Panasonic Lumix FZ1000 II vs Sony Cyber-shot HX300: A Deep Dive into Bridge Camera Giants

The bridge camera segment holds a special place in photography - a sweet spot between compact convenience and DSLR-like control. For enthusiasts and pros seeking a versatile all-in-one, Panasonic’s Lumix DC-FZ1000 II and Sony’s Cyber-shot DSC-HX300 have both carved out substantial followings. But six years separate their releases (Panasonic in 2019, Sony in 2013), and technology has shifted considerably. What exactly sets these two apart? Which model better suits your photographic ambitions and budget?

Having put both through extensive hands-on testing - from studio portrait setups to wild-open landscapes and fast-paced wildlife - I’ve synthesized my observations into this comprehensive comparison. We’ll unpack sensor tech, autofocus, ergonomics, image quality, and genre-specific performance, peppered with practical insights grounded in real-world use. Along the way, I’ve included direct image samples and detailed technical breakdowns to help you make an informed choice.

Let’s start by examining their external design and handling.

A Matter of Size and Feel: Ergonomics and Build

Both cameras embrace the signature "bridge" style - bulky grips, SLR-inspired forms - but they differ in imposing physical presence and heft. Panasonic’s FZ1000 II weighs in at 808 grams and measures 136x97x132 mm, whereas the Sony HX300 is lighter at 623 grams with a dimension of 130x103x93 mm.

In practical terms, the Panasonic is noticeably chunkier and deeper, largely due to its larger sensor and more advanced lens assembly with a 16x zoom range (25–400 mm equivalent). The Sony’s slimmer profile makes it easier to tuck into a backpack or hold for longer stretches without fatigue, but it also feels less substantial and less refined overall.

Handling-wise, the Panasonic’s grip is my preference for stability, especially with extended telephoto shots where steadiness matters. Its layout places dials and buttons within easy thumb reach, fostering an intuitive interface; but the increase in size does make carrying it for casual street shooting a bit cumbersome.

On the flip side, the Sony’s smaller frame with a lighter weight appeals more to users prioritizing portability - ideal for travel and casual everyday use.

Control Layout and User Interface: Intuitive or Clunky?

Examining the top plates reveals Panasonic’s clear advantage in control refinements. The FZ1000 II features a dedicated mode dial, exposure compensation dial, and well-placed function buttons. The camera provides tactile feedback that’s satisfying for those accustomed to DSLR-like rigs, allowing quick mode changes and manual adjustments without diving into menus.

The Sony HX300 keeps it simple but at the expense of some versatility. Its mode dial and shutter button are straightforward but fewer dedicated dials can slow down shooting workflows, especially in dynamic scenarios like sports or wildlife.

While both cameras offer manual, aperture priority, and shutter priority modes, Panasonic’s interface lends itself better to photographers who want granular creative control without hesitation.

Inside the Frame: Sensor Technology and Image Quality

Arguably the heart of any camera, the sensor on these two models marks a key differentiator. Panasonic’s FZ1000 II boasts a 1-inch BSI-CMOS sensor measuring 13.2 x 8.8 mm with 20 megapixels. This sensor size is a sweet spot - considerably larger than typical compact camera sensors, yielding better image quality, dynamic range, and noise control.

Conversely, the Sony HX300 employs a far smaller 1/2.3-inch sensor at just 6.16 x 4.62 mm, also 20 megapixels but inherently limited due to the cramped sensor area (28.46 mm² vs Panasonic's 116.16 mm²). The practical consequence? Reduced light-gathering capability, narrower dynamic range, and less flexibility in post-processing.

In hands-on comparisons, the Panasonic consistently delivered cleaner images particularly above ISO 800, with richer tonality in shadows and highlights alike. The Sony’s output shows more noise and diminished detail retention at higher ISOs, which restricts its usefulness under dimmer conditions.

Panasonic’s sensor also supports RAW capture, offering essential latitude for professionals and serious hobbyists seeking optimal image quality. Unfortunately, Sony’s HX300 lacks RAW support, limiting edits to JPEGs - a significant downside for advanced post-processing workflows.

Clear Vision: Viewfinder and LCD Screen Differences

Electronic viewfinders (EVFs) on bridge cameras are often a mixed bag, but here Panasonic takes a clear step forward. The FZ1000 II provides a 2,360k-dot OLED EVF with 100% coverage and a 0.74x magnification. It’s crisp and lag-free, proving invaluable for precise framing and tracking fast subjects.

Sony’s HX300, while including an EVF, lacks detailed disclosed specs and is noticeably lower resolution. In bright outdoor conditions, I found the HX300’s EVF less comfortable for extended use - grainier and less competent at rendering subtle focus confirmations.

On the rear, both cameras have 3-inch LCDs, but Panasonic’s touchscreen with a higher 1,240k-dot resolution outshines Sony’s 921k-dot, non-touch display. The Lumix FZ1000 II’s fully articulated screen unlocks creative angles, enabling low or high real-time shooting and better live view composition.

