Absorption photos on Flickr

Piper Hill School - Post 16 by Sound Reduction Systems Ltd

Sonata Class A rated Acoustic panels are used within a wide variety of buildings to reduce reverberation and give a suitable acoustic environment.

1950s anechoic chamber absorption by Øivind

Lyon Fourvière 6x6 format by Jean-Marc Célinan

On July 4, 2024, I took my camera Zenza Bronica S2A (Japan, 1972-1977) for a tour in the district of Fourvière, Lyon, France.

The Nikkor normal lens 1:2.8 f=75mm was equipped of a Hoya Yellow (K2) 67mm screwed filter and the dedicated Zenza Bronica metal hood.

I used an Ilford FP4+12-exposure negative 120-format film . The film was exposed for 64 ISO (to compensate the filter absorption) using an Autometer III Minolta lightmeter fitted with a 10° finder for selective measurements privileging the shadow areas.

Zenza Bronica S2A, July 4, 2024

Jardin de la Visitation

69005 Lyon

France

After the view #12 exposed, the film was fully rolled to the taking spool and was developed in a Paterson tank with a spiral adapted to the 70mm large film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 9min at 20°C.

Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm films.

The RAW files obtained were inverted within LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG.

All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivo Y76 color pictures.

Strangely, although its 1.8 kg the camera is not at all uncomfortable to carry, especially when the camera is hold on the chest by the neck strap. I did not feel tied after this photo tour (about 4km walking). It is easily to get a good stability and a precise framing with the camera on the chest.

Details about the camera :

The Zenza Bronica’s S (ゼンザブロニカ) were often referred to the « Japanese Hasselblad ». Conceived in the year 50’s (Bronica D, 1959) was manufactured in ToKy,o Itabashi-ku, Minami-Tokiwadai with the Japan engineering spirit of that time : « we wlll do as … in better! »; The Bronica (ETR, SQ series) camera’s were progressively discontinued twenty years ago between 2002 and 20O4 and the brand was bought by Tamron company and disappeared from the market.

The Zenza Bronica S2A was produced by Bronica Insdutries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR o th e S series. The camera in made in stainless steel 18-8 quality for the outer elements. The S2A is still a focal-plane shutter camera with automatic diaphragm and automatic film back coupled to the shutter cocking through a re-arming crank. Bronica were equipped either with Nikon Nikkor lenses, Zenzanon of Komura optics.

I got this exemplary from a French eBay auction for a quite reasonable price, equipped with a Nikkor-P normal lens 1:2.8 f=75mm, a generic 67mm lens cap, and a neck/shoulder Bronica strap. I found at my monthly trade -exchange photo meeting new-old stock 67mm filters (Hoya HMC anti-UV, Yellow K2, and a Zenzza Bronica Skylight 1A) and two shade shade hoods (one generic foldable and a rigid metal Zenza Bronica Japan). I also found a nice storage box 15x20x20cm to store the machine with silica-gel protectant.

The camera fit in my ThinkTank Retrospective 5 usual bag as easy as my French TLR Semflex. The weight is however twice more heavy by about 1.8 kg (0.8 kg for my Semflex TLR).

Exploring the material used for absorption inside a nappy. by yasminc5634

The Permanent Collection - West Building - National Gallery of Art, Washington DC - September 16-17, 2024 by JR P

Jean Honoré Fragonard - French, 1732 - 1806

A Game of Hot Cockles, c. 1775/1780

West Building, Main Floor — Gallery 55

Towering, pale, celery-green trees frame a view of a lush park with about a dozen elegantly dressed, light-skinned men and women in this vertical landscape painting. The color palette is dominated by moss and lemon-lime green, golden yellow, and spruce blue. The men all wear jackets with long tails over knee-breeches, and their long hair is pulled back at the napes of their necks. The women wear long dresses with full skirts and hints of lace at the sleeves and bust, and their brown or white hair is pulled up. Nine of the men and women gather to our right on a stone terrace along the bottom edge of the painting. A man in butter yellow kneels in front of a woman wearing rose pink. Around this pair, people stand, kneel, sit, or recline wearing aquamarine blue, light turquoise, or ivory white. A man and woman sit on a bench to our left, a little removed from the larger group. This woman wears ruby red and the man leaning toward her wears topaz blue. Two people in the park beyond these groups are painted with only a few strokes of pale blue and white paint, and they look over a low hedge row lining the walking path. Beds of red flowers fill the lower corners of the composition in front of a statue of a woman to our left and a person, perhaps on a fountain, to our right. The grassy walking path and trees become more blue as they fade into the hazy distance between the tall tress to either side. The sky fades from pale blue along the horizon to a silvery blue, almost white, at the top.

