Another camera I've been using in my Mirrorless Interchangeable moratorium is the Panasonic FZ1000. On a freezing cold day I used my co-camera of the year with my firmware update of the year, the 4K Photo Mode. Once again the ability to pick the best frame from a series of 4K video clips proved invaluable. Rather than anticipate when the boats were in good positions or attempt to react quickly, I just let the camera record 4K video for various periods of time. As this was happening, with the camera both held horizontally and vertically, I could see various compositions come and go and know that I had captured them.

Adding in the fact that I was getting decent depth of field and a high shutter speed at f/4 this is a situation that really suits the FZ1000, particularly bearing in mind that I was some distance from the boats. This is really a ludicrously good camera and for outdoor work in good light, I really can't think of anything better when I'm working in such conditions. 

And just like all my other cameras, the raw files from the FZ1000 benefit from processing via Iridient Developer. The sharpening and upsizing parameters in the software are, for me, second to none. I just love the look and the colour that this app. gives me. It' s different from the look and way of processing that we have all got used to with Adobe raw conversions, allowing much more freedom in terms of what I want to filter out. Inbuilt parameters and profiles are now automatically applied in Adobe Camera raw, so I have much less choice in how I process. This usually means a softening of the file to remove any noise or moire that may or may not be present. Raw processing these days, in Adobe software as well as the manufacturers own, as well as jpg. creation in camera is so biased towards noise reduction and away from sharpness, that images are being produced that have little character. I love to play around with texture, tone and colour to see what a raw file can yield, but often I'm not allowed to do that. And it's these third party solutions that I'm turning to more and more to get the looks I want. 

And yes there is bit more noise here and there and the occasional bit of moire that needs fixing, but for me that's an trade off I'm prepared to make. If you look at the video grabs, which are OOC jpgs. above compared to the IR processed raw stills, you'll see the difference in colour balance and contrast. There's more 'punch' in the files processed from raw with IR and for me a much more attractive colour balance. These days it seems all the manufacturers are trying to steer the processing of their raw files towards how their jpgs, look and those OOC jpg. files always give a good indication of what the camera designers and engineers think is the optimum for their cameras. For me it's often bland and some kind of consensus processing. Much more geared towards the elimination of noise than allowing any kind of creative interpretation.

It's not for everybody of course, but I do like some kind of individuality in the files I create and IR allows me to do that. While much of it is over the top, this is why I'm attracted to the 'smartphone aesthetic' that I bang on about. So with my processing and the way that I set up my FZ1000, which is pretty much so I can point and shoot, I can both concentrate on picture creation when I'm out shooting and explore some creative possibilities when I'm back home working with the files. Theses days, in certain circles on the photographic internet, it seems people are wary of stepping outside what is perceived as the 'right way' to shoot and process and for me anything that tries to steer me in one direction or another is to be avoided. Because if I can't put my own unique stamp onto the images I create, no matter how small that might be, what's the point?