Wednesday, December 28, 2016

Montréal Like It Like It Not: A Black & White Desire


Montréal is my born city even if I became a suburb boomer like many of us. Montreal is the essence of our cultural french identity the other places are simply anecdotical for us. When I walk in the streets of Montreal I am always strike by infinite nature of changes over the places, the people and the time. Montreal is a survivor in this very competitive world of North America.


You can see the buildings, the beautiful girls and boys as the ancients, the surroundings, the noise and  the music, it is the the dis-harmony of life. It is Montréal!





Are you with me ?



Saturday, December 17, 2016

New 2017 Year with Daniel M





 New Year Resolutions ... ! 



A fresh new year is coming and is almost already here, 2017. So it is time to forecast some blog projects for the months to come. But the big news is that I will be "free agent" starting next April 2017. That life project has been planned since two years and at last it will be concretized in 2017. At this point of my modest evolution it may be the best thing that happens to me.

Now for more photo equipment oriented subjects, since I have just received the new "Pro" Olympus OM-D E-M1 Mark II, a very personal review of the camera will be issued later this spring of of 2017. An article on the lenses with fixed focal lenght is also on the way. Another subject that will be title "On Assignation" will be a kind of personal view as an in-house photographer regarding the preparation and the production of a specific photo project.











On the photo artistic side many subjects will be part of my attention. Since we are confronting the constant rapid changes of our surrounding, I want to explore the artefacts of the recent human remains of our society. Are we really documented of our recent evolution or just have burned it. Sub-Urban Abstractions is another challenge to picture especially if you can extract it from the concrete reality of the object or the subject



Photography has never take such an important place in our everyday life and its constant presence is a strong témoignage of its current vitality. Yes the new photo taking-diffusing media are part of our personal surrounding and play a vital role of our life. It stay a modern form of expression in many ways including as an art by itself. Lets hope only that we are not only "consuming" photography but also take time to "contemplate" its various expressions.

Saturday, December 3, 2016

Get in the "pro" side with the Olympus M.Zuiko 12-40mm F2.8



Olympus M.Zuiko 12-40mm F2.8
The original (and first) Olympus M.Zuiko Pro lens actor on compact photo task with Daniel M.

We know already all the big advantages of using a so-called "Pro" lens. Better construction, larger controls and grip, better quality glasses, constant aperture (most of the time), all weather protection, etc. But "pro" lenses are also larger, heavier and... more expensive. Usually their variable focal length latitude is narrowed compare to the "amateur" counterparts.So it can be tricky to suggest or moreover to recommend such an exclusive product. And I am not a big fan of "bazooka" lenses that are intimidating the subject by their lack of discretion. The only add credibility you can expect from other people when using this type of lenses usually came from persons without real knowledge of photography (especially press credential personal).

So you can be rightly suspicious when I decide to bring you this specific and modest personal review about the Olympus M.Zuiko 12-40mm F/2.8 lens.

On the Run (Olympus OM-D E-M5 II / M. 12-40mm F2.8)
The Olympus M.Zuiko 12-40mm F\2.8 is in fact a big lens. It is true to say that it is a smaller lens compare to its equivalent in larger image actor format such as APS-C or 24X36mm so-called "full" frame format. Its focal length latitude offers a practical range starting with an interesting wide angle up to a modest telephoto setting. Its constant maximum aperture of F/2.8 is the usual standard for this kind of "pro" product.

Olympus OM-D E-M5 II W/Grip / M.12-40mm F2.8 
The Olympus M.Zuiko 12-40mm F/2.8 is an impressive piece of glasses in particular if you apply the compactness standards of the m4/3 format. To properly use it you may need a camera model with a greater potential handle grip to be able to handle it with confidence and confort. But I must add that the lens is still usable  without add-on grip. As a "Pro" design lens its primary destination is without a doubt the Olympus OM-D E-M1 (in both variations). With the OM-D E-M5 (again in both versions)  the optional grip will help you  in certain situations like studio or action shooting sessions. That can be said also when you are using the OM-D E-M10 (again and again ... original or Mark II models).

