Flash-Post: RIP Minette (2004-2020)

After 16 years of a very close companionship, our female cat Minette has just left us (September 21th, 2020). She has been a beautiful and patient animal model all over those years. Her spirit will live forever in our mind.

Flash-Post: Fotomorphic view

Is there somebody, is there someone over the picture, this representation of a static vision of the humanity of things? Are we only pale spark of life that photography will prolong a more futile period of time? Give me my flash of eternity by clicking my visual instant of glory.

I don't know for you, for them, for all over the world which instant, which moment can be so unimportant to register and to aftermath vanish of our empty but disturbing memory. Where we want to go if not for our blinded soul? Where we want to stay if not in our starling spirit?

But it's only a view on the under...

Flash-Post: Electrical Twist

 Feel it, ignite it, twist it!

What's up Daniel M?

Yes, no more post since more than a month. Is it because my creativity, my interest, my motivation drying up? May be or is it the result of our human self-inflicting wound of the last pandemic year? I don’t recall being none motivated to write about photography to that point over the years but what I was afraid a few month ago (see here) finally happen without real advance notice.

Yes, I had some post projects that were still waiting to be further elaborate, structured and finalized but to be frank, I doubt that will ever happens considering my present lethargy to restart the machine. In a sense it is a kind of liberation that will permit to regenerate myself and to be able to reorient my interests on something else, different or similar, I don't know at this very moment of time and space.

Photography are memories of people, of things, of contexts, of moods and trends. It will never end because there is so many subjects to discover, to explore and often redo all differently. Photography is the visual art of the human instant expression. It is a small spark of ephemeral eternity!

Today I am going back to my candid eye in photographing without any justification except my now instinct to like or love to do so with any kind of subjects and situations. And the choice is mine.

And I want to thank warmly every person who have taken the time to consult, read and may be comment overtime these modest posts which, I wish, have given to certain some inspiration to be passionate about photography.

Stay creative!

Flash-Post: Dark Black Tones predominance

One Picture, One photographer, One experience Series

We always speak of the black and white by meaning you can observe the light distribution through the black-gray-white’s nuances on the photograph. I remember during the analog-film era how some eminent photographic specialists were claiming it was important to get a complete representation of these nuances. True or not that "rule" has been disregarded many times and examples are notorious. Can we stay only into the "darker side" of the subject and limit as much as possible the lighter references?

Atmosphere, emotions, perceptions are part of the feedback we resent when we are seeing a picture. And photography is still a visual art of interpretation of our reality. Even from dark there is always the expectation of the light at the end of the tunnel of life, just think about our own birth.

Traditional photography is here to stay!

This is may be the real one good news for all the specialized photo equipment manufacturers. But it won't prevent drastic changed in term of how the product will be definite in the future. Some may ask why all these camera makers cannot be wise to apply some basic standards to the industry such as a unique image sensor format or simply an universal camera lens mount like we have seen in the past with the domination of the 35mm analog film or even the popularity of the 42mm screw-in lens mount? Partly because standards cannot last forever du of the different technological advancements or simply because of the changes of the consumer market needs.

If the industrial assents for pro-universal standards are never certain, the traditional photo equipment market stays strong with thousands of products that are still bought by photo enthusiasms around the world. It never really stops although we have seen sales contractions time to time that moderate an over-extensive manufacturer offer. As an ex-economist, I can testify that the demand is very reluctant to change its consumer habits. For example, the smartphone rising never try to substitute the traditional photo equipment market which is a niche one but instead has replaced the compact "instamatic" camera photographic mass market and that specific mass market is reckoned to be very fluctuated (remember the Brownies, the 126 and 110 film formats, the disks and APS film attempts).

The mass-market temptations have been over the commercial market history one of the greatest and always renewable lure challenge of all the private manufacturers. It means for certain the pinnacle of the success. But homogenize mass markets does not exist and there are, in fact, the summation of a momentary trend that many different smaller markets which agree to follow on a temporarily base. It works for a time but eventually collapse by themself. It is the nature of the mass market. So, manufacturers that have a more long-term view of their own future have to be aware of it and prepare themselves to re-adapt or re-shape their organization and structures to face the inevitable changes of the mass market behavior.

