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Visit to the RED DOT DESIGN Museum, Essen
see great design award winners here
this is a real photography, taken through a display case😉
Dubai Opera, a stunning landmark in Downtown Dubai, is a hub for cultural events, live performances, and opera shows, celebrated for its modern architecture, iconic design, and breathtaking views of the Dubai skyline, making it a favorite spot for travel photography, night photography, and capturing city lights, reflections, and symmetry in architecture.
Beautiful Jaguar XK150
Jaguar XK150
1958 Jaguar XK150 Roadster
Overview
ManufacturerJaguar Cars
Production1957–1961
AssemblyCoventry, England
Body and chassis
ClassSports car
Body style2–3 seater coupé
2–3 seater convertible
2 seater roadster
LayoutFR layout
Powertrain
Engine3442 cc(210CID[1]) I6
3781 cc I6
Dimensions
Wheelbase2,591 mm (102.0 in)
Length4,496 mm (177.0 in)[2]
Width1,580 mm (62.2 in)
Kerb weight2,968 lb (1,346 kg)
Chronology
PredecessorJaguar XK140
SuccessorJaguar E-type
The Jaguar XK150 is a sports car produced by Jaguar between 1957 and 1961. It replaced the XK140.
Initially it was available in Fixed Head Coupé (FHC) and Drophead Coupé (DHC) versions. The Roadster (XK150 OTS - Open Two-Seat) was launched in 1958. Minimal rear seats were fitted in the coupés.
Or maybe second most, this time as mystery light from below.
You don’t know where this is, Cafe Glockenspiel, staircase toward the cafe. Still most people never will see this staircase because there is an elevator, the open staircase starts at the second floor.
The introduction of the new corporate identity for British Railways was part of the 'new age' of railway modernisation that as well as the massive closures and withdrawal programme that was given added impetus under the 'Beeching Report' also saw a more targeted investment programme than the earlier and utimately doomed 'Modernisation Programme' of the British Transport Commission. British Railways became British Rail and with it came the loss of the use of the Gill Sans typeface that had been primarily used since 1948 and a new logo designed by Gerry Barney of the Design Research Unit, the agency that oversaw the rebranding in great detail. This included the new Rail Alphabet designed by Margaret Clavert and Jock Kinneir who had also introduced the new Transport typeface to the nation as part of the overhaul of the UK's road signs under the Worboys Report.
As part of the marketing of this new corporate identity an exhibition was held at the Design Centre in London in January 1965. The poster and the accompanying leaflet.
The folding Zeiss Contessa 35 (model 533/24) was designed by Hubert Nerwin and made in Stuttgart during the effort to rebuild the Zeiss Ikon name after WWII. Produced between 1953-1955 Nerwin included elements from his Super Ikonta's design and specially the distinctive extra lens for the coupled rangefinder.
The camera was superbly made in every respect and was equipped with a coated f2.8 45mm Zeiss Optron Tessar lens, 9 speed Synchro Compur shutter, uncoupled Selenium exposure meter, MX flash synchronisation and coupled rangefinder. The latter having a prism rather than the usual mirror.
Above all was the high quality excellence of everything coupled with a very distinctive appearance.
The introduction of the new corporate identity for British Railways was part of the 'new age' of railway modernisation that as well as the massive closures and withdrawal programme that was given added impetus under the 'Beeching Report' also saw a more targeted investment programme than the earlier and utimately doomed 'Modernisation Programme' of the British Transport Commission. British Railways became British Rail and with it came the loss of the use of the Gill Sans typeface that had been primarily used since 1948 and a new logo designed by Gerry Barney of the Design Research Unit, the agency that oversaw the rebranding in great detail. This included the new Rail Alphabet designed by Margaret Clavert and Jock Kinneir who had also introduced the new Transport typeface to the nation as part of the overhaul of the UK's road signs under the Worboys Report.
As part of the marketing of this new corporate identity an exhibition was held at the Design Centre in London in January 1965. The poster and the accompanying leaflet.
Produced for presentation at the 1939 New York World's Fair a booklet issued by one of the railroad greats - the Pennsylvania Railroad and describing the new rolling stock the company was then introducing.
