Green-On-Top

 If there is one color that personifies a state of mind, it is the green. Green signifies the nature growing, life, appeasement. It is the color of hope, and it is a very rich color in all its different tonal interpretations. Green has even become a renown political color symbolizing the pro-ecologic movement. Sure, there has been others green symbolisms like for some revolution factions in the past. Green has been also the infantry garment color although since the Vietnam war, that tendency has been replacement with camouflage patterns.

For many people, green is a favorite among the other colors. Green clothing may be unnoticeable or very flashy proving that green never said its last word in the matter. Each spring we assist at an explosion of green and the optimism replace the last depressive impressions of a never-ending winter.

For sure, green is a very pleasant color!

© Photo Daniel M: Fujifilm X-S10 / XC50-230mm OIS II

Affordable long range creativity with the Fujinon XC50-230mm F4.5-6.7 OIS II zoom lens.

 The Fujinon X-Mount lens line-up is renowned for its construction and optical qualities and has been a precious asset into the success of the Fujifilm APS-C ILC (Interchangeable Lens Camera) system. Some of those optics are almost legends of their own and have already a lasting durability over years of intense use. Alongside their XF optics which represent their finest lenses, Fujifilm have developed a less expensive XC series affordable (at a comparable half selling price) that retains most of the optical quality level in a lighter construction (mainly polymer material) and less functionalities (such as a dedicated aperture ring, or a focus or stabilization switches).

The Fujinon XC50-230mm F4.5-5.6 OIS II is the second version of the same zoom lens that has been developed as a companion optic of the XC16-50mm OIS standard (kit) zoom lens. Since that introduction, the XC50-200mm OIS II has been reviewed many times and have gotten an interesting, good feedback from these tests. The long-range affordable zoom lens is not a big and heavy optic, thanks for very modest maximum aperture of F 4.5-6.7 and its obvious construction mainly in polymer (including its lens mount). The physical barrel extension when you are selecting its longest focal length is, I must admit, impressive (It almost double its physical length). Accessory filter diameter is limited to 58mm, a very reasonable and less expensive size to cope with.

Two large control ring for setting the focal length and the manual focus are available on the Fujinon XC50-230mm OIS II. The rest of the zoom lens is exempt of other switch or button and give to it a distinctive spartan look. A usual for this kind of telephoto optic, a big lens hood is thankfully furnished by Fujifilm. Close focusing is limited by a minimum distance of 1.1m (43 inches) which is manageable for subjects like flowers or animal close ups. At 230mm, we will obtain a magnification of more than 6,5 times compare to the normal view of a 35mm prime lens.

The Fujinon XC50-230mm OIS II is often compare with the venerable Fujinon XF55-200mm F3.5-4.8 R LM OIS which use to be the companion optic of the other venerable Fujinon XF18-55mm F2.8-4 R LM OIS standard zoom kit lens. The XF55-200mm OIS is noticeably a bigger lens, much metal construction with extra control ring for the aperture, an OIS switch and a larger maximum aperture that gives you more than one stop of light gain. For the newest and lighter Fuji-X mount camera models, it is an heavier optic to handle and bring with you (and heavier also on your gear budget!). As far I am concerned, I have found the optical rendition of the two zoom lenses (XC50-230mm OIS II vs XF55-200 R LM OIS) very similar. The absence of the aperture ring on the XC50-230mm OIS II shouldn't bother you since if you are using it in conjunction of the Fujifilm X-S10 model for example ***. In the field, none of these two zoom lens models are offering the Weather Resistant (WR) certification from Fujifilm although, with a minimum attention, you can safely use them outside in most circumstances.

The autofocus is working with efficiency but can be slower in dim light context or with less constrasted subject. Action photograph should be performed with bright light although you can pre-focus manually the zoom lens in some specific situations as we use to do during the manual focus only analog-film era. Even in regard of its modest maximum aperture (F4.5-6.7), you can expect shallow deep of field from the Fujinon XC50-230mm OIS II and be able to isolate your main subject, especially in shorter distances.

Optical performances from the Fujinon XC50-230mm OIS II are on the same level in comparison with the other X-Mount lenses. Color, texture, and contrast are crisp and accurate, no surprise to be expected. The optical stabilization system (OIS) is a must in my view for a zoom lens of this type. Please note that the OIS can be deactivate only via the camera menu (No lens side switch to do so). 

A specific future article published in this blog will discuss about the "birder" qualities of the Fujinon XC50-230mm OIS II.

Long range telephoto zoom lens are a delight for details and for more graphical photographic projects. You can really explore, experiment and discriminate your subject with multiple variations in term of composition. They are great creative tool that help to isolate and emulate a particular interest of the image context. Sure many photographers are using them mainly in action, sport or animal photography but there is a lot more to do than that to do with the long telephoto zoom optics.

