View allAll Photos Tagged RetroStyle
Black and white vintage photograph of a young couple standing close together, examining a book, taken in Hungary in 1939.
Portrait of Miss Malì
Picture: Davide Morino
Edit: Davide Morino
Outfit, makeup and hairstyle: Miss Malì
Vintage Portraits of Miss Mary
Picture and Edit: Davide Morino
Outfit, makeup and hairstyle:
Miss Malí
100mm | F/7.1 | ISO 160 | 1/160 | Flash on | Hand Held |
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Mercedes Museum Stuttgart
... you will love it!
German automobile designer:
La Mercedes-Benz 300 SL (W198) « papillon » est un modèle d'automobiles à deux places coupé et cabriolet du constructeur automobile allemand Mercedes-Benz conçu et dessiné par le designer Friedrich Geiger,
commercialisé de 1954 à 1963 et entré depuis dans la légende des automobiles de rêve. Elle est considérée comme la plus emblématique des Mercedes produite après la seconde Guerre mondiale pour son originalité, ses qualités techniques et esthétiques.
de.wikipedia.org/wiki/Mercedes-Benz_W_198
Mercedes-Benz W 198 ist die interne Typbezeichnung eines Sportwagens von Mercedes-Benz. Unter der Verkaufsbezeichnung Mercedes 300 SL wurde er in den Jahren 1954 bis 1957 als Coupé mit Flügeltüren und in den Jahren 1957 bis 1963 als Roadster angeboten.
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The Mercedes-Benz 300 SL (W198) was the first iteration of the SL-Class grand tourer and fastest production car of its day. Introduced in 1954 as a two-seat coupé with distinctive gull-wing doors, it was later offered as an open roadster.
Built by Daimler-Benz AG, the direct fuel injected production model was based on the company's highly successful yet somewhat less powerful carbureted overhead cam straight 6 1952 racer, the W194.
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Exif data
Camera
Panasonic DMC-FX10
Exposure
0.025 sec (1/40)
Aperture
f/2.8
Focal Length
5.8 mm
ISO Speed
100
Exposure Bias
-0.33 EV
Flash
On, Fired
Orientation
Rotate 90 CW
Software
Ver.1.0
Date and Time (Modified)
2008:06:01 12:55:27
YCbCr Positioning
Co-sited
Exposure Program
Program AE
Date and Time (Original)
2008:06:01 12:55:27
Date and Time (Digitized)
2008:06:01 12:55:27
Compressed Bits Per Pixel
4
Max Aperture Value
2.8
Metering Mode
Multi-segment
Light Source
Flash
Color Space
sRGB
Sensing Method
One-chip color area
Custom Rendered
Normal
Exposure Mode
Auto
White Balance
Manual
Digital Zoom Ratio
0
Focal Length (35mm format)
35 mm
Scene Capture Type
Standard
Gain Control
None
Contrast
Normal
Saturation
Normal
Sharpness
Normal
Image Quality
High
Firmware Version
0.1.0.22
White Balance
Incandescent
Focus Mode
Auto
AFArea Mode
5-area
Image Stabilization
On, Mode 2
Macro Mode
Off
Shooting Mode
Normal
Audio
No
Data Dump
(Binary data 6152 bytes, use -b option to extract)
White Balance Bias
0
Flash Bias
0
Internal Serial Number
(F24) 2007:08:28 no. 0387
Panasonic Exif Version
0220
Color Effect
Off
Time Since Power On
00:02:02.43
2 hours capturing till SD-Card is full
Burst Mode
Off
Sequence Number
0
Contrast Mode
0
Noise Reduction
Standard
Self Timer
Off
Rotation
Rotate 90 CW
AFAssist Lamp
Enabled but Not Used
Color Mode
Normal
in portixol, a seaside district of palma de mallorca, i captured this classic porsche 911, likely from the late 1960s to early 1970s. the iconic shape of the air-cooled, rear-engine design is instantly recognizable, a testament to german engineering and a beloved model among car enthusiasts. its presence speaks to the timeless allure of vintage sports cars.
Historic black and white class photo from 1908 of students and teachers at the Bólyai Főreáliskola in Budapest, Hungary.
Toronto, Canada.
Model: Alexandra Palma
Vlog: www.youtube.com/watch?v=-wuWSC8hmGg&t=65s
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Leica M6 TTL .85 (recently upgraded to MP's flare-free optics) | Leica Summicron 90mm f2 Pre-Asph | Ilford Delta 3200 @ 6400 | Kodak HC110b | Epson V500
Available Light B&W 35mm Photojournalism by Johnny Martyr
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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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土耳其－爱琴海地区－Izmir省－以弗所－游客与猫咪
Cat sitting on ancient ruins, in Ephesus, an ancient Greek city and UNESCO World Heritage Site in Selçuk, Izmir province, Aegean region of Turkey.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
The outstandingly unique and beautiful, fat wood type face in use, »Manicotti«, was created by David Jonathan Ross.