Only one S1 was ever constructed, at the PRR's Altoona Workshops, and numbered 6100. Intended to demostrate the use of various technologies the locomotive, due to its size and complexity as well as being 'a one off' was somewhat confined in its use and indeed had a short service life being withdrawn by 1948. Sadly it was broken for scrap. In common with the electric streamlined GG1 locomotives Raymond Loewy was involved in the industrial design and styling of the locomotive casings. This image looks to be of the model of the proposed S1 rather than the completed locomotive.
This close-up shot invites viewers to appreciate the timeless design and craftsmanship of the red 1960 Cadillac Eldorado, offering a glimpse into an era of automotive excellence. Whether a car enthusiast or an admirer of classic style, this photograph celebrates the enduring charm of a bygone automotive era.
The front end of a stunning red Cadillac Eldorado takes center stage, showcasing the epitome of timeless automotive elegance. The sleek and polished exterior of the classic car gleams, accentuating its iconic design. The panorama crop frames the image, allowing for an immersive and detailed view of the Cadillac's distinctive features.
The gracefully contoured lines of the Eldorado's hood lead the eye to the iconic grille, adorned with the Cadillac emblem, a symbol of luxury and sophistication. The vibrant red hue of the car exudes a sense of boldness and flair, capturing attention and making a statement against any backdrop.
The panorama format not only accentuates the Eldorado's aesthetic appeal but also highlights the meticulous craftsmanship and attention to detail that defines this automotive masterpiece. From the chrome accents to the sleek curves, every element of the front end contributes to the overall allure of this vintage beauty.
This NEW image is available in the gallery here - james-insogna.pixels.com/featured/front-end-of-a-stunning...
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A close-up front view of the Gloster Meteor, Britain’s first operational jet fighter. The Meteor’s distinctive twin-engine layout and straight-wing design are highlighted from this angle, a defining look of early jet aviation. Introduced during the Second World War, the Meteor paved the way for generations of British jet aircraft and remains a true aviation icon.
Tucked away behind the grandeur of the Hyatt Regency Embarcadero in San Francisco lies a hidden gem of brutalist architecture: the hotel's back stairs. Often overlooked, these stairs are a prime example of the raw, unadorned style that characterized the Brutalism movement of the 1970s. Designed by architect John C. Portman Jr., whose vision shaped the modern aesthetic of the Hyatt Regency, these concrete stairs stand in stark contrast to the hotel's more polished, open interiors. They embody the rugged, geometric lines that Brutalism is known for, with their heavy concrete form exuding both strength and utility.
What makes these stairs particularly fascinating is how they reflect the design philosophy of the era, where function often dictated form. The exposed concrete not only provides durability but also creates a sense of monumental simplicity. Visitors who stumble upon this tucked-away feature will appreciate the stark beauty and industrial vibe, a nod to the architectural experimentation that defined much of San Francisco’s mid-century modernist landscape.
For those seeking a deeper appreciation of Brutalism or looking for unique photo opportunities, the back stairs of the Hyatt Regency offer a gritty, unpolished contrast to the gleaming towers of the Financial District. They’re an urban relic—surviving amid the evolving Embarcadero skyline and quietly showcasing how architecture can influence the atmosphere of a space, even when out of the spotlight.
Supermarine Spitfires over the English Channel at the end of another long day in the Battle of Britain, 1940. © Gary Eason
Prints: www.flightartworks.com/-/portfolio/aviation/battle-of-bri...
Prada Tokyo Aoyama, designed by renowned Swiss architectural firm Herzog & de Meuron, is a captivating architectural landmark nestled in Tokyo's upscale Aoyama district. Completed in 2003, this unique building redefined the concept of a luxury retail space with its bold, diamond-patterned glass façade and innovative structure. The six-story building, crafted with a grid of glass panes, gives it an almost ethereal presence, allowing light to interact with its surfaces in mesmerizing ways. Each glass pane, some concave and others convex, adds a sense of movement and depth, changing the building’s appearance throughout the day and offering a multi-dimensional experience both inside and out.
This architectural marvel is not just about aesthetics; it reflects Prada's brand philosophy of combining art, culture, and fashion. The transparency of the structure allows pedestrians glimpses into the luxurious world of Prada, inviting curiosity and engagement without revealing everything at once. Inside, the layout is equally as striking, with open, flowing spaces designed to enhance the shopping experience, making visitors feel as if they’re navigating through an art installation.