The Fujinon XC50-230mm OIS II zoom lens is not a perfect optic considering its very modest variable maximum aperture and its lighter construction compared to the Fujinon XF55-200mm OIS for example. But at half the price of the latter, it cannot be disregard as an affordable but performing optic that respond to photographers that don't want to spend too money for an experimenting long range zoom lens. Furthermore, there is no reason to leave the Fujinon XC50-230mm OIS II at home and to transform it as a good and always available travel companion.

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*** An additional grip accessory such as the Metro Case Fuji X-S10 Grip can be a good help for a better and a more secure handling of the camera/lens combination.

©Photos Daniel M: X-T20 / XF18-55mm OIS (XC50-230mm OIS II illustration); X-S10 / XC50-230mm OIS II

A, B C(amera)!

 There are the photographers that use solely one and only one camera (body) and they use it with serenity and outstanding competence like H.C.B., the late and famous Henry Cartier-Bresson. There are the others that have on hand multiple camera bodies that correspond as many different visual approaches of their subjects, like all those famous "Vietnam war" photographers. At the end, no specific rule will dictate to the potential photographers of this world how much photo gear they need to better master their art.

There can be many reasons to have more than one camera at our disposal. To have a back-up camera body, to have an instant availability for different focal length lenses, to be able to switch rapidly from different image formats or rendering (especially with analog cameras), etc. So, no justification is needed in that sense.

Which "B" camera to choose, that is the question (assuming that, for the "A" one, you have already selected)? Some will prefer to use camera models with the same interface, the same configuration profile, the same accessories. Others will be looking to expand the versatile of their photo equipment with different camera models that will be adaptable to specific photo projects or subjects. Again, there is no golden rule for choosing a "B" camera model.

We are all different sorts of photo travelers, but our individual various destinations can differ a lot. Travelers over the world, travelers over our countryside, our city, our neighborhood, our house and so on. Most photographers now like to carry less photo equipment which is almost a general universal trend observed since the last few decades. Big camera gadget bags have gradually almost disappeared of the photographic scenery except, may be, during the sport events or for photojournalists that are looking for credibility... There is also the lens evolution that the amount needed have been reduced over the years by the development of more flexible and good quality zoom optics. Today having more than two or three lenses alongside of one or two camera bodies is rare if not more exotic than useful.

From my modest experience none of my two camera models can be specifically called an "A" camera (priority) from the "B" one (back up) since they are different in their handling, interface, and configuration. I select each of them depending on the subject or the context I anticipate photographing. More precisely, my "action" camera model (Fujifilm X-S10) * is most of the time associated with a long telephoto zoom lens (Fujinon XC50-230mm OIS II) and the "contextual" camera (Fujifilm X-T20) may be combined with a standard zoom optic (Fujinon XF18-55mm OIS) or a "normal" prime lens (XC35mm F2). This can change over time since we are always looking for different visual experiences.

Do we need to have all this photo gear? Certainly not but why restrained our pleasure to try and experiment something else? Because each specific photographic tool can generate an original visual experience and, so, watch out, wallet and photo bag!
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* As it is in May 2022.

A Neutral Filter can be a See-through Permanent Protective Front Lens Cap!

 Had the privilege to be part of the photography business domain (as corporate and freelance photographer), I have developed a strong aversion over the years about the use of front lens caps. Why? Simply because they (lens caps) have the malicious habit to be in place at the wrong moment and they (lens caps) have the highest ability to lose themselves in too many occasions. Very early in my visual creator life, the neutral filters have been a critical equipment for my psychologic comfort and the one of my precious optics.

It is preferable that the neutral and protective filters are manufactured with very good quality optic glasses ***. Their construction should also be strong and refined so, you can screw and unscrew then with ease and confidence. These modern filters are now available with sophistic coating that prevent undesirable light reflections and, in some cases, act as a water repellent which is very useful in adverse condition photographic contexts.

The use of a neutral (protective) filter that act as a permanent fixed protective front lens cap can be combined with the mounting of a dedicated lens hood which is further prevent unwanted light flair phenomena. All these lens accessories (filter, lens hood) are not an obligatory requirement to get better picture results but for the photographer, they are a very fine reassurance about the sustainability of their precious photo gear without speaking about the enhanced ability to be able to photograph instantly.
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*** Yes, high quality filters can be expensive...

Photo Daniel M: Fujifilm X-S10 / XF18-55mm F2.8-4 R LM OIS

Faces-O-Ton with the Fujinon XC50-230mm F4.5-6.7 OIS II

 

Photos Daniel M: Fujifilm X-S10 / XC 50-230mmF4.5-6.7 OIS II

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

Unexplored Perspectives (in photography)

 This question (if not this quest) is often evoked by all these artistically photo-philosophers of this small world: why not trying new perspectives, meaning often new visual interpretations of our surrounding places, things, and people? But it is easier to say especially considering the obvious and vastly already existing diverse artistic material produced and presented over the years, the decades, and the centuries!

