Interview With The Designers Of The Sony A380, A330, and A230 DSLR’s

Digital SLR cameras are hot. Entry-level SLRs should be small and straightforward, yet many people still find them big and complicated. Just who are these cameras for, and what should they be like? The new “α” gives us some answers, straight from the people in Sony who created the device who faced these issues in photography. Here is the exclusive interview (courtesy of Sony Design) with several of the designers of the Sony A380, A330, and A230 – Masahiro Takahashi, Shingo Kurokawa, Tetsu Sumii, and Kanae Fukamatsu.

Takahashi: With the release of the “α900″ last year, the Sony “α” (“alpha”) product line launched in 2006 was finally complete. Now we’re building on this tradition in the second generation to offer new, desirable qualities you won’t find anywhere else. Toward this end, we asked ourselves what we could do through design. You can find some answers in the accessible “α380″, “α330″, and “α230″.

Trying to rewrite the book on SLR cameras is both bold and difficult, even if these are entry-level models. SLRs have evolved over the years to meet the tough demands of professionals in reporting and journalism, among other fields. This has influenced many of the unwritten rules of design. Look at the grip, for example. Its size and shape makes the camera easy to handle even with large, heavy lenses mounted. Important dials and buttons are within reach, when you’re looking through the viewfinder, and conveniently shaped. Even SLRs for novices share this professional heritage.

We can admire past chapters in the history of camera manufacturing, and this design seems fitting for an age when SLRs were exclusively for people determined to produce professional shots and master the traditions of photography. But as cameras became more common in general, attitudes in the market have changed. Browse popular camera magazines or photography blogs and you’ll find perfectly composed shots next to ordinary snapshots. Rather than honing their skills for specific kinds of photography, more people are discovering how enjoyable cameras can be as they learn how to frame everyday scenes or retouch images. Their shots reveal that new users’ reasons for picking up an SLR are changing.

Cameras better suited to this market, the emerging generation of photographers, was our goal in development. Some of you interested in SLRs have been put off by bulky cameras or complicated controls. Through design, we wanted to give you a gentle push. We were determined to offer current novices the purest form of what they’ve been looking for, after repeated surveys and discussions took us past the unwritten rules of design. Indeed, responding to user needs must be a starting point in camera design, and we believe entry-level SLRs should have been like this all along.

Sumii: Simpler and more compact. New digital SLR users value these qualities, and that’s what we sought to deliver. We also knew that more young women appreciate how fashionable classic cameras can be. With these trends in mind, we rejected the modern SLR shape, with flowing surfaces forming a solid, organic whole. Instead, new “α” cameras are modeled after classic film cameras. After all, the iconic look everyone recognizes, combined with clean, clear controls, epitomizes camera design.

You’ll notice the classic shape when you see the new models from above. The basic shape is straightforward, with the lens housing intersecting an oval body. Even the mode dial is carefully designed to fit neatly into this shape. This approach defies the notion in SLR cameras that the bigger the mode dial, the easier it is to use. Beginners tend to watch the LCD monitor as they operate camera controls. It’s easier to keep holding the camera in both hands and use only your thumb to turn the dial, without using your fingers. So there’s no need to have the mode dial stand out. In fact, we were also motivated to do this because the understated appearance is more user-friendly. A camera that looks invitingly easy to pick up is more compelling.

Sumii: The grip sets these models apart. SLR grips are usually larger, with a more complex shape for a better hold on the camera. But on smaller, lighter cameras, there’s no need to make it so big (except for professionals who keep giant lenses on hand).

That’s why the grip on these models has a new shape, as small as possible while still feeling comfortably secure in your hand. Your first impression, if you only hold the camera from the side as you would regular SLRs, is that the grip might be slightly inadequate. But try holding the camera in position for shooting, with your finger resting on the shutter button. I’m sure it will feel reassuringly secure in your hands, with your fingers resting upright firmly against the camera.

It took countless prototypes to arrive at this grip size and shape, and our testing involved many users with hands of all sizes. Finding the optimal shape on a scale of less than 1 mm was hard work. You may notice this when you pick it up, but a grip this small fits perfectly in your hand because we put the shutter button on the camera body instead of the grip. Holding the camera with your fingers upright also prevents any discomfort from your nails against the camera body (something women with long nails will appreciate), and there’s no need to worry about scratching the camera.