As with so many of Fragonard’s paintings, the original destination of A Game of Horse and Rider [FIG. 1] and A Game of Hot Cockles remains mysterious; the paintings made their first public appearance only in the late nineteenth century.[1] They were undoubtedly intended as pendants, however, and meant to be installed in boiseries as part of a larger decorative program. The paintings are equal in size and have similar color schemes and compositions, and their subjects are perfectly complementary; each focuses on richly verdant gardens in which groups of figures have gathered to enjoy games in the outdoors. In style and theme they can be compared to the larger canvases of Blindman's Buff [FIG. 2] and The Swing [FIG. 3], works that include similar figures that appear in the present paintings. For example, the dashing couple — the man in blue suit, the woman in red dress, their white lapdog beside them — seated on the bench to the left of the game in Hot Cockles seem to have wandered over from The Swing, where we see them lounging at the left, about to dip a similar white dog into the fountain. Despite the differences in size, the four garden paintings in the National Gallery of Art were very likely painted about the same time, probably between 1775 and 1780.

The similarities among the four paintings have often been noted, but whether they were intended as part of the same decorative scheme that also included another monumental garden scene, Fête at Saint-Cloud [FIG. 4], is still an open question.[2] The figures in Horse and Rider and Hot Cockles are more carefully finished and richly detailed than those in the larger garden scenes, perhaps a function of their better state of preser-vation, with the impasto of the brushwork and the delicate glazes applied to the figures still mostly intact. Nevertheless, the canvases are probably fragments, as Jean-Pierre Cuzin first suggested.[3] The branches and trunks of the towering trees are somewhat arbitrarily cropped at the top edge, and technical evidence suggests that the paintings have been cut down.[4] The two paintings may originally have been much taller, perhaps equal in height to Blindman’s Buff, The Swing, and Fête at Saint-Cloud (about 216 cm). The resulting compositions, while extremely tall and narrow, would not have been unusual for decorative painting, which often was conceived to fit into established wall paneling.[5] Many garden scenes by Hubert Robert (French, 1733 - 1808), for example, combine a soaring landscape and cloud-filled skies with groups of figures occupying themselves in the lower section of the painting [FIG. 5].[6]

The games of blindman’s buff and swinging have remained popular with children today, but horse and rider and hot cockles may be less familiar. Yet both were common in Fragonard’s time, and they appear with some frequency in works of art produced in the seventeenth and eighteenth centuries.[7] Fragonard’s paintings marvelously evoke the spirit of both activities. In Horse and Rider (in French the game is called “le cheval fondu,” or melted horse), the players have divided into two teams, one acting as a multilegged “horse,” bracing itself against a tree; the second team consists of “riders” who run and leap, one by one, onto the back of the “horse.” Once they are all aboard, the horse team tries to shake them off. In Fragonard’s painting two of the riders already seem to be losing their grip as they anticipate the charge of a teammate. Hot cockles (“la main chaude” or “frappe main”), by contrast, is a less physical game in which sleight of hand and close attention are rewarded. One player, the “penitent,” hides his face in the lap of a second (called the “confessor,” a referee who monitors the game) and places his hand flat behind his back. In turn, the other players slap the penitent on the hand, and he tries to identify who hit him. The player who lets himself be discovered becomes the penitent. This moment apparently is captured in the painting, as we see the penitent gesturing toward the person he has identified (either the standing woman in the light blue dress or the recoiling young man behind her). Fragonard records with his usual prescience the expressions, gestures, and body language that convey a sense of their amusement and absorption in the game.

