will really suit you. You may even try one before buying it at a camera shop or may be rent it for a short photo essay (In Canada some  photo product retailers offer such a program).

What to conclude about the Fujinon XF 16-55mm F2.8 R LM WR zoom lens? It is in fact a very high quality optic and very well built. But moreover it is a very handy trans-standard zoom lens which will answer the needs of an urban traveller photographer who love to move around and choosing a great variety of different subjects to immortalize. It can work in almost any environnemental surrounding (providing you don't immerse your camera-lens combo!). And it delivers photographic image results that sustain the Fujifilm exceptional optic reputation. There are only small drawbacks (size & weight) that can be compensate by hand-holding your camera for doing ... photography!

The One Lens, One Camera Syndrome

One Lens, One Camera or ...

You already know that repeating story about this or that photographer that has gotten rid of all his or her precious and abundant photo equipment to be more creative free with a minimalist one lens-one camera (body) combination. It happens periodically and it is adding a lot to the controversy opposing the other extreme that propose to have the latest models and an extensive array of lenses and accessories.

But is it really better to impose you (material) limits at a level that will deter any attempt to transgress any material obvious limitations? Sure, you want to specialize your point of view that will represent your style or your picture signature. Many good photographers have already done this, but you have to remember that their working context was very different in the past because of the lack of photo equipment availability, the technical limitations in optics, in image supports (films) and post-processing were specific conditions of their time.

... Two (or more), better than one? ...

Today things have evolved and are still evolving at a fast rate. We are by far a lot more photo educated even in the case of the less photo interested audiences. Ignoring those facts is simply restringing our own capacity to share our works because of the inherent today exigences.

Does it mean that you have to over equip yourself to be able to produce a successful original picture? No for sure, but it can help you if you can extend your technical versatility even slightly just to prevent an eventual succession of repetitive images. Sometimes you need a new point of view to explore that will help to flourish your creativity. It can be a technique, it can be a camera process, it can be a lens, it can be a lighting aid, etc. Because the same basic subject may be represented in such many other ways that are beneficial to our own vision.

We don't want to encourage redundancies, material over expenses and waist, or simply working incapacity provoked by overabundance of photo equipment. And for most of us, less can be far better that more and more. And we want also to master properly what we own already to extract it the best of our photographic vision of this world. But trying something else is also part of the creative experiment.

... Or purists may ask for a fix focal lens oppose to a vari-focal optic?

Minimalism is not a bad thing by itself and demonstrate an effort to reach the finest use of a photo equipment. It helps to conceive and refine our own visual signature. It imposes to ourselves to transgress other contextual limits to our photography such our choice of subjects or surroundings. But even being minimalist must not prevent ourselves to be open to something else, something new, something disturbing that will force us to reach another creative level.

Off-planning a photo subject

Find your subject. Be focused. Concentrate your effort. In brief don't improvise! Is it true? Is it the real inspiration? Or it is more redundant and less provocative? That's maybe the real factor...

What is creativity if not doing something out of the usual path of thinking and be free to improvise something that exceed the precoder limit imposed by the other's frozen mind. Because in fact although the algorithm of all images from the past is interesting and can be inspiring for certain, it is also a closed store of imagination that justify its dogmatism by saying wrongly that everything has been already done and is now repeated in this today world.

Choosing a starting point, for example a subject, is in fact a way to motivate a new search and open a blank page that has to be written, sketched or registered. Every time it can offer a new perspective if we accept to explore the subject without (too much) pre-conceptions or pre-perceptions that are stopping our creativity. In visual art such as photography is, there is an esthetic to be found in every different subject and which can easily exceed its traditionally known profile.

Each new moment in our brief life has its own particularities. But its uptake (freeze moments) can be challenging for the observer like us. And as we want to transmit this diversity of views perceptions, it tends to vanish instantly. We have to train ourselves to be ready and pre-perceptive of what is happening and be able to participate to the endless flux of life. Because photography is a way to register a moment (action) in the chain of life.

