View allAll Photos Tagged RetroDesign
A timeless portrait of precision and design.
This macro shot of the legendary Yashica MAT-124 reveals the elegance of Twin Lens Reflex engineering. Produced in Japan between 1968 and 1971, this medium format camera (6x6) was built for 120 and 220 film, featuring a coated 4-element Yashinon 80mm f/3.5 lens and a Copal SV shutter with speeds from B to 1/500s. The textured body, reflected in glossy black light, evokes nostalgia and craftsmanship. With its match-needle CdS exposure meter and ingenious mechanical layout, the MAT-124 remains a portrait camera icon – a tribute to analog mastery.
The Suburban Diner was recently completely renovated. I took this with my Fujifilm Instax 210 instant camera
I get quite a few views on my Instax 210 pics from people searching for 'how to take a picture on an Instax 210'. Here are a few tips on how I take pictures on my Instax 210. Hope it helps!
1. You will get best results on a clear and bright day. The fuji film is great on a well lit scene and the saturated colors will come through.
2. What you see through the viewfinder is less of the scene than what will print (see note on this shot) Update - you may have to refresh the page to see the note. Take a step forward after composing.
3. This camera is equipped with a wide angle lens so wide scenes look best. Bridges, stores, landscapes etc are great subjects. Close up portraits, not so much.
4. Set the distance to 3m-∞ (infinity), the default is 0.9-3m, so press the button on the side once to change it if your subject is further than 3m (9ft) away from you.
5. Set the L/N/D button to D (darken) if it is sunny. The default is N (normal), so press that button twice to change it to darken. Look at the arrows in the LCD display to check that step 4 and 5 have been completed and then take the picture by depressing the shutter button.
So, there you go! It's a fun camera, so have fun with it! B&H in NYC are retailing these for $60 and the film (pack of 20) for $14.50 as of Nov 2012. Not so bad.
Welcome to Kabukicho Ichiban-gai, the iconic gateway to Tokyo’s most vibrant entertainment district. This unmistakable red arch, adorned with retro-style neon lights and bold Japanese characters, serves as a cultural and architectural landmark. The bright red design juxtaposes modern Tokyo’s sleek, high-rise buildings and reflects Kabukicho’s lively energy as the “Sleepless Town.” The signage warns visitors that smoking on the street is prohibited, a nod to Tokyo's meticulous city planning and emphasis on urban cleanliness.
Originally developed after World War II, Kabukicho was named for a planned kabuki theater that was never built. However, its name lives on, and the area flourished into a hub of entertainment, blending traditional Japanese aesthetics with ultra-modern urban design. The Ichiban-gai entrance stands as a symbolic welcome to a world of eclectic adventures, from izakayas and karaoke to late-night ramen shops and vibrant nightlife.
Framing the entryway are modern glass-front buildings, such as the one on the left featuring geometric patterns, contrasting sharply with the bold, colorful advertising to the right. This architectural mix highlights the district’s adaptability, fusing cutting-edge design with the neon-drenched nostalgia of mid-20th-century Tokyo. The narrow streets beyond the arch hold endless treasures, including hidden alleyways brimming with culinary delights and niche bars.
Kabukicho Ichiban-gai is more than an entertainment district—it’s a testament to Tokyo’s ability to evolve while retaining its unique character. Whether you’re here for a night of exploration or simply soaking in the atmosphere, this dynamic entryway sets the tone for the unforgettable experiences that lie ahead.
Figaro’s Barbershop in Lisbon captures the spirit of classic grooming with a storefront that feels like a step back in time. Its bold gold-lettered window proudly references the styles of the 1920s, 1930s, 1950s, and 1960s, making it a beacon for lovers of retro design and timeless elegance. Nestled in a traditional Baixa building with weathered yellow plaster and stone-framed windows, the shop blends local architecture with old-world charm. Details like the hand-painted signage, geometric stonework, and textured façade evoke Lisbon’s layered history, where every corner reveals traces of both modern life and centuries of craftsmanship.
Located in a strip mall on Roswell Road, HENRI’S is celebrating its 90th year in business. Great pastries, pricey, but the service, while efficient is decidedly not very friendly. Sorry, but the last few visits strongly suggest the latter.
Der Airbus A-321-131 "Weimar" der Deutschen Lufthansa im Retro-Design. Anlass der Sonderlackierung war der 50te Jahrestag der Wiederaufnahme des regelmäßigen deutschen Flugbetriebes - der A 321 mit dem Kennzeichen D-AIRX fliegt seit dem 1. April 2005 im alten Lufthansa-Kleid.
