Why I Still Would Not Buy a Canon Camera

Nearly two years ago, I wrote an article pointing out that most of the biggest brands' camera designs are uninspiring.

On the Attack

It was clear that most hadn’t read or understood the article but were just reacting to the title. Soon after, my opinion of the manufacturer was further tarnished by two more people. I was involved in a project that promoted and encouraged mainly beginner photographers, introducing them to quite a wide audience. Two photographers, both carrying Canons, recognized me when I was out shooting in public and came to chastise me for what I was doing, saying I should, instead, be publicizing the work of more accomplished photographers, i.e. them and those like them. I’m not saying all Canon users are like that. Indeed, most aren’t. I know some very good people who use all brands of cameras, including Canon. 

How My Original Point Was Proven

Since then, it seems that the main point of my article has been proven to be true. Despite the title and the ire, my criticism was aimed at all three major manufacturers. I thought then, and with one exception now, still think now, they make ugly cameras. Many of the negative comments were aimed at the article’s main premise: the designs of DSLRs and most mirrorless cameras from the three biggest brands, not just Canon, were uninspiring to look at.

I proposed that photographers, like all artists and hobbyists, should surround themselves with equipment with great aesthetic appeal that will inspire them. However, most digital cameras are utilitarian, with some even lacking the utility of ergonomics.

I still stand by that argument: using any object of beauty is inspiring to a creator. Although there have been brief exceptions over the last century, throughout history, design has dominated by the pursuit of beauty of form alongside functionality. The Bauhaus ideal of solely form following function has little regard for the ornate having an impact on the user's soul. I would rather work at a Victorian writing desk than an Ikea table, or use my vintage fountain pen than a ballpoint. Likewise, I prefer visiting an 11th century castle to a 1950s Brutalist shopping mall. Furthermore, I would far rather use a camera that is a work of art than a shapeless lump of metal and plastic.

So, it was with some amusement that the best part of a year after I wrote the article was that Nikon brought out the smashingly designed Zf camera. Then, I read that Canon was surveying its users as to whether they would like a retro-looking camera, and there are rumors that something is in the pipeline.

I’m not claiming credit for this change in direction. It’s more likely to be driven by the resurgence of (great-looking) film cameras and the success of better-looking retro digital cameras. For example, it’s just been reported that the fixed lens Fuji X100VI is selling better than any recently released Sony camera. Of course, the cameras I use have designs and lines that hark back to a camera released in the 1960s, and they have been hugely popular.

Let’s face it, most photographers are middle-aged and older and appreciate the stylings of their youth.

The Fujifilm isn’t the only successful retro-looking camera out there. Eight years ago, the Olympus PEN-F was released with styling that matched its legendary namesake from the 1960s. This 20-megapixel camera is highly sought after on the secondhand market, and you can rarely find it, and when you can, it fetches top dollar. It has the advantage over the Fujifilm of being an interchangeable lens camera. When I owned an EM-5 Mark II, people regularly approached me asking me about the camera because of its looks, and its up-to-date sibling, the OM-5, has similar lines to my 35mm OM 2 film camera.

Similarly, the hugely successful Lumix GX880 also has a retro feel to it as does, of course, the Leica CL. Plus, as I mentioned earlier, the Nikon Zf is a sleek-looking ILC camera, reminiscent of the design of their film cameras in the 1970s and 80s, such as the Nikon FM.

As yet, there is nothing stylish from Canon or, come to that, Sony camps.

Canon Is Lagging Once Again

It seems to be a pattern with Canon that, instead of being trendsetters, they pick up on movements within photography and arrive late to the game. They were well behind the race with the introduction of mirrorless cameras, and then put all their might into dominating the market. However, the cameras lack innovative features.

Too Much Choice

One common historical criticism of Canon and Nikon was their race to produce a bewildering array of low-functioning cameras with the sole purpose of hooking people onto the brand. Where there used to be a webpage or two of beginners’ cameras per brand, there is a much smaller choice because, thankfully, they have all slimmed down their productions somewhat. However, there is still too much choice.

The biggest manufacturers still offer a bewilderingly excessive array of cameras, often with only slight variations between models. We get confused by the excessive choice, which brain science has shown leads to cognitive impairment. Experiments showed that having too many options results in us losing our ability to decide upon a good outcome. Those forced to choose will be less satisfied with their decisions. This is known by psychologists as choice overload.

Inevitably, a beginner photographer faced with a vast array of models will make the wrong choice, which is good news for the manufacturer, because once hooked on a gateway model, it’s hard to swap.

Excessive choice is a deliberate and arguably immoral and manipulative marketing practice that is not only bad for the buyer’s wallet but also for the planet. Any company that sells more than two of the same format (DSLR, mirrorless, rangefinder, bridge, etc.) cameras at any level (beginner, mid-range, and professional) deserves shunning.

I Didn't Make a Bad Decision

Of course, nothing is going to change. All the big brands are fighting to have the biggest crushing hold on the mirrorless market. But any company having that monopolistic position can never be a good thing for photographers. We don’t want to be stuck with one company that lacks innovation or another brand whose autofocus is poor, and so on. We need to be able to choose the best system for our needs. That doesn’t necessarily mean going for the most popular brand.