The Agfamatic Pocket 2000 of the 1970s was one of the most successful photo cameras, not least because of the excellent product design, which was done by Schlagheck Schultes Design. The striking red sensor release and the characteristic Ritsch-Ratsch-Click sound during film transportation and release are just two of the characteristics that made the Agfamatic Pocket unique and popular. In this interview with Julian Schlagheck (CEO and Design Manager of Schlagheck Design) we try to find out how the design of Agfamatic Pocket 2000 came about, on what factors their success is based, and what you can learn from it for today’s product design.
Agfamatic Pocket 2000. Interview with Designer Julian Schlagheck. February 25, 2014.
Agfamatic Pocket 2000. Interview with Designer Julian Schlagheck. February 25, 2014.
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00:00What is it that we are talking about here today?
00:10Today we are talking about the Pocket family, which was designed in the 1970s and came into the market.
00:20Originally, the Pocket concept was developed by Kodak.
00:26In 1972, Kodak came out with this first Instamatic, I think that's what it was called, on the market.
00:34It was a camera that also operated via opening and sliding.
00:41That was very exciting, because at the time it was a very simple method to tension the mechanics of the closure and transport of the film.
00:50It was a very simple solution, which was also very inexpensive to implement, also in the mechanics.
00:56The AQUA jumped on this train a bit at the time, of course,
01:02but with the huge construction team and engineering team that they had, they went their own way.
01:11They have practically developed this principle further to this very famous, well-known Ritsch-Ratsch principle,
01:19which the Pocket family has in principle throughout, except for the later Pocket families.
01:27They were then controlled by an electric motor in the late 1970s.
01:33The nice thing about the Pocket camera, the very simple, classic camera, is simply this Ritsch-Ratsch technique.
01:44By a very simple mechanics, they transport the film further and practically tension the closure, which can then be perfectly released for release.
01:58The sensor button was already integrated in the first AQUAmatic generation.
02:05The AQUA sensor button has a very, very interesting history.
02:11There was an idea from the engineers to enable a wobbly release,
02:19which was achieved over a diameter of 16 mm by a very slight tension of a plastic syringe part,
02:30which enabled the photo to be taken by a very slight pressure and thus no longer caused wobbling.
02:45The previous generations usually still had a very classic mechanical release handle,
02:50which then reacted immediately when pressed and still led to a little bit of image wobbling,
02:58which then of course resulted in blurring.
03:01The Pocket camera has a very special, attractive part in my eyes, and that is, of course, the intuitive operation.
03:14At the time, you did not have to read large manuals, but it is really intuitive.
03:23Even today, when I give it to someone, he finds his way around relatively quickly.
03:28Maybe not the very young people who are still looking for a display and for touch displays.
03:34Of course, this does not exist.
03:36Here there is simply a bad weather and a good weather symbol.
03:43Not particularly demanding in the setting, but at that time completely sufficient.
03:51At that time, in the general photo industry, in the film industry, the trend was towards fine-grained papers, films.
04:05And that's why you thought the negatives could also get smaller and smaller.
04:12So there was a very clear trend to miniaturize the cameras at that time,
04:18to be able to put them in your pocket without any problems.
04:23The Pocket was really excellent at that.
04:29Of course, this also applies to the film.
04:32These classic Color-Negative 200 Tiger were really very simple cartridges,
04:40which practically also had a completely separate housing with this technology.
04:48And as a result, you no longer had the problem of pulling out a real film,
04:54insert it more precisely from the film roll, but it was practically a plug-and-play solution from the 70s,
05:02by simply tearing open the packaging, taking the film.
05:13Here it was practically no problem at all that something had already been exposed,
05:17that I had any complicated handling.
05:20There was really a lot of attention to ergonomics.
05:28You could open the camera with a simple lever,
05:35and could easily insert the film and close it again.
05:46That was really a small revolution at the time,
05:49and highly appreciated by the customers that there were no more complicated film inserts.
05:56This means that this camera was also very popular in the youth.
06:01It was a very popular gift for the children and for the youth as the first camera,
06:08because it was so easy and so intuitive to operate.
06:16In addition, it was very interesting at the time that there were always complete bundles.
06:24In contrast to today, where we industrial designers develop products,
06:30which are then implemented and marketed by some advertising agency,
06:36here was the great thing, the designers sat down with the advertising agencies
06:41and simply designed a bundle and said,
06:46it would be great to offer something like this,
06:49then I'll see what kind of film is part of it,
06:52I'll have the appropriate accessories, I'll have a hand strap.
06:57There was a very interesting study at the time,
07:00which was done with teenagers,
07:02and they just wanted to get away from the classic photo bag,
07:07like every grandpa had it in his hand.
07:10Then there was the development here with this beautiful handle,
07:14and there were also a few packages, a few bundles,
07:17which were made especially for teenagers in the 70s.
07:21I think it was called Teen70,
07:23and it was always a bundle where film, accessories, bags,
07:29everything was offered and sold in one.
07:33Something that is no longer found often today.
07:37Today there is one product and then there are huge accessories markets
07:40where I have to buy my things myself.
07:44The Aquamatic was a huge success.
07:48What can you justify it for?
07:52Is it so that the overall package was just right,
07:58precisely through the sensor, the sound, the Richard Schick,
08:01the advertising, that everything fit?
08:03What would you justify the success of Aquamatic for?
08:08I think there are many factors that come together here.
08:12It is once really that it was very intuitive.
08:17It was very easy to photograph.
08:21It's actually a bit, you could say,
08:24today we are similar to our smartphones.
08:29It's actually on, turn off, done.
08:33The rest does the automation.
08:36That was not so natural back then.
08:40Of course there were also pocket variants like this one,
08:44later generation.
08:46Then there was already an adjustable wheel here,
08:48where you had to deal a little more with the technology.
08:52But it was all very simple.
08:55Here I have the focal lengths,
08:57here I have the distances.
08:59I can set macro.
09:02The bad weather stayed this time.
09:05No separate button,
09:07but here I had to be a little bit in the built-in manual.
09:10But all in all, super easy to experience.
09:15In addition, the cameras were just robust.
09:21Apart from the fact that they of course also
09:24corresponded to any case tests,
09:27which Aqua had carried out at the time,
09:29was of course the sensational thing,
09:31that the lens and the finder,
09:36it was all protected.
09:38It was all simple, simple.
09:41And I could push it back together,
09:43fix it and put it back in my pocket.
09:47That means I didn't have any real transport problems.
09:51It was comfortable.
09:53It fits well in the hand.
09:55And what is of course very special,
10:00is that for the time,
10:02it was already very, very modern in design.
10:08Although it also has a very timeless character.
10:13So it was just a product
10:15that corresponded to the spirit of the time.
10:20Whenever you had an Aqua camera,
10:23you really had something modern in your hand.
10:26A great story.
10:28And I think that's also a great feature,
10:34where many companies today spend a lot of money
10:39to achieve something similar,
10:41was simply also,
10:43I have an excellent corporate design here,
10:46Aqua cameras were immediately recognizable by everyone.
10:51Of course, this was achieved
10:53by the fact that the sensor was also integrated here.
10:56The sensor actually got the CI symbol for Aqua,
11:01much stronger than the rhombus,
11:04which is still very subtle here,
11:06simply applied in black outlines,
11:09was practically the likeness of classic black cases,
11:14which were used throughout at the time.
11:17Just in combination with this silver appearance,
11:21something extraordinary.
11:24The camera is still completely made of plastic,
11:28partly chrome plastic,
11:31which was used,
11:33so practically galvanic treated plastic surfaces.
11:36That was also something special and extraordinary in the 70s,
11:43that we still didn't realize
11:47that the usual lightning bolts at the time
11:50were also very easy to adapt.
11:54In the past, there were still the classic plug systems,
11:58which I had to plug into a camera
12:01to have my lightning in closed rooms.
12:07That was just uncomplicated here.
12:09And that was also appreciated by the youth at the time.
12:12Of course, it was a bit crazy.
12:14I had a little cube on it.
12:16There were only four lightning bolts each time.
12:18After that, it had to be replaced again.
12:21But that was the state of the art at the time.
12:24So it was a successful product
12:27in terms of design,
12:30in terms of bundle,
12:32in terms of ergonomics
12:34and also in terms of costs.
12:36At the time, Aqua still had the costs very, very well under control.
12:41The later generations,
12:43which then also got a lot of metal cases.
12:46So this is, for example, now completely a metal case.
12:49I think that was an aluminum printed part.
12:52The cameras got pretty expensive.
12:56And unfortunately, that was the problem in the late 70s and 80s,
13:01that the Japanese came to the market with cameras,
13:06which were just a factor of a third,
13:09so only a factor of two-thirds cheaper,
13:12so only a third as much as the Aqua cameras.
13:15Unfortunately, it was just a fact at the time.
13:19The Germans may have slept a little there.
13:22But the reputation never suffered.
13:26The pocket cameras were still partly used until the 90s,
13:32because they just made people so much fun.
13:36Today it is still known to many
13:39that this trigger mechanism Ritsch-Ratsch cameras,
13:44so that was a bit like the nickname of these pocket cameras,
13:48the Ritsch-Ratsch click cameras.
13:51And that was just a successful product
13:56and an excellent success for Aqua.
13:59You told me that your father had a little discussion with Mr. Schultes
14:05about the red dot, right?
14:09Yes, that's right, the red dot.
14:12There were funny stories.
14:14The camera was designed by Mr. Schultes and my father,
14:20whereas at the time my father was a little more responsible
14:25for the running image themes,
14:28i.e. for all the Super 8 cameras,
14:31while Mr. Schultes was more responsible for all the still images.
14:36The design is always a team effort
14:40and never based solely on a single person.
14:44So as the original designer of the entire Pocket family
14:48you can call Mr. Schultes and my father,
14:51Professor Norbert Schlagek.
14:54The red sensor has a very nice background story.
14:58As I said, Aqua was super proud afterwards
15:01that they had the red sensor,
15:03because it was the recognition feature of Aqua.
15:06But it was a difficult birth.
15:09I remember my father once told me,
15:12I think he flew a camera through the room in some presentation,
15:16because the Aqua board of directors
15:19were not yet ready to make this red dot.
15:22They simply did not understand what we designers,
15:25why it was so important to us.
15:28They understood why the technicians wanted it,
15:31because it enabled this wobbly resolution.
15:36But they were not clear why we designers
15:39wanted to have it so extremely dominant,
15:42with an extra chrome ring and a large red surface.
15:46It could have been a little smaller.
15:49That was a nice background story.
15:52Afterwards they were all happy
15:54that we designers had succeeded in this case.
15:57What can also be mentioned is that,
16:00in contrast to today's product development,
16:03much more all areas involved in product development
16:12sat together at one table and came to a decision.
16:17These were both the marketing people,
16:20as well as the sales people,
16:23as well as the engineers and the designers.
16:26And there they discussed very intensively
16:29the advantages and disadvantages of the respective variants.
16:32They discussed very intensively,
16:35how can you save costs,
16:38where can you optimize something,
16:41what do the details have to look like,
16:44how can you get to the interior
16:47in order to repair the cameras.
16:50I mean, back then cameras were only repaired,
16:53not just thrown away like today.
16:56And above all, what was also extraordinary at the time,
16:59you sat with the advertising agencies at one table.
17:02I remember we did a lot with the Aquat,
17:05with Schlagke-Schulz's design and Mendel and Oberer.
17:08Various topics, but also other advertising agencies,
17:11also in-house people who joined in.
17:14You exchanged ideas, you discussed
17:17what is really great about this product
17:20and also further communicated this to the advertising agencies,
17:23who then again took the suggestions of the designers
17:26and further developed them.
17:29And we miss that today,
17:32it is no longer available in the classic industrial design process.
17:35Most of the time a product is finished by the designer
17:38and then he doesn't see anything of it anymore
17:41and then at some point he finds out,
17:44okay, there was an advertising agency XY on it,
17:47who then, I don't know what he did with it,
17:50without taking all the real basic ideas
17:53that the designers had,
17:56or just getting suggestions.
17:59Because that's exactly where so many points were discussed
18:02in these big circles,
18:05where you could simply draw a lot out
18:08and say, okay, we can advertise this topic,
18:11we can advertise that topic.
18:14Unfortunately, this is no longer the case today,
18:17but well, it's a different world.
18:20What also fascinates me about the camera
18:23and this is also happening today on eBay,
18:26is that this aquatic, but also other things,
18:29let's say icons of design,
18:32are becoming more and more expensive.
18:35So the prices, if you look at it a little bit,
18:38are also increasing.
18:41But I wonder what the reason is.
18:44One explanation might be that these cameras
18:47still offer a haptic and rather sensual experience
18:50than the modern mobile phones
18:53with which you take photos these days.
18:56Maybe that's one explanation.
18:59Of course, you also explain everything
19:02that was back then.
19:05And of course many people have memories,
19:08like me. It was also the first camera
19:11that I got as a gift.
19:14And of course you explain a lot,
19:17but on the other hand, this click,
19:20that of course has an insane appeal
19:23and also the haptics.
19:26It's funny that today
19:29with all the digital devices,
19:32even with smartphones,
19:35when you press the trigger,
19:38you hear the old click of a trigger button
19:41or just the shutter lens.
19:44So something is being imitated
19:47that is no longer there.
19:50It's just, as you say, a all-round experience.
19:53Here's the nice sound.
19:56It's mechanical, of course,
19:59it's a little rough,
20:02but I feel like I'm doing something,
20:05I'm moving something and I'm saving myself something.
20:08So if you're sitting in a car today,
20:11I still enjoy it sometimes
20:14to have a window crank
20:17and not just press somewhere
20:20It's really a completely different experience,
20:23also a visual experience.
20:26What I find beautiful is that I still have a search today.
20:29I'm going through a picture,
20:32I have to look for my area,
20:35I still see the frame inside,
20:38where I can see exactly,
20:41okay, this is the one format,
20:44this is the other format.
20:47It's a completely different,
20:50visual and acoustic experience,
20:53which is definitely not offered to me today
20:56with today's products.
20:59And you have to say,
21:02just by the weight,
21:05it has a lot more value than a product
21:08that I buy today.
21:11It's nice to have.
21:14When we look in our closet later,
21:17with the cameras,
21:20with a few more copies from the past,
21:23there are a lot of things in there that you could still sell today.
21:26They would still be good today.
21:29So the form language is also a very timeless form language
21:32that still has a crazy relevance.
21:35Sometimes I ask myself,
21:38these days it is sometimes difficult,
21:41when you develop smartphones,
21:44for example, Apple expects
21:47that there will be something new again,
21:50or a new revolution.
21:53But then I ask myself,
21:56how can that look?
21:59It's difficult for them.
22:02They can of course install a red button somewhere,
22:05but it doesn't have a direct mechanical function.
22:08They can now paint it green or blue or brown.
22:11But in the end,
22:14the visualization of the function disappears.
22:17You only have such a bar.
22:20And then they can bend it,
22:23whether it makes sense or not.
22:26But there are not so many possibilities anymore.
22:29Sometimes I think this function,
22:32or the vision of the function, somehow disappears.
22:35And then you have to think about how to install it anyway.
22:38As you say, with the trigger noise,
22:41which is completely artificial and does not serve any purpose.
22:44Right.
22:47So I can ...
22:50I'll turn off for a moment.
22:53We made blood sugar measuring devices for the Bayer Diagnostic.
22:56This operation also works with a display
22:59and a few buttons.
23:02I read the manual for the first time.
23:05It said, press 2 seconds,
23:08then you are in this mode.
23:11Hold the button for 4 seconds, then you are in this mode.
23:14And at 6 seconds you are ...
23:17What a madness!
23:20These mistakes were definitely not made by the designers
23:23and the designers at the time.
23:26It was just clear.
23:29There were not many options.
23:32As I said, the most beautiful thing is my bad weather button
23:35and my nice weather button.
23:38I don't have to think, I don't have to read,
23:41I don't have to look in any submenus
23:44or click on any help buttons
23:47to see how I get on now.
23:50Of course, you don't have to
23:53just talk nicely.
23:56Today I have completely different possibilities
23:59with digital technology.
24:02I have a lot of different standard systems,
24:05digital storage technologies,
24:08different cables, outputs, etc.
24:11But that's not the case here.
24:14There was not the question, does it have the latest Firewire
24:17or USB or whatever connection.
24:20That was an analog device.
24:23In this respect, I also believe,
24:26when you say what makes the fascination of these devices.
24:29That is the simplicity, the analog technology,
24:32which also has qualitatively an extraordinary standard.
24:35Many of the young people today
24:38no longer know what an extremely good,
24:41also cost-effective quality
24:44classic silver halogen film had.
24:48You often don't get that anymore today,
24:51in this quality.
24:54Just the storage medium.
24:57If I save digital photo data today,
25:00how long can I actually look at them?
25:03Or when do I have to transfer them
25:06back to another medium in time
25:09so that at some point I only see pixels?
25:12These are all questions that don't exist here.
25:15Classic film extracts last for decades
25:18and almost never fade into color.
25:21How often are you still today
25:24and look at photo albums and are excited
25:27about the quality of the photo extracts?
25:30Are you excited about a Super 8 film
25:33that you get from your grandpa or your father
25:36from the basement and still has a great playback quality?
25:39There are many factors that
25:42at that time people were not aware of
25:45because the digital age had not yet begun.
25:48But in the entire application
25:51it was simply convincing
25:54in terms of quality,
25:57in terms of appeal, in terms of design.
26:00And I think that
26:03if not the...
26:06the designers probably already
26:09but also the managers
26:12slowly understand that
26:15certain things were quite good at that time.
26:18For example, Nikon has released a camera
26:21that now has classic operating elements
26:24even though it is a digital camera.
26:27Of course, more for enthusiasts.
26:30It's not a smartphone, of course.
26:33But I think that sometimes
26:36a new way of thinking takes place
26:39where you say, okay, maybe we can still learn
26:42how it was back then.
26:45Because many photo enthusiasts get terribly excited
26:48when they have to go to X submenus
26:51to adjust the aperture or something else.
26:54These are things that always annoyed me.
26:57On the car radio you have some
27:00pressure switches, a lot of volume.
27:03What I can do much easier and faster
27:06via a regulator.
27:09Sometimes it's the mechanical solutions
27:12or it can also be electronically controlled.
27:15But the operation is sometimes
27:18not the best via the display
27:21but via a switch or a regulator or something.
27:24That's absolutely right.
27:27The feel comes back again.
27:30It is wanted by the customer.
27:33For example, I found it very interesting
27:36when the digital cameras came.
27:39For a long time there were no more searchers.
27:42Meanwhile, the searchers return
27:45to the cameras.
27:48Because people just see.
27:51It's a completely different experience
27:54when I look through a searcher
27:57than just on such a huge display
28:00where the sun still shines on it.
28:03The whole handling is completely different.
28:06The trend goes back to that.
28:09I was recently sitting in a Tesla
28:12and was enthusiastic on the one hand
28:15because the Tesla is a pure interface operation.
28:18It had its charm.
28:21It was really super funny.
28:24I was also enthusiastic about the possibilities.
28:27I also played around and great.
28:30But you're right.
28:33The basics.
28:36Turn on the radio quickly or turn it louder somewhere.
28:39I can do that much faster with one button
28:42that I can press and turn.
28:45I can of course also click on my display
28:48and then I click on the radio
28:51and then I can adjust the volume.
28:54I can do the other blind.
28:57I have to look at one.
29:00I remember
29:03we also make a lot of products
29:06in the interior area for BMW.
29:09A lot of work is done there.
29:12What does a rotary wheel have for a feel?
29:15How does it feel? How do I turn such a rotary wheel?
29:18What kind of resistance do I have there?
29:21How soft is it? How round does it run?
29:24These are qualities that these products still had
29:27that they unfortunately find rare today.
29:30At the automotive companies
29:33a lot is still being worked on.
29:36What do I do when I close a door?
29:39What kind of noise does it make?
29:42Is it cheap or is it a nice suit
29:45that immediately stands for quality again?
29:48These were the products back then.
29:51Many products don't have that anymore today.
29:54And as you say, the trend is clearly noticeable
29:57that people are trying to combine the worlds.
30:03There is definitely a huge potential in it.
30:06So really a lot about interface,
30:09a lot about touch-based,
30:12a lot about direct access to classic,
30:15analog, haptic controls.
30:18It's funny that you mention the Tesla.
30:21I noticed that too.
30:24I think the concept is great.
30:27I also saw the construction of the car
30:30with the batteries below and how little space
30:33the engine and the other interiors need.
30:36It's a liberating concept.
30:39For luggage and suitcases.
30:42But what I didn't like
30:45was the interior.
30:48This huge screen is impressive
30:51but on the other hand
30:54it made a cheap impression on me.
30:57Because such a display is nothing special anymore.
31:00You get the displays or the tablets
31:03re-released today.
31:07It's not a high-quality product anymore.
31:10I didn't like the graphics either.
31:13And if you look back
31:16even if it's a cheap old car
31:19you still have the feeling of
31:22quality and sensual experience.
31:25And I think
31:28to combine this
31:31in a car like Tesla
31:35with other elements
31:38that bring this haptic feeling
31:41is a great idea.
31:44Because what do companies do
31:47when they choose colors, design, etc.?
31:50They want to bring emotions.
31:53And then it's too short.
31:56When you stop and say
31:59a display or a leather steering wheel is enough
32:02I think designers should
32:05develop further
32:08to combine these elements
32:11even better.
32:14It will come.
32:17I have a few projects
32:20but I can't tell you anything about them yet.
32:23But you're right.
32:26There will definitely be something.
32:29And I think
32:32this over-excitement
32:35in the graphic diversity
32:38which I didn't like in the Tesla
32:41was great.
32:44Then the whole car appears translucent
32:47and you see where the electricity flows.
32:50But I don't want to see that
32:53if I want to turn the radio louder.
32:56There will always be thousands of impressions
32:59on us.
33:02And you can feel it.
33:05In this trend we designers see
33:08that there is a reflection
33:11on very simple forms
33:14on simplicity
33:17and not on an overwhelming complexity
33:20that no one needs and no one wants.
33:24I think
33:27it is very important
33:30that this will come.
33:33Who doesn't curse
33:36when he connects
33:39his latest Blu-ray recorder
33:42with the TV
33:45and in the manual
33:48I got 15 options
33:52how he can connect the two devices.
33:55Whether via the optical cable
33:58or via this connection or that one.
34:01That's a bit of a horror
34:04where we designers
34:07unfortunately only have a limited influence on it.
34:10Especially in the whole IT industry.
34:13You have to say
34:16why Apple was such a success.
34:19Apple was just a simple plug-and-play.
34:22I buy Apple products
34:25and they just worked together.
34:28I was very angry that the latest generation of Apple devices
34:31got a new plug-in
34:34because every time a small thing
34:37is suddenly a cut in the line
34:40and suddenly the continuity is missing again.
34:43And that's what Aqua dominated back then.
34:46You can't take a real plug-and-play
34:49because everything worked together.
34:52There were bundles that were simply tuned to each other.
34:55Everything was simple.
34:58Just like with the Aqua Family.
35:01The Aqua Family
35:04was one of the most successful products
35:07in terms of design
35:10because it made it to the Museum of Modern Art in New York
35:13and because it symbolized
35:16the classic film role beautifully.
35:19With this camera you could photograph
35:22or film.
35:25There was a complete projector
35:28for this family
35:31with a large, retractable
35:34small TV screen.
35:37And if you put the Super 8 films in there,
35:40you could take pictures
35:43and it continued when a new camera sequence came.
35:46A great, simple product.
35:49You can see here again
35:52almost no unnecessary adjustment elements.
35:55Here the Super 8 film came in.
35:58Here you could attach the lamp
36:01and then there was film
36:04and that was it.
36:07That was a complete plug-and-play system.
36:10There was a complete bundle.
36:13If I had bought it,
36:16I had no problems at all.
36:19Here you can see very nicely
36:22what I just said
36:25about this timeless design
36:28that the Aqua devices from that time had.
36:31This is really a device
36:34that I am still talking about today
36:37and all people are still amazed
36:40how beautiful and simple it is.
36:43Still a camera that could be sold today.
36:46We just talked about
36:52the possibilities
36:55to transfer the design attitude
36:58from then to today.
37:01Here we have the old Aquamatic 100
37:04which was marked with an aluminum tape
37:07which you can see today
37:10on many cameras.
37:13In principle, it is also a thick iPhone
37:16with a thick, beautiful stripe
37:19and a black front and back surface
37:22with details, of course,
37:25again with our sensor.
37:28How could I transfer this simplicity,
37:31this simplicity, this attitude
37:34to today's designs?
37:37We then started to do
37:40a design study
37:43and simply transferred this simplicity
37:46and elegance and timeless attitude
37:49of this camera to a new generation
37:52that basically uses the same style elements.
37:55Here we have these metal stripes
37:58and have integrated our red sensor again.
38:01At the back we have a large display surface.
38:04Okay, we don't have a search engine in here,
38:07but as I said, this was just a quick design study.
38:10Of course, what the youth needs today
38:13with all the classic analog operating systems.
38:16But you see a camera that is also
38:19excellent for all my customers.
38:22And we thought,
38:25can't we even bring this pocket image
38:28back a little bit?
38:31Here, too, we played a little bit
38:34and made a version.
38:37You see a little bit,
38:40we just recorded this silver element
38:43again and did a study here again.
38:46And you see the design, the image,
38:49and also transferred it to new designs.
38:52So that works really well.
38:55We just played here
38:58to turn the element up once,
39:01to turn it down once.
39:04It was a very nice story.
39:07Here, too, you see very nicely,
39:10this is also a product that we then
39:13with the advertising agencies,
39:16the packaging alone.
39:19Back then, a lot more was put on it
39:22that cameras are really great gifts.
39:25So today, of course,
39:28if you buy a Canon or a Samsung
39:31or whatever today,
39:34they also have very nice packaging.
39:37But you don't get that anymore today.
39:40This is really a classic bundle.
39:43That's what's in design.