The genesis of Fragonard’s paintings is as mysterious as their original purpose. Although the landscapes and figures in Horse and Rider and Hot Cockles are among the artist’s most accomplished inventions, no preparatory studies for them exist.[8] As with much of his oeuvre, it is as if Fragonard created them directly on the canvas, with little of the preparation and planning that one usually expects in such elaborate productions. Yet he did not invent these scenes out of whole cloth, for there was an established tradition for representing games in landscape settings; Fragonard undoubtedly had access to this tradition, and the National Gallery’s paintings are clearly indebted to it. For example, Fragonard certainly was aware of the series of prints representing games published by Jacques Stella (French, 1596 - 1657) and Gabriel Perelle (French, 1603 - 1677) in the seventeenth century [FIG. 6].[9] But, as with the larger canvases showing Blindman’s Buff and The Swing, the present paintings owe a debt to Jean-Baptiste Oudry (French, 1686 - 1755), whose designs for a tapestry cycle on the theme of Amusements champêtres include representations of Horse and Rider and Hot Cockles that are closely related to Fragonard’s compositions [FIG. 7].[10] Despite their extraordinary inventiveness and incomparable technical mastery, these paintings continue a convention of decorative pastoral art that has its roots in the fête galante of the earlier eighteenth century.

As with Fragonard’s larger garden paintings, the possible meanings of these games have been a matter of debate among scholars. We may wonder whether Fragonard’s intention was to invest them with allegorical or emblematic meaning or whether he used them merely to enliven a pair of decorative landscapes. As Colin Eisler pointed out, Pieter Brueghel the Elder (?1525 / 1530 – 1569) included boys playing horse and rider in his painting Children’s Games, which has been interpreted as an evocation of the folly of youth.[11] In Fragonard’s painting the rowdy play of the boys is juxtaposed with the older couple at the left, who, it is perhaps implied, enjoy a more adult game of flirtation. This activity is expanded upon in Hot Cockles, in which the amusement — like the related one of blindman’s buff — is an obvious allegory of courtship.[12] This interpretation is emphasized by the sculptures included in the scene: at the right edge, surmounting a pedestal with a carved relief of dancing figures, is Étienne Maurice Falconet’s (1716 – 1791) Menacing Cupid, who holds a finger to his lips. This work, exhibited at the Salon of 1757, had already been used by Fragonard in his early version of The Swing (London, Wallace Collection); here it plays a similar role of commenting on the proceedings, for the success of the game of hot cockles depends on the participants remaining discreet. It is balanced on the left by a second sculpture, which Eisler understood to represent an altar to love, similar to the one depicted in Jean Baptiste Greuze’s painting The Offering to Love of about 1767.[13]

In conceiving A Game of Horse and Rider and A Game of Hot Cockles, Fragonard clearly meant for the viewer to measure one painting against the other, and he invested the landscape settings with a greater significance than is apparent in Oudry’s tapestry designs. Each picture depicts a corner of a vast parkland, with figures playing in the foreground and a view deep into the center distance. With typical sophistication and wit, Fragonard placed the two amusements in settings that comment on and amplify the activities. As with Blindman’s Buff, The Swing, and Fête at Saint-Cloud, Fragonard contrasts two different styles of garden design popular in the eighteenth century — the picturesque and the formal — and populates them with suitable figures enjoying activities proper for their nature.[14] In Hot Cockles the game is played by elegantly dressed young adults in a formal garden, with clipped hedges, smooth parterres, potted trees, and discreetly placed sculptures. In Horse and Rider, by contrast, the garden is natural, with no signs of human manipulation; its principal motif is a gnarled and twisted tree that acts to support the rowdy horseplay of the youths. Their roughhousing is appropriate to the rugged ground on which they play, so different from the well-maintained parterre on which the demure game of Hot Cockles is enjoyed. Fragonard created internal points of contrast as well. The craggy contour of the tree at the right in Horse and Rider is distinguished from the graceful stand of birches at the left, just as the carousing youths are opposed to the well-dressed couple reclining nonchalantly on the ground. In each painting there are half-glimpsed views into the further reaches of the garden, suggestive of hidden attractions and intriguing corners yet to explore. Garden paths lead off in several directions in each painting. Hot Cockles is dominated by a principal central path, on which two women have stopped to admire an unseen view off to the right. In Horse and Rider a large river or basin occupies the middle ground, and in the distance a gondola, unloading a group of promenaders, can just be discerned. The original extreme verticality of these two paintings, with their towering trees and monumental skies, would have visually complemented the emphatically horizontal formats of Fête at Saint-Cloud and, when taken together, Blindman’s Buff and The Swing, works that articulate the vast expanse of the landscape rather than the infinite heights of the sky.

This text was previously published in Philip Conisbee et al., French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue (Washington, DC, 2009), 188–194.

________________________________

The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.

The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.

The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.

The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.

The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).

en.wikipedia.org/wiki/National_Gallery_of_Art

Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”

www.doaks.org/resources/cultural-philanthropy/national-ga...

