If I could design a camera and bring it to market what would it be?

I've spent some time recently transitioning images from older hard drives to a new RAID array and it's given me some insight into which cameras I've leaned on the most in the last couple of years and some ideas about why. Even though I've owned APS-C cameras like the Sony a6000 and the a6300 that format represents the lowest number of candidates overall. The leaders of the pack are the Sony RX10iii and the Sony A7ii but, when cross-checking with my Lightroom info I find that the RX10iii is clearly my most popular choice and the camera with which I have been most prolific. And I hasten to write that it has also been the most profitable camera I've bought in a long, long time. 

I've pressed that camera into use for corporate videos as well as photographic still life work in the studio, theatrical photography, street photography, and even portrait work (although my own prejudices keep the numbers up for the Sony A7ii, where portraits are concerned --- working on that...). I've used it on ten of the thirteen most recent video assignments and it was also the only camera I took to Eeyore's Birthday Party this year. (Eeyore's is a huge, daylong party in one of Austin's central parks. It's a nod to Austin's "laid back" past).

While all the full framers gnash their teeth and wax on about the sanctity of the full frame sensors and pontificate about how "real pros always use full frame" I think the reality in the current world is quite different. The application targets have changed and the cultural markets have a different take on what constitutes a "great image." I would argue that, with the exception of traditional architecture and product work, authenticity and mobility are the buzz of the day. Being in the right place with a casual camera, yielding an emotionally accessible image, that rejects perfection for the sake of perfectionism, is the dominant style. 

So, if I were hired as a wacky, outside the box, camera designer for a flailing originalist company like Nikon, and given cart blanche to design a new product, what would it look like and what would it do?

I'd start with everything I like in the Sony RX10 series. I'd want to use the one inch sensor because it does so much right and it's a perfect size for video production while capable of delivering low noise, high sharpness results for traditional photography. Where I would shift would be to keep the body big, easily handling and capable of holding a large battery and dissipating heat I would make the lens interchangeable and deliver the product to market with two dedicated zoom lenses. The first would be a delicious wide to normal telephoto with a fast, constant aperture. 

I'd make it the equivalent of a 24-120mm with an f2.0 aperture. It would be easy to handle and I'd spend the extra cash to make sure it was sharp and usable wide open. The second lens would have a bit of overlap but it would be a world class, 100-600mm f2.8 lens, complete with remarkable performance all the way out to 600mm. 

With the system set up for two lenses we'd skip over the compromises necessary in the design of one, all encompassing, super-lens and spend the design dividend on aperture speed. 

I'd have two bodies so I could go on assignment with one lens on each, covering every thing one would normally require from a photographer. Inevitably, someone will make an impassioned plea for a wider angle lens but I'd be resolute in not providing it. Instead, we'd make a dedicated variant of the original body with the lens permanently fixed on the front in order to ensure perfect tolerances and great performance. 

The bodies would be more square, like the old Hasselblad V series cameras or the Rollei SL2000 designed decades ago. Rounded corners, of course. And, like the Rollei, shutter buttons on both sides. 

The bodies would have five or six physical controls for things like focus hold, shutter speed, f-stop, ISO, and file type but no programmable function controls to mess up the design and cause confusion. And it would only shoot uncompressed RAW files, but would offer them in a range of file sizes. 4 megs, 8 megs, 16 megs and 20 megs. You size em for how you need them. And, of course, we would only offer center point AF because, really, that's all you need and it's easier to make it work perfectly if you simplify. Trust me, you'll be happy to get rid of all those annoying focusing points...

Since everyone else is making a fetish out of tiny, shirt pocket cameras I'd want to offer bigger, beefier cameras that people can get their hands around. Cameras that use a battery at least as big as the ones in the Panasonic GH5. And, I'd market the size from the beginning as a radical advance for quality photography with no compromise. 

By separating the body from the lens we'd open up the ability to upgrade bodies as higher performance sensors hit the market. You wouldn't need to walk away from your investment in the two good lenses. But we'd make the lens mount so damn proprietary no one could ever bring a third party lens to market for them. This would keep hordes of cheap bastards from putting crappy, soft, horrible lenses on our bodies and then blaming "the system" for awful performance. 

If I wanted to extend the lens line away from the two, "do everything" lenses I'd introduce 35, 50 and 85mm equivalents that are each f1.0; sharp and usable at that setting. Much easier to pull off with the smaller sensor. 

The bodies and lenses would come only in a light grey color and would be coated in a material that rejects radiated heat. For hotter climates we might also offer a reflective silver coating with a 99% heat reflectance capability. Kinda shiny but practical for deserts and tropics. 

Of course the cameras would feature state of the art EVFs but the rear panel would be a plug in. You could use it as an articulating screen the same way you do with current screens but you could unplug it from the camera and use it on an extension cord so you could position it wherever you need it for the best imaging. 

The camera would have, as an option, a small device that could be tethered so image files could be written simultaneously to the external device and an internal memory card. The device could be separated from the camera and used to transmit selected images via cell or wi-fi data streams. The device would have a large screen and be autonomous from the camera. This would allow me to design the camera as a pure photo and video tool instead of an all purpose klodge of imaging and share-ability parts. No extra camera battery drain, useful concurrent operation and no way to electronically surveil your position via your camera. 

There would be a grommeted port on the camera that would allow you to open up the seal and install a mini fan for times when high resolution in demanding environments is mission critical. Fan cooling the sensor and processors to reduce heat noise and component stress. Pulling the fan out and resealing the camera for the times you don't need fault tolerant video. 

Both lenses would feature real focusing and zooming rings with hard stops for hyper-focal focusing work and video production. 

We trade high frame rate still photography for rock solid shutter reliability. If you need more than 8 fps for stills you probably really need a movie camera.

The camera would have a built-in variable neutral density filter. And you could order one set up for left hand hold and operation; a mirror image version of the right handed one. You know, for the 9% of us who are left handed. 

On second thought I'm pretty sure no one would really want this camera but me... oh well. At least Sony has made a good start on this... Hmmm. A Sony RX 10 professional series. Holding my breath in anticipation...

All images shot with Sony RX10iii.