The Olympus M.Zuiko 17mm F1.8 Premium: the other normal lens

 

 Of course, everyone knows the usual consensus that defines the "normal" focal length of any picture format by its diagonal of its recording plane-surface. The best known can be referred in the old 35mm film format ( 24 X 36mm) as the 50mm lens although the result of the real calculation in this particular format should have been around a focal length of 43mm.

In fact, with a field angle of about 45 degrees or a little more, these so-call "normal" lenses are often perceived as a little too discriminating and this is why another category of lenses has been developed alongside, often qualified as semi-wide-angle, with a visual arc of +/- 65 degrees. Their effect of distancing subjects from our personal vision is not very pronounced and the general rule is that the distortion produced by their image compression remain modest if not imperceptible.

During the interesting history of modern photography, several authors, reporters, or travelers have favored this other normal focal length (35mm lenses in the 24 X 36mm format), sometimes even venturing with 40mm focal lengths lenses especially present in non-interchangeable single-lens compact cameras. More recently, many 35mm film enthusiasts will remember, among other optics, the Leica Summicron 35mm F2.0 or the Nikon Nikkor AI(S) 35mm F2.8 which were very versatile basic prime lenses.

Today with the pronounced and universal development of zoom lenses, single or fixed focal length lenses have taken a bit of shade, but since a decade or two, we have witnessed their coming back in force with photo gear manufacturers and more particularly with compact mirrorless camera systems. This is how at Olympus (Now OM System) in Micro Four Third (MFT) sensor format, they have developed a whole series of lenses called Premium or Pro series which correspond well to the focal lengths prized by lovers of fixed focal lengths. Among these, there is this Olympus M.Zuiko 17mm F1.8 now accompanied by its more recent big brother called the professional 17mm F1.2.

The Olympus M.Zuiko Premium 17mm F1.8 can be the ideal companion for a compact camera such as the OM-D E-M5, E-M10 or Pen-F models. Its visual field of 65 degrees corresponds to a visual rendering comparable to the area of ​​sharpness of the human eye (even if our total visual field is of course much larger). This 17mm F1.8 is compact and relatively light. It can be focused automatically by the camera or set manually on the fly since the focus ring has two convenient and directly accessible positions (clichy functionality). Its very metallic construction is serious but the lens is not officially qualified by the manufacturer as weatherproof.

The Olympus M.Zuiko 17mm F1.8 belongs to this category of lenses that I like to call contextual, i.e. direct proximity of the subject. We find in this family, other focal lengths such as 12mm, 15mm, 20mm, 25mm or even 42.5mm and 45mm, all adapted to the MFT format. But the 17mm has the added bonus of being a true "al purpose" lens that can pick up for many subjects spontaneously. And it's not an intimidating lens. Although it is seen primarily as a street or travel optic, it can be used as a documentary lens.

Because the Olympus M.Zuiko Premium 17mm F1.8 is not a zoom lens, it will require greater availability of movement from the choreographer-photographer-author in order to obtain the assurance of a framing or of an adequate composition and to optimize the quality of the anticipated result. Of course, this is the case with most fixed focal length lenses. However, these invariable focal length lenses are tools that provide superior image quality than zoom (vario-focal) optics as many photo gear reviewers proclaim and often demonstrate. They are less demanding (and more linear) for the corrective software embedded in current cameras. This smaller correction process induces a greater fineness of definition of the image and contributes to a much less destructive post-processing even in the situation of a pronounced reframing.

You may find that this Olympus M.Zuiko Premium 17mm F1.8 is the only lens you really need in most photographic tasks. In any case, this 17mm will be able to fulfill its mandate well and will become a much-appreciated companion, no doubt about it.

