Ce qu’on devine est souvent plus important que ce que l’on voit effectivement.
La photographie est souvent perçu comme l’expression de l’explicite peut-être par la précision et le réalisme de son propos qui a priori l’a distingué des autres formes d’art visuel comme la peinture ou la sculpture. Bien sur, cet aspect reconnaissable de la photographie n’est pas négligeable mais il omet tout de même que l’image photographe reste une représentation partielle de la réalité qui prête aux interprétations tant de leurs auteurs que de leur public.
Une histoire démarre fréquemment à partir de fragments qui deviennent des pièces d’un puzzle à assembler dans notre conscient et notre subconscient. La photographie comme tout autre représentation iconographique peut entraîner le même processus déductif dont l’effet final variera d’un observateur à l’autre. Ainsi se crée une diversité de l’interprétation à la fois individuelle, sociale et, à la fin, puissamment culturelle.
Deviner devient donc l’extension de la créativité initiale de l’auteur.
(google english translation)
What we guess is often more important than what we actually see.
Photography is often perceived as the expression of the explicit, perhaps through the precision and realism of its proposal which a priori has distinguished it from other forms of visual art such as painting or sculpture. Of course, this recognizable aspect of photography is not negligible but it still forgets that the photographer's image remains a partial representation of reality which lends itself to interpretations both by their authors and their audience.
A story often starts from fragments that become pieces of a puzzle to be assembled in our consciousness and our subconscious. Photography, like any other iconographic representation, can lead to the same deductive process, the final effect of which varies from one observer to another. This creates a diversity of interpretation that is at once individual, social and, in the end, powerfully cultural.
Guessing therefore becomes the extension of the author's initial creativity.
Photos Daniel M: Panasonic Lumix G9 / Leica DG Vario-Elmar 100-400mm F4-6.3 ASPH OIS
Photos Daniel M: Panasonic Lumix G9 / Leica DG Vario-Elmar 100-400mm F4-6.3 ASPH Power OIS
Olympus OM-D E-M10 Mark III / Lumix 25mm F1.7 ASPH
Panasonic Lumix G85 / G Vario 45-200mm F4-5.6 II Power OIS
Can we be against progress? And what we are meaning by progress? Are our human goal of better life is synonymous of progress? Is materialism and technical evolution the only progress we are renowning as legitimate?
There is so many questioning involving the very nature of what we call “progress” and its intended goal into our human universe that it is almost impossible to get a straight answer that will satisfy even our lowest expectation. Yes, we have evolute since the fragile dawn of the humanity from a very frail and dispersed animal specie up to its outstanding materialist achievement but its philosophical meaning of life has still to be explore for most of us. Even our religious convictions have not prepared us to these technical revolutions. Competitions between us and wars of any kinds are still fondamental issues to be addressed for our survival.
And now there is this question about the so-call Artificial Intelligence (AI) which is simply in a way the technical extension of our own intellectual evolution. And this very extension of our intelligence might surely survive to our biological envelopes and assume ultimately our part of eternity (or at least for a longer period of time). And, let's face it, this very progress wont be stopped whatsoever we will try to do against it.
In photography, these advancements are not new in any ways. For example, the automatic exposure metering systems have simplified the photographer interpretation of light intensity for a specific scene in its translation on the photographic recording material. Nobody surely wants to go back into a painful learning curve to be able to get reliable picture rendering. Automated systems have become more and more sophisticated in their ability to select a subject category and apply the good parametric formula.
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Photos-illustrations Daniel M
Note: I am not a birder photographer in any ways but just a photo taker who loves to pick some interesting pictures of the birds occasionally.
The "made in Japan" Panasonic Lumix G Vario 45-200mm F4-5.6 II Power OIS is not a "powerful" zoom lens designed to do bird photography. It is rather an all-around telephoto zoom optic to carry with you everywhere that can manage many different subjects that need to be discriminate from their surrounding and contextes. It isn't also a very expensive lens to own and its construction quality although fairly decent cannot be compare to more pro oriented product. Moreover its maximum variable aperture is definitively on the modest side (F4-4.6). But the Lumix G Vario 45-200mm II Power OIS has two interesting qualities with its internal optical stabilization system and its weather resistant envelope.
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Photo-illustration & Photo Daniel M: Fujifilm X-H1 / XF 18-55mm R LM OIS; Fujifilm X-S10 / XF 55-200mm R LM OIS
When we speak about the science or the art of creating a compact device of any kind (phone, camera, bag, tent, car), you can be sure to ignite a debate about the criteria to select and use to do so. Sure, compactness is often associate to be small and functional. Sometimes compact designs are cleverly built with a lot of surprising features like our modern cellular phones that are now more miniature mobile computers than simply an audio communication device.
Compactness is also often referred when speaking about the traditionally oriented photo gear. In fact everything may seem to be compact depending the way you are analyze it at first. For example some medium format image sensor camera models (I am thinking about the Hasselblad X1/2D series in particular) have been introduced as compact and handy cameras. By opposite we cannot say the same for some others smaller image sensor format camera models such as the Nikon Z 9 for example.
I love compact cameras since my introduction to analog photography, lets say a few years or decades ago! I can recall using a Fujifilm Fujica GS645 which was at that time a wonderful medium 6 X 4,5cm film format camera that was folding down to fit a larger coat pocket. Although it was a fragile camera in terms of our actual criteria, the Fujica GS645 was delivering outstanding high quality pictures. In one word, compact cameras aren't bulky and heavy photo devices by definition. So, what will be a good comparison between a "full" size camera and a compact one?
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