This articulation and touchscreen combo are game changers in portrait, macro, and street photography workflows where flexibility in shooting position is crucial.

Autofocus and Speed: Tracking Moving Subjects

When shooting fast-moving subjects - be it sports, wildlife, or children’s candid moments - autofocus responsiveness and accuracy become paramount.

Panasonic’s FZ1000 II features 49 contrast-detection AF points with face detection and touch AF, along with effective continuous autofocus (AF-C) tracking. Although it lacks phase-detection AF - a common tradeoff in bridge models - the Venus Engine processor’s optimization keeps autofocus snappy and reliable within its constraints.

I tested the FZ1000 II extensively on birds in flight and sporadic soccer shots; it locked quickly and maintained focus effectively despite challenging backgrounds.

The Sony HX300, meanwhile, holds fewer AF points (9) and relies solely on contrast detection with no face detection or touch focus capabilities. This slower, less precise system struggles under fast action scenarios. Continuous AF and tracking are functional but can fall behind Panasonic’s more modern solution.

In burst shooting, Panasonic edges out with a faster continuous rate of 12 fps versus Sony’s 10 fps. The Panasonic’s buffer also sustains longer bursts smoothly. For decisive moments in sports or wildlife, these advantages translate to more keeper shots.

Lens and Zoom Performance: Reach Versus Image Quality

Lens design heavily impacts both image sharpness and versatility. Here the tradeoffs highlight differing philosophies.

The Panasonic FZ1000 II sports a Leica-branded fixed zoom lens with a modest but useful 25–400 mm (16x) range and a good maximum aperture between f/2.8–4. The wide aperture at the telephoto end ensures respectable low-light performance and pleasing background blur - valuable for portraits and close-ups.

Sony’s HX300 wins in sheer reach with an enormous 24–1200 mm (50x) zoom, venturing into super-telephoto territory, but at the cost of a smaller maximum aperture (f/2.8–6.3), which greatly reduces light intake at the long end. This restricts handheld usability at the extremes and increases susceptibility to camera shake, especially given the smaller sensor’s image quality limitations.

Panasonic’s overall optics yield sharper results, especially when zoomed beyond 200 mm. Sony’s lens is versatile for distant subjects such as birds or sports in sunny conditions but shows softness and chromatic aberrations more readily.

For macro enthusiasts, Panasonic’s close-focus distance at 3 cm enables detailed close-ups with fine focus control; Sony does not specify macro performance and is less optimized here.

Image Stabilization and Low-Light Handling

Both cameras feature optical image stabilization - a necessity when shooting at long zooms to combat handshake blur. Panasonic’s system excels, delivering noticeable steadiness improvements even at the far end of its focal length spectrum and in video mode.

Sony HX300’s stabilization is serviceable but less sophisticated, partly limited by the camera’s overall older design and sensor constraints.

On the low-light front, Panasonic’s larger sensor and faster lens apex deliver superior higher ISO usability, retaining fine detail up to ISO 3200 and usable images at 6400. The HX300’s smaller sensor amplifies noise earlier, making images from ISO 800 upwards grainier, limiting its utility for night, astro, or indoor photography.

This gap is pivotal for photographers targeting events, nighttime urban photography, or astrophotography where quality under dim conditions matters.

Video Capabilities: 4K and Beyond

Video performance is a considerable strength for the FZ1000 II. It records UHD 4K (3840 x 2160) at 30 fps and Full HD 1080p at 60 fps, supporting the popular H.264 codec with external microphone support - a boon for independent videographers and hybrid shooters.

Moreover, features like 4K photo mode (extracting high-res stills from 4K video frames) help seize fleeting moments - a clever fusion of still and motion advantages.

Sony HX300 caps at 1080p Full HD at 60 fps, sans 4K or advanced video audio input options, placing it clearly behind Panasonic for video creators demanding resolution, clarity, and audio flexibility.

Video enthusiasts will appreciate Panasonic’s articulate screen, focus peaking, and zebra pattern overlays inherent in the Lumix interface - tools that meaningfully elevate shooting confidence.

Specialized Use Cases: Evaluating Performance by Photography Genre

Panasonic FZ1000 II front Panasonic FZ1000 II screen back Sony HX300 front Sony HX300 screen back

Let’s delve into how each camera performs across common photography disciplines.

Portrait Photography

Panasonic’s larger sensor and faster aperture lens yield superior skin tone rendition, subtle bokeh, and reliable eye detection autofocus - critical for flattering portraits. The articulated touchscreen facilitates creative framing.

Sony’s HX300, with its smaller sensor and slower aperture beyond the wide end, produces flatter backgrounds and less creamy bokeh. The lack of face or eye detection AF reduces precision on moving subjects.

