Posts Tagged ‘Canon’

  • Hits & misses make the most of IGAS

    Tokyo Typhoon Number 12 of the season was a fizzer, a bit of a blow but nothing to bother the printers attending IGAS at Big Site out in the Bay. It came and went within a few hours; rain and wind enough to alarm the woman at the Heidelberg showroom where I was on Saturday afternoon. She urged us to get out quickly to avoid being stranded. Perhaps a little over the top, but …

    So, why was I at the Heidelberg showroom in Tokyo? Well here’s how the second part of my IGAS went.

    IGAS is an international exhibition, although overseas visitors are still only a small part of it. It’s international in that every manufacturer of note exhibits and as is becoming increasingly obvious that means most are Japanese firms. There are the large well known brands, but a walk around IGAS shows clearly the depth of ingenuity and industry in small firms and startups driving the printing equipment industry in Japan.

    With notable exceptions of course – HP is the eight hundred pound US gorilla in the centre of printing. Its digital reach is immense, encompassing every aspect of printing and packaging. In a prime position just inside the entrance in Hall 1 visitors were treated to a display of printed packaging that leaves no doubt that the future is definitely digital. It provided a testament to just how far the technology has been pushed and how this show was mostly about industrial printing mostly packaging.

    Konica Minolta Australian and Japanese colleagues (L to r) David Cascarino, Toshitaka Uemura, Koji Asaka and Anthony ‘AJ’ Jackson.

    Friday afternoon I had an appointment to meet with people from Konica Minolta who took time to talk about the 145-year-old company. Toshitaka Uemura, GM industry print business and Koji Asaka, assistant manager, are fine examples of all that’s best about Japanese corporate life. Dedicated and loyal they not only know the technology, but also are also deeply versed in the ethos and history of the company.

    There’s plenty of disparagement about the supposedly oppressed Japanese ‘salary men’ but they’re a remarkably hardworking and loyal bunch and these two were anything but put upon. Well informed too, as Uemura-san took me through the development of the company, its history as a photo and camera business and its prospects as a manufacturer of leading digital technology.

    There’s no doubt the Accurio KM1 is the flagship, a B2 inkjet press that is the first real contender to HP Indigo’s dominance. But there’s more in the portfolio too. The MGI digital embellishment JetVarnish 30 engine was prominent on the stand.

    Watch for a re-worked version of the Accurio Label press in the next few months, moving away from its BizHub-box appearance while still sticking with toner. It’s the technology the market wants, says Uemura-san, who was part of the planning team. He reckons the inkjet label sector is very well served but there’s a gap in the market where toner works in terms of cost and quality. And he gives every impression of knowing about what he speaks.

    Label specialist, Taishi Motoshige, (left) showed me around the Screen stand and introduced me to Ayaka Sasaki who looks after the CTP.

    Just next door Screen, another iconic Japanese manufacturer had a very busy stand. Based in the imperial city of Kyoto it has successfully reinvented itself as the market for its emblematic platemaking technology dwindled and almost died. But Screen is one of the few in the world still manufacturing CTP machines and lo and behold, there’s a new version released at this IGAS. A stripped-down unit aimed at the replacement market in developing countries, the PlateRite 8600NII can be upgraded with all the latest technology. As with much of Screen’s well-regarded technology, it’s widely rebadged and OEM’d.

    If you think a new CTP verges on the anachronistic, I was astounded to see a new proofing press on the stand, the Proof Jet F780 Mark ll. Who’d have thought sections of the Japanese media and advertising industry still insist on a proof from a proofing press? I mean, what’s the point, when it’s not going to be printed on the proofing press? Still, that’s what they want and Screen is happy to provide it.

    However, don’t let me give you the impression that Screen is caught in a weird time warp. Most of its stand was a model display of high-powered digital printing with two versions of the high-speed Truepress Jet, one for direct marketing production, the other for graphic arts; very impressive results. No sign yet of a cut sheet version.

    Fascinated to see the developments of Screen’s label press, with a new version out for the show, the TruePress L350UV+LM. The LM stands for low-migration; an ink set aiming to avoid any challenges to its suitability for labels on food products. Next to it was an Italian laser die cutter, a Cartes GE361L producing the best results from the technology I’ve seen. The label roll is split as it enters the machine with the printed layer being laser cut from the rear before being reunited with the liner. Clever solution that solves most of the angle cut problems from using lasers.

    Nothing to see here again, I’m afraid.

    One of the disappointments of IGAS was the no show of the Canon Voyager, the much-hyped flagship graphic arts digital press. I saw it at last drupa, but it wasn’t operating. The samples on display were tremendous. Same at IGAS. Lots of fabulous samples behind glass, lots of banners promoting the model, but no actual press. There were no English speaking staff, insofar as I could find, so I’m no wiser as to what’s happening with the Voyager. Perhaps it’s not for the Japanese market.

    There was an Océ Colorado there, promoted as a Canon product.

    David Currie, Australian IGAS-san and still a formidable printing equipment salesman.

    After a couple of days of missed calls, I managed to get in front of David Currie, executive chairman Currie Group, on the Saturday morning. I was keen to meet in Tokyo because David, if anyone, is the Australian IGAS-san. He tells me he’s being coming to the show for 31 years, ever since he hooked up with long-term friend and partner Hori-san, founder and owner of Horizon. (Hori-san… Horizon. Geddit?)

    We forget that at that time in the 1980s there was a sense, much promoted by competitors, that ‘Made in Japan’ was somehow dodgy and inferior. Certainly the trail David Currie blazed at the time was the road less travelled. Of course, nowadays, Japanese technology is the benchmark of quality and innovation.

    Such is the case with the vast range of equipment on the Horizon stand, the largest at IGAS, and not only on the Horizon stand but on others too, such as Ricoh and HP. In fact almost all the digital press manufacturers are using Horizon finishing kit.

