Rumors of the point-and-shoot’s demise have been greatly exaggerated. If anything, the point-and-shoot has become an even more capable tool for photographers since it has decided to go a bit upmarket in features and design. Even I was caught off guard by this mini-comeback of the pocket camera, but I’m frankly a bit more surprised by the incredible variety that currently exists in this previously dwindling market, and the fact that a point-and-shoot is now my most used camera.
It started for me with the RX100 series, though I must give credit to the many powerful cameras that came before, such as the Ricoh GR (now GR II), or Canon’s G series, and even the myriad film options that existed decades before. But it was really the proliferation of the RX100, and specifically the RX100 III, that piqued my interest. With claims of impressive image quality, thanks to a relatively large sensor, full manual controls, raw shooting, a pop-up EVF, and the ability to just be popped into my pocket, I couldn’t pass it up.
An RX100 is certainly no replacement for my a7R II, but it was still quickly becoming a much-loved camera that I would bring out while hanging with my friends or capturing beautiful landscapes in Iceland. It’s versatility and size meant it was a perfect supplement to all my other camera equipment; and the portability meant that I could up the quality—even of my snapshots—to a more satisfactory level. Sorry iPhone, but a real camera is almost always going to be better.
Then came the upgrades. First it was just the RX100 IV and V, but what I always had my eye on was the RX1R II. Eventually, I scrounged up the funds to pick one up, and saw firsthand that this is where point-and-shoots enter a whole new dimension. Cameras like the RX1R II and Leica Q could almost be offended by the term “point-and-shoot,” since, if you look at all their pieces individually, it would be hard to argue that you wouldn’t find these features attached to professional camera systems.
For all intents and purposes, my RX1R II is just a miniature a7R II with a fixed lens: it offers the same image quality, numerous tactile controls, and even an impressive pop-up EVF. Also, if you haven’t heard this already, I’m a huge fan of the 35mm focal length, so the RX1R II was a natural choice. For one-lens days, it is a perfect camera that I can sling over my shoulder or pocket without issue and without sacrificing any quality. It also makes a perfect second camera that doesn’t carry much weight, and could easily serve as your second “lens.” A great kit for me would be my a7R II with the 90mm Macro alongside the RX1R II.
If you are more of traveler or someone who just wants one solid camera to do everything, you really can’t beat the superzoom options point-and-shoots have, especially when you consider their size. Nikon’s P900 is an obvious standout, with an insane 24-2000mm equivalent 84x zoom range. But for those with higher demands, the Sony RX10 III is a great pick, with a 1" sensor and still great 24-600mm equivalent range. This is just one specialized category in which P&S cameras excel. We haven’t even looked at the tough options, like the Olympus TG-5 or Leica X-U (Typ 113) and, for something you can’t easily do with your DSLR, there is the VR-ready 360° Ricoh Theta S.
So why did I bother telling you these stories? Well, I hope it is so that you will take a second look at a point-and-shoot the next time you want to add something to your kit. There are many situations where a second camera can be indispensable, even if it isn’t up to the same level as your go-to system. Perhaps, if you are looking at your first real camera after your smartphone, it is a great direction in which to go and learn, plus the built-in Wi-Fi of most models certainly helps keep you connected to Instagram and Facebook. With point-and-shoots headed upmarket these days, professionals also shouldn’t shy away from a more capable model, like the Fujifilm X100F. The point-and-shoot is a brilliant tool, which I highly recommend.