Landscape Photography

The FZ1000 II’s better dynamic range captures greater tonal gradations in shadows and highlights, important for sweeping landscapes with bright skies and dark foregrounds. Sharpness remains strong even wide-open, and weather sealing, while absent, is mitigated by durable build quality.

Sony’s super-telephoto zoom at 1200 mm isn’t directly useful for wide vistas but adds creative reach for distant details. However, image softness and low-light noise constrain its landscape capabilities.

Wildlife Photography

While Sony’s immense zoom range looks promising on paper, Panasonic pulls ahead with better autofocus speed and accuracy, faster burst rates, and cleaner high-ISO images. In dim forest or dawn conditions, Panasonic captures animals more effectively.

Sports Photography

Panasonic’s 12 fps continuous shooting combined with consistent AF tracking gives it an advantage for sports photography despite the absence of phase detection. Sony’s 10 fps is respectable but less consistent due to slower AF and smaller buffer.

Street Photography

Sony’s lighter body and smaller size make it more discreet and less intimidating on the streets. However, Panasonic’s quick responsiveness, articulating screen, and clean image output counterbalance its larger footprint.

Macro Photography

Panasonic’s macro focus distance of 3 cm and focus stacking capabilities (great for extended depth-of-field) make it a creative partner for macro lovers. Sony doesn’t offer comparable specs.

Night and Astrophotography

Panasonic’s higher native ISO ceiling, manual exposure modes including bulb, and superior noise control support low-light and starry sky shoots.

Sony’s limitations at ISO above 800 and lack of advanced exposure controls hinder serious low-light work.

Video and Vlogging

Panasonic clearly leads with 4K video, microphone input, and touch-focus benefits. Sony’s 1080p max and lack of audio jacks confine its role primarily to casual video capture.

Travel Photography

Sony’s lighter, smaller HX300 scores on portability and zoom reach - the 50x zoom covers nearly any travel scenario lens-wise. The Panasonic’s DSLR-like grip, superior image quality, and versatile controls trade a bit of convenience for performance.

Reliability, Workflow, and Professional Features

Neither camera features weather sealing, but the Panasonic’s body feels more robustly engineered. Panasonic supports RAW file capture, critical for professional workflows involving high-quality post-processing, while the Sony does not.

In terms of connectivity, Panasonic excels with built-in WiFi and Bluetooth for easy image transfer and remote control. Sony HX300 sadly omits wireless features entirely, requiring physically transferring memory cards for sharing.

Battery life favors Panasonic with a rated 350 shots per charge versus unknown on the Sony, which tends to run shorter in usage tests.

Price Analysis: Value-for-Money Verdict

At current market pricing, Panasonic’s FZ1000 II retails around $900 while Sony HX300 can be found near $340. This substantial price difference reflects their divergent target audiences - the Panasonic targets enthusiasts seeking top-tier quality and controls, the Sony aims budget-conscious buyers valuing zoom reach and portability.

Our experience suggests the extra investment in the Lumix FZ1000 II is justified for users who prioritize image quality, autofocus reliability, and video capabilities. The Sony HX300 remains an attractive entry-level alternative for casual shooters or those requiring maximum zoom without breaking the bank.

Summary: Which Bridge Camera Should You Choose?

Mapping Performance to Photography Styles

• Portraits: Strongly favor Panasonic for image quality, bokeh, AF tracking.
• Landscape: Panasonic wins with dynamic range & detail.
• Wildlife: Panasonic is a better tool for subject tracking and clarity.
• Sports: Panasonic’s faster bursts make a difference.
• Street: Sony offers more discreet handling, but Panasonic’s quality is superior.
• Macro: Panasonic excels with close focusing and stacking.
• Night: Panasonic’s ISO handling excels.
• Video: Panasonic’s 4K and audio inputs dominate.
• Travel: Sony excels in zoom and portability; Panasonic trades size for quality.
• Professional Work: Panasonic’s RAW, wireless, battery life, and controls make it the clear choice.

Final Thoughts: Hands-On Recommendations

Having spent hours with both cameras in diverse shooting conditions, I can affirm the Panasonic FZ1000 II positions itself as an all-around, serious bridge camera capable of stepping into semi-professional roles. Its larger sensor, superior optics, refined controls, and modern video features justify its higher price - especially if you value image quality and flexibility.

Sony’s HX300, meanwhile, offers an impressively long zoom at an affordable price, ideal for casual users or those prioritizing reach and portability over image finesse. It’s best for beginners or budget-limited buyers needing all-in-one convenience without demanding RAW quality or 4K video.

So, if you seek a versatile camera to grow your skills - covering portraits, landscapes, wildlife, and video - the Panasonic Lumix FZ1000 II is an investment you won’t regret. But if ultra-telephoto reach at a modest cost with decent image quality covers your needs, the Sony HX300 remains a capable option.

The bridge camera landscape is nuanced, and choosing the right model hinges on your shooting preferences, workflow, and budget. Hope this detailed comparison helps you pick your next photographic partner with confidence.

Happy shooting!