    We tried to track Hori-san for a celebratory photo, but he wasn’t to be found. Then true to form, David Currie transformed into a younger version of himself as a Horizon equipment product manager and gave me a pretty comprehensive tour of the stand. Sure, he’s got people to do that for him, but once a printing equipment salesman …

    Anniversary celebrations for Richard Timson, whose 30 years with Heidelberg, man and boy, was commemorated with a gift of saki from Shuya Mizyno, president of Heidelberg Japan and Thomas Frank, head of sales Asia Pacific, who is also a 30-year Heidelberg veteran.

    Saturday afternoon with the typhoon closing in it was time to taxi to the Heidelberg showroom in Shinagawa. (Travel tip: never trust the driver over Google maps.) The German press manufacturer, represented by the redoubtable Thomas Frank, was showing off its Smart Print Shop concept while virtually promoting the new digital Primefire. There was no actual showing of the inkjet (at the Heidelberg IGAS stand visitors donned goggle-style glasses for a virtual tour) but there was a mighty Speedmaster XL 106, which proceeded to print 12 jobs of 150 sheets each (20 waste sheets per job) in 30 minutes, without operator intervention.

    While the printing was underway, the plates changing automatically and the press autonomously adjusting the settings, we were taken on a tour of the full print process, including the Versafire, which produced 26 digital jobs at the same time, again without operator input.

    Heidelberg promotes the concept as digitally controlled printing. Hugely productive to meet the challenge of the digital world, Frank also mentioned the ‘r’ word as in ‘rent a press’ with all the consumables supplied. This is the reality of the ‘subscription printing’ scheme being promoted by the company to drive new sales. It’s attempting to change the concept of how you go about owning productive print. Richard Timson, managing director ANZ says he’s close to getting the first Australian customer signed on.

    Determined to win: Tomomitsu Harada, is new managing director of the Australian company.

    Monday morning saw me heading west out of Tokyo to Tomi, halfway across the main island to visit the Mimaki plant. The aggressive and competitive wide format brand makes no bones about its drive to win market share in Australia and New Zealand. Tomomitsu Harada, the new managing director of the Australian company, unabashedly takes pride in his determined sales drive. At 31 it’s his first overseas managing director’s role and he’s determined to make the most of it. Bringing his family here in September, he’s settling in Chatswood, where else?

    Mimaki has one of the largest ranges of wide format equipment in the sector. With a company goal to double its revenue to $US1 billion within five years it’s the very model of a ‘win at all costs’ Japanese company. Fascinating to hear Harada quote the ‘beat sheet’ used by his salespeople; equipment that’s half the investment cost of rivals, ink that’s always cheaper, service that is aiming to be 100% performed by the company with a few years.

    There’s no doubting the engineering quality of Mimaki, but what makes it stand out for me is its sheer sales drive to win. It’s only been going direct in the local market for four years but expect to hear a lot more from the full-on Harada. He’ll be here in time for Visual Impact in Sydney where he promises to unveil a few surprises.

    The Epson stand, where I missed my walk through with Alastair Bourne, was packed with good gear such as the Surepress L-6034VW. It also provided my first sight of the LX-10000F, the Workforce engine that’s bringing PrecisionCore inkjet technology into the office and small production sectors.

    And that’s it from me in Japan. It was a great show. I messed up with a couple of appointments, notably with Epson on Monday (my apologies Alastair – see photo above). Check out the next issue of Print21 magazine for full IGAS report.

    Now I’m off to Haneda airport for an overnighter to Sydney. See you at the Yaffa LIVE Forum on Friday.


  • FESPA Berlin – Nessan Cleary’s in-depth report

    Messe Berlin, site of Fespa 2018.

    Fespa has always been about wide format printing but this year’s show saw high volume printers mixed with industrial textile printers and even corrugated printing.

    Conventional wisdom has it that large format printing is mainly about sign making and display graphics but wide format inkjet technology is pushing beyond this, which was abundantly clear at this year’s main Fespa event in Berlin, Germany. Of course, there was still plenty of sign making in evidence, but there was a renewed focus on taking this to high volume industrial markets, including corrugated printing, and alongside noticeably more clothing and home furnishings solutions.

    There was a growing use of robotics for automated loading and unloading of substrates. Most robots are designed for industrial applications so they offer long life with little maintenance, which makes for a very flexible and cost-effective solution, even taking into account the cost of integrating the control systems to synchronise the loading with the printing. Canon, for example, demonstrated a robot next to an Arizona flatbed loading media to the printer and then unloading it direct to an Océ ProCut cutting table. The system was developed with a Dutch customer, Van Vliet Printing, but is relatively easy to interface with the Arizona.

    This robot on the Canon stand loads media to the Arizona flatbed, and then unloads it to the cutting table.

    Fespa set aside one hall for corrugated printing, with the main attraction being the Fujifilm stand with an Onset X3 complete with robot for automated unloading. Ashley Playford, national sales manager for Fujifilm Australia says that a big advantage of using robots is that they can handle different stack heights regardless of how thick the material is. There’s a choice of robots depending on what each customer is trying to achieve.

    From left: Ashley Playford, national sales manager Fujifilm Australia, and Graham Blackall, ANZ technical sales specialist, with the Fujifilm Acuity Ultra.

    Naturally, several vendors used the show to launch new printers, mainly 3.2m wide machines aimed at the production end of the market. Fujifilm showed off its brand new superwide rollfed printer, the Acuity Ultra, with a choice of 3.2m and 5m widths. It can print on up to three rolls simultaneously, with independent spindles so that the rolls can hold different amounts of media. It can produce up to 236 sqm/hr. It uses greyscale Kyocera printheads with 3, 7 and 14 picolitre drop sizes and maximum resolution of 1200 x 1200 dpi, with the prints on the stand demonstrating exceptional image quality for a superwide printer. Graham Blackall, ANZ technical sales specialist for Fujifilm, says: “There’s a lot of high volume machines in the market but the market is becoming more discerning about quality now and just being ‘good enough’ is no longer good enough.”