At the end the photographer is the center subject of its contextual surrounding which will define the originality of its own personal perception. Creativity is a fragile thing, a kind of flower of your mind. And this beauty is not really appreciated by many of us that live a gray life because they are submerged by the overwhelming pathologic search of their physical and psychologic security. But it happens that somebody, somewhere, sometime will indeed open its mind and be emotively involved by our work. This why you must persist in your life search, it a human duty!

The essence of revisiting a subject in photography.

Revisiting

What we have first in mind into many artistic fields is the word "inspiration". Inspiration can be seen as the motor or the fundamental motivation to experiment and produce a pure artistically expression through different medias or techniques. And photography is truly part of this (as for all others visual arts).

Having the motivation can be translate to a spontaneous envy to register something you have seen in the real or foreseen in your mind. This process can be pro-active or reactive and will trigger a series of actions on your part to (tentatively) produce an output that will represent your interpretation of you have seen and what, I hope, you will photograph!

Human are in perpetual evolution to try, to change, to sophisticate their ways of doing things. We can call it refinement or the search for better if not the best. When we stop doing so, we regress or die simply (or disappear) by not being able to follow progress of life.

Clock and Frame Fragmentation.

Revisiting is, in the same time, the observation what it was, what it became and what it would be. It is going beyond of a first view or a first impression of someone, something, some context or situation. It is like to try to represent less trivial aspects of it and better translate its profound signification, sentiment or motivation. Yes, we can be lucky to get at first glance the essence of the subject but consider this as a very rare event. This is also why doing professional photography (seriously) is so a difficult task considering the incapacity to revisit the subject of assignation more than one time most of the time.

For sure you can train yourself to photograph similar subjects and gain a precious experience and knowledge that will serve you in other critical moments. But very often during a professional assignment you may be never really able to explore, experiment and revisit your subject after giving you some time to evaluate your previous work and to plan a new approach to it. That is the beauty to be an artist (amateur or not!) because these factual constraints of commercial photography don't exist anymore.

A personal favorite among others: The chair.

How many times will I revisit a specific subject? In fact, it never ends because there is always something to observe, to select, to interpret a different way. This on-going eternal sophistication of our life is infinite and even after our own death, someone, somewhere can retake the torch to pursuit our path as we may have done ourselves for works from preceding photographers. That is the beauty of revisiting a subject and enhanced it ad infinitum.

Compacité et relativité (des appareils photos)

Un géant parmi les tout-petits...?!

La compacité est une chose bien relative car elle dépend essentiellement des perceptions. Par exemple, pour plusieurs, le Fujifilm X-H1 est un appareil professionnel compact même si on le combine avec un objectif Fujinon pro comme le XF 16-55mm F2.8R LM WR. J'ai eu l'opportunité de posséder brièvement cette combinaison boitier-objectif et bien sûr j'ai apprécié la qualité exceptionnelle de construction, d'ergonomie et des images exceptionnelles obtenues avec. Cependant je dois ajouter que mes membres porteurs (mains, bras, épaules et dos) l'ont perçu d'une toute autre façon surtout en comparaison de ma sélection habituelle du Fujifilm X-T20 avec l'objectif Fujinon XF18-55mm F2.8-4R LM. Dans ce cas précis, la différence de poids et de dimensions passe du simple au double.

Un compact comme le Fujifilm X-E3 répond bien
 de cette définition de petit format ludique

Ce qui m'amène à ce débat sur la compacité relative des choses. Prenons un autre exemple de l'appareil cellulaire dont les dimensions d'origine éléphantesque sont passées au micro-format pour ensuite se rétablir dans leurs dimensions actuelles s'apparentant de plus en plus à une mini-tablette numérique, le format de poche étant réservé maintenant aux peu fortunés dont je suis! Évidemment je conçois aisément qu'il n'y pas à proprement parler de forme, de format et d'aspect idéal aux choses puisqu'elles s'adressent à une diversité d'utilisateurs aux caractéristiques ergonomiques très différentes.