What all this mean for the traditional photo enthusiasms of this world is that we are not alone and these thousands of us have to be properly served by a specific commercial industry that will fulfill our needs. Names of the manufacturer and product configurations can be different over time, but this photo equipment-oriented market is here to stay as for others different but specialized products. Production numbers can be lower but there are still very significant in term of profit and desirability.

No, I am not afraid of the future, traditional photography won’t disappear and many of us know already that fact. For others, we leave the catastrophic stories.

I never do video with my Panasonic Lumix G85 but I love to photograph with it!

We already know that many videographers love to work with the Panasonic Lumix G85 (G80/G81) because it is a very competent camera to do animated image recording. Its successor, the Lumix G95, have tried to increase to that deserved reputation by upgrading the image sensor from 16MP to 20MP and by adding some practical features like the possibility of plugging a sound monitoring headphone. Although the Lumix G85 is rightly praised among the vloggers of this Web world, I have never considered it on this particular point of view because the Lumix G85 stays for me mainly a photographic camera.

How can we definite the Panasonic G85 as a photographic tool? First you can appreciate its good ergonomic (at least for right-handed people!) and the fact that the camera body is weather resistant increase the confidence to use under many more environmental harsh conditions. Most basic functionalities are easy access with the aid of different dials, push buttons or of the touch screen. Even the menu and quick menu interfaces are mostly comprehensive and can be settled without consulting a long operating manual.

The viewfinder and the rotative back LCD screen are image detailed and data informative. I just wish that the data can rotate automatically from horizontal to vertical framing like with the Fuji models. The (post) viewing push button is position on the back-right side to facilitate a one hand operability. The picture output is good and the Lumix G85 exposure metering system is very predictive. The autofocus works well and is capable to cope with most of the subject situations.

The Panasonic Lumix G85 may look bigger that it is in reality, but it is in fact a moderate size compact camera especially if you compare it to 24X36mm so called Full Frame image sensor camera models. And it is more obvious when equivalent lenses are mounted onto their different sized respective camera models (FF vs MFT). For sure a rangefinder style model such as the Panasonic GX9 is smaller and will give you a maximum of discretion especially if you couple it with a "pancake" lens such as the Lumix G Vario 12-32mm or the Lumix G 20mm F1.7 but the handling between these two type of camera design (off center and centered viewfinders) will also differ noticeably, the G85 giving you a more secure operating feeling.

My modest experience over the years since the first G85 copy that I have owned reveals the good quality of construction of the camera body and the constant ability to produce nice pictures. I cannot emphasize enough the excellent results obtained by selecting one or another of the two monochrome modes available. With its 16MP image sensor the picture is precise and detailed providing you are using a good optic and pay attention to the exposure and focus setting. This camera G85 model always surprise me and deliver fine image renditions.

The big today (2020) question: is it pertinent to go ahead and buy a Panasonic Lumix G85? There are many aspects to consider but the comfort ergonomic, the good quality of its weather resistant construction, a very interest image output and the extended diversity of the lens offer give an edge to the Lumix G85 considering its affordable price level, especially coupled with the Lumix G Vario 12-60mm F3.5-5.6 Power OIS. I won’t push anybody to choose any particular camera model or system because, at the end, it is a very personal choice but if the Lumix G85 seems attractive to you, there is no reason to prevent yourself to buy one!

MFT: the rebel (image sensor) format!

(Save the sanity!)

With the uncertainty of Olympus and Panasonic involvement into the future development the Micro Four Third (MFT) image sensor format, what is my own reaction? In short, I simply decided to reconvert myself and buy another new MFT (camera) friend. Why? Because I am tired of all these unproductive debates about which image sensor format can be the most performing way of doing creative photography. And I am tired of small-minded attitudes that defend fiercely their own photo equipment manufacturer choices.

I am concerned about the photographer's spirit that spend their energy to defend commercial enterprises instead of photographic artistic trends. Let be honest despite this materialist world, photography is still an art of expression. So my rebel attitude is to defend the marginal way of promoting compact traditional photo equipment over the big apples and oranges offered by the major manufacturers that you know already the names... and web sites!

A Lumix G85 with its simple lens duet, 12-60mm and 45-200mm

I love MFT format because it is the real thing in term of compactness. I hate bazooka camera bodies and lenses which are not practical to bring with you, that are intruding and intimidating and, at the end, are heavy to carry, to operate and to handle in imaging post-treatment (with their inflated files). Small is (still) beautiful, don’t be misled by the marketers and their conscious or unconscious allies. To produce a large camera is easy but not very intelligent as for cars incidentally. To create a compact competent product is much cleverer.

