Introduction
I have been thinking of the ergonomics of camera bodies. How can the most important functions be placed close at hand while relegating less-used features to more obscure places? And how can this be done without cluttering the body? I think that the current designs leave a lot of room for innovation.
In this article I present a model for a Custom-Interface Direct-Control camera. I call this the CIDC in a nod to Mike Jonhston's
DMD. This article was promised a long time ago but it has been difficult for me to pin down exactly what I am looking for and why today's SLRs leave me with a sense of unease, like they are compromising me as a photographer. So I started by looking at film cameras and what people say they like about them, concentrating on the user interface and ergonomics.
It was also important for me to work out for myself the
nine-dimensional nature of photography. This pinpoints the exact parameters that we, as photographers, are trying to change. From all of this background research I got to the CIDC.
Fundamental Photographic Parameters
Digital cameras seem to have inherited a bias towards shutter (T) and aperture (A) controllers; ISO (I) takes second place. Yet all three of these are fundamental parameters when it comes to taking a shot. Pentax has innovated with the ISO-centric modes (available on the K-7, K20D and K10D) but I think this could be taken further.
It used to be the case that we set aperture using a ring on the lens and shutter speed with a dial on the camera. The great thing about this is that the settings were plainly visible even when the camera was off. Having physical settings is more obvious and responsive than looking at screens. Of course, back in film days ISO/ASA was set by the film that was loaded (either automatically or manually). In order to change this value we had to use different film. Cameras that had interchangeable backs were a boon in this regard.
With digital that restriction is no longer in place; each shot can be at a different I value. Many take this for granted without realising the paradigm shift that has taken place. But this means that our camera should be giving us full control over T, A and I equally.
What this means is that each of these three parameters need a physical controller, a dial that can be set and read easily. In addition, each needs an Automatic setting for telling the camera to control that parameter. I would place the A and T dials on the top-front and top-back of the camera, so that they could be controlled with finger and thumb -- much like (or even the same as) the K-7. The I dial can also be on the back, perhaps oriented to the vertical to distinguish it.
With physical dial readout there's no need for the top-surface LCD panel. The viewfinder and back LCD displays might need a slight redesign to compensate, but I think nothing substantive would be lost by ridding us of this vestige. Put the LCD on a hinge and you can see it from any angle. This frees up more space on the body, especially important if we wish a small camera that we can still control with gloves on. (Current Pentax bodies are getting close to this.)
The various combinations of A settings on the three proposed dials covers everything from manual to fully automatic modes, so there's no longer a need for the mode dial. For example, Bulb setting is a function of shutter, so it would be on the S dial.
There would be plenty of scope for customising the program line between T, A and I. That might require a rather sophisticated menu interface. Or why not set this graphically using software on the computer and download it to the camera? Real control freaks might welcome this opportunity! But again, this is an implementation detail.
Exposure Compensation Considered Harmful
Even exposure compensation could become a thing of the past, since we can simply disengage an automatic setting and choose the precise setting we require. In order for this to work fluidly, the dial would have to take up from where it was initially set by the automatic process. This is a little tricky to explain, so let me do so with an example.
Say we are shooting at T = 1/500s and A = f/4. We realise we need EV +1 to tell the camera to let in more light. This is equivalent to one of two things: changing T to 1/250 or changing A to f/2.8. Which one happens? That depends on which is under camera control. If we have set T manually but A is on Auto setting, then aperture will change. If we have set A manually but T is on Auto, then shutter speed will change. If both A and T are on Auto, then the programme line dictates which will change. But since this setting is hidden away in a menu somewhere, we may not always be aware of how the camera is responding to our request. And this is a bad thing; the photographer is out of control.
Instead, consider the case of A and T both being set to Auto on a camera without an EV dial. We wish to apply EV +1 and so must choose whether to tweak the A or T dials. There's the difference right away: we choose. Moving one dial off-centre adjusts exposure in kind. (And in addition we can of course tweak the I dial instead. Result: more control.)
But in order for this to work, the increments must be relative to the currently set values. This means that we cannot have "hard" dials with numbers painted on, like on our old film cameras, because they cannot operate in relative mode. We need "soft" dials which show their settings in the viewfinder and on the LCD, dials that can react
relative to the current automatic settings.
This system begins to look a lot like that already in place on the Pentax bodies mentioned above. They have a front and rear dial that controls parameters in exactly the way I have mentioned. They do not go far enough, true, since only two dials must control three parameters. Furthermore, the mode dial is still required to indicate parameter priority. But the special Pentax programme-line mode takes us most of the way towards our goal.
We can finesse our proposed system further. For example, with all dials working relatively, it is convenient to have a reset button that gets us back to the automatic settings. Actually, Pentax has thought of that as well: it's the famous Green button. The dream CIDC system is becoming a reality!
Continuing To Simplify
I know this might be contentious, but I would rid the body of dedicated buttons for functions like RAW, drive mode and so on. These clutter the interface and it takes time to learn their positions and quirks. Instead, the camera would have
soft buttons that can be assigned whichever functions the user desires, cycling between drive modes, white balance, image quality, shake reduction, whatever. Instead of a hard-wired Function button give us a
user-customisable menu, where we can place everything we commonly need. Instead of a dedicated compass of controls, make each one assignable.
Certainly these controls can still have their default settings, but fewer switches and knobs would be required to match the same parameter control. This is based on the premise that one never needs to actively consider and change all of these functions at one time.
Then, let us save these settings to a flash card, so we can load them up on a different body. Give us a menu to save and recall a dozen different configurations, so we can instantly go from a body optimised for sport shots to one optimised for flower macros. Give us a menu page that displays on the LCD all the assignments, in case we forget.
Some of these ideas have been implemented on other cameras, but never in complete fulfilment of the ideal of customisable direct control.
Conclusion
The result would be a body with fewer controls but more actual control. It would combine the ergonomics of film and range-finder bodies with the central processing power of today's digital cameras. It would be simpler, more explicit... more photographic.
And it can all be done with today's technology by simply applying a different way of thinking, and by discarding some of the dead wood of the past.
So, come on! Who will be the first company to give us the CIDC camera?