    It uses conventional UV curing rather than LED, but has an innovative water-cooling system on the vacuum table so that it can still print to heat-sensitive materials. Blackall says that the printer can handle textiles, with soft signage becoming an emerging market, and that it can also print to mesh materials. There are eight colour channels including CMYK plus light cyan and light magenta, as well as two whites. The ink is a new, high-quality, low film weight Uvijet GS Fujifilm ink that is said to be suitable for interior graphic display work.

    EFI introduced its new 3.2m wide Vutek H-series platform. It’s a hybrid designed around a roll to roll chassis and with tables for rigid media. However, there is a new linear drive magnetic carriage that should offer a more precise transport mechanism for boards than the belt and pulley system that most hybrids use. There’s automated table and carriage alignment and fully automated printhead maintenance as well as built-in diagnostic systems for dealing to help with servicing, both remote and on-site.

    There are two versions, both using Ricoh Gen5 printheads with three different drop sizes of 7, 14 and 21 picolitres. The H3 series have three heads per colour and can produce 74 boards per hour, while the H5 have five heads per colour and print 109bph.

    Agfa announced a new hybrid 3.3m wide printer, the Jeti Tauro H3300 LED, which takes boards up to 3.3 x 2.44m or roll media up to 600mm in diameter. There’s a choice of two inksets: the general purpose Annuvia 1551, and Anuvia 1250, for absorbent media, such as paper and cardboard. Strangely, the company opted to show a tiny lego model rather than the actual printer!

    Mutoh answered customer demands by showing off its first true flatbed printer, the PerformanceJet 2508UF, which takes boards up to 1250 x 2540 mm and can handle media up to 100 mm thick and up to 50 Kg/ sqm in weight. The bed is split into different vacuum zones. This is a UV LED printer that can be configured with either two sets of CMYK or CMYK plus white and varnish. It uses four greyscale printheads but can be field-upgraded to six heads, for dual CMYK plus white and varnish.

    Mutoh also showed off a new 1.62m wide roll-to-roll device, the ValueJet 1638UR. Resolution is up to 1400 x 1400 dpi and it takes Mutoh’s new US11 UV LED ink that’s designed to work with a very wide range of substrates. It prints CMYK plus white and clear ink.

    Latex reinvented

    HP used the Fespa show to launch its first rigid latex printer, the R2000, complete with HP’s first latex white ink. The R2000 is a hybrid device, taking both roll-fed and rigid media up to 2.5m wide media and 50mm thick, and rolls up to 100kg. It has a wide platen, with 14 automatic independent vacuum chambers to hold boards in place. It uses a belt system to pull the media through the printer but has an optical sensor that watches as the media advances and can correct the movement of that media. It can print at up to 88 sqm/hr or 49 sqm/hr in six-pass mode.

    HP launched its R2000 hybrid, capable of printing to rigid materials.

    The latex ink has been completely redesigned to work with rigid materials as well as flexibles. It cures at a lower temperature which allows this printer to work with more heat sensitive materials than HP’s previous latex printers. HP has had to take out the scratch resistance built into its roll-fed inks to improve the jetting so there’s a new Latex Overcoat to help protect prints.

    HP has used the HDNA printheads from its PageWide presses, which have twice the number of nozzles with the extra row of nozzles used to recirculate the ink within the head. This is essential for printing with white ink as the heavier particles can settle in the bottom of the tanks or clog the heads.

    Ricoh is also working on a new latex printer, showing a prototype of a new roll-fed model at Fespa, which should be available towards the end of this year. Unlike Ricoh’s previous latex printer, which was built on a Mimaki chassis, this has been developed entirely by Ricoh. Angelo Mandelli, wide format product manager for Ricoh Europe, says that it can print at 40 sqm/hr in six pass mode on banner materials and at 25 sqm/hr for production quality on vinyl. It prints CMYK plus white for now but Mandelli says that Ricoh will probably add orange and green to expand the colour gamut.

    Ricoh is clearly making a much more decisive play for the wide format market, showing also a new flatbed printer, the Ricoh Pro T7210, which is mainly aimed at industrial printing markets. It takes media up to 2.1 × 3.2 metres, and up to 110mm thick. It’s capable of 50sqm/hr in Standard mode, which doubles to 100 sqm/hr in the high-speed mode. Resolution is 1200 dpi and the ink is Ricoh’s own LED UV-curable ink with a choice of four, five or six colours with the full inkset including CMYK plus white and a clear ink or varnish as well as a primer. 

    Paul Thompson, business development manager ANZ for DTG and visual display solutions at Ricoh Australia, says that much of the print industry, including large format, has become commoditised by focussing on price but that Ricoh is concentrating on adding value. He points out that Ricoh makes its own printheads and supplies heads to many other vendors, adding: “We see that inkjet is the future and that if we get it at the right quality and cost then it will make inroads in other areas.”

    An obvious example of this is the growing textiles market. Ricoh showed off a neat desktop direct to garment printer, the Ri100, which can print various items such as T-shirts, cloth bags, cushion covers and sweatshirts. It prints mainly to cotton, including blends of up to 50 percent cotton. There’s an option to include a separate heat press, the Ricoh Rh 100 Finisher, which has the same 399 x 698 mm footprint so that the printer can be stacked on top of it.

    Ricoh’s Ri100 – note the RH100 finishing unit underneath it.

    EFI Reggiani has developed a new six colour pigment ink with binder with CMYK plus red and blue for its printers, which are mainly used for home furnishing and fashion printing to materials with natural fibres such as cotton and linen. Giorgio Sala, EFI Reggiani’s ink application specialist, says: “We can eliminate the post treatment. In the drier we can fix the ink because the binder is inside the ink.” He adds: “The new ink is designed for Kyocera printheads, which all of our machines have, so we can use it with the existing machines.”

    Mimaki showed off a new version of the Tiger 1800, which was developed by its subsidiary La Meccanica and now gains a number of features typical to Mimaki printers, such as its MAPS nozzle redundancy technology as well as automated maintenance. It’s got Kyocera printheads, with the resolution raised from 600dpi to 1200 dpi.