So, in regard of the recent news regarding the future of MFT, I am not really happy. My line of defense is to encourage the ingeniously instead of the bigness and I do not care about the consequences on a long term since I don't think the other major manufacturers care really about their fanatic customers. For the moment, Olympus and Panasonic are still in business and their camera and lens offering is still very pertinent and actual. What will be tomorrow, we don’t know for sure and many surprises can appear in the next few years.

I have never come back to the digital 24 X 36mm (ex-35mm film) format since the Nikon D700 which was already a monstrous photographic device coupled with big bazooka lenses. My point of view has been confirmed since this past decision. Not only that so call Full-Frame products are big sized products but they so much expensive that it is impossible to qualify them as affordable in any way, which is not the case for many good MFT products even if Olympus and Panasonic can also offer pricy items too.

I know that some reviewers have condemn the MFT format already and some have stayed silent about their past endorsement but at least some others seem to try to maintain the interest for this unique true compact camera system. I can only hope that reason will prevail over political choices.

Flash-Post: Soft Curves

Doing still life photography has been challenging for me since my modest photo path. Black and white rendering has also my greater preference to work with, may be because of its higher graphic value over many colored image representations.

Photography is a visual art of emotion and there are plenty of subjects to be choose in doing so. This picture is among many that have done over the years using various photo taking material but in frequent opportunity, I have really appreciated to select a telephoto (zoom) lenses that have the quality of isolating the main subject from any contextual surrounding.

Some picture subjects are better enhanced by softness compare to a more cutting edges image. But all this is finally a matter of each other taste.

Here is another sample using a standard zoom lens:

Micro Four Third: a true compact camera system ideal!

With the corporative transformation of Olympus to its new OM Digital Solutions entity and the lowering developing implication of Panasonic in that small image sensor format, it can be easily concluded that the image sensor Micro Four Third format days will be over in mid-term. But we have to not forget as it was a short but fabulous era with many good, innovate and creative camera products. In a way, the MFT (Micro Four Third) was a kind of equivalent of the mini 35mm film format for its digital time. Small camera bodies combined with small interchangeable lenses are the essence of the search of compactness.

At the beginning, the creation of the Four Third image sensor format, the ancestor of the MFT, was an industrial attempt to impose a new standard format and many manufacturers have subscribed to develop the concept further and produce interesting products. As an open standard, Fujifilm, Kodak, Leica, Olympus, Panasonic, Sanyo and Sigma initially agree to go ahead. But in 2008 Olympus and Panasonic decided to present the new Micro Four Third format that eliminate completely the use of a reflex mirror viewing system and present a mirrorless alternative. By doing this, the MFT have preceded the gradually obsolescence of the use of reflex optical viewfinders.

Because of the multi-entrepreneurship involved into the development of the MFT format, the new eco-system of cameras, lenses and accessories have grown at a relatively fast pace. Panasonic further develop very efficient hybrid photo-video models as Olympus was more oriented still photographic devices. Models such as the Panasonic GH4 and the Olympus OM-D E-M5 represent successful both commercial and artistically products that got a tangible influence over these specialized markets.

As already mentioned, the beauty of the MFT eco-system was no doubt its compactness. In a way it is a pity that other manufacturers like Canon, Nikon or Sony have never consider seriously to push its technical development especially in regard of the gradual creation of new sensors. The absence of MFT sensor development interest have eventually doomed the MFT progress. Many wrongly proclaim that the photographic smartphone abilities have equal those of the MFT system. In virtue of optical physic law, it can't be especially if you apply the same technical advancement both in hardware and software that are in use into the two comparing systems. Moreover, MFT cameras are traditionally designed as photographic (or video) tools first and it shows in their ergonomics and in their respective interfaces.

All indications are pointing that the MFT format will concentrate its future efforts into the Asian market and the videography field. Sure it is a deep lost for the photographers of the other hemisphere that are used to work with these competent, durable and versatile camera models and lenses. The choice for compact ILC (Interchangeable Lens Camera) system is now narrowed to very few manufacturers that are offering a more complete system such as Fujifilm in APS-C image sensor format.

