This poster series began as a graphic experiment: an attempt to evoke the language, typography and surface logic of 1970s camera and film packaging through fictional brands and hardware. The result is a collection of imagined photographic systems that blends product design, typographic play and speculative nostalgia.
This fictional lens design blends ultra-fast portrait glass aesthetics with exaggerated European industrial naming. The layout draws inspiration from East German and Scandinavian manuals, with intentionally ambiguous labeling and off-kilter tech jargon. The typography aims to feel both precise and unplaceable. Functional at first glance, the Biofraktal becomes increasingly strange the longer you look.
Light reversed into presence: each frame a complete gesture in silver.
Monochrome tuned for faces: the measured fall of light across form.
A tonal environment for human subjects: where color sings and light listens.
A balanced field of grain and gradient: the everyday in its most lucid form.
Transparency with intent: each hue locked in place and measured by light.
Layered emotion in dual emulsion: memory half-formed, half-fading.
Chromatic intensity at the edge of perception: pushing color past its limit.
Structure captured in static fidelity: diagrammatic clarity rendered in high-density monochrome.
This companion set of posters under the Kamiro identity explores the idea of modular film and imaging systems. Each piece reflects a different component in a speculative analog imaging ecosystem, grounded in clean grid layouts and offset-era print textures.
Design elements reference Japanese camera packaging and datasheets from the late '70s to early '80s, with a focus on matte paper tones, slightly offset color swatches and dense but orderly information hierarchies. The goal was to create something that feels just barely unreal, where a familiar layout gives way to a descriptive logic that gradually defies explanation.