Manicotti is inspired by the boisterous wood types of the nineteenth century, Manicotti pushes the reversed-stress French Clarendon style to its decorative extreme. Its thick tops and bottoms and massive slab serifs overtake the short vertical stems, creating an oddly dense typographic texture.
Originally drawn as an all-caps poster face, Manicotti was honored by the Type Directors Club in 2007. Ross revisited the design a couple years later, adding lowercase, extended language support, alternates and ornaments. The result is a contemporary take on a rambunctious style, reminiscent of Spaghetti Western films, rugged trails and rowdy saloons.
Black and white portrait of a young woman taken in 1953 in Nagykőrös, Hungary by photographer Sándorovszky, showcasing vintage Hungarian style with a plaid shirt and soft curls.
Photographer: Patrick NDK Photography
Hair/Location: Little Shop of Beauty
Dress: Atelier "trotzdem" by Mary Krahe
Assistant: NM photographie
A sepia-toned portrait of a Hungarian woman in traditional attire from the 1920s, standing indoors beside a decorative wooden panel.
Sepia-toned portrait of a young child wearing a white outfit with a bow, standing on an armchair. Taken in Szeged, Hungary, 1920s.
Typeface in use:
Tim Ahrens’ (Just Another Foundry) striking, conspicuous, grayletter typeface »Zalamander«.
Zalamander:
Blackletter, sans serif, graffiti, constructivism: all these influences are combined into a lively and dynamic – and somehow “disobedient” – typeface. Since blackletter fonts typically don’t look great when used in all-caps, Zalamander comes with a special Caps version that contains letter variants that combine nicely in uppercase.
Black and white studio wedding portrait of bride and groom in traditional attire, photographed in Szentendre, Hungary, 1928. The picture was taken by photographer Ferencz Fiedler.
The term "collective memory" denotes the aggregate of memories, knowledge, and data that a social group holds, which is intrinsically linked to the group's identity. The term "collective memory" in English and its French counterpart "la mémoire collective" emerged in the latter half of the 19th century. Maurice Halbwachs, a philosopher and sociologist, further developed this concept in his 1925 work, «Les cadres sociaux de la mémoire». Both expansive and intimate social collectives can create, disseminate, and inherit collective memory.
Contrary to the term "collective memory," which is somewhat ambiguously defined yet generally accepted, the notion of "collective memories" is inherently problematic. Memories are the results of the individual acts of recollection, making the idea of "collective memories" paradoxical. Сontemporary diffusion models utilize vast amounts of often unidentified data, including historical and personal old photographs, vintage postcards, and other kinds of publicly circulating images. These models may be seen as involved in the prompts-driven singular acts of remembrance, producing images that paradoxically represent "collective memories," something otherwise unfeasible and ultimately, non-existent.
Toronto, Canada.
Model: Binibining Edda
Vlog: youtu.be/n3MPNrJKRZI?si=B3VaPsXONYr12IBR
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This Wallpaper 1920x1200 is a homage to »Cliff Roberts«. It is a »storyboard« of his fantastic children’s book «Start with a Dot«.
Typeface in use(background):
The striking, groovy, retro typeface »Marvin« designed by Patrick Griffin (Canada Type).
Marvin: The objective of this font was to try and find out how far back in the designer’s life this obsession with letters began. The challenge was to draw, from memory only, two sets of caps that recall older Looney Tunes and Merrie Melodies lettering. The experiment was a success, which means that the designer’s got it bad since he was, like, four!
And here we are. Marvin is a great cartoon font that can help you build your very own Illudium Q-36 Space Modulator, so you can trigger that earth-shattering kaboom. Then you're on your way to claim this planet in the name of Mars. Isn't it lovely, mm?
The term "collective memory" denotes the aggregate of memories and knowledge, that a social group holds, which is intrinsically linked to the group's identity. Maurice Halbwachs, a philosopher and sociologist, developed this concept in his 1925 work, «Les cadres sociaux de la mémoire». Various social collectives can create, disseminate, and inherit collective memory.
Contrary to the term "collective memory, the notion of "collective memories" is inherently problematic. Memories are the results of the individual acts of recollection, making the idea of "collective memories" paradoxical. Diffusion models, utilizing vast amounts of data, including historical and personal old photographs, may be seen as involved in the prompts-driven singular acts of remembrance, producing images that paradoxically represent "collective memories," something otherwise unfeasible and ultimately, non-existent.
Model on the left: Miss Diversity
www.facebook.com/Mss.Diversity/
Model on the right: Paula Walks
Dresses: Sterling Gold
Photographer: Heiko Kalweit