When we speak about perspectives, we speak often about our "own" perspective more than about a larger academic point of view. As creators of our own imaging universe, it is already challenging to overcome our natural habit to reproduce something familiar and reassuring. Trying something else is not only demanding but also highly insecure for us. On a larger scale, it introduces controversy and sometimes deep lacks understanding even from our closest friends.

Transgressing our usual is in fact opening a new road to renewable creativity. That introduces an uncertain but fresh visual interpretation of our universe that can lead to something different, interesting, and indicative and it largely worth the effort and the uncertainty.

Photos Daniel M: Lumix G95 / G 25mm F1.7 ASPH

On Pause

...until next April!

Photo Daniel M: Lumix GX8 /G VARIO 12-60/F3.5-5.6

The (photo gear) example not to follow ... Well, not for all of us!

 Trying and working with several camera and lens models and systems over the last, let's say, four or five decades, I often thought to myself, is it so pertinent to do so considering that a good photographer with a decent piece of equipment can produce very competent image output in a long period of ownership and regular use? And is the only true or, more maliciously, is a classic pretext to overcome any discussion about the qualities of an upgraded photo gear? Only God knows (or his hairdresser)!

Photographic gear has been (and still are) in constant evolution since more than two centuries. So, it is not, in any ways, a new debate. Many technical aspects have been enhanced like optical formulas, analog film performances, internal camera mechanisms, focusing techniques, exposure metering systems, ergonomics, etc. This long process has been translated in many cameras, lenses, and accessories (like flashes, motorization) variants over the years and the decades.

And this is not a "You Tube" phenomena!
Major camera manufacturers like Leica, Nikon, Canon, Minolta, Pentax, Olympus, Konica, and many others have introduced a lot of system itineration and, sometimes, complete overall redo of their product line up. And, honestly, I have spent a lot of time (and money!) to try and experiment *** some of them and I was not the only one, I can assure you. Photo magazines (the paper ones) for one were presenting a lot of different gear reviews although the presentation pace was a bit less frenetic in those times compare to the actual Web race to be in the front firsts.

The point is that the new photo gear offers you new technologies that facilitate greatly how we do photography with a better success rate. It also simplifies the learning curve which can be very frustrating for photographers even for the most experimented ones (who often will deny it, of course). All the technical aids are giving you better opportunities to concentrate yourself on creativity and composition of your picture subjects. So, novelties can be a good thing and ... future can be better than past! Saying that, it is not everybody who wants to embark into the ever-changing train of technical evolution which have its own logic in terms of habits and picture results.

The problem of today's photo equipment "You Tube" reviewers that many of them are idealists or tend to justify their personal choices or want to reach a higher clickbait as possible. That can be seen as the result of our Web communication revolution that is promoting instant rewarding based on the size of the audience. And the "Web Like" phenomena can be observed to almost any subjects presented there. Photography is only a very small part of it.

The fun of trying something else!
There is an interest for every different tool available but there is no real tool that will fit perfectly for everyone. It is a question of ergonomic, of interface, of results attended. If you are a curious person, you may like to experiment various photo equipment that will add to your total knowledge on gear variations versus their appreciation to use them or not. And curiosity is a bad thing as we use to say or to hear from our childhood or ... maybe not after all! Learning a new interface may be a good opportunity to further learn certain photographic fundamentals or to break preconceived barriers to creativity. And if you don't try it, you will never know.

This is not an attempt to tease you in buying each photo gear novelties that will be introduced, far from that. There are many ways to simply look at new cameras and lenses, virtually or in person. You can even rent them for a day or two. The only suggestion I will give to you if you feel more adventurous (and fortunate) is to keep an open mind about the latest technical developments and their applications into manufactured products. Who knows? You may find your (momentary) Graal!

*** And it is far from terminated! (I hope) ;-)

Photo Daniel M: Fuji X-S10 / 55-200F3.5-4.8; Olympus Pen-F / 45F1.8

On the move : the nomad photographer

 Everybody knows a story about people that have spent the entire life at the same place with the same surrounding and even the same neighbors. A story that seems to be more and more rare in this world in constant upset of many kinds. In short, humanity may be divided in two class of people: the nomad one and the sedentary one, but on a longer run, everybody will eventually change places. The reasons can be multiple like the search of resources, of peace, of better social perspectives, of a better climate, etc. With the demographic exponential grow of the latest centuries et the development of transport and communication structures, there are less reasons to stay put in the same place for a long period of time and, on the contrary the pressure to move has never been so great.