Overtime, I had love to work with different MFT models such as the Olympus EP-3, OM-D EM-5, EM-5 Mark II, E-M1, E-M1 Mark II, Pen-F and the Panasonic GM-5, GX-7, GX-85, GX-9 and G85 and with many of the lenses from these two manufacturers. I found them inspiring, easy to bring with you, discrete and efficient photographic devices. The latest 20MP MFT image sensor version is giving high quality results despite the fact of its longer introducing age. The MFT format was the right answer to be able to offer a real "compact" digital photographic system. Nobody that had the opportunity to use more extensively the MFT system can deny its advantages on the field. However, we can easily attribute the unsuccessful industrial larger development of the MFT format to the political choices that have dictated many commercial decisions from the major manufacturers like Canon, Nikon or Sony. They have tried to maintain the interest for their obsolete D-SLR system as long as possible. In doing so, they simply dismissed the avenue of using a new image sensor standard, the MFT, in profit of a technical stagnation. Even them are paying the price today with clumsy, incomplete and expensive mirrorless new systems.

Progress is a summation of tries and errors before reaching a more mature and stable evolution. In digital photography, MFT have been (and still is) a perfect model to compactness and efficiency in traditional digital photography. I simply regret that Canon, Fujifilm, Leica, Nikon or Sony didn't try challenge Olympus and Panasonic in that respect as it has been the case during the time of the 35mm film analog era.

Une vie ailleurs, un regard qu'on veut partager

N'est-ce pas la vraie vision du photographe, d'être ailleurs, d'être au-delà de son propre corps, d'être à travers le viseur de son appareil photo, d'être dans cet univers virtuel à prises de réalités qu'est la photographie. Bien sûr, le ou la photographe est un être profondément narcissique qui s'observe à travers le regard qu'il pose sur les autres qu'ils soient choses, humains, animaux ou végétaux. Même quand il ou elle partage ce regard, ce n'est pas vraiment un acte gratuit dans sa recherche avouée ou non d'interactions, la récompense suprême de l'auteur-photographe.

S'il ou elle se dit artiste, le complexe d'infériorité du photographe vis-à-vis les arts plus nobles n'est jamais trop loin car tout le monde aime se proclamer photographe ou en capacité de l'être. C'est pourquoi nous sommes inondées d'images éphémères issues du consumérisme iconographique. Y-a-t-il vraiment un art de l'émotion dans la réalisation d'un dessin photométrique couché sur un support de deux dimensions? La vérité, pas pour tous, car la sensibilité, la réceptivité, de nos images n'est certainement pas universelle. C'est là qu'on constate la grande vanité de plusieurs soi-disant "professionnels" de la photo qui prétendent détenir la recette magique de la reconnaissance planétaire de leurs œuvres.

Mais, à la fin, il y a tout de même un public, un spectateur, pour lequel ou laquelle, nos images ont une forme d'impact émotif complexe souvent imprévisible dans son occurrence et de sa profondeur. Est-ce qu'on veut montrer quelque chose ou plutôt est-ce qu'on désire "se montrer" de quelque chose? Car il y a aussi cette quête forcément très personnelle dont la photographie demeure le dernier épiphénomène visible, du moins le croit-on comme tel. Car il faut croire également à la pertinence de notre photographie ne fut-ce que pour la produire et pour finalement la projeter, la transmettre.

Je ne suis pas un "grand" photographe, bien que j'aurais longtemps rêvé le devenir. J'ai même, et aujourd'hui encore, été l'exemple typique de l'individu aux prises avec le syndrome de l'imposteur en cette matière et en d'autres également. Cependant le "miracle" de l'enregistrement et de la reproduction de l'image m'a toujours fasciné dès mon enfance. Car je suis un rêveur impénitent depuis toujours. Et je rêve en images beaucoup plus qu'en sons. Et qu'est-ce que la photographie sinon la prolongation du rêve?

Je ne suis pas un grand photographe parce qu'aussi, la vie s'est déroulé à côté de moi sans que j'embarque vraiment de façon définitive dans ce train comme dans plusieurs autres avec lesquels vous franchissez une limite définitive dans votre vie sans espoir de retour. Si vous acceptez ce risque, c'est que vous acceptez de devenir quelqu'un de différent et de laisser en arrière quelqu'un qui n'est plus. Non, je n'ai jamais vraiment osé ce plongeon tout comme je n'ai jamais appris à me lancer dans l'onde et apprendre à nager. Je devais être d'une autre eau!