Mais revenons à nos appareils photo numériques d'aujourd'hui, un créneau de produits de plus en plus spécialisé un peu à l'image d'un passé moins récent car l'instantané est devenu très justement l'adage des appareils cellulaires multi-fonctionnels. Il y a donc un certain nombre de catégories de ces appareils. Les plus petits se glissent dans la poche et utilisent une optique fixée définitivement au boitier. Il y a aussi ces appareils possédant des objectifs zoom à très grande amplitude proposés dans des boitiers tout en un qu'on appelle "bridge" et donc qui font le pont entre l'ignorance et la compétence.

Bien qu'il mimique l'esthétique des anciens boitiers reflex,
 le Fujifilm X-T20 est véritablement un appareil de faible encombrement.

D'autres proposent l'interchangeabilité des objectifs tout en se contentant d'un plus petit format de capteur d'images. Ici le débat prend toute sa verdeur si j'ose dire opposant les différents défenseurs de la veuve et l'orphelin sur la base de performances techniques particulières à chacun de ces formats de capteurs dont l'utilité générale reste à prouver même un cadre professionnel. Et la nomenclature des catégories en dimensions d'appareils se poursuit jusqu'aux plus grands. Et bien entendu certains modèles continuent de se prétendre des compacts au delà de tout sens raisonné.

On a associé même certaines technologies comme les appareils n'utilisant pas de visée réflexe optique  mono-objectif, qui requiert un miroir et un penta prisme ou penta-mirroir, pour les assimiler à la catégorie des appareils dits compacts. Aujourd'hui avec les derniers modèles offerts par Canon et Nikon, il faut se rendre à l'évidence que le choix d'une technologie n'entraine pas automatiquement une réduction de poids et de dimensions. De ce point de vue j'ai tendance à considérer ces deux dinosaures du marché de l'équipement photographique comme ... de prochains fossiles!

Mais la question se pose. La tendance à la compacité l'emportera-t-elle sur la résurgence des laideurs et de l'encombrement des prétendus "plein format"? Je dois avouer que ma foi profonde pour le petit, bien fait, pratique et esthétique vacille parfois devant l'agression actuelle de ces tenants de la version du machisme matérialiste. Mais j'entretiens l'espoir que la raison l'emportera sur l'absurdité et l'ignorance. En un mot, restons compacts et concentrés mes frères et soeurs!

On Leaves! / Effeuillons ...

A leaf can personify the brief time of living life with its rapid grow from almost nothing to its splendid apogee.
Then its downfall  is magnified by its change of color up to its final extinction.

Multi-Leaves

Life-On-Leaves

Fragi-O-Leaves

Op-O-Leaves

Family leaves

On-Leaves

Leaf-Slope

Leaf-O-Pick

Over-leaf

Leaves and Die

Bauhaus Einflüsse (témoignages d'aujourd'hui de la fonctionnalité esthétique)

Logo du Bauhaus, créé en 1922 par Oskar Schlemmer.
Source: Wikipedia

L'influence de l'école allemande du Bauhaus a été profonde dans notre société et ce malgré sa brièveté initiale de 1919-1933. Elle s'inscrit dans une vision originale qui allie fonctionnalisme et esthétique pour en produire une vision artistique moderne de notre habitat et de ses accessoires de la vie courante.

Le Bauhaus ou peut-être traduisible en l'art de construire une maison, a donné ses lettres de noblesse à l'utilisation de matériaux, de techniques et d'agencements purement contemporains et a proposé de nous libérer des visions classiques en architecture des bâtiments, des espaces et des objets à l'usage des hommes et femmes de notre société.

Plusieurs qualificatifs peuvent s'appliquer au Bauhaus: simplicité, audace, confort, cubisme, luminescence, etc. Bref son interprétation est multiple et très diversifiée. Plusieurs créateurs s'en sont inspirés consciemment ou involontairement car le fonctionnalisme moderne relie aujourd'hui la beauté de l'oeuvre avec l'efficience de son utilité.

Bref le Bauhaus a participé à l'émancipation de l'humanité à bâtir un univers propre à sa signature laïque, proportionnelle, artistique et fonctionnelle.