Situated in Omotesando, an area famous for its fashion-forward boutiques and modern architecture, Prada Tokyo Aoyama stands as an icon of avant-garde design. For architecture enthusiasts, it’s a must-visit, showcasing how luxury retail can merge seamlessly with cutting-edge architectural innovation. Beyond shopping, the building serves as a cultural destination, offering visitors a glimpse into Tokyo’s blend of tradition and contemporary sophistication. Herzog & de Meuron’s creation has not only set a benchmark in retail design but also redefined how architecture can embody a brand’s identity.
The Fender Steve Harris Signature Precision Bass, proudly displayed at Fender’s flagship store in Tokyo, is a tribute to the iconic Iron Maiden bassist’s powerful sound and distinctive style. Finished in Olympic White with a bold West Ham United crest, this bass combines rock ‘n’ roll attitude with a touch of personal heritage, making it instantly recognizable. Known for his aggressive tone and unmatched precision, Steve Harris worked closely with Fender to create an instrument that can handle the demands of stadium-filling performances and intricate bass lines.
Crafted from an alder body with a gloss polyester finish, the Steve Harris Precision Bass is as durable as it is eye-catching. Its maple neck with a maple fretboard ensures that classic Fender feel, offering smooth playability and a punchy, clear tone. The high-output Seymour Duncan SPB-4 Steve Harris Signature Pickup is specially designed to capture Harris's distinct sound, delivering powerful lows, rich mids, and cutting clarity that fans of Iron Maiden have come to love. Chrome-plated hardware and a Fender HiMass bridge add to the bass's durability and sustain, making it a reliable choice for professional bassists.
Fender’s Tokyo flagship provides an immersive experience for any fan of rock legends, and seeing this signature bass up close is a thrill for Iron Maiden devotees. With its striking visuals, premium components, and connection to one of metal’s most influential bass players, the Steve Harris Signature Precision Bass embodies the spirit of rock music. This instrument is perfect for anyone looking to channel the energy and skill of a bass icon, whether on stage or in the studio.
Classic cameras prior to the 1950’s did not have exposure meters built into them. To meet this need as well as the high standards required by professional photographers, in 1945 Sangamo Weston began manufacturing highly accurate selenium celled exposure meters in the USA and in 1952 in the U.K. Production of the superb Weston Master II began in 1946 with the model number of S141/735.
The meter had two sensitivity ranges, one for bright light the other for low light. Low light sensitivity was selected by opening a perforated lid revealed more of the sensor, an action which automatically altered the light value measurement scale. Because ASA and ISO film emulsion speeds were not then established, Weston had its own emulsion speed system which later required slight alteration to be equivalent to ISO ratings.
Shown is a British made Weston resting on its Invercone (incident light measurement cone) which clipped over the sensor and dates from 1948. Weston Master II meters are almost indestructible and many are still in use today by owners of classic cameras.
Weston, the worlds most respected exposure meter.
Produced for presentation at the 1939 New York World's Fair a booklet issued by one of the railroad greats - the Pennsylvania Railroad and describing the new rolling stock the company was then introducing. This page shows the construction of some of the iconic GG1 electric locomotives designed and built for services on the PRR's flagship route between Washington DC and New York City.
In my opinion, this is probably one of the finest pieces of industrial design ever built - the GG-1 Class electric locomotives of the Pennsy. As is often the case with 'classics' there's been some debate about the precise designer of these fine locos as they are usually credited to the designer Raymond Loewy - however, now, it should be mentioned that the earlier works on this class were carried out by the equally famous Donald Roscoe Dohne. It was certainly Loewy who developed the final shape and livery - green until 1952 and then the classic Tuscan Red used by the Pennsy. The locos, 139 0f them in total, ran between 1934 and 1983. They were built by General Electric and the Railroad's Altoona Locomotive Works and it could be these are the erecting shops at Altoona?
The Fender Flagship Store in Tokyo is more than a retail experience; it's a tribute to music legends and an immersive journey for any guitar enthusiast. As you ascend the store's staircase, you're surrounded by an impressive gallery of iconic musicians who have shaped rock, blues, and jazz—each proudly wielding a Fender. This visually dynamic display gives visitors a sense of the brand’s storied history and influence, from vintage rock stars to contemporary virtuosos, capturing Fender's impact on music across generations.