The feeling of the 12-40mm F/2.8 lens reveals its high class all weather construction especially in comparaison with the kit zoom lenses such as the M.Zuiko 12-50mm or the diminutive 14-42mm. Control rings for zooming and focusing are fairly larger and can be easily distinctive by the touch. On the spot manual focusing operation is possible by pulling the focus ring very conviently (that specific option is also present into the 12-50mm lens). We appreciate that the lens hood is part of the included accessory packaged with the lens.

One of the big advantage of the M.Zuiko 12-40mm F/2.8 is surely its focal length variation starting with a real wide setting of 12mm (84 degrees of angle of view) up to an extended normal angle of view ( 30 degrees) at 40mm. I really consider that telephoto designation should start at 60-75mm focal length in M4/3 format which represent an angle of view of 20-15 degrees to make a visual difference. At that point you get a magnification ratio of 2.5-3X compare to your naked eye. The Olympus M.Zuiko 75mm F/1.8 should be an excellent complement to the M.Zuiko 12-40mm F/2.8.

Like I have said earlier the bigger dimensions of "Pro" lenses is often generating intimidating reactions from many spontaneous subjects. It is a price to pay and you may have to earn the confidence of the people you want to photograph prior to the shooting itself. Even the non-initiated person in photography will be aware of the "pro" level of your photo taking device.

The performance of the Olympus M.Zuiko 12-40mm lens is on the upper lever flirting with the stellar performances seen on the prime (focal fix) lenses. It is a good substitute product to the 12mm, the 17mm, the 25mm and the 45mm prime lenses although all theses models offer a much larger maximum aperture (F1.8-2) which support a better depth of field control.

The extended focal range of the M.12-40mm qualify it as a good urban traveller optic to keep at hand. more than on your chest. And yes it can be a good action lens.



If you are looking for a basic "pro" setting the Olympus M.Zuiko 12-40mm F2.8 will be a strong contender to fill the task. And the image results will speak by themself.




Good Bye


Sunday, November 6, 2016

The Superior Lens: The Olympus M.Zuiko 75mm F/1.8 ED

It sometime arrive that a new product is becoming a fetish item right from the start and it was effectively the case for the beloved Olympus M.Zuiko 75mm f/1.8, the "made in Japan" state of art optic for M4/3 format cameras.
It is a purely indecent and expensive piece of glass that everybody want to touch, try and ... adopt if they can afford to pay for this majestic device.
Carefully crafted the Olympus 75mm is also a beautiful collector jewel especially in its silver version. The short and fat design of the lens can be still assimilated as a compact design considering the fact it is a real telephoto with a fairly large maximum aperture. The focus is sumptuous and using it in conjunction of the Auto-focus/Manual option of the camera is a charm. When you turn manually the focus ring you will easily feel and ear the by-wire mecanisism of the lens coupled with a lighter turning resistance compare to some prime lens models. For my personal point of view I have seen it more as an avantage than an inconvenient.

Plumage (OM-D E-M5 II / M.Zuiko 75mm f1.8)
A short word about the lens hood
The dedicated and factory lens hood of the Olympus 75mm F/1.8 is not part of the included accessories that come with the lens. In fact the Olympus policy regarding lens hood availability is not really clear. It seems that most of the "polymer-made" hood are included with the lens and the "metal-made" ones are optional accessories. For the Olympus 75mm lens, the gigantic metal lens hood (and expensive) has to be bought separately. Considering the hood large dimension it is really an occasional  add-on accessory that will bother more than be practical. It's up to you to "invest" or not.

With 16 degrees of (narrow!) angle of view the Olympus 75mm F/1.8 is the first real telephoto that will give you an equivalent three time magnification compare to your normal eye sight. Combined with its maximum aperture of F1.8 it can be a very discriminating lens considering its reduced deep of field.
Because of its great selectivity the Olympus 75mm F1.8 is more an off-contextual lens than the others lenses doted with a wider angle of view. Perfect in doing portrait or such related subjects this small and fast telephoto can be also used in cultural (such in theatre or musical scene) and sport events.
You may consider the Olympus 75mm F/1.8 as a true "project" lens that will ask a greater sense of study of your subject. In fact working with the optic will allow you to really discover different aspects of your subject.

