Inside Canon’s headquarters: We came to know why Canon wants to build photography 911

Complete disclosure: I have just returned from a trip to Japan paid by Canon. Our general policy is that we only participate in these trips if a product is being launched, and existing is the only way to get access to those new products.

And, when we accepted this invitation, we hoped that the matter would happen. But as the journey came closer, we were told that the intention of the journey was that the small group of American camera writers and YouTube presenter would know “Canon, to know its culture and philosophy”. By the time it became clear, tickets were booked.

I can see why they felt that it was necessary. From the outside, the canon can be largely standing and corporate, comparing with other large corporations, which create most parts of the rest of the camera market. I suspect that most people see him making intelligent, practical products – often criticized for the ruthless market division of them, and abandoned the features to ‘protect the other’ from one model – they are not in the habit of releasing the community’s enthusiasm, feature -eding firmware, and their major market status makes them easy to see them as ‘clear’ options.

But to learn some people behind the name, and listening to the enthusiasm with which they talk about cameras, lenses and photography, thought of the brand.

I went with the impression of a company that operates under constant stress between conservatism and innovation. A large, formal corporation, made up of people fascinated by photography, is constantly trying to innovate and improve things. The seeds of this impression were corrected from the initial speech by the executive vice -president and the head of its imaging group at Go Tokura, Canon.

Heritage, T90, ergonomics

Tokura talked about several cameras developed during its time in the company, but one of the company’s final FD-mount manual focus SLR, attracted special attention to T90. It was the first camera designed using CAD instead of hand -prepared plans, he said. But, while it was not a success (the autofocus era had arrived and canon’s EOS system would be announced after one year), it set a template for EOS ergonomics, introduced features such as main dial, LCD panel and quick control dial, and is still used as a reference point.

Canon T90 launched in 1986, is still a touchstone for the company Photo: Richard Butler

The same camera was re -highlighted during a presentation about handling and ergonomic design. Surprisingly, while the details have changed, the idea that the shutter button must be correct at the front, with a dial behind it, in most of the canon’s ILCs, some 39 years later.

But this does not mean that everything remains the same. Haruki OTA, in charge of imaging product design, plays camera grip for different users, and the way the user catchs an EOS R1, he highlights different roles, the way a person will catch a person and operate the vologging-friendly EOS R50C: both are completely tie-professional handling, even there are duns.

Even with a formula to work, he says that a lot of work goes to each new model. We were shown mockup bodies, in which the material is added and removed and the position of the button is adjusted, to find the most comfortable, operating shape.

“This is a process of test and error. It is a very analog process, but it is necessary,” they say. “We believe that this traditional method provides great touch quality.”

Three early mockups of EOS 50C are used to test ergonomics, showing various dial configurations. Photo: Richard Butler

This process begins within the team, but extends to include the hands of all sizes in all sizes and sexes. “Even our professional cameras are used by comprehensive audiences, so we have to consider it.”

Forever

This reverence for the past does not mean that the company is always looking backwards, though. In an interview with senior officials, I asked if they could imagine Canon that only a camera was just making. He made it clear that he feels that the future has to include video.

Noriyuki Honda, executive of the deputy unit of the imaging business unit, says, “In the professional market, there is a clear tendency towards downsizing and efficiency. Meanwhile, amateur users are rapidly looking for high image quality and creative expression.”

“But in both cases, they still want more video abilities, because smartphones can also do both. So we hope to continue this pattern of demand. It makes sense to launch camera products for canon that both can do, as well.”

“Even if we have built a still-online camera, it will not address the requirements of all customers. We think there is a big market for cameras that have both capabilities.”

left to right: Noriyuki HondaDeputy Unit Executive of Imaging Business Unit, Tatsushi hibiUnit Executive of Imaging Optical Business Unit, and Yoi S SatoSenior General Manager of Imaging Product Development Center 1 Photo: Richard Butler

This aggressive attention on what the market wants, perhaps explain another general criticism of the canon: that it can look very aggressive in its product division: to stop the features from a model to prevent it from competing with the other in its lineup. But making such products is a protest that fit well with its audience.

Tokura has exposed the original digital rebel (EOS 300D) as a model that has helped Canon achieve number one location in terms of the ILC market share: a condition that does not interfere in 22 years.

From one point of view, it was a strip-down version of the EOS 10D and 20D series, but it was also the first experience of a large-sensor, interchangeable lens digital camera for many people.

As the EOS 300D was raised, it crossed my mind that many of my friends, when I first met in digital photography, was one. And, for that case, still do. This is not done by chance. Reliability was another word that was repeatedly raised throughout the journey.

It was depicted by shock, shake and drop tests, which we were being sent to both cameras and boxes in which they were sent, but also that Tokura said at the beginning of the incident: “We are always trying for zero defects, not only for minimum defects.” He explained, “We can build millions of units, but the customer only buys one. Therefore, for them, any error will represent a defect.”

Despite Jugornott that Canon may appear from outside, development employees know that whatever they do will not be successful automatically.

“I say to the new employees: you can make new things,” Tokura says, but he does not know what they make will be successful. “You can’t control what the market will embrace. But development is fun: you get to make new things. Sometimes we succeed, sometimes we fail.”

Although he was talking about a separate camera, Tokura’s words immediately reminded me of what I always thought as the most radical camera of the digital age of Canon: EOS R.

Canon’s first RF-mount mirrorless camera became quite different from its DSLRS ergonomics. More recent models have gone back into something like old designs.

“Steps for EOS R were seen as a new approach; we added things like multi-function bar.” Ota told us. But it was not particularly well received, they say. “We focused on market research (when later mode is being developed). But when it may seem that we are back in our old views, the touch control over R3 and R1 has evolved from the idea.”

So how do you balance a drive for modernity with the demands of audiences familiar with your existing designs? Tokura, a keen car enthusiast, draws a parallel with the motor vehicle industry: “Cars are a combination of mechanical engineering, electrical engineering and software and like cameras, they are a very emotional product.”

Another example of a company that balances innovation with heritage is another example, saying that it wants to conform to the canon’s 911 model of Porsche. “You know this is still a 911,” he suggests: “But the newest is always the best.”

“Whatever we do is not afraid to leave behind (first).” OTA says, “But we have an audience with expectations. Their reaction is not always positive. We are aware of this reaction, and we listen.”

“Conversely, however, some people say we are very traditional.”

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