(French original version previously published in February 2018. The text has been enhanced for this more recent English version)

© Photos Daniel M: Pen-F/17F1.8; OM-D E-M5 II/17F1.8

Klimatik Views: the future of planet Waste-Land

 Over the past few decades, the climatic debate around the world has been amplified year after year peaking just prior to the present sanitary crisis that is prolonging itself for more than two years now. Climatic changes are a fact almost universally accepted except for people or organizations that don't want to acknowledge its profound implications in socio-economic terms. Their biased or ignorant points of view will be fruitless in front of the inevitable perspectives, but they are buying time for their own interest.

As photographers, we can only record the obvious testimony of the environmental situation and its effects on our life and our planet. The human demography in constant growth have altered severely our landscape and way of life. Simply showing our pictures (and films) have alimented our conscientious ad sub-conscientious about the phenomena (climate changes) even if we are facing more at first, the disastrous aftermath effects in comparison of the possible alternatives. On that specific point of reforming us, the solutions can be either personal or collective.

Transiting from a consumer culture to a more ecologically respect attitude is not an easy task. For one, the photographers of this world are often frenetic consumers themselves and the photo gear manufacturers have become marketing master of that tendency based on their market survival in the classic definition of a producing economy. How many camera models, lenses and accessories associated to, are finishing their life span on tablets, closets, or simply waste dumps? This is an amazing warning about our anti-ecologic habits.

Climatic changes are rightly associated with human activities and especially the ones that are not particularly efficient by transforming basic resources into nonreusable residues. The planet Earth is in any ways a big waste park and a plastic dead ocean. It is correctly frightening if you are not an ignorant (the term ignorant is used here with kindness).

What has happened to the nature? Some may still have the illusion that we can "restore" the natural state of planet Earth as it was a few centuries ago but this is a big illusion like having personal garden for everyone in this humanity. It is radically impossible. Yes, we can create big or small zoologic zones in certain protected areas, but the interest stops there. Nature views as a free and infinite state of animals and things is a long gone past since the human exponential demographic growth that will conduct us a general planetary urbanization. Many vegetal and animal photographs are now taken in subtraction of their context and that may appear disturbing for the picture lookers who seems to have and maintain a preconceived view of what is the "real" habitat of them. In doing so, the culture of denying the obvious profound planet changes is "preserved" and is avoiding any observations, analysis, and debates regarding this question.

There is no "objective" way of observing, recording, and interpreting the world surrounding us. We don't want to emphasize the evidence of our general consumer destructive habits. For many, seeing this testimony of desolated and destructed areas is too much disturbing for their taste of beauty and harmony. The question is why it is so disturbing? May be because we are sharing a kind of responsibility regarding those images obvious testimonies.

It is hard to not do an instant judgment about reprehensible behavior without really knowing the contextual factors that have contributed to act "against nature". Wilderness for one has been looked as a granted gift in the past (even recent one) but it is now perceived as a lost cause for humanity. The climatic change warning is a beckon on what we must base the start of a more global discussion concerning our human future and heritage and photography might help to open our eyes and to document our search and our analysis of this changing situation state.

© Photos Daniel M: G85/45-200 OIS; Pen-F/45F1.8; Pen-F/14-42 II R

Crispy Contrasts or how to catch the eye!

 I love contrasts! My camera too! And its autofocus system is crazy about contrast at a point that if there isn't any, it refuses to work properly! Contrasts are an important part of this life. Contrasts in lines, in colors and gray tones, in people and subjects, even in opinions... Contrasts are creating differentiation between things, surfaces, graphic forms, etc. Contrasts catch your attention and are pushing us to try to get more details which are part of the image definition. Yes, we love or hate, for some, contrasts but we are not indifferent to contrasts, even on a very philosophical point of view.

Getting the maximum contrast and preserving a maximum of details, that is the question! How can we do it without losing too much differentiation while maintaining the nuances. Not only that but we don't want to transform a photograph into a photo paint that will eliminate too much authenticity of the subject and its context. "Hard" black and white photographic representations (without medium gray tonal scale) use to have a certain popularity during the 1960's for example but now people are asking for more sophisticated pictures.