Voici quelques exemples de témoignages volontaires ou non du Bauhaus extraits de mon environnement quotidien:

Une résidence privée de construction cubique d'inspiration Bauhaus volontaire ou inconsciente qui réfère
 peut-être aussi au complexe d'Habitat 67 de l'exposition universelle de Montréal de 1967.

Le Centre de l'interprétation de l'eau de la Ville de Laval (Canada) dont le minimalisme
 architectural rend bien la vocation utilitaire essentielle de ce service.

Le nouveau (2018) Centre d'exploration du Parc de la rivière des Milles-Iles (Canada) qui réunit une exposition d'interprétation de la faune et flore, un centre d'activités riveraines de plein air et un lieu de rencontres multidisciplinaires. Le bâtiment construit aux récentes normes LED de récupération et d'efficience écologique possède une fenestration très dynamique tournée sur l'intégration au milieu naturel.

Le principe des balcons avancés formant échelle en facade de cet immeuble.
Leur caractère indépendant confère à leurs utilisateurs une impression de liberté
 par rapport à la vocation de confinement des appartements auxquels ils se rattachent. 

Ce n'est pas "la" chaise emblématique du Bauhaus mais
 une interprétation fonctionnelle à la fois utilitaire, compact et esthétique.

Les lampes de bureau d'inspiration Bauhaus font parti de notre environnement domestique
 depuis plusieurs décennies. Aujourd'hui elles sont toujours d'actualité malgré leur usage
 moindre avec l'adoption de l'écran rétroéclairé des ordinateurs et des autres appareils informatiques.
 Ici nous avons une lampe FORSA disponible chez IKEA.

Small is beautiful: a life with compact cameras.

Yashica Mat 124G (Analog 120/220 film)
Photo source: Images and Cameras

When that passion for compact cameras really has been begin in my life? May be right from the start. At that time analog medium format cameras were still alive and were still selling relatively well. I remember that we were using Yashica Mat 124G cameras (120/220 film format) for our photography learning classes and although that twin lens reflex was very sexy, it was not so practical considering its reversed sided viewfinder, its annoying parallax in particular if the subject was close to you and the roll films needed were a bit annoyingto load into the camera body, but using its waist level finder was a nice feature that was helping you to compose your picture. Even at the time most of us consider the Yashica Mat 124G as a true compact camera!

Asahi Pentax SP II (Analog 35mm film)
Photo source: Wikipedia

For the 35mm (mini) film format, we were allowed to work with Asahi Pentax Spotmatic II cameras coupled with Takumar 50mm F1.8 or F1.4 standard lenses. For sure the Pentax was my favorite by far and it was the photo device that was resembling the most of the iconic Nikon F of David Hemmings in the Antonioni's Blow Up movie. But on many aspects the ergonomics and the functionalities of the Spomatic II was better than the Mat 124G. And it was the start of a life long affair with compact cameras and their analog 35mm film format.

Olympus OM-2n (Analog 35mm film)

Compact SLR 35mm camera design culminate with the introduction of the Olympus OM-1 (M-1) in 1972 and their nice line of small Zuiko lenses. The Olympus OM SLRs were the modern replacement of the long traditional and successful Leica M series. Many cameras manufacturers have responded to that new trend of SLR compactness with their own interpretative models, Pentax with their M series, Nikon with their FM, FE and successors, Canon with their A more electronic series, Minolta with their X series, etc. It was really a beautiful period for SLR passionates because choices and novelties were numerous.

Konica Hexar Silver (Analog 35mm film)
Photo source: CataWiki

Passion for compact design were not limited to interchangeable lens cameras. There were several fix lens camera models that were equally interesting. One of my favorite was the Minox 35 which a tiny "spy" model perfect for travelers who didn't want to be noticeable from the pack of tourists equipped with large photo gadget bags. The Minox was able to deliver fairly decent pictures but not really suitable for enlargement or more accentued picture cropping. On its part, Konica was offering a very fine Hexar model coupled with a beautiful 35mm F2 lens. And how about the Leica Minilux like the name rightly said was an expensive and competent model with a fix Summarit 40mm F2.4 lens. Each camera manufacturer have dedicated at least one specific 35mm film format (with a fix lens) model to embellish their reputation into the compact camera field.

