point and shoot

Canon's rumoured withdrawal from the compact market is no great loss

It is only a rumour, but there are suggestions that Canon will soon cease production of lower-end, sub-$200 point-and-shoot cameras. Given the steady erosion of compact camera sales and their inability to compete against the convenience and ubiquity of the smartphone, it's hardly surprising. It's also a step taken already by Olympus by Fujifilm. And just as we stated in the cases of both Olympus and Fujifilm, this is a good thing. By my count since January 2012, Canon has released twelve IXUS model cameras and ten Powershot A-series cameras. These are typically regarded as its cheaper and cheerier models. They tend to range between £80 and £180, although the odd few come in much higher than that, have more than enough megapixels to keep the pushiest salesperson smiling, a decent optical zoom range, the ability to record video, and sometimes are blessed with image stabilisation. Unlike Canon's dSLR range, which comprises a controlled range of cameras with clear spec expectations at given price-points, it's verging on the impossible to discern one compact model from another. Their variations in spec are so slender that they all merge into one rainbow-coloured haze.

Of course consumers need to choose between six almost-identical cameras

Herein is their downfall. First, they're not something that you'd go out to buy when you have a wirelessly connected smartphone in your pocket. There's not really enough value-added to justify the outlay. Second: when there are so many different cameras with so little to differentiate one from another, it's little wonder that consumers' eyes glaze over and they decide to stick with what they now know: their iPhones and their Samsung Galaxys. Choice is a good thing, but sometimes offering too much choice, without making obvious why it's needed, is self-defeating.

Let's not forget, that little tot-up of cameras didn't include any of Canon's Powershot SX range, which covers the superzooms, its D-series rugged cameras, the S- and G-series, which are its high-end compacts, and the quite-frankly-ridiculous N-series.

If anything can convince you that Canon really ought give up on the definitely-fled smartphone crowd, it's the N-series of cameras. They smacked of desperation, of designers under pressure to produce something 'young and funky and with-it' in an attempt to recapture a market long since gone, and engineers who'd rather be working on any other project than that one. Yes, they are out of the 'sub-$200' bracket of cameras that are expected to be axed, but they have no place in the range, either.

By relieving itself of the burden of the cheap end of the compact camera spectrum, Canon can refocus its attentions on the areas where there is hope, where there is potential, where there really is a market. Most definitely on its dSLRs, that seem to have gone off of the boil ever so slightly of late. Perhaps on its higher-end compact cameras, which are still selling and I believe show that compacts do still have a place in the canon of cameras, but could benefit from some innovation and development. And maybe even in the mirror-less division, where the EOS M has been so painfully disappointing.

This shouldn't be regarded as a move of panic or despair on Canon's part. I actually think it's rather mature. It shows how it might be beginning to analyse the market, to identify its strengths and weaknesses, and to come to terms with the idea of an evolving photography world.

Snapping pictures of pictures. Why?

Over at Gizmodo on Saturday, they asked the question 'What's so wrong about taking photos with an iPad?' I've covered the 'using the iPad as a camera' issue before, so I'm not going to rehash it because that would be boring and actually it rather misses my point because what caught my eye was the image choice to illustrate the article. It was of a young woman using her iPad to photograph impressionist paintings in a gallery. This. This is something that I just do not understand. Not specifically using an iPad to photograph multi-layered, complex works of art, normally exhibited in carefully controlled environments, but photographing them at all. What's the obsession?

It wasn't just the Gizmodo article that got me thinking this; it's something that I've noticed before now in various galleries. Rather than taking time to absorb a piece, to let its colours and its story and its brushwork wash over you, people seem to be intent on looking at it through their three inch—or in the case of a tablet, slightly larger—screens, grabbing a quick photo and moving on from it. I cannot determine any pleasure in that I'm not certain how appreciative it is of the artist's skill and talent.

Stuff taking photos with an iPad; how does taking photos of works of art do them any justice at all?

When you have a Renoir worth millions hanging before you, you pay it the attention it demands and the respect it deserves. That doesn't come from a photo snapped hastily with a miniscule-sensored camera that you'll probably never actually look at again. Even if you do look at your snapshot again, it'll never be able to entrance and captivate you in the same way that the original can. I promise you, a pefectly lit, carefully composed medium format reproduction of a Guardi, a Stubbs, or a Fantin-Latour cannot, in any way, compare to the real thing. So don't think that your iPad-snap or point-and-shoot shot will. You're in a gallery to observe the art, why not do that?

It's almost as if people are taking photos to remind themselves that they've actually seen something, rather than really looking at it and being able to remember it for how glorious it is.

Yes, I suppose that people can waste their time and money photographing delicate, intricate pieces of art with cameras of varying quality in far-from-optimal lighting conditions, rather than gazing at it, enjoying it, and absorbing it if they want to. But can they damn well make sure that they do not stand directly in front it, obscuring my view, when I'm trying to do just that?

No more standing still to self-record with Swivl!


Ever wished that your camera could follow you around when you're making a video of yourself, without having to resort to bribing your loved ones or paying off your friends in their own weight in beer? Then you should check out Swivl.

It's an IndieGoGo-funded automated camera mount that will move to record you whilst you prance around your kitchen or boogie in the living room.

There's a base and there's a marker. You attach your camera to the base and the marker to you. Whilst you perform your all-singing, all-dancing recording activity, the base will swivel horizontally and vertically to follow the marker - and therefore you - ensuring that you're always in the picture.

Swivl will work with iPhone 4S and 4s and fourth generation iPod Touches. However, it can't cope with older iPhones or iPod Touches or iPads. Although it isn't Android-enabled at launch, the basic following capability will still work without any software, so provided that your Android phone isn't any thicker than 11mm, it can still follow you around.

Any kind of tripod-mountable pocket-sized video camera or sub-six ounce (170g) point-and-shoot will also attach to the base and let you record yourself in all your mobile glory. If you want to have a go with your dSLR you're out of luck, though.

Swivl's makers, Satarii, are anticipating that the device will ship early next year. If you're interested, you'll need to sign up now and when they're ready to go, you'll be asked to convert your interest into an order. But the bad news is that at the moment, they're only shipping to North America and there isn't any word on how much it'll cost yet, either.

Still, it's so cool when a crowd-funded project comes together!