..

________________________________

The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.

The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.

The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.

The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.

The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).

en.wikipedia.org/wiki/National_Gallery_of_Art

Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”

www.doaks.org/resources/cultural-philanthropy/national-ga...

.

Solar spectrum with spectral absorption lines by Philip Stobbart

Rajamanikam Ramamoorthy-Wetlands awareness program for local community school drop-out kids by ThePollinationProject

Wetlands are biodiversity rich sensitive ecosystems that harbor hundreds of plants, insects, birds and other animals uniquely adapted to their wetland mode of life.They are crucial to maintain the regional water balance through ground water recharge and absorption of flood waters and also serve as the rice bowl of developing countries. Nevertheless, wetlands play immense role in the socio-economic and livelihood aspects of local communities living around the wetland. In India, rural communities depend wetland for livelihood through farming, mat making etc; for food through fishing and hunting; for roof thatching by collection of reeds and palm leaf ; for firewood; for fodder etc. However, these wetlands are now under a threat of conversion for big industrial and real estate projects, change in lifestyle of local community, over extraction of resources by increased population, pollution,waste dumping, eutrophication and pesticide farming. There are three important wetlands in the Puducherry region namely Oussudu, Bahour and Kaliveli that provide important resources for local communities and also are a home to tens of thousands of migratory birds that visit the Puducherry region in winter. These wetlands have been acknowledged as Important Bird Areas(IBAs) by IBCN, since many of these birds are represented in more than 1% of their global population.

The recent threat on wetlands of Puducherry is more due to the change in life style of local community living around these wetlands. The younger generation is not much dependent on wetland resources, The younger and modern generation has lost the compassion and bonding to the wetland which their forefathers maintained through sustainable livelihood practices. This has resulted in a change in attitude and perception of the community towards unsustainable farming and resource extraction, game hunting, intensive fishing and reclamation, ultimately resulting in shrinking of wetland area and loss of biodiversity at an alarming pace. Local community is leaving the traditional farming practices for more fertilizer and pesticide based farming; fish stock is depleted using invasive Gill nets. Since Puducherry is fast developing region with rapidly growing commercial tourism and industrial establishments, these wetlands are under the threat of reclamation for resort construction and other commercial establishments. Poaching for a sport as well as open selling of birds including the threatened species is common. School drop-out are noticed to get attracted to such practices to make easy money as well as hunting for a sport with peers. With time, they may grow into expert hunters who will depend on poaching as the main source of income for the family. There are many wetland awareness programs organized by Forest Department as well as NGOs targeting school kids and educated community through workshops. School drop-outs are often not specially targeted by any of such programs and often not brought under the ambit of such programs. This gap needs to be addressed for local conservation efforts to be fully effective. We have chosen birds as the umbrella species whose conservation will in turn protect the lake and biodiversity as a whole. Birds are attractive and beautiful; ,which may easily get compassion from drop-out kids if guided appropriately. With proper efforts, the poachers can be turned to protectors and expert tour guides to facilitate ecotourism.

diffraction absorption by glennhumphreys1

1 4

Jhana by A Cevizli

3

meditation, trance, ecstasy, absorption

Samgwangsa Temple, Busan, South Korea (2012)

Vitamin B12 Liquid Drops, Sublingual, Methylcobalamin, Vegan, NON GMO, Superior Absorption Over Pills, Capsules, Soft Gels, & Patches, 1000/3000/6000mcg, 3000mcg = 150 servings (2 oz.) For Sale by bestfoods fordiabetes

via WordPress dietarysupplement.review/vitamin-b12-liquid-drops-subling...

Nike Air Force 1 High Flax Size 5Y Wheat Brown Gum 922066-203 by Red Deals Online

Nike Air Force 1 High Flax, GS, Size 5Y, Wheat, Gum, 922066-203, Outdoor Green, Gum, UPC 00883212095992, ‘Flax’ collection, outdoor green accents, tonal flax Gum outsole, Flax nubuck upper, Gum Out Sole, Perforated detailing on the toe box, Perforations for breathability, Nike Swoosh on the sides, Ankle strap for security, Nubuck tongue with Nike Air branding, Midsole Air-sole for impact absorption, Nike Air branding on the heel, Red Deals Online eBay store

ASICS Gel-Venture 8 Men’s Size 11.5 Grey Orange Black 1011A824 by Red Deals Online

1

ASICS Gel-Venture 8, Men’s Size 11.5, Grey, Orange, Black, 1011A824, Sheetrock, Habanero, Just Do It pack, Rugged two-tone mesh upper, Molded ORTHOLITE sockliner, Breathable mesh upper, synthetic overlays, Re-engineered outsole lugs, GEL cushioning, shock absorption, Rearfoot Gel technology, Smooth transition from heel to midfoot,

Lea Village Hall by Sound Reduction Systems Ltd

1

Sonata Class A rated Acoustic panels are used within a wide variety of buildings to reduce reverberation and give a suitable acoustic environment.