    In conclusion, there’s a clear trend from this Fespa toward more industrialised printing for volume markets including display graphics as well as garments and home furnishings. There’s more automation, including the use of robots, as well as automatic maintenance to improve productivity, while at the same time most vendors have also improved image quality. The show itself felt extremely busy, with over 20000 visitors crammed into the halls over four days, proof that the market for wide format technology shows no sign of slowing down.

    Next year’s Fespa show takes place in Munich, Germany, from 14 – 17th May.

  • 1st Canon 700 in NSW to Gold Leaf Framing

    Theo Stamatopoulos may not be your typical printer but he believes Canon quality will help transform his business.

    Adding value to print is recognised as an essential pathway to higher profits and margins. But for the founding director of Gold Leaf Framing it is the very basis of his successful framing and printing business.

    Starting out 20 years ago as a picture framer in the southern Sydney suburb of Como, he moved into printing at the behest of his customers. As a self-taught Photoshop expert in the 1990s his skills at fixing up family portraits brought requests from them to reproduce the originals … and frame them!

    “It was always a bespoke service, they wanted me to solve problems. I never did any marketing, it just grew by word of mouth” said Stamatopoulos.

    The picture framing business expanded in scope and in size when he moved into wide format reproductions with an Epson 10000 CF. At one stage he was running three big Epson inkjets non-stop from his Como factory pumping out hundreds of colour murals for Rail Corp NSW. Again word of mouth brought him large corporate clients who sought out his ‘no problems’ style of service.

    Then he moved into production printing with an Océ CS 650, working with local artists on reproductions of their paintings. “I was more interested in getting the right colour than in how fast it could print,” he recalls.

    Turning out framed pictures, photos and certificates ensured there was very little commodity printing coming out of Gold Leaf Framing  (the name comes from an old French picture framing tradition of quality). Value adding is second nature to the business model. In recent times he has opened a facility in Sydney’s CBD where he handles an increasing amount of high-end corporate work as well as a growing ‘for trade’ business servicing a number of Sutherland Shire printing companies. Stamatopoulos is now pursuing a growth strategy, looking to build the business with the latest technology.

    As a long-term Océ/Canon customer he was first cab off the rank for the new Canon imagePRESS 700 in NSW.  Again he was most concerned with the quality of the colour and the ability to reproduce scanned-in photos and paintings.

    “I want the very best quality reproduction. I don’t want any of my customers to ever be embarrassed by what I’ve done. It’s a level of service that builds goodwill,” he said.

    Every equipment vendor wants the initial install of new technology to be a showcase site it can point to as an example for others. Theo Stamatopoulos doesn’t fit easily into that frame work but his success is even more telling. It is indicative of the success of small- to mid-sized printing businesses that are thriving in particular niche markets.

    The Canon install team with Theo Stamatopoulos (2nd from right) Paul Byatt, technical lead, with technicians Michael Lipowicz and Louie Loo

    The purchase of the imagePRESS 700 shows just how far digital technology has taken over the work-a-day business of printing where business owners, without offset skills, use it to add value to a particular offering and not compete on commodity-style print.

    The Canon imagePRESS 700 was installed at Gold Leaf Framing yesterday (Monday 30 September) in the shopfront premises with the old machine removed and the new one in place and running test sheets within five hours. Calibrating the machine for the default Canon substrate with a Fiery RIP tweaked to give even finer levels of colour balance in the days to come, the Canon team under Paul Byatt, technical lead, with technicians Michael Lipowicz and Louie Loo had it under control with the minimum of fuss.

    Canon has great hopes for the imagePRESS 700, which it launched in July. With at least one already in Victoria and now in NSW it appears the roll out is well and truly underway.



  • Canon back in the game with new imagePRESS C800

    It is seven years since Canon brought a totally new digital print engine to the market but the new team at the imaging company reckons it’s been worth the wait.

    At a time when product cycles generally revolve around the two to three year mark, the absence of Canon from the market with a new engine was notable, especially for its customers. The once dominant supplier slipped in market share as rivals, Fuji Xerox and Konica Minolta debuted a series of products.

    Now the wait is over and according to Michael Boyle, senior general manager, Canon Professional Print, the market can expect a new era and a new level of strategic partnership from CPP.

    At what he termed, “a colourful night of inspiration” at Canon’s schmick new headquarters in Sydney’s North Ryde, Boyle emphasized the commitment and dedication of his team to wining back its preeminent position in digital colour printing.  “I want you to see us as a proven committed partner that takes as much pride in print as you do,” he told the audience of customers, refashioning the launch slogan.

    The launch of the new imagePRESS C800 confirms Canon’s mastery of colour performance with Henryk Kraszewski, product manager, pointing out the image quality – “best in class,” – productivity and flexibility of the new machine. “Almost two thirds of all digital colour production presses sold in Australia are in the 80 page per minute range and it is the sector where there is most growth,” he said.

    He particularly directed attention to the productivity enhancements of the imagePRESS C800, which he said has industry-leading job turn around. “Productivity is not about speed, it’s about how many jobs you can produce,” he said.

    First cab off the rank in NSW for the imagePRESS C800 is Theo Stamatopoulos, Gold Leaf Framing, PIcton (left) pictured with Andrew Ward, manager - northern region graphic arts CPP.

    Canon expects the first shipload of the new engines to arrive shortly with the first installations either later this month or in early August. There are already a number of sales confirmed.

    Undoubtedly the imagePRESS C800 is a very fine digital colour engine and the printed evidence at the debut proved its capability, but as guest speaker on the night, Paul Clitheroe, financial analyst and presenter said, “a machine like this, no matter how good it is, is a commodity. What makes the difference is the service that goes along with it.”

    It was a sentiment echoed by Boyle who closed the friendly, nicely casual evening, with a promise that the Australian printing industry has in CPP a partner re-committed to the long-term advancement of its customers.