What to add more about that optical marvel from the Olympus M4/3 line-up except its outstanding performance. Yes this a superior optic even if it is a specialize piece of glass. But using the Olympus 75mm may transform you in an addict of this focal length with a narrow angle of view.
Urbascape with the Olympus M.75mm F1.8

Saturday, August 13, 2016

The Panasonic Lumix DMC-GX8: the "Pro" Still Photographer ...




The Panasonic Lumix GX8 in its nice silver delivery.
A more discrete black version is also available

My first impression was that GX8 fit like a glove to me. The handling, the control and the interface are easy to comprehend and you have the feeling to hold and to use a very pro oriented M4/3 format still camera.

The very confortable
 and secure front grip
 of the Lumix GX8
The grip factor is really one of the strongest points of the Lumix GX8 that is giving a very secure and confortable way of working with the model. Many times I have used the GX8 without bothering to put my wrist strap since I was feeling fully confident about the handling. The electronic viewfinder (EVF) is large and very informative of the picture output result you can expect. Direct dial options are easy to learn and reach if needed. As usual push bottoms are handy and fast to react but can be accidently activated during shooting if you are not aware of your palm hand position. The LCD screen is also a very fine viewing tool and can be fully oriented in many ways.

The very beautiful and classical design of the Panasonic Lumix GX8 upper deck. An interesting mixture of classical presentation and modern direct dial functionality attributions
The Panasonic Lumix GX8 is a bigger camera than the previous GX7 (original). It appears as a design choice by Panasonic study board rather than a technical constraint especially with the venue of the new Lumix GX85 / GX80 (Japan GX7 Mark II) that has a significaly smaller size despite its similar features. For a full time photographer (dixit so-called pro) the dimensions of the GX8 are still smaller compare to traditional DSLR even more if you add the equivalent lenses. So it confirms in a way the “Pro” orientation of the model.

The tilt able electronic viewfinder (EVF) of the Panasonic 
Lumix GX8: a Chest level alternative that can preserve parallel 
vertical lines or help you for low level point of view
Is the Lumix GX8 an action camera? For spontaneous photography you can say without a doubt yes. For sport or very moving subject it cannot in any way compete with the modern DSLR that are the most advanced autofocusing system available on the market. Using the faster prime lenses will give you a more reactive GX8 in the view o my modest experiences. So doing action photography with the Lumix GX8 can be more challenging for the user. You have to rely on a more pro-active approach (Anticipation) than a reactive watching.



No in-board flash is available on the Lumix GX8. Again it seems to be a voluntary designer choice. Panasonic has often been joggling with that feature like in the case of the diminutive Lumix GM5. Without in-board a flash option you need to bring an external flash unit of some kind to perform at least fill-in flash operation. So it represents an additional device to think of but the advantage came by the fact that most of the external flash units are self-powered saving the camera own battery life. Again no in-board flash unit is reflecting a traditional “Pro” design approach.



The Panasonic Lumix GX8 is delivering beautiful image outputs. The exposure system is very accurate and you can rely on it on every operating modes offered by the GX8. Color rendering especially in the “Natural” mode is respecting the reality of the scene. The exposure direct control dial is handy.
You can produce rich black and white pictures that as always a big advantage of using a camera equipped with an EVF that is showing you on the spot the final image output prior to the picture taking.  In a strictly personal point of view using the new 20MP image captor didn’t represent a strong departure from the usual 16MP sensor used on many others M4/3 models. I am sure that the new 20MP will give some edge advantages on specific picture taking situations or in performing particular image post treatments. But for a Web diffuser like myself the difference will appear marginal at the most.
In combination with the Lumix Vario G 12-60mm lens the 
Panasonic GX8 can deliver very pleasant colours and fine details.