The staircase itself is a masterpiece of clean, modern design, with white walls and strategically placed lighting that highlight each framed image. The mix of color and black-and-white photos creates a visual rhythm that feels as curated as a museum exhibit. Fender’s branding is subtly embedded throughout, adding authenticity and reinforcing the connection to Fender's legendary reputation. You’ll spot famous faces and Fender icons like the Jazz Bass and Stratocaster, each frozen in unforgettable performances, underscoring the emotional and cultural ties between the artist, the instrument, and the fans.
On the ground floor, the store even includes a stylish take-out coffee counter—perfect for fueling your browsing experience. This unique addition emphasizes the relaxed, welcoming vibe of the space, inviting you to linger and explore. Whether you're a seasoned musician or just discovering the world of guitars, Fender's Tokyo flagship store offers a rich, immersive experience that celebrates the artistry, history, and culture surrounding the Fender brand in a city known for its cutting-edge style and deep appreciation for music.
Produced for presentation at the 1939 New York World's Fair a booklet issued by one of the railroad greats - the Pennsylvania Railroad and describing the new rolling stock the company was then introducing.
In my opinion, this is probably one of the finest pieces of industrial design ever built - the GG-1 Class electric locomotives of the Pennsy. As is often the case with 'classics' there's been some debate about the precise designer of these fine locos as they are usually credited to the designer Raymond Loewy - however, now, it should be mentioned that the earlier works on this class were carried out by the equally famous Donald Roscoe Dohne. It was certainly Loewy who developed the final shape and livery - green until 1952 and then the classic Tuscan Red used by the Pennsy. The locos, 139 0f them in total, ran between 1934 and 1983. They were built by General Electric and the Railroad's Altoona Locomotive Works.
Produced for presentation at the 1939 New York World's Fair a booklet issued by one of the railroad greats - the Pennsylvania Railroad and describing the new rolling stock the company was then introducing. The cover shows a stylised, streamlined steam locomotive.
Aviation profiles and/or "roughs"by artist William (Bill) Robertshaw: Supermarine Spitfire prototype K5054.
© Gary Eason
Prints: www.flightartworks.com/-/portfolio/aviation/battle-of-bri...
Supermarine Spitfires along the White Cliffs of Dover during the Battle of Britain at the start of September 1940. The aircraft depicted here are from No 41 Squadron, newly transferred south to RAF Hornchurch in Essex, north of the Thames estuary - part of Fighter Command's 11 Group, covering London and the South-East of England. Flying the nearest, EB-G, pilot Eric Lock is about to begin an outstanding series of aerial victories.
On the morning of 8 October 1940 the Luftwaffe's 4./JG52 was on a "free hunt" fighter sweep over the Thames Estuary when it was bounced from behind by RAF Spitfires from No 603 City of Edinburgh Squadron. 'White 2+', a Bf 109E-1 flown by Fw. Paul Boche, the Staffel's technical NCO, was hit in the radiator. The engine overheated and stopped and he made a forced landing at Little Grange Farm near Maldon in Essex - hitting a haystack and wrecking the aircraft. Injured, he became a prisoner of war.
The man who shot him down, flying Spitfire R7020, was P/O. Ronald "Ras" Berry, who had already made a name for himself in the Battle of Britain by shooting down three Messerschmitts in one day. He went on to have a long and highly distinguished RAF career, rising to the rank of Air Commodore. He died in 2000.
© Gary Eason: PRINTS and licensing via www.flightartworks.com
South African-born WWII fighter ace, Group Captain AG 'Sailor' Malan, Commanding Officer of the RAF's No 145 (Free French) Wing, flying his personalised Mk IXB Spitfire as a section leader with No 340 (GC/IV/2 'Ile de France') Squadron. PRINTS of this © by Gary Eason picture via www.flightartworks.com
The introduction of the new corporate identity for British Railways was part of the 'new age' of railway modernisation that as well as the massive closures and withdrawal programme that was given added impetus under the 'Beeching Report' also saw a more targeted investment programme than the earlier and utimately doomed 'Modernisation Programme' of the British Transport Commission. British Railways became British Rail and with it came the loss of the use of the Gill Sans typeface that had been primarily used since 1948 and a new logo designed by Gerry Barney of the Design Research Unit, the agency that oversaw the rebranding in great detail. This included the new Rail Alphabet designed by Margaret Clavert and Jock Kinneir who had also introduced the new Transport typeface to the nation as part of the overhaul of the UK's road signs under the Worboys Report.
As part of the marketing of this new corporate identity an exhibition was held at the Design Centre in London in January 1965. The poster and the accompanying leaflet.