Color opposition is another kind of visual contrast.
Color contrast also called complementary colors is another way to create strong separation between surfaces or textures or volumes. In a way there are more spectacular in their effect although they may become more distracting of the main subject of the picture. Color patches are always attractive especially if you are creating a specific "mood" in your picture.

The better dynamic of digital photography.
One thing that the digital era has brought to photography is its fantastic ability to render details from the different and largely dispersed picture light zones. That detail capacity has opened a new world in permitting to record and to enhance the pictorial subject/context to a level never seen before and mostly without too much destructive post-photographic manipulations. All this have allowed the photographer to register contrasty pictures with more profound representation of their subject. " The devil is in the details!"

Contrast of subjects.
By opposing different types of subjects, we are creating a contrast of ideas, of contexts, of people that will increase the single impact of them individually speaking. that will add to the analysis of the picture observers. Yes, it is essentially a cultural point of view for most of us that is differing from the various human groups or cultures, but the basic interpretation of the picture author stays as a personal afterthought regarding his/her surrounding world.

A life of contrast is that make the living so interesting, so instructive, so challenging. Why stay drab when you can get higher in every sense of the word?

© Photos Daniel M

Generosity (the only way for humanity to survive!)

 Generosity is not in any way a very popular word in our consumer society. It is not only a materialist unavoidable fact but also a counter-philosophical point of view that prevents any kind of appreciation and help for others even the closest ones. In these actual days, to give is becoming a personal loosing attitude.

We are at a point that there is no more desire to communicate, to inform, to enlighten others and the world surrounding us. Yes, we like to be confirmed in our tastes, choices or own actions or reactions, we like to be comforted when we need to get some sort of life motivation but in a sense, but there is nothing there that is supposing in any way that we are open to suggestions or new ideas and certainly not to any critical remark!

So, we are inventing humanity without humanity. We are all the greatest, all the finest, the most extraordinary person among the others. We are the star of our own planet if not the entire galaxy. And ... it is simply a pity for all of us because we may have already notice that we, humans, are only fragile, momentaneous fragments of dust in this universe. Some may reply to that the true is not the true, but they are contradicting themselves by pretending that they are telling the true!

And a human alone is a very lonely person, physically, mentally, irremediably. Our strength has been always the summation of a group of individuals rather than the work of a God, a prophet, or a dictator. Our intelligence is based on not only personal observation and analysis but in collecting critical information, points of view and discussions from other fellow humans. Singly, we are a dead end, collectively, there is no limit on what we can reach.

The theme of generosity as I state earlier is not a today popular one except if we understand how important an open social behavior can be our salvation and progress hopes for a better future, different, interesting, and exhilarating. Be generous in any way, that can be our best resolution for this new year!

© Photo Daniel M

Are you a professional photographer? No, I’m simply a stupid tourist! Ah! OK then…

Beware: the front picture illustrating the article has been taken in September 2019 at Lisbon. Other times, other customs!

There were more simple times when people had still a tendency to rely on your words (that was a long time ago, it seems!). The problem when you are doing photograph a bit more seriously (without taken yourself seriously) is that people have defiant reaction versus your suspicious photographic behaviour upon them. In fact, it is not a new thing even if you are looking further in the past. Photographers tend to be intimidating simply because they are staring at people and things a little much longer then usually.

But is there a more stupid photographer than a tourist one? I don’t know why but tourist are often exempt of malicious intentions since they understand nothing about the world surrounding them. And if they are staring at something, it is only because they don’t know what they are facing. And if you add a « stupid » smile on your face, it is only confirming your mindless innocence. And tourists have money (any pickpockets of this world know that), and so, they have beautiful, sophisticated cameras that they don't even understand the basic use. So, in brief, no danger there.

Don’t spread the word but you may already aware that I have been a professional photographer in my previous life, and I have learned to dance with the rhythm of many photographic situations. I don’t do so-called street photography but instead tourist tapestry and everybody is correctly reassured. And you know what, photo opportunities have been falling in front of my (tourist trap) camera without really searching them. Sure, there is a bit of anticipation and experience in that but, chut! don’t tell them. If you add that you are speaking a tourist language (French, English, Japanese, etc.), you have the perfect tourist camouflage.