    Picture 1 of 10

    Enjoying the 'friendly, nicely casual evening,' (from left) Henryk Kraszewski, CPP, Theo Stamatopoulos, Gold Leaf Framing, Paul Clitheroe, speaker, Michael Boyle, senior general manager CPP and Rowan Brown, Deakin University.



  • Canon announces Digital Show line up

    Canon Australia has announced its line-up for the 2013 Digital Show – an opportunity to meet and learn from the passionate team of Canon staff, experts and masters, and get hands-on with the very latest imaging technology.

    The Digital Show is the Southern Hemisphere’s biggest imaging event and will be held at the Melbourne Exhibition and Convention Centre, Friday 13 to Sunday 15 September.

    “In the spirit of No One Sees It Like You, we have prepared a complete showcase of Canon’s products and services as well as inspiration and information to help people express their originality like never before,” says Jason McLean (pictured), Director – Canon Consumer Imaging, Canon Australia. “Occupying 375 square metres, the stand has something for everyone, from first looks at new products to creative challenges and an exciting opportunity to get involved in trialling a new image management service later this year.”

    From capture to output, and everything in between (stand #120)

    Visitors to the stand will see the full Canon imaging experience come to life with first looks at new products, interactive hands-on sessions with Canon Academy tutors, presentations of Canon Masters and live challenges.

    Highlights include:

    • Photo5 LIVE competition
    • Free photography walking tours
    • Learning from the Canon Masters at the Canon Theatre
    • Opportunity to get involved in Canon’s upcoming image management service
    • Exclusive Canon product offers on the stand

    Canon EOS Photo5 LIVE competition

    EOS Photo5 is Canon’s open-to-all photography competition that inspires everybody to create amazing photography. This hugely popular competition is now coming to Melbourne, held at The Digital Show as a live event.

    In a fast paced, Photo5 format, five briefs over three days will challenge you to push your creative boundaries, using Melbourne’s CBD as your photographic playground. Then, return and print your photos at the Canon stand within a few hours of the brief announcement to go in to win some seriously awesome prizes including five EOS 6D Premium Kits and five PIXMA PRO-10s. Sign up during the show at the Canon stand. Learn more about EOS Photo5 here.

    Free photography walking tours

    Canon will be offering free photography walking tours on each day of the show. You’ll learn essential tips and tricks to take your photography further and benefit from having an expert on hand to answer your photographic questions as you shoot using a new EOS 70D DSLR camera.

    • Friday 13th September at 12pm, 2pm and 4pm
    • Saturday 14th September at 10am, 12pm, 2pm and 4pm
    • Sunday 15th September at 10am, 12pm, 2pm and 4pm

    Spaces are limited so sign up ASAP at the Canon stand.

    Learn from the Canon Masters at the Canon theatre

    Learn from the experts with live presentations, demonstrations and videos covering a wide range of hot industry topics. Featuring Canon Masters:

    • Graham Monro – Portraiture and wedding
    • Jackie Ranken – Fine art landscape
    • Stephen Dupont – Photojournalism

    Canon is also proud to welcome a special guest speaker – the world-renowned photographer, Canon Explorer of Light, and Director of Film ¬Vincent Laforet. Exemplifying Canon’s mission of connecting and inspiring people to do more with their imaging, Laforet’s presentation will be as inspiring as it is informative. 11am Saturday 14 September in Main Theatre followed by appearances on the Canon stand

    Canon’s image management service

    Ahead of public release in 2014, Canon will be introducing its upcoming image management service – an easy way to manage, share and do more with your entire image collection, in one place.

    “We are excited to be announcing the upcoming launch of Canon’s online image management service – an easy way to manage, share and do more with your entire image collection, in one place,” continues McLean. “We are featuring the service on the stand and encourage people to register their interest to be one of the first to trial it ahead of its public launch in 2014.”

    Visitors who sign up to hear more about this service or to hear other information from Canon will also enter the draw for a chance to win an EOS 70D single lens IS kit with EFS18-55IS STM Lens. Terms and conditions apply and details will be available at the stand.

    Canon AIPP Australian Professional Photography Awards judging

    Featuring Australia’s best professional photographers, the 37th Canon AIPP Australian Professional Photography Awards (APPAs) will be judged at the show again this year, giving show-goers an opportunity to see the judging of professional photography at its best.

    Canon Theatre times

    Friday 13 September

    10.30am – Photo5LIVE -Brief 1 & Special Brief Announced

    11.00am – Workshop by Canon Master, Steve Dupont

    12.15pm – Discover what’s great about photoPICO

    1.00pm – Introduction to Canon’s image management service

    2.00pm – Workshop by Canon Master, Steve Dupont

    3.15pm – Canon Academy

    4.30pm – Introduction to Canon’s image management service

    Saturday 14 September

    10.30am – Photo5LIVE Brief 2 & 3 Announced

    11.00am – Workshop by Master, Graham Monro

    12.15pm – Discover what’s great about photoPICO

    1.00pm – Introduction to Canon’s image management service

    2.00pm – Workshop by Master, Graham Monro

    3.15pm – Canon Academy

    3.45pm – Photo5LIVE Brief 2 & 3 Winners Announced

    4.30pm – Introduction to Canon’s image management service

    Sunday 15 September

    10.30am – Photo5LIVE Brief 4 Announced

    11.00am – Workshop by Master, Jackie Ranken

    12.15pm – Discover what’s great about photoPICO

    1.00pm – Introduction to Canon’s image management service

    2.00pm – Workshop by Master, Jackie Ranken

    3.15pm – Canon Academy

    3.45pm – Photo5LIVE Brief 4 & Special Brief Winners Announced

    4.30pm – Introduction to Canon’s image management service

  • imageRUNNER series shows up global competition

    Canon’s imageRUNNER Advance series of multifunction printers (MFPs) is showing up its sector’s competition, claiming five accolades in the latest Buyers Laboratory LLC (BLI) Awards.