Using the monochrome option on the GX8 is producing 
excellent black and white results

After a few days of companionship the Panasonic Lumix GX8 had proved to be a very solid still camera. Its larger size will give you confidence to bring it everywhere on every circonstances even in bad weather. But you must remember this is not a very compact model such as the smaller Lumix GX85/80 model. Lens combination with the GX8 are better served by selecting the "Pro" lens version like the 12-35mm f2.8 and the 35-100mm f2.8 or the versatile 12-60mm. 

As a professionally oriented model, some aspects of the Lumix GX8 such as its generous grip, the add-on external flash option, its 20MP image captor and its titl-able EVF for example will be well received for everyday and intensive photographers.



On the road with the Lumix GX8

Although the Panasonic Lumix GX8 is a very well crafted camera it cannot be assimilated as an impressive model such as to be the previous Lumix GX7 (first version) which had many interesting features in a more smaller package. Even considering the improvement of the image sensor this redesign won't necessarely seduce everybody. Paradoxically Panasonic has already done better with the new GX85/80 (Japan GX7 Mark II) but with the sacrifice of the weather sealed body feature.

Now (August 2016) the current selling price of the camera combined with the Lumix Vario G 12-60mm lens is representing a better quality-price ratio for this quality level of product.


Special thanks: With the complicity of Panasonic Canada and my kindly representing contact person I was able to work with the GX8 model equipped with the newest Lumix Vario 12-60mm Power OIS lens.






Sunday, July 10, 2016

The Panasonic Lumix GX85/GX80 (Japan GX7 Mark II): TheTraveller Successor


The Panasonic Lumix GX85/GX80 or GX7 Mark II (Japan):
A very classical rangefinder style digital modern camera
My first introduction to M4/3 image captor format was with the Olympus Pen EP-3, The camera and lenses dimensions were just perfect in my sense for an everyday compact camera. The only irritating omission was the absence of a traditional viewfinder and using the add-on EVF accessory simply destroy the homogeneity of the basic idea. Later the coming days of the OM-D series solved partly the problem by integrating a workable EVF and by offering in-body stabilization.

Panasonic have developped over the years a complete series of rangefinder style cameras such as more recently the GX7, GM5 and GX8 models all cameras doted with a good EVF and in-body stabilization. It reunited other successful features such as standard 16MP image sensor or the moe recent 20MP sensor for the GX8, touchscreen and tilt-able or fully orientable (GX8) LCD screen. The GX7 was a near perfect size model and the GM5 was a real traveler camera.
Many still photographers prefer the tilt-able screen
option over the fully orientable side-screen alternative
designed more for videographers
.

Now Panasonic have decided to refresh the GX7 by presenting the new GX7 Mark II (in Japan market) relabelled GX85 or GX80 into the other world markets. The "Mark II" designation clearly indicate the filiation with the previous and original GX7 version.

Many factors are differenciating the original GX7 from its successor, the Lumix GX85 / GX80 / GX7 Mark II. I will review some of them that I have found more determinant.

Less grip compared to the original
GX7 but more than the GM5
The Grip Factor
The Panasonic Lumix GX85 / GX80 have not the same grip volume as the original GX7. It results in a smaller prehension confort. Since the camera is more on the moderate heavy side for its overall dimensions it will ask you a more careful attention in bringing, holding and manipulating the model.  But compare to the previous and diminutive Lumix GM5,  the Lumix GX85 / GX 80 offer a more secure way to work with its body. It  is always possible that in the near future an add-on accessory grip will be proposed for some of of us  who are asking for a better grip.

The Switch Factor
The On/Off switch is is located on the upper right side of the body of the camera but reaching it with your thumb may ask you a strong contorsion exercice. All the other operating dials and fonction buttons are classically presented. No more direct dial for the the automatic and manual focusing setting is present on the Lumix GX85 / GX80 model. That absence can be compensated by using the autofocus with manuel correction option.