The A-321-131 "Weimar" Deutsche Lufthansa in retro design. Occasion of the special paint was the 50th Anniversary of the resumption of the regular German flight operations - the A 321 with the registration D-AIRX flies since 1 April 2005 in the old Lufthansa dress.
The NISSAN Figaro was designed by Naoki Sakai (Water Studios) in cooperation with Shoji Takahashi.
This so-called retro car was introduced in Japan, 1989, and only built in 1991 in a limited edition.
Photographed from the upper deck of a moving London Double Decker at about 10 PM...
987cc.
810 kg.
Production Figaro: 1991.
Number seen: 3.
London, SW2, Brixton Road, Jan. 5, 2018.
© 2018 Sander Toonen Amsterdam | All Rights Reserved
beautiful place, delicious food , happy shooting!
www.photomanm.com/food-photography-in-an-artisanal-cockta...
Daihatsu Copen (1st Gen) (2002-12) Engine 1298cc S4 DOHC 16v659cc S4 Turbo
Registration Number JH 09 JAN (Cherished number, of no define area code, now retired)
DAIHATSU ALBUM
www.flickr.com/photos/45676495@N05/albums/72157624196705706
Built as a two door roadster with a retractable hardtop and designed with its 660cc turbocharged engine in order to conform with the Japanese kei car regulations, However, since this engine did not meet environmental emissions standards in several other countries, the Copen was fitted with a more powerful 1.3 L non-turbo engine in these markets in 2007. .
Originally debuted at the 1999 Tokyo Motor Show as a concept car. It replaced the Daihatsu Leeza Spider in 2002 and is was discontinued form 31:01:2013, at the end of 1st generation production from European markets in response to the ongoing strength of the Japanese yen
A second generation Copen was launched at the 2013 Tokyo Motorshow as a Coupe and Roadsters
Diolch am 87,002,251 o olygfeydd anhygoel, mae pob un yn 90cael ei werthfawrogi'n fawr.
Thanks for 87,002,251 amazing views, every one is greatly appreciated.
Shot 05.09.2021 at Himley Hall, Himley, Wolverhampton Ref. 121-042
Close up of swatch of groovy fabric picked up at a church basement fabric sale. Has a polyester feel. Some of it was used to make a quilt top that's still sitting unfinished in the hall closet. Sewing patches together is one thing – actually quilting is another.
Tucked beneath the sloped rafters of the Doolan-Larson Building at Haight and Ashbury, this photograph captures a moment in time that hums with memory and music. The centerpiece is Norman Larson’s stereo system, a proud stack of late-20th-century audio gear—a Carver receiver, Onkyo cassette deck, Magnavox tuner, and Compact Disc player—each component a testament to the golden age of analog sound. Decades ago, Larson, a passionate steward of the building and the Haight’s cultural legacy, would have spent quiet evenings here surrounded by the ghosts of San Francisco’s counterculture, letting his music spill through the rafters.
Imagine the playlist: Jefferson Airplane’s harmonies drifting into Joni Mitchell’s “California,” followed by Miles Davis’s Kind of Blue spinning late into the night. Perhaps he listened to The Grateful Dead’s American Beauty, recorded just blocks away, or Janis Joplin’s soulful roar, echoing the heartbreak and brilliance of a neighborhood that changed the world. Maybe he’d cue up Coltrane for introspection or a Bach concerto when he needed the structure of something eternal.
Friends likely joined him here—artists, musicians, activists, dreamers—drawn by the same magnetic energy that made Haight-Ashbury a crossroads of freedom and experimentation. The attic, with its wood-paneled warmth and leaning stacks of CDs, feels less like a storage space and more like a personal sanctuary, where music bridged eras and ideals. The rotary phone, the neatly coiled tapes, and the waiting fire extinguisher all suggest a time when analog ruled and everything had to be done with your hands.
The Doolan-Larson Building, itself a San Francisco landmark, has long been a nexus of art, music, and rebellion. Once a haven for counterculture figures and later lovingly preserved by Larson, it stands as a layered artifact of the city’s creative pulse. This stereo—dusty but dignified—is more than a collection of electronics; it’s a reliquary of taste, history, and devotion to sound.
Every volume knob and switch carries the fingerprints of someone who cared deeply about music as more than background noise. It was memory. It was meaning. It was connection. The light filtering through the attic windows now seems to hum along—a silent encore for the songs that once filled this space and the man who made sure their echoes would endure.
This is the Commissary at 1180 Amphibious Dr on Joint Expeditionary Base Little Creek-Fort Story in Virginia Beach, VA.
Commissaries (on-base grocery stores) are ran by the Defense Commissary Agency (DECA) which is headquartered on Fort Lee, Virginia.
This particular Commissary has an older aesthetic and design package that I find to be gorgeous.