DAUPIN for Galaxy S20 Circumstance Clear with 360 Rotatable Ring Kickstand Shockproof Absorption Comfortable TPU Bumper Computer system Difficult Again Protecting Mobile phone Circumstance for Samsung Galaxy S20 5G 6.2 inch (Apparent) by Sylvia Lyon

via Siliwristbands.com siliwristbands.com/daupin-for-galaxy-s20-circumstance-cle...

Port Rambaud - Confluence by Jean-Marc Célinan

Adox Scala 50 film in négative processing:

After testing the high-resolution and ultra-fine gain film Adox HR-50 processed with the fine-grain developer Adox Atomal 49, I would like to compare with the Adox Scala 50 that likely the same formula but commercially intended to be processed with a reversal chemistry. I tried this chemistry past year but, unfortunately the bleaching bath was degraded and I obtained incompletely bleached positives that I reported here: flic.kr/s/aHBqjBCCha. The Scala 50 could be however processed as a normal negative using the same processing times and developer as recommended by Adox for HR-50.

For testing Scala 50 as a negative, I picked up for a second time my newly arrived exceptional French 35mm camera FOCA Universel RC (see below for details about this rare and fascinating camera), I went for photowalk at Port Rambaud, along.the Saône river bank, Lyon, France. The weather was very fair with gentle clouds in a nice blue Skye with a mild outdoor temperature (28°C).

I mounted on my FOCA the OPLAREX lens 1:1.9 f=5cm equipped with a yellow filter FOCA x2.5. The OPLAR /OPLAREX lenses for the FOCA’s only accept push-on filter (42.5mm in this specific case). A vintage Genaco cylindric stainless-steel shade hood conceived for a 5cm focal length was also used all along the session.

Expositions were determined for 32 ISO to compensate the absorption of the yellow filter (not the x2.5 coefficient due to the enhanced sensitivity of the film in the yellow). Metering was achieved using a Minolta Autometer III lightmeter fitted with a 10° finder for selective metering privileging the shadow areas, but too much to avoid high-lights saturation, or also in the incident-light mode with the integrating opal dome of the Autometer.

Most of the views were taken at 1/50s to 1/200s and f/5.6 to f/9 apertures.

Port Rambaud - La Confluence***, July 31, 2025

69002 Lyon

France

_____________________

*** Port Rambaud is a former river port in Lyon, on the Saône, located in the Confluence district at the end of the peninsula between the Saône and Rhône rivers up to the Pont de la Mulatière. The construction of the port was decided in 1909 but work was frozen during the First World War and only completed in 1926. Initially 500 m long, it was first extended in 1929 to the Pont de la Mulatière, reaching 1,000 m in 1953, allowing 16,000 m3 of hydrocarbons to be stored. From 1985, the activities of the Rambaud port were transferred to the new Édouard-Herriot port on the Rhône and the Rambaut port was closed in 1991. The old port became a concerted development zone to create the new "La Confluence" district where post-modernist architectural projects.

In 2014 was opened the Musée des Confluences (French pronunciation: [myze de kɔ̃flyɑ̃s]) a science centre and anthropology museum l ocated at the southern tip of the Presqu'île at the confluence of the Rhône and the Saône, adjacent to the A7 highway Paris-Marseille. The museum was designed in the deconstructivist architectural style, said to resemble a floating crystal cloud of stainless steel and glass, and was created by the Austrian firm Coop Himmelb(l)au.

______________________

After completion at view Nr. 38, the film was rewound normally and processed using 400 mL of stock solution of Adox Atomal 49 developer for 8min30 at 20°C.

Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The diffuse light source was a LED panel CineStill Cine-lite.

The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.4) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.