And please avoid those serious « full-flesh » camera models (also called full-frame) that, when pointed to the autochthone people, will provoke adverse and suspicious reactions and can conduct you up to the police or military stations! Being a idiot amateur photographer is so more beautiful and securing for everybody.

No, I’m simply a stupid tourist (of this life)! Ah! OK then…

© Photos Daniel M

About ( compact camera) preferences...

"The way it is ..."

Bruce Hornsby and the Range

We like to photograph, and we like the cameras. It's maybe obvious but, in fact, it isn't that simple because there are so many possibilities and choices in photographic equipment, that it is often overwhelming especially for the most passionate ones. Over the past several years, I had the opportunity to try, and to compare many camera (and lens) models. Digital cameras were a new field the manufacturers had to fulfill. So, it was fascinating, to say the least.

Novelties have been always attractive for many photographers that are always interested to try and improve the tools they are using. And the technical advancements in photography into the last decades were amazing in terms of easiest of doing pictures and having outstanding image results. In the still photography field, we were privileged to assist and to profit all those developments over the years. Today we may think that we have reached a certain plateau that allow us to reconsider at last to have photo equipment for a more lengthily period of ownership and ... use!

My current photo equipment
The love of (real!) compact cameras, for good imagery, for decent performance (exposure metering, autofocusing, reactivity, reliability, etc.), to have access to an extended line of lenses and for a competent stabilization system (in-body-image-stabilization-IBIS) have certainly oriented my currents choices. Ergonomic and style also, I must confess. For me, a good design must be esthetic and effective.

If I feel dedicated to do photography on a specific assignation or subject, my preferred choice of the day will be the former Olympus (now OM System) OM-D E-M5 Mark III coupled with the M.Zuiko ED 14-150mm F4-5.6 II which is not only a very versatile combination but also weatherproof. For more specific long-range subjects, the Olympus ED 75-300mm F4.8-6.7 II will be a good complement (although it is not weatherproof). The OM-D E-M5 III/ED 14-150mm II is excellent for travel and outdoor photography and it can be used for interior and lowlight situations, thanks to the IBIS of the camera*.

For a more casual and discrete companion, my Olympus Pen-F** is also excellent because of its non-intrusive presence which is good for urban subjects and interior picture catches. Coupled with a small lens such as the M.Zuiko 14-42mm F3.5-5.6 R II or the M.Zuiko ED 45mm F1.8 Premium (a personal favorite since my first Olympus EP-3 model), the Pen-F is an outstanding rangefinder style camera model. These two camera models (OM-D E-M5 III & Pen-F) are using the same 20MP image sensor and the same picture interface with the consequence that you can predict similar imagery from both the OM-D E-M5 III and the Pen-F.***

I haven't never been able to make a definite choice between rangefinder (off-lens-axis viewfinder) and SLR (on-lens-axis viewfinder) style cameras so, ownership of both the OM-D E-M5 III and the Pen-F has been imposed by itself. It gives me the opportunity at a relative low cost to cope with the two different photo gear style. You can get a similar approach toward other manufacturers like Panasonic or Fujifilm since they offer the same alternatives into their camera line.

The cameras that I love to use are the ones that inspired me to do photograph and extend my picture quest on various subjects. On a longer run, the compactness criteria have always been a basic issue and time tend to confirm that is useless to think differently. The Micro Four Third image sensor format correspond precisely to that photo equipment philosophy. Some may privilege a more cinematic approach and will choose to work with the Panasonic Lumix models which is a perfect match in that (video) case****, others like me are more traditionalists by doing mainly still photography and will rather like the OM system line of products (formerly Olympus). At the end it is up to you to considerer your own feelings about the tools you like to work with.
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* Internal camera sensor stabilization (IBIS) has become an essential feature for me partly because I like the optionality to use non-optical-stabilized lenses (OIS).
** If you can still find one, just buy it!
*** If you ask me what would be my professional choices (in consideration of the more intensive use of the camera/lens into more demanding contextual situations), I will surely opt for the OM-D E-M1 II or III plus the M.Zuiko Pro zoom lens duet, 12-40mm F2.8 and 40-150mm F2.8 (with one camera body for each lens). But those professional exigences are now a think of the past in regard of my day-to-day concern.

