View allAll Photos Tagged GermanDesign
Another shot with twenty something years old film, abusively pushed to 1600. In this picture, the lightmeter and teacup coaster are the only things younger than me. Other things are all my father's age.
This film expired waaaayy before any digital cameras were made for consumers, and I'm sure I'll be using this camera way after all existing digital cameras are "expired." ;)
Roland, thanks for the Nikkor! :D
Darkroom print on Ilford MGIV FB
Design : Dietrich Lubs 1995
Design : Dietrich Lubs 2001
Design : Dietrich Lubs AW 50 1991
Design : Dietrich Lubs AW 10 1989
Design : Peter Hartwein AW 24 2003
Design : Dieter Rams / Gerd Alfred Müller 1957
Dieter Rams / Richard Fischer 1966
Design : Richard Fischer 1967
Design : Florian Seiffert 1970
got it when i was 9 years old. so if you're into vintage cameras you know my age by now!
saw that people pay a lot of money for it at ebay, so there must be someting good about it. i like the braun-esque design, but it's actually by schlagheck schultes design who did a lot of agfa-stuff. it still seems to work fine, so i slipped in a new roll and did a few testshots.
stay tuned for the first results ; -)
this fellow flickrer provides more infos about the whole sensor-range (in german!)
A fictional AI-assisted reconstruction of a German fashion magazine double-page from the mid-1930s, imagined as an editorial feature on modern women’s underwear, form, comfort and refined simplicity.
The spread presents two historical studio-style images as if they had been published in a period fashion journal under the title “Neue Linien der Leibwäsche”. The layout evokes an old bound issue lying open on a wooden table, accompanied by lace, a fountain pen, a small tin and a postcard — details that frame the page as both magazine culture and archival find.
What makes the composition especially compelling is its editorial plausibility. The photographs are not treated merely as decorative curiosities, but as illustrations within a believable fashion article: cut, material, support, movement and elegance are all suggested through the language of the page. The invented captions — Modell „Sommertraum“ and Modell „Hella“ — give the two figures the character of catalogue models from a vanished world of German textile advertising.
Although entirely fictional as a magazine spread, the piece draws on the visual atmosphere of interwar fashion, domestic refinement and commercial print culture. It imagines a moment when practicality and beauty, modesty and presentation, craftsmanship and modernity met on the printed page.
AI-assisted historical fantasy / fictional editorial reconstruction.
Design : Florian Seiffert/ Robert Oberheim 1972
Design : Dieter Rams / Florian Seiffert/Robert Oberheim 1973
Design : Roland Ullmann 1976
Design : Roland Ullmann 1982
Design : Roland Ullmann 1985
Design : Roland Ullmann 1990
Design : Roland Ullmann
Design : Roland Ullmann 1999
This 1930s porcelain Rosenthal Rhododendron features a delicate hand painted drawing on an electric, luscious blue and gold rim.
Design : Dieter Rams 1974
Design : Jürgen Greubel 1974
Design : Busse Design Ulm 1977
Design : Dieter Rams 1980
Design : Dieter Rams 1981
This toy was in our house while my sisters and I were growing up. It arrived as a hand-me-down, but no one could remember from where or whom. It’s stamped Made In Germany on the bottom, which would put it at pre-WWII. It’s very well made, very sturdy, and the pieces spin and slide very smoothly. Somehow this makes the whole scenario all the weirder, and I can remember we found it quite creepy as children. Why were the babies screaming? Did they not like to be spun around? Is it because they hit the beads above when you spun them? Were the policeman meant to be babysitting, or were they out searching for abandoned babies, or perhaps criminal babies? How many policemen does it take to find 5 babies, and more pressingly, how will they ever get to them? Why is there only one black baby, and more pertinently, why are there no black policemen? Was it a linear progression, with pastel eggs hatching into babies who then grew up to be white policemen? If those aren’t policemen, what are they? Baby abductors? Construction workers from different teams? What belonged in all those peg holes underneath? Was the main purpose of this object to hone a child’s narrative skills, or crime-solving skills (not that these two things are always unrelated)? These and many other questions. It seemed as if there was a lot going on here, and most of it not very nice. And then there was the sickly colour scheme. It still bothers me to look at this thing, and yet I can’t bring myself to throw it out. It’s as if some forensic expert or anthropologist might need it someday. But you could say that of a lot of toys.
blog.ounodesign.com/2009/02/02/the-babies-of-different-ra...
The octagonal table top together with the four legs and the cross shaped base plan from a milled aluminum plate which is folded into its final form. The transitions of the table leg and the beveled corners are seameless. The tables are either a low coffee table with large table top or a high side table with a smaller plate. The overall design of these "folded" side and coffee tables is based on Alucobond. The material has a polyethylene plastic core and is enclosed of aluminium on both sides of the table. Originally Alucobond is a facade material, which offers the tables to be durable weather resistant and therefore also suitable for outdoor use on terraces and balconies.
One of several Rotring writing instruments I have.
Newton 600 0.7mm mechanical pencil in Lava finish.