    The imageRUNNER Advance 6275, C5235, C5240 and C5250 won [northern] Summer 2013 ‘Pick’ awards in a range of A3 MFP categories while the imageRUNNER Advance C5255 Series earned an ‘Outstanding Achievement’ award for energy efficiency.

    Honoured with four bi-annual ‘Pick’ Awards in multiple speed bands for both colour and monochrome, Canon’s winning devices in the A3 MFP categories were praised for their superior reliability, measuring among the best in BLI’s comprehensive evaluations over the past 6 months.

    George Mikolay, BLI senior product editor for A3 MFPs said, “It’s a great accomplishment that combined, these devices produced more than half a million impressions with no service calls and just two misfeeds among them.”

    “Not only can users count on dark, sharp text and bold solids in black output, but they should have no qualms about using any of these engines for higher-quality brochures and marketing materials,” he said.

    Exhibiting significantly lower than average energy consumption during BLI’s environmental testing, the imageRUNNER Advance C5255 Series offers speeds of 55 pages-per-minute (ppm) in black mode and 51 ppm in colour mode for the A3 copier-based MFP market. In addition, this device recorded faster than average recovery times from sleep mode and offers job review and proof modes to reduce paper and consumables waste, features which contributed to its five-star overall rating.

    “Canon is honoured to be recognised as market leaders and these awards are a testament to the quality and ingenuity of our products,” said Jeremy Plint, assistant general manager of Marketing, Canon Business Services. “In a very competitive field, we are proud to stand ahead of our competition with the four ‘Pick’ awards to our name in the A3 MFP category.

    “Founded on the principles of environmental sustainability, Canon’s eco-friendly products are proven to be at the forefront of our industry in terms of both quality and performance. The imageRUNNER Advance C5255 is the perfect example of our commitment to our environmental vision,” he said.

  • Canon’s new imageRUNNER on offer at PacPrint

    Canon Australia is providing PacPrint punters with a sneak peek of its new imageRUNNER ADVANCE C9200 Pro Series on its stand #3018 at the quadrennial trade show that opened this week in Melbourne.

    The C9200 Pro Series is the latest in Canon’s imageRUNNER ADVANCE product line and the company says it offers excellent light production credentials coupled with features such as image capture, user interface personalisation, usage tracking and access control, mobile and cloud connectivity and a server-less log in solution.

    The new press’s print speed is 80 ppm in black and white and 70 ppm in colour, deliverable from a 9,300 sheet paper capacity. According to Jeremy Plint, assistant general manager, Canon Business Services Australia, the new unit is a good fit for workplaces looking to streamline their print operations.

    “Work environments have evolved quite dramatically in recent years, fundamentally changing the technological landscape and the way we work,” says Plint. ” Canon is addressing the need for businesses to streamline their workflows and optimise processes with world class technology designed to provide greater efficiencies and productivity.”

    Included in the unit’s improved workflow features is the ability to replenish toner and media whilst printing for continuous, tight-turnaround operation. The imageRUNNER ADVANCE C9200 PRO also incorporates Canon’s on-demand fixing technology, making it operational from power-up in 31 seconds.

    The model also incorporates the latest EFI controller with a choice of two Fiery system 10 powered RIPs – an Imagepass A2 onboard RIP for light production environments, such as copy shops and CRDs, and Canon Colourpass external RIP for a small, new-to-digital commercial production environment looking to increase productivity.

    “With environmental sustainability high on our agenda, the imageRUNNER C9200PRO is ENERGY STAR qualified devices which offer a very competitive TEC rating, whilst CO2 emissions are almost negligible,” says Plint.

    For more information on Canon’s range of hardware, software and solutions, have a chat with Damian Schaller, marketing manager for Canon Professional Print on stand #3018 at PacPrint13 in Melbourne.

  • Canon launches next generation PRISMAprepare

    Canon Professional Print today introduced the next generation of PRISMAprepare all-in-one document preparation software. PRISMAprepare version 6.1 software accelerates turnaround, increases productivity and creates more efficient printing processes.

    Designed with the user in mind, PRISMAprepare document preparation software accelerates every aspect of job preparation from composition through production. The new Version 6.1 offers an end-to-end workflow based on open Adobe PDF standards.

    Support for multiple PDF plug-ins, hot folders for PDF files and automated make-ready for repeating jobs allow users to eliminate countless unnecessary make-ready steps. Some printing clients have cut their job preparation time from over 60 minutes to just 6 minutes thanks to the ultra-fast make-ready workflow of PRISMAprepare v6.1.

    The PRISMAprepare graphical user interface has won the NN award from Nielsen Norman, guru of web page useability, and the IF Communication Design award for its ability to simplify complex printing operations.

    This is thanks to its WYSIWYG (what you see is what you get) previews that show users exactly what they will print, such as the position of staples, hole punches, folds, full-bleed tabs, page marks and colour strip. This makes it easier for any user to handle complex documents, decreases the need for hardcopy proofs and reduces the chance of errors.

    “The new version of PRISMAprepare software releases the full power of Canon and other third party production cutsheet printers,” says Damian Schaller, marketing manager at Canon Professional Print. “That’s because it prepares documents independently of both colour and black & white printing devices, so you can make the most of every asset.

    “With true PDF workflows, WYSIWYG previews and the host of other efficiency boosters, graphic arts professionals have a powerful make-ready tool that drastically reduces time-consuming tasks and enables them to offer more services,” he says.

    The new software release adds basic Variable Data Printing capabilities to document make-ready. Users can mark variable data fields in a PDF and couple a database to it for printing, eliminating the need to use additional software in the prepress stage to do this. Integrated colour management further improves and simplifies colour services.

    It offers advanced features for modifying image colour, brightness and saturation. In addition, they can replace or change colours with the click of a mouse, create custom spot colours, access standard PANTONE Matching System and HKS spot colour libraries and ensure the consistent use of company colours throughout a document.

