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High-Speed Photography with Panasonic Point-and-Shoots by Jeff Kent Last month at the Houston Grand Prix, TakeGreatPictures.com shooter Bob Straus tested out two new Panasonic cameras that were perfect for the high speed event. Article rating: 5.15

After more than 35 years as a freelance sports and corporate photographer, Bob Straus certainly knows his way around a major event. He also knows his way around a camera, having mastered a variety of film and digital models while shooting spectacles like the Super Bowl, Daytona 500, Kentucky Derby, Wimbledon and the Olympics, to name a few.

© 2006 Bob Straus

With that in mind, we figured who better to test a couple of new digital cameras from Panasonic at the Grand Prix of Houston? Held on a temporary road track within Houston’s Reliant Park, the race was part of the Champ Car World Series and featured some of the best teams in the business. Straus brought along the Panasonic Lumix DMC-FX01 and DMC-FZ7 to see how they performed alongside the fast-paced action.

The Lumix DMC-FX01 is a 6-megapixel digital point-and-shoot camera with a 3.6X optical zoom. The camera’s 28-102mm built-in zoom lens allows for true wide-angle shooting at the shortest focal length, a rarity in cameras from this category. Panasonic’s MEGA Optical Image Stabilizer reduces image blur caused by hand movement or other gyrations. A 2.5-inch, high-resolution LCD monitor on the back of the camera provides a large, bright viewing surface. Surprisingly versatile, the FX01 includes a variety of capture settings, including the High Sensitivity Mode for taking sharper pictures in low light or when you’re photographing a fidgety subject. All this comes in a casing that’s roughly the size of a pack of cigarettes (2.01 x 3.70 x 0.95 inches), making this a true pocket camera.

The DMC-FZ7 is a bird of a little different color. While it also boasts a 6-megapixel file, MEGA Optical Image Stabilizer and High Sensitivity Mode, the big difference is the shape and focusing power of this camera. Though it’s a point-and-shoot-style digital camera, the FZ7 looks more like a digital SLR (DSLR), meaning it’s a bit bulkier with a larger lens that doesn’t fully retract. But what you give up in portability you gain in zoom-ability. The FZ7 comes with a 12X optical zoom. That’s right, 12X. It equates to an extension from 36mm to a whopping 432mm. Like the FX01, the FZ7 has a 2.5-inch, high-resolution monitor. Unlike the FZ7, it also has a color viewfinder, which may comfort those who are used to more SLR-style shooting.

“I was really impressed with both cameras,” says Straus. “They are easy to handle with good ergonomics. The optics are terrific. Resolution is good. Contrast and color are both excellent. However, the cameras are significantly different. One is a pocket camera and the other has a remarkable zoom. Since the low end of the zoom on the FX01 is a true wide angle, you can capture landscapes and broader shots, like a gallery scene at a golf event or a wide pit shot at an auto race. You can also photograph a large group of people at 28mm without having to back up 40 feet to get them all in the frame.”

“The FZ7, on the other hand, allows a lot of versatility because of its phenomenal zoom. At the widest angle (36mm), I was able to capture a shot of a pit stop with the whole scene in view. Then I zoomed all the way in and focused on the driver’s eyes. I didn’t have to move at all.”

With the rapid, hectic movement at the Grand Prix of Houston, having this kind of versatility was a welcome advantage. Straus roamed the track and pit areas capturing images of the big players on the Champ Car circuit, including acting and sports car legend Paul Newman.

Along with partner Carl Haas, Newman owns Newman/Haas Racing, one of the premier crews on the circuit. The team and its driver, Sebastien Bourdais, are sponsored by McDonald’s and considered one of the premier outfits in Champ Car racing. In fact, Bourdais took first place at the Grand Prix of Houston. It was his second consecutive win and one of four first-place finishes so far this season.

© 2006 Bob Straus

© 2006 Bob Straus

Straus wanted to make sure he got plenty of images of the winning team, including its celebrity headmaster. Even at 81 years old, Newman stays very close to the action and still gets behind the wheel every now and then. He’s a former sports car champion himself, with races like the 24 Hours of Daytona and the 24 Hours of Le Mans under his belt. His presence and visibility at the track allowed Straus to add a celebrity angle to his normal race coverage.This is where the FZ7’s zoom came in handy. “I was able to take wide pictures of Newman and his group up in a riser where they watched the race, then zoom in on his face without needing to move or get around anything,” say Straus. “That 12X zoom was very useful in that situation.”

For amateur shooters attempting to photograph high-speed sports with the FX01 or FZ7, Straus offers a few words of advice. “The nature of digital point-and-shoot cameras is that they sometimes have difficulty stopping action, particularly when you’re shooting in low light,” he explains. “Part of problem is there’s a shutter lag, unlike big pro cameras. One solution is to pan, and then they’re more effective stopping action.”

Panning is when you follow the motion of your subject as it is passing you, clicking the shutter and continuing to move your camera with the subject until the shutter has completely opened and closed. The result is a blurred background but a sharp subject. This technique adds motion to your photograph and portrays a sense of speed.

 “I also took a lot of pictures of cars coming out of the pits, at an angle where they were coming toward me,” says Straus. “The cars were going about 40 or 50 miles an hour at this point, as opposed to around 200 out on the open track. Shooting a subject at that speed and at that angle made it a lot easier to stop motion.”

Using these techniques and enjoying the versatile lens options, Straus thoroughly enjoyed the experience of shooting with the FX01 and FZ7. “The variety of images that you can make with both cameras is nearly infinite,” he says. “There’s not much you can’t do, as long as you’re willing to work within a 6-megapixel parameter. In fact, I have a sunset shot that I took with the FX01 in Ponte Vedra, Florida. I couldn’t have taken a better photograph with a $5,000 pro camera.”

The Panasonic Lumix DMC-FX01 and DMC-FZ7 retail for around $350 and $400, respectively. For more information, visit www.panasonic.com.

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