About the camera and its history :

Among the French 35mm camera produced by « Optique & Précision de Levallois S.A. » from 1945 to the middle of the 60’s, the FOCA Universel « RC » is likely the most captivating ever produced in France at that time.

The camera was the last development of the FOCA, sometime called the « French Leica » because the optical and mechanical precision matched and even surpassed the original thread-mount Leica. Far before the first Leica M (the M3 in 1954) O.P.L. developed a bayonet-mount FOCA in 1948 called the FOCA « Universel ». Seeing the incredible viewer and range finder of the Leica M that is likely the most sophisticated system even engineered, O.P.L. released lately a great improvement of the FOCA with a novel collimated, parallax auto-corrected, of a fully original and different design of the Leitz system.

The FOCA Universel RC It is a rare camera that only appears for time to time on the collector market, being only produced to a bit more than 2000 overall units in the years 1962 and 1963, just before O.P.L. decided to quit the camera production and returned to other instrumental optical production. O.P.L. soon merged with SOM Berthiot and today can be found still in the industrial filiation of SAFRAN group, the French leader company for designing and producing system for aerospace appliances. The plant where the FOCA's were produced still exists in an almost original form in Châteaudun, Eure-et-Loir, France.

I got my first FOCA URC unit two years ago (Sept. 2023, flic.kr/s/aHBqjAV6Dg) that is a standing and emotional piece of my small camera collection.

I got this one from an apparently ignored auction on the French eBay. We were only two biders in the last 5s and I won the auction not far away to the initial price. The camera was fully revised, with new shutter curtains, a new delayed shutter release mechanism. The serial number indicated a year-1962 production starting with 1.000.000, closed to my first FOCA URC. The camera works in every functions like on its Day-1! The camera came with a late version 1962 of the OPLAR 1:2.8 f=5cm standard collapsible lens of excellent quality, the FOCA UCR dedicated ever-ready leather bag with the original leather neck strap in good condition.

The original O.P.L. camera warranty and a registration postal card fortunately followed the life of the camera, indicating that this beautiful FOCA Universel RC was sold to its first owner on August 9, 1963 by the official FOCA dealer « ROYAL-PHOTO, Photo-Ciné-Magnétohone », 42, rue Vignon, Paris 9ème arrondissement, France, today a Weill fashion shop at the same address. The address of the owner also still exists with the original Parisian building in place, Boulevard Poniatwski, next to the Métro station « Porte de Charenton », Paris 12ème arrondissement.

The shown original FOCAL Universel RC user manual is the one that came with my other FOCA URC camera.

These information pushed me to question what were the news in France on this Friday, August 9, 1963… France was mainly on vacation, by an exceptional wet and fresh weather that wasted many French citizens holidays. The whole national radio information bulletin is still available online here :

www.ina.fr/ina-eclaire-actu/audio/phd94020557/inter-actua...

Inter actualités de 7:15 PM du 9 août 1963

Inter actualités de 7:15 PM - 09.08.1963 - 29:58 - audio

Ina.fr (English translated)

