Re: [Leica] R8 design part 1

[Erwin Puts <imxputs@knoware.nl>]

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On request from many Luggers, here part 1 of the translated R8 design report=
=2E

The first single-lens-reflex with that famous M-feeling.
At the spring fair in Leipzig in 1925 a small and unobtrusive camera is
being introduced. It is a completely new instrument with a new design and
every screw and spring has been designed from scratch. This camera had no
predecessors to copy from or improve upon. Not from the outside and
certainly not from the inside. The designers then went quite far to ensure
a design  as ergonomically as possible to support a new type of
photography: the artless art of the snapshot, 'stealing'  pictures
spontaneously from the endless and dynamic variety of life itself.
Integration of form and function.
The autumn fair in K=F6ln. 1996. The completely new R8 is being introduced.
We could use the camera extensively during Photokina and had some in-depth
interviews with the designers.
Most lasting impression?
The R8 is the first SLR from Wetzlar/Solms with a design and philosophy
very similar to the M-line philosophy. Switching from M to R is smooth and
almost unnoticed. Every SLR we ever used forcefully makes his existence
known to the user. Lifting the camera, looking through the view finder with
its tunnel vision, noticing the slap of the mirror and the myriad knobs and
wheels and diodes, scream for attention.
The R8 reverses this trend completely. No need for an user handbook. The
camera has the most intuitive user interface I know of. Making pictures is
once again a smooth and effortless act. Enhanced attention for the subject
stimulates compositional effort, concentration and rapport with the
subject.
Decisions, decisions.
The decision to produce the R8 has been made in 1990. The R-line then
comprises the R5 and R6. (The R7 is from 1992). In that same eventful year
many thousands of kilometers away in the East Nikon started developing the
=465.
In 1990 the overall concept has been sketched. A clear relation to the
Leica foundations and roots. So using style elements from the M-body and
M-philosophy became imperative. The SLR line from the Leicaflex to the R7
never attained the status and fame of the S and M models. A reflection on
the roots was inevitable. The R7 gave too less clues, and has limited
development potential, even if some elements of that model are incorporated
in the R8. Especially the large control-wheels on the top of the body, but
now fitted flush with the top cover.
Revolution!
Behind curtains a palace revolution waged. The Leica design department,
responsible for the complete Rline till then, had been dismantled. A new,
fresh start was needed.  Very deliberately new designers were recruited
from outside the factory. After the demise of the Berlin Wall the Leica
people even searched in the Dresden factories for suitable people with new
ideas and fresh insights. Without any success.
The management then decided to recruit young engineers from the technical
"Hochschulen". As in 1925 every part was designed from scratch. Every screw
analysed on its intended use and subjected to computerized stress tests.
The well known finite elements analysis, that is.   In 1991 the first
sketches and outlines were being produced. In 1992 the detailed
"Lastenheft" (set of requirements) was ready.
Lastenheft.
The essential core of the "Lastenheft" carried a two pronged mission:
 1. Close conformity to the Leica tradition  (the smooth top cover of the
Mseries had to become an important style element. And most curious: the
whole ergonomics had to be designed for manual control! That was a
remarkable requirement: in 1990 the F4, EOS and Contax RTSIII showed the
trend  to remove the user from the manual controls and improve computer
functionality.
2. Simplification of the production process, reduction of technical
complexity and incorporation of really foolproof electronic circuits. No
mean task with >800 mechanical and >400 electronic components.

The  Lastenheft had a longer list of requirements:
the body needed to accept different types of motordrives without
interruption of the smooth ergonomics;
the classical feeling of manual photography had to be stressed: therefore
the manual advance lever was a must; This demand is a complex one: the
integration of the motorized and manual transport is more complicated than
just having a motorized transport.
Incorporation of reliable electronics had a first priority. Also the design
needed to be prepared for future expansion of functionality. A 10 year time
span has been foreseen for this model and functional advancements are
inevitable. The printed circuits are modular designed: modules can be
individually tested but more importantly can individually exchanged if
required by more advanced functions.  The number of electrical contacts is
much higher than needed now: The R8 is a basis design with room for
improvement, said Mr Henrichs. product manager. I quickly asked: focus aid?
He smiled faintly: "might be useful. but in a later stage".
Hap tics: triumph of the free form.
The word "hap tic" is a Greek word and means " relating to the tactile
sense". The industrial designer, responsible for the design. Mr. Meinzer,
designed also the famous Revox audio apparatus and the Minilux among
others. His approach for the R8  concentrated on the intuitive control and
smooth outlines and covers. In German it is called "Anfassungsdesign".
Maybe translatable as "grip and touch design". (Here I have a problem:
translate from German to Dutch to English). If you look closely at the R*
it may not become noticeable on first glance that the R8 has more than 20
(!) individual control elements.
His approach and the final result were hard to swallow for traditional
Leica persons. As Mr Meinzer tells me: "It was not easy to box my ideas
through to management". Even the Chairman of the Board, a keen photographer
was chocked by design and philosophy behind it.
The parallel history with Barnack and the resistance within the factory in
1914 to 1924 is striking.




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<fontfamily><param>Geneva</param><bigger><bigger>On request from many
Luggers, here part 1 of the translated R8 design report.