**** Although the Panasonic Lumix G9, G85/G80 and G95/G90 (all weather resistant) have also excellent ergonomic and performance  for still photography.

© Photos Daniel M: OM-D E-M5 II/ED 14-150mm II; Pen-F/45mm F1.8; OM-D E-M5 III/ED 14-150mm II

Insouciant Memories!

 Life has been good for many of us including myself. When I look the backward for this time, I am always fascinated by the chance we have as a special generation to be witness of such rapid human evolution even though it was not always for the best of humanity and its planet habitat, vegetal and animal. We as a so-call civilizations are highly turbulent people that have an often-deranging behavior in regard of this great universe that we are only beginning to partly understand.

During that period of falsely certitudes that we have developed mainly because of a certain technical advancement (industrialization, scientific discoveries and new methodologies, computer technologies, instant telecommunication, etc.), humanity never has asked itself about his own limitations and about the ones that surrounding them. But now we are so numerous and that we are aware of it, this unconscious brave facade is beginning to collapse almost brick by brick, and moreover the new insecurity doesn't guaranty that reason will finally prevail on the contrary, it seems.

Photography is basically an imperfect regard of humanity even when there is no people presence as the subject of it. It is a cultural expression of the past, the farthest to the most instant one. A kind of visual testimony of the interest of their authors. Every photographic part can be archived, summarize, analyze, and transmitted for future generation of lookers. The very significant of the picture can vary entirely with time and different auditors.

Today we are preoccupied people (at least some of us!) and confused t the same at a point that humanism seems to be very low in the priority list of this society. It is disturbing to have seen the shift from a collective dream with no frontiers where nothing was impossible to a very dark and narrow perspective of survival. Even the act of communication that was the obvious intention of link and reconciliation between us, has become the instrument of division and controversy. The dark side of humanity has taken the lead, and many are look for an emperor instead of a participating republic. The (non?) evolution of the photographic Web sites often illustrate this chaotic change.

Make your point, at first, can be understandable but it must be done with an open mind to be able to reunite at this very point of view the assemblage of all the others especially when you cannot really ignore them in this crowded world.

Is the selfie photo planet already a think of the past? May be or maybe not. We were told that humans are social animals (by definition), but in a perceptive overpopulation situation, what can be expected from individual behavior? Photography is also a social act of visual expression but now does the people are still willing to be curious and agree to not only tolerate but also to try to understand the differences? And this is where my "insouciant" memories leave place to apprehended worries.

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© Photos Daniel M: OM-D E-M5/ED 12-50mm; GX85/12-32mm OIS; G95/100-300mm II

Nostalgia is for good memories!

 We are used to ear that the past was better than the present time but in the far back of our mind, we know already that is most likely never the case, that today give you better chance to live in better conditions that will be difficult to simply ignore. Photographers experiment the same attitude toward the analog past era compared to the actual digital world. And most of them have a limited if not at all experiences from those analog times.

I was born into the analog era and have learned and worked to use those photo gear that everybody seems to cherish today as collectors and, sometimes, as users. And many of them rediscover the "magic" of the film-analog but as every magical field, there is a lot of secrets to be unfolded before getting the "picture" you are looking for. Because analog techniques are more demanding and obviously much limited at the same time. And they are not particularly forgiving.