Reactivity and Focus Factors
In general the Panasonic Lumix GX85 / GX80 is a very reactive camera fast enough to capture spontaneous pictures of acting subjects. If you have chosen to work with larger aperture prime lenses such as F1.7 or more the auto focus adjustment seems to be faster and on target most of the time. Screen touch focus selector can be another option easy to reach when you are more selective with less usual subject target (that option can be also desactivated on demand).

The Monochrome Factor
Some of my previous viewers know already my love affair with black and white photography and the Panasonic GX85 / GX80 will perfectly respond to that task by offering two monochrome photography options: MONO and MONO L. Ether versions give you a tonal palette from black to gray to white which is rich and detailed. Black and white photography rendering with digital still camera is now a mature feature. Professional results are obtained right from the start preventing that way more destructive post-treatment manipulations.

The Sensor Factor (16MP vs GX8's 20MP)
Panasonic have chosen to maintain the commun standard 16MP sensor for the GX7 Mark II. Quality  output of the picture using this sensor has been already demonstrated several times over the past. A marginal improvement can be observed by the fact of the absence of an anti-aliasing filter initially used to prevent  the moiré effect. These changes may offer you better image cropping factor ability without noticeable quality decrease.

Severe cropping is possible without altering the overall quality of the picture.
None retouched original picture


The Viewfinder Factor (Tilt GX-7 EVF vs Fixed GX85/GX80 EVF)
The Panasonic Lumix GX85/GX80 s doted with an in-board EVF without the previous option of upper tit-ability present in the original GX7. That option has been offered with the newest rangefinder style Panasonic flagship model the GX8 which is in fact a larger camera with all-weather sealing and maybe more capability to resist from intense using. Apart from the tilt-able option, the previous (GX7) and the newest (GX85/GX80) EVFs are behaving in the same matter giving a good but more contrasty representation of the actual image. The big advantage of using EVF is its direct relation with the final result registered by the image captor. It is an almost perfect tool to preview black & white results. Moreover the EVF allow you to do instant review of your last picture taken without losing contact with your subject.

The Design Factor (Angular vs rounded GX7)
The Panasonic Lumix GX85/GX80 is marginaly a more boxy camera compare to the first version of the GX7. It represent a certain drawback in term of ergonomic design of the model. Body style is more classical which is a popular present trend among many camera manufacturers. On a daily using basic sharp angular design camera are less confortable to work with to say the least but it is partially compensated by the more discrete presence of the device in face of the subject.

The Stabilization Factor (GX85/GX80 more in-board Axis)
Modern cameras need to be stabilized for many reasons. They are smaller and lighter packages and we are facing most of the time faster subjects or contexts that need to be adequately  stopped or freezes. The Panasonic Lumix GX85/GX80 offers the two stabilization options with in-board stabilization sensor and the possibility to combine lens stabilization (if offered by the lens model used) and sensor stab. Most of the time the stabilization factor will increase the definition of your picture output in a decisive way. Dont prevent yourself to use it extendely.

The Lens Factor (Panasonic G lens system + Zuiko M. options)
One of the decisive factor of selecting to work with M4/3 ILC format cameras resid in the the very interesting choice of lenses available on the market. These lenses can be versatile, fast or specialized and their overall dimension stay compact and lightweight. For sure my preference goes for the prime (focal fixed) lenses with moderate larger aperture such as the Panasonic Lumix G 20 F1.7 or G 42.5mm F1.7 OIS models. There are perfect matches to bring you good to outstanding results from the camera. For a one-lens traveler combination  you can consider the Lumix G Vario 12-32mm F3.5-5.6 OIS that is offered at a ridiculous selling price when you decide to buy the GX85/12-32mm package. There are many others lenses that can fit your specific need and the Olympus Zuiko M lenses can be also another option.

Other factors
The in-board flash of the Lumix GX85/GX80 can be a good help for using the fill-in flash technique and you have the possibility to put an external unit if you are a heavy flash user.

As usual for ILC mirrorless cameras an extra battery is clearly a must recommendation. For charging them an external charger seems to me a very practical add-on. I hope in some way that an add-on grip will be in someway available in the near future.







