The Point and Shoot Camera versus Thoughtful Photography

1000266-01Panasonic Lumix TZ70: Expressive filter.

Welcome back. It’s been several months since I last posted, but I haven’t stopped taking photos. Not one bit; in the intervening period I’ve taken some personal favourites and come to realisations about how I want to approach photography as a medium. Having not discovered my passion until the digital era, I don’t really have many recollections of the cheap, point and shoot 35mm camera era. I’ve bought a couple since and dabbled, but film isn’t really my thing. Being a 21st Century Digital Boy I cut my teeth on everything from Lumix bridge cameras to several EOS bodies and plenty more in between. Very early on with my beloved 20D I shot in RAW. As a Mac user, I was on board with Aperture for RAW conversion and workflow management. The dawn of the digital darkroom was a playground for drawing as much detail and oomph from the files before you exported it as a finished article.

This was all well and good, but after a decade, it become quite tiresome. Apple finished making Aperture – a bad decision from my perspective – and I had to revert to manufacturer supplied programs or Adobe Camera Raw. I now use Capture One and mighty good it is too. It wowed me the first time I put CR2 files from my 5D Mark II through it, a camera I have found to be underwhelming in the main. However, since buying my Fuji X100F last summer, I’ve become a JPEG, straight out of camera convert. Because of this, RAW editing has become anathema to me and I’ve found myself being very happy to just let the camera decide. A brief flirtation with a Sony RX100 III came and went and then a used Fuji X-M1 popped up at WEX for under £100 and I saw a chance to match the JPEG approach with interchangeable lenses. A post about this camera will follow in the coming weeks, but this entry will focus on my latest purchase – A Panasonic Lumix TZ70.

I received a trip to see Arsenal as a birthday present from my partner and wanted a small camera with a good reach to get close-ups of my favourite players. As a first timer at the Emirates Stadium, I wanted to be a total tourist and needed as much versatility from one camera as possible. My X100F would have been brilliant for external shots, but I would be stuck with a fixed focal length for 90 minutes. A last minute hunt online found the Panasonic and it was the 12mp sensor and 30x optical zoom that appealed. I didn’t read any reviews first, which is unusual for me, and trusted my gut instinct of older Lumix being great for their time. The TZ70 didn’t disappoint or cause any buyer’s remorse. The camera can shoot RAW, but Capture One doesn’t support this particular model, and manual mode was frustrating without direct controls. My recourse was to dabble with the Creative Effects mode, which offered the usual filtered images and here was a couple of surprises.

1000283-02Panasonic Lumix TZ70: Dynamic Monochrome filter.

Expressive mode gives the bright, punchy colours I love when using Fuji’s Velvia film simulation and Dynamic Monochrome ranks very closely to Acros in my affections. All but one of the featured images here were taken in these two modes; the wall of death picture was switched to Cross Process, which dialled back the saturation and white balance to a more pleasing level. Whilst I find myself adding a little tonal contrast and sharpening to these files via Snapseed on my phone, the workflow isn’t as convoluted as RAW can be, nor as time consuming. Essentially, I just set this camera into a very easy mode and worry more about seeing better and more interesting compositions and taking time on each image. As a photographer, I’ve simply had enough of making something simple, difficult.

1000294-01Panasonic Lumix TZ70: Cross Process filter.

Which brings me on to an important consideration. If we as photographers could stop chasing complexity and just practiced taking pictures in the moment, we might discover more about ourselves as photographers and offer up more satisfying images. Sure, I could walk to a stunning location and whip out £500 worth of glass filters just to kick the 5DII’s dynamic range up the arse, but then I’d be having to take time fiddling with files when I got home and I’m just so over that life. I could hand on heart say the last 9 months of hassle free JPEG shooting have been some of the most liberating times I’ve had behind a camera since I learnt to take photos on a DSLR. So, don’t write off a £250, point and shoot camera to be for rank amateurs, but instead, consider one as a way to kickstart your creativity in-camera, in the moment and stop worrying about how it will look in post. You might enjoy it.

1000259-01Panasonic Lumix TZ70: Edited to B&W in Snapseed, from original JPEG.

Living StatuePanasonic Lumix TZ70: Dynamic Monochrome filter.

Fuji – the monochrome shooter’s colour camera.

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What is it that makes monochrome photography so alluring? The street masters shooting Leica? The chance to see the world in a way our eyes cannot? Or is it simply because capturing light and shade is so darn aesthetic it’s almost impossible to not love it? For me personally, it’s definitely the latter two reasons. I don’t practice street often and I certainly don’t have the confidence to take candid portraits more or less against the subject’s will, but that’s just me; power to those who create the compelling images I could not. My Huawei phone has a black and white sensor, which feels liberating – not having to shoot colour and desaturate afterwards. I definitely make regular use of Monochrome because of that feature.

My Fuji X100F has the Acros film simulation, with colour filter options and whilst it is not a B&W sensor, the camera has been engineered to capture light and shade in a most beguiling way. I find it difficult to shoot in colour with this camera, because the pull of Acros is so strong. The contrast, the dynamic range. Even with grain effect set to weak these are lovely images. I’ll attempt the odd street shot, I’ll point it at daytime clouds. I’ll find quiet nooks with beams of light, just for the heck of it. It’s just the perfect digital camera for mono photography.

However, colour is useful. Colour can inspire emotions just as well as black and white. More upbeat, vibrant emotions. A sunset in mono would be wasteful of all that natural splendour. A tropical sea would be rendered in fifty shades of grey with none of the Moana charm. So with Velvia and Astia film simulations, Fuji cameras offer colours that really pop. Colours perfect for the occasion. I prefer Velvia, as it is saturated but retains the clinical look of monochrome. Astia smooths in the way the film might, which would be nice to try on a misty Autumnal morning no doubt. In Velvia, I have a camera setting that pulls me from mono, but in essence, offers everything I enjoy about black and white. The tonality is there, the contrast. The rich, hard to quantify appeal is there. Some people would call it micro contrast, perhaps. Whatever it is, between Velvia and Acros I have found the camera that inspires the creativity in me as much as my old EOS 20D with Sigma 10-20 did a decade ago.

Cheers, Matt.