  • Game on for printing’s largest supplier – Print21 magazine feature

    The creation of the Canon Professional Print (CPP) division recasts the entire supply side of the printing industry in Australia and New Zealand. The amalgamation of Canon and Océ has produced a comprehensive industry supplier that addresses every level of the industry.

    In January, CPP’s inaugural director, Simon Wheeler, fronted the management cohort at the new company and spoke of his vision for the business as well as for the industry. This is an edited version of his presentation. 

    Canon Professional Print in Australia and New Zealand is the new division that addresses the markets where print is the business, or it is fundamental to the business. Our market breaks down into printing companies of one guise or another, corporate in-plants that are in effect internal print businesses and architect, construction, engineering companies where technical drawings are fundamental to the business.

    Today I’d like to explain to everyone what Canon Professional Print, CPP, is, why do we exist, who are our customers, what will we achieve and what strategies will we employ. I will lay out how we will profitably double our revenues in three years, through a strategy of extreme client intimacy. By the end of this speech I want you to believe this can be achieved and come with us on the journey. We need your support.

    So the first place to start is to explain where CPP has come from. It is an amalgamation of the majority of Océ, excluding its office business and the major parts of the PPS, LFP and DreamLabo businesses. Summarising last year, the sales of new equipment in the year proved difficult due to market conditions. Despite this the Océ Australia profit level was held at the 2011 position by the stable service results and the strong control of costs.

    What Canon Professional Print is all about – CPP’s first director, Simon Wheeler.

    The production print team also had a great year, with revenues 10 per cent up on 2011 and a strong profit improvement. They installed 15 colour ImagePresses, 60 per cent of which were new business. Large format grew all aspects of the business performance in 2012, revenue, profit and market share. This was achieved in a declining market, so well done!

    The DreamLabo team installed the first DreamLabo 5000 in the world at Pictureworks in Melbourne. After a problematic start the customer enjoyed a largely downtime free pre-Xmas period, when the machine was running up to 21 hours a day. Over 20 per cent of Pictureworks orders now coming from photo-books made on the DreamLabo.

    We are now through the integration challenges, we are lean and we are poised for growth. Sincere thanks to everyone who helped us through the integration.

    A new era

    Now let’s look forward. It is rare that something as significant as the birth of CPP happens in the print industry. It is big news. I am really excited about the possibilities open to us in the new era.

    So, let’s talk about print. Contrary to popular opinion print isn’t dead. Print is important. It inspires, persuades and records. It touches our lives constantly and we are much richer for it. Sure, some printing is unnecessary. If print is part of a workflow process that can be digitised then new technologies are replacing it. Who here has opted out of receiving bills? Who here uses a chequebook anymore? And we’ve all heard of the paperless office predictions.

    However if print inspires, persuades and records, it has more value than ever. Impact is everything. Our solutions are used by people that care about print, people that are proud about their print.

    Whether it’s sign-writer printing banners for Grand Final day on a Canon Arizona; a book printer printing the book that you or I ordered on Amazon yesterday on a Canon ColourStream; a university printery printing examination papers ready for panicking undergraduates on a Canon Varioprint; a family printer manufacturing point of sale marketing material for Myers on a Canon ImagePress; an engineer designing a new hospital with the help of a Canon Colourwave or a photography printer recording a bride’s memories of her wedding day with a digital photo book; they all care about print. CPP is a place for people that care about print as much as our customers.

    So this is the why of CPP. Canon digital print has the power to create new ways for printing businesses to achieve more than ever thought possible for customers. That’s why we do what we do. That’s why we get up in the morning.

    Market size and growth

    So let’s look forward. As I mentioned earlier, I believe we can double our revenues in three years. Let me explain how.

    Let’s talk about our customers, they are what counts. Without them we do not exist. There are 5,795 printers in Australia with combined revenues of $8.6bn. The top five; PMP, IPMG, Blue Star, GEON and OPUS only account for 18.9 per cent of the total, so it is a very fragmented industry. The vast majority of printing companies are privately owned sub-$10M turnover businesses, competing in tough markets. Many are family run and they rely on their relationships with customers and suppliers like Canon to make money. Our wide format architect, engineer and construction customers are also relatively small companies where technical drawings are fundamental to their business, so the strategy of client intimacy equally applies.

    The over-arching theme in the industry is change. Some print is in decline, some is growing, but just about every sector is seeing a growth in digital print technology. Digital print has grown to account for 8 per cent of the total volume of print in Australia, but this is set to grow markedly.

    Many printers tell me they will never buy a non-digital press again.

    Digital is coming of age and Canon is poised to be one of the key new industry leaders.  So there is an opportunity for us to build a renaissance in print. It is a new craft, with new profit opportunities. It is changing and there are new players and new technologies. We are poised for growth.

    The growth is not going to be easy. It is a hyper competitive market and in the digital press space we are number three behind Xerox and HP. We need to be number two in 2014 and number one in 2015 if we are to double our revenues.

    Enhancing Competitive Advantage

    So what’s the plan? For us, in CPP, growth will come from moving our market position to one of extreme client intimacy. We already have a client intimate approach, but we must now make this approach systemic in CPP. I’ll explain what that means later.

    Our success will come from our customer’s success, our growth from their growth. Our relationships with them are always either win-win or lose-lose, never a combination. We will grow by step increasing our revenues with enterprises we already know:

    Everything we do must make us more client intimate. Every decision we make must be viewed through the filter of does this make us more client intimate as a team? We must be trust-worthy and, importantly, we must learn who in the industry to trust. Trust is the key to any relationship. We must be constant in living the Canon values, particularly Integrity and Togetherness.

    We had three of customers at our kick off to tell us what client intimacy means to them. They were Bruce Peddlesden, managing director of On-Demand, the biggest digital printer in Australia, Frank Veltman, managing director of the largest Job printer in Australia and Andrew Smith, managing director of PictureWorks, the world’s first DreamLabo customer.  What they told us is that too often suppliers tell them what they can do with one of their machines. The suppliers they deal with ask them what do they want to do and is there any way they can help, regardless of whether there is a sale in it or not. The orders then will happen when they have the need. The selling is still tough, but being trusted is the license to be considered.