Il y a tout de même une expérience personnelle du photographe que je peux partager même en ayant vécu en périphérie d'une vocation totale et totalitaire dudit professionnel de l'imagerie fixe. Est-ce de la persistance, est-ce de l'obstination, est-ce de l'aveuglement? Et pourtant il y a eu ce parcours chaotique d'une vie à essayer et à s'essayer d'être photographe. Et ensuite la production de tous ces corpus iconographiques dont il ne subsiste presque rien sinon un commun néant de l'oubli ou encore du souvenir accommodant. Car la mémoire humaine embellit ou non notre petit cheminement de vie pour lui donner un signifiant rassurant ou encore, son inverse.

Parce qu'en fin de compte, il y a toujours cette passion des choses qui nous habite, qui nous hante parfois mais qui nous inspire toujours. C'est aussi cette passion pour la photographie "traditionnelle", qu'elle soit analogique ou numérique, qui a constitué le fil conducteur d'une grande partie de mon cheminement de vie. J'ai vécu par, pour, au travers et envers, le monde de la photo et aujourd'hui encore je demeure son esclave, son adepte et son disciple.

Flash-Post: Stripes of Light!

One Picture, One photographer, One experience Series

My fascination for "stripes of light" began when I was doing black and white film photography. At that point of time, I was mainly using different 35mm camera models but most of the time, the pictures were registered on 400ASA films like Ilford HP5 or Fuji Neopan 400. Today, in this digital age, the Fuji film simulation Acros have replaced these ancient analog counterparts.

It is a matter of fact that people who know me for a certain time are prompt to associate my work with examples of "stripes of light" pictures. I am trying to not overwhelm my photo production with the subject but...

Graphic representations shaped by the light can be very effective. They propose a fairly straight world which, sometime, light disturbance additions can suggest life movement in a linear order world. A kind of photo subtlety that is not first seen by many. If you are not looking for a general appraisal of your work at all cost, graphic photography can still be rewarding because it is an excellent school of environmental composition that will often enhance your main subject.

Other samples:

L

Photo Camera Biases

Can we say that each camera model is designed unequal from others? This is a strong departure from the common assertion that every camera device is basically the same. But we can assume that all camera models are using the same basic photographic principles to start with. But after stating that, why there are so many differences on each other’s results even if each of them can be operated by the same (experimented) photographer? Yes, cameras are essentially tools but even the very basic ones are still reflecting the perceptive needs of their creators beginning first by their respective ergonomics.

The different camera model interpretations always fascinate me. Almost all the present digital camera models are incorporating features such as film simulations, special effects, exposure and focus algorithms that have a direct influence on the final picture registered. And all those operating functionalities can be set differently by the camera user.

Film simulations and white balance
The choice of film has been paramount during the traditional analog film era and their selection was large and diversified. Some -analog products were general use intended, others had a more specialized purpose especially regarding the type of light context you were facing. Many lens filters were also used to alter the final picture result. That film catalog has obligated the photographers of the time to maintain a fairly expand film stock and be able to interpret correctly their use, without saying that a changing of light has often resulted to a change of film cartridge.
Today many film simulations are readily available into the camera every time we need to do so. In conjunction with the white balance functionality making the modern digital camera models very versatile photographic devices. Color negative, slide and black & white setting are the most common. Many variations of these film simulations are part of the selection offered. Some formulas are direct emulation of the older film ones. Some are more caricatural and refers to old photographic techniques or older devices. Exploring all the possibilities integrated to your camera model can be very interesting et can help you to find new picture renderings.

Exposure factor
What is the "correct" amount of light exposure you require to get an acceptable picture? That can a very puzzle question for any photographer. And the modern exposure calculation are now state of the art functionality that compare a multitude of light situations, identify the subject type and apply specific algorithm that control not only the shutter speed and the lens aperture but also the ISO, the high and low light distribution and the stabilization efficiency. Those compute exposure calculations are based on standardized photographs that have been integrated to digital camera central system. They represent years of photographic experiences under an array of typical picture contexts and situations.
Having said that exposure automated system can outperformed human light appreciation in most cases, but it happens that the photographer’s choice might be voluntary different in creating special light mood or distribution that will better correspond to the authors intention. These biases have to be not only respected but also be comprehend as the emotive respond of the photographer for a particular subject. Experimentation is part of that process.