In short the Panasonic Lumix GX85/GX80 (GX7 Mark II) represents a very interesting successor of the previous GX7 and GM5 models. 







Monday, April 25, 2016

Just Give Me A Split Second Look!




Just give me a "split second look" !

Isn't the essence of photography? or the fondation of snap shoot life "picturization"?
Give me a freeze split second of your time-line (life) that I will prolong in space and visual memory.
Are we photographer or more likely thief of brief moments that we choose to extract of the repetition of their own entourage?
Yes just give me a split second look!

Saturday, April 16, 2016

Photograph with an "S" (Fujifilm X-E2S): The essssence of photography

The Fujifilm X-E2Ssss...

If you came time to time to visit this blog you may have already notice my passion to photography which in fact is the essence of the message behind those illucubrations of mine. We see thinks, subjects, moods that we want to freeze in time and in mind and represent them after.Yes photography is a visual interpretation of our personal realities. Everybody can add to this fantastic mosaic of flashes of life.

And between you and your subject there is the "tool". For the painter it is the canvas, the colours and the brush. In photography it is the camera i.e. the device which we use to register our pictures. It can be simple like the original stenope or very complex like our actual digital cameras. For many a creative tool should be inspiring, should be the extension of our mind and soul that will allow us to express our originality of reframing, recompose and reorganize our representation of the living.

And a tool that can be raffine is something rare to find especially in this time of short consuming. That is why I fully appreciate the Fujifilm approach to allow many upgrades of their products. Yes they have also a classical way of designing cameras in the sense of the modern compact model that have been started with the event of 35mm film photography. This heritage is fully assumed by Fujifilm and the people behind the logo.

My previous post Fujifilm X-E2: The digital rangefinder without rangefinder  was my introduction  to the Fujifilm world of ILC X-Mount Series.  For sure the X-E1 have rightly preceded the second version but as usual I was late to discover the concept.

Working in the past with some Leica rangefinder models like the M4-P and the M6, I was curious to experiment the digital interpretation of those modern  and classic compact cameras.By today standards the M4-P and M6 would be no more really so-call compact cameras in the external dimensions and  relatively heavy weight but comparing with their medium format cousins they were small device as for their line of taking lenses. I think it has been a fondamental inspiration when Fujifilm designers begin to draw the first esquisses of the future ILC X-Mount Series.

The viewfinder schools: On-Off axis (action photography vs contextual) and about EVF
Are you an off-axis or an on-axis viewfinder devotee? Without discussing about the pro and con of each viewfinder location, we can advance that on-axis viewfinder are better designed for following action when using telephoto lenses. Off-axis viewfinder seem to be a better tool for contextual photography and by revealing a good part of the photographer's face it create a more intimate interrelation with the (live) subject.
Using EVF (Electronic ViewFinder) technology is different from the classical optical way (rangefinder or reflex) because it represent to a certain extent the final result extracted from your image captor. "What you, what you get" is more accurate especially in Black and White. Composition of your picture can be carefully done at the taking moment. For statical subject it is a perfect tool. In action photography you must concentrate your attention on your viewfinder rendering because of the processing delay of the picture. Simply put EVF offer you a representation of the instant past.
My only big prevention about EVF in general is the more contrasty image presented in comparison of the final picture. Because of that I have on several occasions that I have adjusted my picture expectation with an overall higher level of contrast that has to be corrected by editing the final photo file.

Modern direct dial control.
Modern direct dial controllers are the digital interpretation of the traditional film manual camera control setting for the exposure and the focus. Even if automatic setting options are now very reliable and even better than human evaluation many photographers still prefer to introduce their exposure or focus bias. Except for ISO selection all other manual controls are available on the Fujifilm X-E2S and are presented usually on the fashion manner of the past camera, You can easily parameter your shutter speed or your aperture (for most of the XF X-Mount lenses). Focus can be done manually by using either the viewfinder or the back screen. All the critical informations are clearly presented. So you can preselect your  exposure setting without actually looking  at the viewfinder/screen (Camera off if you want to save battery life). The exposure correction dial with direct appreciation on the viewfinder/back screen is also a very handy and creative  photographic tool.