Things had taken another technical turn with the introduction of autofocus cameras and lenses and the  compact factor seems to be no more in many camera designer agendas. With the apparition of the motorized advance of film into the camera bodies the size of them had inflated at a very discouraging rate and even with the event of the new digital era that didn't really solve the problem at first.  But with time and new sensor formats such as MFT (Micro Four Third) and APS-C (23X15mm) we finally be able to own compact (interchangeable lens) models. Even some 24X36mm sensor format models are now smaller although their lenses are still on the big size dimensions.

Olympus Pen-F (Digital MFT sensor format)

There is more and more photographic enthusiasms including some pros who are sharing their passion to have and use compact digital cameras. The mirrorless technology embrasse rightly this contemporary trend. A mix of traditional ergonomics combined with the latest electronic and computer technologies are now producing highly competent, versatile, even robust compact camera models to be chosen by photographers. Some modular designs becoming very attractive as Olympus, Panasonic, Fujifilm or Sony have already introduced in their line-up. And there are hopes that Nikon and Canon  may follow in the near future.

The needs for compact photo equipment is not new and can be traced from the dawn of the photography. Today the demand for compactness is strong and their users want to have also access to the latest technical avancements and the highest photo quality available. A special mix that the recent new technologies have allowed at an affordable price. There is no reason not profit it!

What about the Olympus OM-D E-M1 Mark II ?

Don't trow away your small pots!

Yes it is a very pertinent question in particular with the introduction of the newest pro graded Olympus OM-D E-M1X. We don't know the manufacturer future planning concerning the still available Olympus OM-D E-M1 Mark II but some could be thinking in vue the recent price decrease of the Mark II that Olympus could be in the process to phase out the inventory of the E-M1 Mark II. True or not I think there is a place for the two models involved.

Let me trace a parallel with two ex-pro analog cameras of a less recent time. Nikon use to offer pro F series modular cameras from the original model F to the autofocus F4 which was a very clever choice for photographers who want to have the flexibility of compactness and the option of adding a sport motorized vertical grip. Later on the manufacturer choose to offer the F5 monobloc model that use the same principle design and handling that we are seing today with the new Olympus OM-D E-M1X.  Although I fully agree about the robustness and the "sport and nature" nature of the ergonomic of the E-M1X, it is certainly not what we can call a compact package.

Olympus OM-D E-M1 Mark II / M.Zuiko 40-150mm F2.8 Pro

So what about the Olympus OM-D E-M1 Mark II? In my book it is still a very competent pro photo device. For photographers on the run, for travel, for reproduction and macro works, for discrete application, etc, the Mark II fills the bill perfectly. If you are a user of small fix focal length lenses, the OM-D E-M1 Mark II represent a logic combo difficult to beat into the MFT planet but I must add that it is not a "pocket" camera obviously (Olympus have already various other models to fulfill that task). My humble advice to new E-M1X owners: don't sell out your E-M1 Mark II (if you have one) and preserve it as a back-up or as an alternative camera for other different picture taking situations.

Even in 2019, the Olympus OM-D E-M1 Mark II is filling the gap between the specialized "sport and news" E-M1X model and the rest smaller Olympus mirrorless models. And it is a "pro" photo device designed to withstand adverse conditions and intensive use.

We have reached a certain "plateau" in the development of the digital photo equipment and the manufacturers tend to diversify their offer in specific different amateur and professional directions. Because of its specialized clientele, many new camera models will be more expensive compare to the ones introduced during the previous "flash" era of artificial mass photo consumer market. Now we are entering into a more mature one in which most photographers are more carefully considering their buying options before committing into a camera  or lens model or an entire photo system.

If you like to do photography and you are looking for a proved compact pro option, the Olympus OM-D E-M1 Mark II may still be one of the finest offer over the market.