     Our cultural identity

    We will make client intimacy our cultural identity in CPP. We will shift emphasis from a position of customer intimacy based on product centricity to one based on market centricity, from trusted market follower to trusted market leader, from solutions supplier to trusted income generator consultants for our clients.

    I am announcing three strategic change initiatives today that are the key to our drive to achieve the transition to client intimacy:

    People over process, not process over people. Put simply, process is critical, but only when it supports our people to become more client intimate and help customers grow their businesses.

    Solutions to Services. This is about building Canon Print Management CPM. For those in North Ryde you will see an example of this as we will deliver this service to Canon via the ATC. We are now offering full print, print brokering, graphic design, creative and mailing services internally to mirror our offer to customers. We recognise we are in a competitive market with external suppliers, that’s healthy

    Finally, experts to networks. We will build on our technical and application expertise to become highly networked in the print industry. We will know and understand our customer’s customers, their partners in the trade and be at heart of the printing industry networks.

    We will be creating action plans for each of these initiatives and it will impact our whole business; systems, bonus plans, training, policies and financial reporting. These initiatives will deliver growth. And let me be clear, to be able to focus on the initiatives there will be some areas we will have to place less emphasis on. Bluntly if there is no link to growth through client intimacy we will only apply the required effort.

    So we bring all these ideas together in one coordinated message for the market. We let our customers know that we get it. We know they are unique and proud of their print business:

    • That they stand apart from their competition.

    • That we are proud to work with them.

    • That we know they are experts and we respect them.

    • That we will drive our growth through client intimacy.

  • Canon awards local business partners

    Canon Business Services Australia awarded its top local business partners in its annual Canon Partner Channel (CPC) awards, held at the Novotel Manly Pacific, Sydney, on 24 February.

    In its twelfth consecutive year, the CPC awards recognise the outstanding achievements, growth, innovation and engagement of Canon’s 55 partners across 70 branches throughout Australia and the Pacific.

    With Guest Speaker, Kevin Sheedy – Australian Rules Football Coach, providing added inspiration, this year the awards welcomed the attendance of Canon’s Large Format Printer (LFP) resellers, Alliance and Océ partners.

    Service Awards - ( L- R) Colin McKinnon, Rodney Pearl, Bill Glenister, Taz Nakamasu (Managing Director, Canon Oceania), Shaun Minogue, Nick Gunner, Peter Ryan, Chris Rowthorne, Brad Thomas (Assistant General Manager, Canon Partner Channel)

    Brad Thomas, Assistant General Manager, Canon Partner Channel said, “Congratulations to all of this year’s winners and finalists who we praise for their hard work and commitment to our mutual customers over the past 12 months.

    “The awards showcased the superb talent amongst our business partners who play an integral role as part of Canon’s extended family. Canon continues to nurture and invest in our relationship with our partners now and into the future and looks forward to their continued success over the next year,” he said.

    The 2013 winners include:

    Business Partners of the Year:

    ·         National – Business Technology Specialists

    ·         NSW – BBC Digital Sydney

    ·         VIC/TAS – Business Technology Specialists

    ·         WA/SA/NT – The Boss Shop Office National

    ·         QLD – BBC Digital Sunshine Coast

    ·         Solutions – Gunners Office Equipment

    ·         Large Format – GBC Fordigraph Pty Ltd

    ·         Alliances – Datacom WA

    Achievers Award

    ·         National – Spade Computers & Office Machines

    Length of Service Award

    35 years

    ·         Gunners Office Equipment

    ·         Peat’s Office National

    30 years

    ·         Colourworks Australia – Port Macquarie

    20 years

    ·         Country Copiers Northam

    ·         Copier Support

    ·         Inland Technology

    10 years

    ·         Pirie Office National

    ·         Brilliant Technologies

    ·         Wimmera Office Equipment

    ·         Business Machine Specialists

  • Canon goes direct to market with Océ in New Zealand

    Integration of the two brands means Konica Minolta will no longer sell Océ products in NZ.

    Canon NZ moves early – before the Australian company – to create a new division for the merged companies to sell and service products to the printing industry. Canon Professional Print will be the vehicle for Canon NZ to deliver Océ products, as well as its own, for graphic arts, display graphic and high-speed printing customers.

    The new division will operate from October 1 under the management of Simon Wheeler, currently Managing Director of Océ in Oceania. He is also Director of the new Canon Professional Print divisions in Australia, which will become operative from January 1 next year, reporting directly to Yusuke Mizoguchi, Canon managing director in both countries.

    In New Zealand the exceptions to the product line-up is the Océ Arizona flatbed, which will continue to be represented by local graphic arts supplier, Aarque Group, and KMNZ customers, whose Océ machines will continue being serviced by the NZ company with Canon’s support. David Klineberg, Canon Australia general manager of Corporate Strategy and communications, says, that the new structure will not be effective until October, and that,”it’s all about us supporting the current arrangements and ensuring customers will receive continuing high standards of customer service.”

    The move is the start of the much-anticipated integration of the two companies since Canon finally closed the takeover of the Dutch-based Océ last year following prolonged negotiations with hedge fund minority shareholders. The creation of the new division is anticipated to give new direction and enthusiasm to the company and consolidate Canon’s position in the front ranks of graphic arts suppliers. It is now the largest manufacturer with the widest range of presses. It is understood the Océ brand will remain in the market for the immediate future, certainly to identify products. However it is likely the Canon brand will be the dominant meme.

    According to Simon Wheeler, the enlarged company will be stronger and better resourced than ever before. “Without doubt Canon and Océ are stronger together; combining complementary R&D, product and customer service capabilities which can only benefit our customers,” says Wheeler. He emphasized that all existing New Zealand Océ customers can rely on continuing service and support.