I remember clearly the first time I have literally seen a picture apparition from the developing tray of my school photo laboratory. And yes again, it was so magic! At those times, we were accepting any picture as extraordinary even if they were (very) far from perfect. By today's standards we will never consider them as interesting or to be preserved. If you want to be convinced of the complexity to produce nice film analog pictures, I recommend to you the lecture of these three excellent books from the American master photographer Ansel Adams, The Camera, The Negative and The Print.

Acting as a photo reporter during several years, I can testify about the difficulties and the insecurity of doing analog photography. With time, I have experimented many frustrating situations in regard of the picture taking contexts, film and print failures and imperfect results. The event of the the digital photography was an outstanding liberation for many reasons not only technical but also practical (especially for documenting and sharing your pictures) and psychological in term of security (you see what you are taking).

It happens time to time that some personal souvenirs are popping in my mind recalling the good days of analog photography but then I pick up my digital camera just beside my keyboard and fairly appreciate its instant availability and reliability to do and create beautiful pictures that I can look and share easily. Yes, nostalgia is really for good memories!

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© Photo Daniel M: OM-D E-M1 II/ED 40-150mm Pro

Senses are giving a meaning of our thinking

Reality is facing our perception that translate into interpretation of our mind imagination. And photography is a physical extend of our perception by registering the image and render it over a fixed picture (on a support or over a screen). By selecting and editing a particular imagery, we are giving a personal interpretation of our surrounding world. That interpretation can be contested as any other kind of interpretation but the objective of sharing it remains for its impact.

Reality is facing our perception and how that can be different since objectivity cannot be entirely embraced by the imperfect looker that we have. And photography is not simply a repeating scientific experience, but it is also a creative one. And we are not alone to perceive living thinks, all other people have their own interpretation of this world. Even the most automated camera device cannot override the will of the photographer to choose his/her subject and the moment to photograph it.

Reality is facing our perception but what about our authenticity and integrity regarding the subject we have selected? Are we tempting to remodel it at a point of no recognition? Even though, is it not part of our initial perception and of our own interpretation? Is it a debate for us or for others who don't want to tolerate our way of thinking and representing this world?

The senses are the gift of our conscientious that is giving us a meaning of this life. Photography is only the extend of our expression and of our creativity on how we perceive this universe.

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© Photos Daniel M: OM-D E-M5 III/ED 14-150mm II

Minimalist for the photographic lovers (and who want to have some picture creative controls)

 This is "the" never-ending quest in photography from the basic enthusiasms to the most reputable professionals and artists (although many of the last mentioned will never admit it!). At the beginning of this creative search come the digital image sensor that has been replaced the old analog film supports. Today modern image sensors are highly reconfigurable, and the final picture is fairly "editable" after the image first registration. There are pre-definite picture formulas that may fulfill your needs but also more complex functionalities for specific setting such as colors, tones, and other image definition effects (contrast, lowlight & highlight exposure bias, etc.)

Auto sensibility functionality have replaced almost completely the classic specific ISO setting, with the still available optionality to do it easily for some camera models but more uneasily for others. There is always the usual picture noise punishment associated with high ISO level use, but it seems to be less the case with the newest image sensors.

The shutter speed is also becoming less restrictive with the implantation of various stabilization system from the optical (lens), the electro-magnetic (sensor) and the electronic (in the image file treatment). Shutter speeds are more an exposure alternative to permit the use of a larger aperture or to obtain a long exposure or simply freeze (or not) a moving subject (or part of it).

The lens aperture is another story since there is a lot of lens aperture variations between all the optics available today. For example, using a compact camera model that have a small sensor have pushed the manufacturers to produce specialized lines of lenses for amateurs, enthusiasms, artists and professional photographers. In each case, some fundamental characteristics must be preserved such as specific physical dimensions and total weight, maximum aperture, lens construction in term of durability and use, etc. Deep of field, definition, video capability, bokeh and more, are among the factors that will finally influence the design of the today lenses.