We took a cue from SLR cameras of a bygone era for this style, where the grip serves as a finger rest and the shutter button is on the camera body. Shapes and materials were carefully designed. The “α330″ is covered with a rubberized material in a checkered pattern instead of genuine textured leather. In effect, it’s a classic camera with modern flair. And although we believe “simple is best” in many respects, we knew that people who pick up an SLR won’t be satisfied if it’s too elementary as simple as compact camera, for example. Balancing these conflicting goals was one of the challenges of this project.

Kurokawa: Some media reports describe the user interface of these models as being updated, but in fact, the basic framework is the same. We didn’t want existing owners of “α” cameras to be confused if they pick up one of these. So within this framework, we made the cameras more accessible to beginners by refining the support features and feedback from user operations.

One example is how the monitor display responds to mode dial operations. You can recognize the list of modes by icons, so you can choose the desired mode while keeping your eyes on the monitor. You’ll also know what effects are possible in each mode, because this is described in words and pictures by the help system. Cyber-shot users are already familiar with this, but we edited the support information to entice owners to explore their camera and see what SLR cameras are capable of, in creative expression. You can also choose your favorite background color or one that matches the camera body, from four options, and the function menu icons are now more intuitive. These touches make the overall interface more accessible.

But besides ensuring easy operation, we also focused on another key role of these entry-level models: reinforcing your understanding of basic shooting techniques. Among these, exposure control is major advantage of SLR cameras. We want you to explore the various ways your shot can be rendered, so we created setting screens with graphical representations of aperture and shutter speed. Suppose you want to change the background blur. Even if you don’t know terms such as exposure, aperture, or depth of field, just look at the icons and turn the dial. Because setting values for aperture and shutter speed are interrelated, you’ll gain a basic understanding about exposure naturally as you use the camera.

Fukamatsu: Stylish black inevitably comes to mind as an SLR color. Still, this is from our tacit belief that the tools of reporting or journalism shouldn’t stand out. Surely entry-level cameras can reflect their owner’s sense of style more than this.

Body colors and textures in these new models will appeal to women (a new user segment) and men alike. They match gold and silver jewelry, sleek mobile phones, and other accessories nicely. These fashionable cameras hold their own against handbags and outfits women adore. We chose two color options, after careful consideration from a variety of perspectives and testing based on market research: versatile black, which matches fashion of all kinds, and a premium brown.

But either one would have been rather boring if we’d only covered the body in one hue. And at the other extreme, the cameras would be too overbearing with a strong, two-tone color scheme. For a sophisticated air of luxury, we used a tone-on-tone color scheme for the “α380″ and “α330″. The black version also makes a stylish impression, from the combination of the metallic top cover and jet-black textured surfaces. This metallic sheen is even more noticeable in the brown version, and matching lenses enhance its luxuriousness.

We tend to imagine cameras in use, in situations where we’re taking pictures. Actually, we’re not shooting most of the time. The appearance of cameras should excite us even when they’re not in use, and entice us to pick them up; that’s a worthy goal in design. I hope alluring colors and textures will always be one thing people appreciate about entry-level “α” models.

Takahashi: Traditions in SLR cameras run deep. To respect these traditions, manufacturers often assign designers knowledgeable about professional models to design beginner models as well. Satisfying the needs of both savvy camera aficionados and beginners takes thoughtful innovation and a lot of hard work. I certainly value this approach, but on the other hand, it limits the chance for inspired design in line with the attitudes and shooting styles of current beginners. That’s why this time, we worked with designers who were not entrenched in SLR traditions as we explored directions in design and issues in usability through objective discussions and ongoing market research.

The new entry-level “α” models that emerged from this work do show a different direction in SLR camera design than what we’ve seen to date. Although veteran photographers may feel they are incomplete, that’s because these models were designed for users who could not commit to SLR cameras until now. Our decisions were inevitable, and they support both the next generation of photographers and the future of photography.

Cameras that look small and straightforward invite anyone to pick up an α SLR casually and enjoy capturing many shots. These beginners may capture impressive and unexpected shots, which will motivate them to pursue their creative vision and learn more about cameras. This series of captivating events is what we sought to provide through this design work. From the start and as a matter of basic policy, Sony has designed experiences beyond products. In this sense, I’m proud that the models we’ve introduced are full of ideas and values worthy of the Sony “α” tradition.