© Neil Turner, March 2014. Shadows on the pavement as a pedestrian passes along Tottenham Court Road.
Question: Why are so many professional photographers using mirrorless cameras, micro 4/3rds format cameras and experimenting with pretty much anything that isn’t a DSLR?
It’s a tough question and without conducting some sort of major survey I can only give an answer based on my own experiences and those of close friends and colleagues. DSLRs have been my main cameras for over sixteen years now and they have become an extension of me when I’m working. They do what I need them to do with no real fuss, the quality has moved from “acceptable” back in 1998 to “extremely good” and they allow me to do the day job without having to worry about my gear very much. But, and there’s always a ‘but’ – they have become a little bit boring and little bit ‘too good’.
When I’m shooting pictures for the joy of it (and despite doing this for a living since 1986 I still do that) I want to feel something different. Elegant competence isn’t enough any more. Talk to the folks who drive sports cars or motorbikes on the weekend where a saloon would be easier, safer and more comfortable and then talk to the people who buy, care for and listen to vinyl when digital storage is so easy because they’ll tell you that there is something more engaging and far more personal about not doing it the ‘easy way’.
Of course I could go all the way and shoot film and build a darkroom but I have been there and done that and I’ve thrown away the chemical stained t-shirts. My solution is to own and use cameras that give me a real feeling of taking risks. Cameras that make me think differently and probably take very different pictures too. It’s the weekend, it’s my day off, it’s my time to engage in photography for my own sake and for its own sake. I’m not alone in doing this and feeling the way I do.
According to the conversations that we have, the vast majority of my peers are simultaneously professionals and hobbyists and most of them choose different cameras for each part of their obsession.
By moving away from their amazingly accomplished DSLRs they force themselves to work differently and even to be different and many have taken that feeling from their spare time photography to their professional practice. A few quote practical reasons: lighter weight, less conspicuous, cheaper to buy, quiet or silent operation. A smaller number even profess to prefer the quality of the pictures (which to me is less than compelling given the flexibility of all RAW formats these days) but for me, and most of those whose opinions I trust, it is just a question of ‘different’.
If I choose to use a camera that is less intuitive, more difficult to get consistent results from and more than a little quirky then that’s up to me. If I’m taking pictures ‘just because I want to’ then I reserve the right to use a camera that makes me smile, that makes me less of a camera-operator-businessman and one that enthuses me to pick it up and head out of the door looking for pictures. The best part is that, in turn, I enjoy the work that I do for clients much more – I think that they call that a virtuous circle.
I doubt that the designers of these cameras had people like me in mind when they came up with the concepts. I hope that they don’t watch the market too closely and start to make them as slick and as polished as my day-to-day gear because that would spoil the fun.
Fufifilm X100 where are you? We are going for a walk…