All the camera manufacturers are observing each other’s and having a complete exclusive design identity for an entire line of models is now an obsolete way of doing thing. We can see that everybody is partially if not completely copying and emulating others’ ideas. This is the price to pay to get a kind of general agreement from the photo gear marketers of this Web Planet (which are not for many of them real active photographers). By standardizing the camera design, we also decrease the photographer’s differentiation in their work and theirs picture results. We are creating photographic stereotypes that prevent the original expression of the medium. Therefore, it is the outmost importance that photographers keep learning about the picture taking basics and try to understand their specific image impact.

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© Photos Daniel M: OM-D E-M5 III/ED 9-18mm; OM-D E-M5 III/ED 75-300mm II; GX85/35-100mm OIS

Architectural patches of colors

 - Palais des congrès de Montréal, March 2021

© Photos Daniel M: Pen-F/45mm F1.8

The "Mono" Olympus Pen-F

With the redevelopment of the future ex-Olympus, renamed OM Digital Solutions, many are expecting and hoping a new version of the excellent but past Olympus Pen-F digital camera model. It is impossible to forecast anything solid about this potential new photo device but, if it is the case, we can only presume that continuity will prevail into the design and the operation of it.

Today you can still buy a brand-new Pen-F from the existing stock of the major photo resellers or pick a used one in good shape and at an acceptable selling price. If you are looking for a rangefinder style camera, it may be one of the two more sensitive choice, the other would be the excellent Panasonic Lumix GX-9.

If you go ahead with the Olympus Pen-F, you should not be wrong since that model is now a mature product that offers a solid Micro Four Third 20MP sensor performance equivalent at the one seen on the Pro Olympus OM-D E-M1 Mark II. Although all Olympus MFT models have the versatility to transform them into a monochrome (Black & White) camera, the Pen-F add a higher versatility to get there with a specific dedicated dial and offers an easier interface for the setting of the B&W color filter different bias (like during the analog era).

Digital mirrorless cameras with electronic viewfinder (EVF) are a blessing for monochrome photographers because of the modern possibility to confirm instantly and directly the black and white rendering through the viewfinder or on the rear viewing screen. I cannot emphasize more how it is possible to reinvent the past seduction to produce monochrome pictures and the Olympus Pen-F is a perfect tool to do so.

A unconscient direct relationship exist between the monochrome passion and some iconic Leica camera models which are, in a way, a strong recall of the past glory of the film-analog era (and may of the Kodak Tri-X 400 ASA film if not of the Ilford HP 5 equivalent). Many design features on the Olympus Pen-F camera body are, in fact, homages to that time period and manufacturer. On/Off switch that imitate the old film rewinding button-lever, front creative (image) mode setting dial that replicate the old slow shutter speed dial of the Leica F and G series, screw-in hole for the mythic shutter release cable accessory, just to mention few of them.

At the time of the introduction release of the Olympus Pen-F in 2016, this new rangefinder style camera model was the first one of the digital Pen series that fully integrate the electronic viewfinder into its camera body especially compare to numerous Panasonic Lumix models such as the GX 7, GX 85, GX 8 or the GM 5. And it appears with the passing time that will be the only one of such! Some controversies have occurred regarding the handling of the Pen-F despite its obvious search to replicate the ancient rangefinder design. Some had given initial bad reviews to later correct them to more sensitive and realistic appreciation of the Pen-F abilities. That phenomena demonstrate that the Olympus Pen-F needs a more extensive learning investment to be properly use and, in some ways, cherish by photographers.
The Olympus Pen-F is a discrete photo device that can be rightfully use with care in many more sensitive contexts like street photography, travel and casual situations. Couple with a small lens, the combination won't appear offensive or intrusive.

The monochrome factor

Once you have set the creative dial to Mono (located in the front of the camera body), the Olympus Pen-F is becoming a totally monochrome dedicated camera with optional to fine tune your black and white own bias via a specific monochrome profile or by choosing a color filter (Yellow, Orange, Red, Green) or by influencing the arrangement of the highlight and the shadow exposure. The amount of control available is diverse and fairly extended but selecting your own formula could ask you some documented experimentations with good picture comparisons.