Special effects
Special effects are a blend of all sort of bias available for the camera user. Some are now overused and outdated. Many are considering that using already special effects designed by the manufacturers as a gimmickry that are destroying the true spirit of creating original photography. Although it is clear that many popular special effects are more caricatural than a photographic enhancing, some special effects are more basic color palette selections or light optical effects for example. Some special are graphical autocorrection system that replace optical expensive device such as tilt-shift lenses used in architectural or table-top tasks.
It happens that specific photographic subjects may ask for attended special effects bias. If you carefully exam the history of the past photographs, you may find which effect will suit more precisely the look-result which you are looking for. Most of the todays special effects have found their origin in duplicating older pictures.

Shutter speed (time exposure)
We see the world surrounding us as an animated or cinematographic picture representation. Fixing a precise moment of this continuous image representation is the essence of photography. In doing so by (very) briefly exposing our image captor (sensor, film), we are selecting some instant of our life. The time exposure (shutter speed) is often selected in order to "freeze" the motion of the subject but it happens sometime that it is not sufficient or that the photographer voluntary register that movement in a blurry subject. Moreover, background and foreground can be blur with the intention to concenter on a more define main subject especially in action photography.
In low light situation, photography always has been challenging but it is a not-say rule to challenge the limitation of the image captor (film, sensor) technology. By selecting a lower shutter speed, the photograph must concentrate on the subject (time and motion) travelling effect. That can be illustrate by blur exposure or by following the subject. Multi-exposures are another classic photographic effect. They can combine various subjects and contexts to create a completely virtual scene composed of different moments, perspectives or places. Log time exposure has been used in the past to be able to "clear" unwanted people or objects that are in place for a brief moment (that can be done by selecting very low ISO, strong neutral density filter and a good tripod support). Long time exposure can also help to facilitate multiple light-flash trigger and cumulate light sources.

Aperture (Deep of field)
The first use of the setting of the aperture of the taking lens is to regulate the amount of light that will be register by the image captor (sensor, film). The side effect of choosing a specific aperture value is its direct influence on the deep of field phenomena, i.e. the in-focus distance range that start in front of the focal point and finish at the rear of it. Commonly a large aperture restraint the deep of field and a smaller one will enlarge the area of the apparent focus accuracy.
Assuming that, in general. the observer will first privilege the subject that is in-focus, the deep of field effect will propose a visual discrimination of the different picture elements. There is no absolute rules to follow in selecting an aperture in regard of a subject type although some will pretend the contrary and will propose for landscape that you may use a small aperture and that for portrait subject, a large, if not the largest, value available should be preferable. Today we understand that even the blur area of a picture will participate in visual interest in equal level from the more focused ones.

If you are aware about the importance of the deep of field, you can add a tridimensional virtual dimension to your subject-picture project. Blurry areas on a picture can also contribute the mood atmosphere of the visual representation. They can also present knowable element that will add to the picture drama.

These are simply a few examples of special effects that are available in your camera model. For sure there is a plenty of other possibilities that can be explored especially if you add the ones that are available in image post processing. At the end, special effects are simply another tool to expand your photographic creativity.

Flash-Post: KidCat!

One Picture, One photographer, One experience Series

Cats and dogs are the most domesticated animals in this world, and you can retrace cats that have been used as pets (even spiritual) in the very far Antiquity, in Egypt for example. Independent by nature, they can manipulate your mind and let you think that you are their master but the real true is the exact inverse.

For a photographer, the cats are not easy subjects although it happens for some individuals that it can be less difficult if they (the cats) consent to do so. But it is often very rewarding because who cannot be touched by a cat picture which is about at the same emotive level as a human newborn baby. We love our cats and they know it!

For many years I have been a photographic kid of cats. Even today, the subject is still captivating my attention. I am still asking myself what cats are thinking of us hoping that they are considering better than only stupid care servants (yes, we are so naive). Cats can be lovely, but they can also very fierce because, you know, they are also little feline that could transform themselves into serous wildcats (ask mouse and birds about cats).

At the end, it is a question of attitudes ... from the cat! And we stay like kids in regard of them.

Other samples of the cat's photographic mania: