Phoenix Design has designed a new generation of ZEISS lenses, characterised by outstandingly user-friendly, integrative and elegant shapes. Thanks to this, all designs have received the iF product design award; the wide-angle lens 1.8/32 for mirrorless system cameras even received the iF gold accolade. (303)
ZEISS: Visualised Precision.
Visualised Precision. Phoenix Design has designed a new, extremely user-friendly generation of film and photographic lenses for ZEISS. Optical systems made by ZEISS represent top quality. The company manufactures lenses providing the finest in picture quality and apertures, optimised for digital images taken by SLR or mirrorless system cameras. Phoenix Design has designed a new generation of ZEISS lenses, characterised by outstandingly user-friendly, integrative and elegant shapes. Thanks to this, all designs have received the iF product design award; the wide-angle lens 1.8/32 for mirrorless system cameras even received the iF gold accolade. The new segment of mirrorless system cameras is to find its place in the professional sector as well – and for this target audience, ZEISS offers two extremely high-aperture wide-angle lenses with focal lengths of 12mm and 32mm, respectively. At the same time, the high-performance lens 1.4/55 is aimed at users of professional SLR cameras. Before, ZEISS lenses were characterised by a rather technical formal language, but the company wanted to use the new products to make a point and come across as more user-friendly – engaging Phoenix Design know-how for the development process. “We’ve developed a formal language for ZEISS that is appropriate for modern cameras and visualises the optical quality right on the surface”, as Phoenix Design Managing Partner Tom Schönherr describes the new designs.
Design reduces complexity, signalising user-friendliness. The Stuttgart design studio started by fundamentally dealing with the formal language and developing a corporate design manual. It became the new guiding principle for the new products. “For us, the relevant aspects were reducing the complexity and achieving a formal integration”, according to the Stuttgart designer. That’s why the lens hoods formally evolve from the lenses themselves, constituting one visual entity. Smooth surfaces, wide rings for changing the manual settings and clear scale lettering are further design characteristics signalising precision and user-friendliness. Narrow clearings, precise edges and the surfaces already mentioned highlight the high standard ZEISS asserts with this design concept.
Two scales, two brands – a clear design is called for. This holds equally true for the two film camera lenses – Compact Zoom CZ.2 and Master Anamorphic MA, the latter was developed together with ARRI as a partner. This lens has a very special feature: It is able to compress wide screen images visually in such a way that the sensor surface is optimally utilised – an extremely important feature indeed. “With the film camera lenses, the technical requirements were extreme, our leeway was minimal”, says Tom Schönherr. That’s why the setting scales had to be applied twice – and large enough so as to be read clearly and right away on the set. The Master Anamorphic MA has the strikingly yellow scale concentrated in a window – a feature that’s taken up in the SLR lens. It’s this integrative design of the photo lenses in particular that has ZEISS made a significant brand on the market – and is the reason for receiving, together with Phoenix Design, the internationally renowned iF product design award for all five designs, among them the iF gold accolade for the 1.8/32 lens. (3310)