Doing black and white photography is surely an excellent school for learning to master composition, contrast and gray tonal distribution. The subject expression is also a paramount element for succeeding to bring the attention of our audience. We have to remember that film photography was essentially a combination of colored layers of black and white films assembled to be projected. Color photography is another artistic school by itself, but the documentary value of the black and white photography is historical. It gives a sense of authenticity that color rendition has a tendency to occult.

There is a specific texture in black and white photography often expressed by the basic "granulation" of the picture. The different Olympus Pen-F monochrome profiles can accentuate that "grain" perception that mimic the old analog-film rendering.

The lens factor

Being a photographer is meaning you accept to be an intruder in a way or another. That can be highly intimidating not only for the photographic subject intended but also for the photographer him/herself knowing that many of them are often very shy people. Picture taking proximity can be a manner to establish a tangible contact with our subject. To do this a choice of a lens with a wider angle of view may be the right optic companion for the Olympus Pen-F, something like a 12mm, a 15mm, a 17mm or a 20mm lens. At the opposite, a longer focal length like the 25mm, the 42,5mm, the 45mm or the 75mm (extreme in that case), will preserve the intimacy of our main subject preventing an obvious interference by the photographer. A short standard zoom lens like a 12-32mm, 12-40mm or 14-42mm, can do the bridge between those two tendencies.

Our lens selection reflect ultimately our relationship with our subject as we intend to be close or far from it, as we want to interact with it or simply observe it at a distance, as we want to be a participant of the picture taking process or to be a more distant observer. It demonstrates the paramount of selecting a specific focal length lens to be used. The Olympus Pen-F is a camera model that replicate the "rangefinder" style of doing photography when the gear does not the center stage of the picture taking context.

Black and White photography without (almost!) post-editing

As mainly a black and white photographer for a good of my modest imaging work, I consider that many of the best monochrome studies are often done right from the photo taking session. With a camera model like the Olympus Pen-F we have the opportunity to "see" directly the monochrome rendering which is an artistic advantage possible by the combination of the digital photographic process and the use of an electronic viewfinder (or viewing back screen). By judging on the spot, the final imagery result, you have the possibility to further experiment and refine your picture production. It is a kind of spontaneous and continuous creativity process right in place and at the moment of photographing.

I am not very enthusiasm about heavy post-editing a photographic (file) except if it is the original intention of the photo creator-artist. You cannot really "save" a picture by highly altering it in knowing the technological limits of the digital photography. Further than that, a completely "rebuilt" picture will lose a lot of its authenticity even for the none photographically educated looker (again if it is your first intention to do so, it is perfectly understandable).

Photography is an art-medium of visual expression. We cannot discard the fact that for every context, for every subject, there is a full array of different interpretations that has been translate in the way a picture is taken, processed and shared. There is no real objectivity that can exclude the personal bias of the photographer even with a very scientific approach. This individual vision is the intimate way to see the world surrounding us and the photographer is trying to transmit it faithfully to his/her own convictions and believes to us. That doesn't mean that we don't keep an open eye to new ideas and subjects in other contexts, but this personal vision is gradually becoming our visual signature oppose to simply replicate the other works.

Some thoughts about the Olympus Pen-F

Many have seen the introduction of the Pen-F model as an homage of the Olympus legacy for all their innovative past camera models over the decades. The future only will tell us if the manufacturer intends to offer new versions of this particular model. The photo gear market is moving fast even if it stays a more "niche" one than a mass one. It is possible that OM Digital Solutions may not have the financial resources to maintain all the large product series offer as for the original Olympus company use to do.

In that case, the Pen-F is more and more becoming a kind of a cult camera model for the MFT format. Using it as an almost exclusive monochrome camera is just rendering this perception further. And the Pen-F is still a competent, reliable and classic photo taking device in 2021!