<bold>The first single-lens-reflex with that famous M-feeling.

</bold>At the spring fair in Leipzig in 1925 a small and unobtrusive
camera is being introduced. It is a completely new instrument with a
new design and every screw and spring has been designed from scratch.
This camera had no predecessors to copy from or improve upon. Not from
the outside and certainly not from the inside. The designers then went
quite far to ensure a design  as ergonomically as possible to support a
new type of photography: the artless art of the snapshot, 'stealing'=20
pictures spontaneously from the endless and dynamic variety of life
itself.=20

<bold>Integration of form and function.

</bold>The autumn fair in K=F6ln. 1996. The completely new R8 is being
introduced. We could use the camera extensively during Photokina and
had some in-depth interviews with the designers.

Most lasting impression?

The R8 is the first SLR from Wetzlar/Solms with a design and philosophy
very similar to the M-line philosophy. Switching from M to R is smooth
and almost unnoticed. Every SLR we ever used forcefully makes his
existence known to the user. Lifting the camera, looking through the
view finder with its tunnel vision, noticing the slap of the mirror and
the myriad knobs and wheels and diodes, scream for attention.=20

The R8 reverses this trend completely. No need for an user handbook.
The camera has the most intuitive user interface I know of. Making
pictures is once again a smooth and effortless act. Enhanced attention
for the subject stimulates compositional effort, concentration and
rapport with the subject.=20

<bold>Decisions, decisions.

</bold>The decision to produce the R8 has been made in 1990. The R-line
then comprises the R5 and R6. (The R7 is from 1992). In that same
eventful year many thousands of kilometers away in the East Nikon
started developing the F5.

In 1990 the overall concept has been sketched. A clear relation to the
Leica foundations and roots. So using style elements from the M-body
and M-philosophy became imperative. The SLR line from the Leicaflex to
the R7 never attained the status and fame of the S and M models. A
reflection on the roots was inevitable. The R7 gave too less clues, and
has limited development potential, even if some elements of that model
are incorporated in the R8. Especially the large control-wheels on the
top of the body, but now fitted flush with the top cover.=20

<bold>Revolution!

</bold>Behind curtains a palace revolution waged. The Leica design
department, responsible for the complete Rline till then, had been
dismantled. A new, fresh start was needed.  Very deliberately new
designers were recruited from outside the factory. After the demise of
the Berlin Wall the Leica people even searched in the Dresden factories
for suitable people with new ideas and fresh insights. Without any
success.

The management then decided to recruit young engineers from the
technical "Hochschulen". As in 1925 every part was designed from
scratch. Every screw analysed on its intended use and subjected to
computerized stress tests. The well known finite elements analysis,
that is.   In 1991 the first sketches and outlines were being produced.
In 1992 the detailed "Lastenheft" (set of requirements) was ready.

<bold>Lastenheft.

</bold>The essential core of the "Lastenheft" carried a two pronged
mission:

 1. Close conformity to the Leica tradition  (the smooth top cover of
the Mseries had to become an important style element. And most curious:
the whole ergonomics had to be designed for manual control! That was a
remarkable requirement: in 1990 the F4, EOS and Contax RTSIII showed
the trend  to remove the user from the manual controls and improve
computer functionality.=20

2. Simplification of the production process, reduction of technical
complexity and incorporation of really foolproof electronic circuits.
No mean task with >800 mechanical and >400 electronic components.


The  Lastenheft had a longer list of requirements:

the body needed to accept different types of motordrives without=20
interruption of the smooth ergonomics;

the classical feeling of manual photography had to be stressed:
therefore the manual advance lever was a must; This demand is a complex
one: the integration of the motorized and manual transport is more
complicated than just having a motorized transport.=20

Incorporation of reliable electronics had a first priority. Also the
design needed to be prepared for future expansion of functionality. A
10 year time span has been foreseen for this model and functional
advancements are inevitable. The printed circuits are modular designed:
modules can be individually tested but more importantly can
individually exchanged if required by more advanced functions.  The
number of electrical contacts is much higher than needed now: The R8 is
a basis design with room for improvement, said Mr Henrichs. product
manager. I quickly asked: focus aid? He smiled faintly: "might be
useful. but in a later stage".=20

<bold>Hap tics: triumph of the free form.

</bold>The word "hap tic" is a Greek word and means " relating to the
tactile sense". The industrial designer, responsible for the design.
Mr. Meinzer, designed also the famous Revox audio apparatus and the
Minilux among others. His approach for the R8  concentrated on the
intuitive control and smooth outlines and covers. In German it is
called "Anfassungsdesign". Maybe translatable as "grip and touch
design". (Here I have a problem: translate from German to Dutch to
English). If you look closely at the R* it may not become noticeable on
first glance that the R8 has more than 20 (!) individual control
elements. =20

His approach and the final result were hard to swallow for traditional
Leica persons. As Mr Meinzer tells me: "It was not easy to box my ideas
through to management". Even the Chairman of the Board, a keen
photographer was chocked by design and philosophy behind it.=20

The parallel history with Barnack and the resistance within the factory
in 1914 to 1924 is striking. =20



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