Since the beginning of my professional life, I have occupied seven different residential spaces not counting my two summer refuges. My average time spent in each place was about four years. It is little if you compare that to my parents that have been at only two residential addresses for their whole life spend. And I am not considering myself as a great voyager compared to some others that will be better to rent hotel rooms instead of doing incessant packaging and unpacking their stuff over and over. Why we are moving so frenetically especially considering the insecurity that such action generate in our small life, and not counting some sounding argues from those who are living with us, may sound even today a mystery.

Mobility appears to be a determinant factor to succeed in your life both professionally and personally. We are looking for the better in each case, It is not only looking over the fence for the greener grass but also have access to. So, those fences have been replaced by gates that can be opened easily or simply jumped over. The human animal is in fact a nomad specie that need to go forward even if we don't really know which direction, we are talking about...

On the other hand, we need to have some sort of fixed places because it is impossible to bring with us all the material heritage of a life that will constitute a small part of our modest humanity legacy. So, we are also "temporary" builders because most of our constructions are ephemeral except for some very specific megalomaniac historical monuments.

We can compare our different living places as train (airplane, boat, bus, etc.) stations or rest areas that help us to stabilize our individual situations and to rest for a time necessary to build strength and new knowledges before going back on the road of discovery again. Some of us will spend more or less time during these pauses as for some will stay there forever, they can do. Therefore, human history has been a transitional one to the last frontiers we can imagine and travel for. It is that dynamic nature that has been qualified as evolution and that photography and other interpreting media and expressive arts have recorder through time and cultural periods.

Frequent moving will challenge photographers in term of day-today organization, documentation tasks, selecting recording supports and finally finding sharing channels. If we have welcomed the digital ages for some of those challenges just mentioned, there is a growing uncertainty in regard of the sustainability of the photograph itself especially with the phase out of print pictures which have been the traditional way to conserve them through the ages. Speaking from my own modest example, I have almost lost all my photographic archives without any chance to recover them. Is it the price to pay for mobility? May be but there is also the lack of other interests to document the past compared to the previous generation. We live now in a kind of narrow instant past-present-future that seems to exclude any further necessity to expand our historic references.

Some aspects of moving are less critical. Changing places is having the opportunity to observe and learn new things, new behavior and try new experiences. Without the past social pressure on our shoulders, we can reinvent ourselves on and on (That doesn't mean that there are no more restrictions but, at least, they are often different!). It can also provoke more creativity with a new perspective and renew subjects and contexts. It forces us to experiment again and get out of our past comfort. So, at the end, moving can help us to be a better experimented photographer.

Good moving!

© Photos Daniel M: Lumix G95 / G 25mm F1.7 (X 2);  Fuji X-S10 / 55-200mm OIS

Details...

 In photography, the devil is in the details. Sure, the entire context of a picture can be paramount for a better understanding of the story behind, but details are always captivating the lookers and are pushing their reflection about the subject. More than that, the detail can be the only picture object subject. They are becoming an extraction of the total reality of the complete situation. And details have a soul of their own. Don't minimize details and maximize their impact instead.

© Photo Daniel M: OM-D E-M1 III / 12-40F2.8 Pro

Micro Four Third??? Yes Sir!

"The reports of my death have been greatly exaggerated." - Mark Twain... and MFT!

We will reverse the problem for one time: Why all those so-call "full-frame" aficionados want that the Micro Four Third sensor format is a dead end into the photographic and videographer gear world of today? It seems a kind of incessant frustration in regard of a certain ascertainment in regard of the difficulty to be a compact and affordable sensor format system when we speak of the digital 35mm incarnation (24 X 36mm mini film format).

But enough controversies to simply celebrate the new gear introductions by OM System (Olympus OM-1) and Panasonic (Lumix GH6) proving that there is still a "market" for good ideas and ... for the good taste! These two new camera models personify the two major MFT trends as photographer and videographer devices. They are professional (or financially comfortable enthusiasms!) intended products, but we understand the marketing goal intention from the two manufacturers to establish a renew credibility. On the side, OM System have proposed new lenses that are a kind of bridges between their most expansive "Pro" optics and their "Premium" amateur ones.

With the Asian market pressure, it is conceivable in a near future that more MFT amateur products will be introduced equally but keeping in mind that the middle range offer will certainly decrease accordingly. So, save your money if you are looking for a more sophisticated camera model with more manual configurations available. The same may apply for the optic offer composition.

Cameras are devices primarily designed for photographic and videographic purposes which is not the case for smartphones or tablets. The last are evidently difficult to handle properly and don't have the same use flexibility. For people who like to do and create imagery with a high-quality level in more extreme subjects or contexts, "real" cameras are still the first choice to make in terms of gear and use. But there is always this historical search for more compact and less intrusive photo (and video) devices, and therefore the MFT sensor format can be a beautiful, complete and reliable answer to that demand.

So, what will be the (far) future of MFT sensor format as for traditional photography as for any visual art techniques? We cannot say it in this great adventure of human expression but that have never prevented us to have the pleasure to do and share photographs between us.

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