Color and canvas model interpretation
That is one of the strongest advantage to use Fujifilm X  products. You can really select the color palette that will fit with your specific need. Fujifilm is really into the imaging business at first and is dedicating its products mainly for that purpose.

Lenses and lenses
Since the Fujifilm X-E2S is an ILC (Interchangeable Lens Camera) you can select any lenses available from the Fujifilm X-Mount Series. If you are looking for a very compact package you can try the Fujinon XF 27mm F2.8 lens. Except for its modest maximum aperture of F2.8 the 27mm lens is a good all-around optic that give a lot of  photographic opportunities.To a certain extent the same advantage apply for most of the short and normal fix focal lengths offered by Fujifilm. The zoom lens models are also another optical option especially for the trans-standard ones that are giving you larger focal range in one device which can be appreciated on travel for example.  The telephoto zoom options are somewhat big customers for a compact camera like the X-E2S especially considering its off-axis viewfinder but it works. A moderated fix focal telephoto like the Fujinon XF 60mm F2.4 is an excellent portrait option and a very efficient discriminating lens.
When you are considering the purchase of an ILC you have to question yourself about the lens combination you are looking for because it can dictate your camera choice at the end. Fujifilm offers you the two viewfinder options, on and off axis which is very appreciated.

Handling and body size
The Fujifilm X-E2S is a very light camera. If I am using the camera in combination of an heavier lens my left hand is becoming the main assise of the lens in order to maintain a correct balance of the set. With fixed shot or normal focal lenses the camera offer you a pleasant and small package that can be fully appreciated in doing spontaneous photography (street, candid, travel, etc.) Space around the right hand side is limited and unwanted function button activation may occur. Adding a grip can help but the most confortable one is the first model (HG-XE1) only available now in used equipment. The view finder and the back screen are efficient tools. The  back screen doesn't need to be direct view with is compensating for the absence of a tilting option.

Auto-focus and reactivity
Focusing on subject is part of the selective processing when you are composing your final photograph. Since the camera is not directly link with your brain it is still a difficult task to select and lock on the object or subject that has been chosen by the operator. Most traditional and pre visible subject are now well covered by the automatic focusing modern system.

Flash, in-board, external on-camera and off-camera
The Fujifilm X-E2S is doted of an in-board small flash that can serve as an emergency unit or more likely as a fill-in flash very contrasty front light situation. The flash power can be adjusted via the flat compensation option which is better to be added to the Quick menu selection for faster access. Flash photography is now less usual in spontaneous photography. It is now more related with creative photography (studio style) as a discriminative light source. In that case off-camera flash units offer a better control of the effect intended and many devices combinations are available on the market and as rental opportunities.

The revenge of B&W photography (!)
One of a nicest thing to do with Fujifilm cameras is Black & White photography. You can choose to do it right from the start or later in post-production editing. With the help of the Electronic ViewFinder (EVF) you will see in real time the final result of your picture. So doing B&W photography has never been so constructive since the event of digital camera and EVF. Monochrome picture representations are here to stay as a major visual sub-art in concentrating your attention to graphic composition and the light contrast and repartition.


X-E2S: A fashion camera? Yes because we are fashion people!
Fashion is at first a way of doing or be something.  It can be purely utilitarian or on the other simply frivolous. Qualifying the Fujifilm X-E2S as a fashion camera in trying to underestimate its creative qualities is simply the expression of personal dislike for this type of design. Because every (photographic) tool is also a cultural and social expression. The most important factor is that the Fujifilm X-E2S is beautiful photographic device from which we create interesting pictures.

Surely the Fujifilm X-E2S can be an inspiration to do photography at least for a certain kind of person. I will never contest that others models are or seem to be better performer in specifics aspects of their operating features. Nobody is perfect and it is true that things tend to get more sophisticated with time. But the "S" sense of the X-E2S is to be a productive tool of photographic expression.