- Headlines - Jean-Pierre ELKABBACH: The Marseille and Bordeaux sailors' strike ended this morning, but nothing has been resolved in Le Havre. Many heads of state and government sent messages of condolence to President Kennedy for the death of his third child shortly after birth. Other headlines in the newspaper (2'20"). - André Brière: It does not appear for the moment that work will resume in Le Havre. Mr. Pisani would agree to the distillation of 2 million hectoliters of wine, which is clogging up the market, but a subsidy would be required. Discontent is growing among winegrowers in the south, whom the population accuses of various acts of sabotage in the Narbonne region. Complaints from winegrowers in the southwest. Farmers scattered 5 tons of potatoes yesterday in the streets of Douai (3'30"). - Jacques Behingue: Secretary of State Dean Rusk will return to Washington from Moscow on Monday. He will give a presentation to senators on the Moscow Treaty. This morning, Dean Rusk was received by Mr. Khrushchev on the shores of the Black Sea in Cagra. This evening, Mr. Dean Rusk will host a dinner in Moscow at the US Embassy. Tomorrow, he will be in Bonn, received by Mr. Adenauer. The Moscow Treaty was signed by 11 new countries, with Japan set to sign next Wednesday. North Vietnam has refused to sign. Mr. MAC MILLAN declared that underground tests, which are not prohibited, are not of great importance because nuclear weapons can only be modified following atmospheric tests (4'40"). - Gérard TAVERA: Two years after Bizerte, France and Tunisia signed an agreement this morning that includes two chapters: the first concerns the 30,000 Tunisian workers living in France, the second concerns economic cooperation. This agreement resolves the economic problems concerning Bizerte. After an African trip, Mr. BEN BELLA returns to Algiers. In Accra, Mr. BEN BELLA declared that the next session of the UN would be an African session. Yesterday, AIT AHMED violently criticized the FLN party and the constitutional project. All French newspapers reproducing Mr. AIT AHMED's Declaration were seized this morning upon their arrival in Algiers. Since July 16, in Morocco, leaders of the UNFP are detained in rather precarious conditions following the "plot" against the monarchy (2'25"). - André Brière: before the State Security Court, opening of the trial of the station commander, among those who are bringing a civil action is Mr. Jean OUDINOT, former director of RTF in Algiers (1'05"). - Victor VRAMANT: the body of Doctor WARD was cremated this morning, only members of Doctor WARD's family attended the funeral ceremony. The weather in France and Europe. It is raining everywhere in France except on the Côte d'Azur. Road accidents (2'). - Jean-Pierre ELKABBACH: Gaston GELIS, former director of "Paris-journal" died in a road accident in Seine et Marne (1'). - Victor VRAMANT: a major drug trafficker was arrested at Orly. In Italy, following the arrest of a repeat offender, a 22-year-old American woman was arrested for drug trafficking (1'30"). - Jacques CHABOT: Charles TRENET has not yet been released; he would be released tomorrow morning after payment of bail (25%).

WEATHER:

SOURCE: www.meteo-paris.com/chronique/annee/1963

June 14, 1963: a particularly cool day - it was no more than 12°C in Rouen, 13°C in Paris, St. Quentin, Lille, Le Havre, and Caen.

August 1963 was autumnal because it was very cool and very wet. On August 3, 1963, torrential rains caused catastrophic flooding and the death of eight people in the Lyon region. On August 4, 1963, 400 houses were also flooded between St. Jean de Luz and Le Boucau (Pyrénées Atlantiques). On August 17 and 18, 1963, it was no more than 10°C. and 15°C in the northern half - many summer visitors leave early - it's snowing in the mountains and the harvest is very difficult.

Historical landmarks of the year 1963

August 28, 1963: Martin Luther King leads the march on Washington. October 11, 1963: Jean Cocteau and Edith Piaf die within hours of each other. November 22, 1963: President J.F. Kennedy is assassinated in Dallas. The yé-yé movement is in vogue - the debut of Françoise Hardy and the politically engaged singer, Jean Ferrat.

being absorbed by ed ed

2 4

Nike Air Force 1 High Flax Size 5Y Wheat Brown Gum 922066-203 by Red Deals Online

Nike Air Force 1 High Flax, GS, Size 5Y, Wheat, Gum, 922066-203, Outdoor Green, Gum, UPC 00883212095992, ‘Flax’ collection, outdoor green accents, tonal flax Gum outsole, Flax nubuck upper, Gum Out Sole, Perforated detailing on the toe box, Perforations for breathability, Nike Swoosh on the sides, Ankle strap for security, Nubuck tongue with Nike Air branding, Midsole Air-sole for impact absorption, Nike Air branding on the heel, Red Deals Online eBay store

Nike Air Max 1 Essential Midnight Navy White Gum 537383-400 Men’s Size 10 by Red Deals Online

Nike Air Max 1 Essential, 537383-400, Midnight Navy, White, Gum, Med Brown, Light Bone, UPC: 00091203082214, 2015, debut in 1987, Air-Sole unit, Air Max technology, impact absorption, runners,

fnet007 by fature foto

www.fature.net/release.php?id=7

It's been a little while in the making but all good things come to those who wait - just like a nice cold pint of Guinness.

This is the first release compiled solely by label founder Fature and includes an exhibition of genres to once again show the diversity and talent of the Faturenet collective.

Starting up-beat and in-your-face slowly developing into experimental, downtempo, melodic and chillout moods, there should hopefully be something for everyone in this desirable experience.

Compiled by Fature, artwork by Drew Costigan

01.Television Overdose - Tephra

02.Dario - Early Summer Extended Mix

03.CJ Blacklime - Close Your Eyes 2009

04.Dave Zky - Zulu

05.Absorption - Foolproof

06.Babungus - Deep Load

07.Drew Costigan - Soylent Brown

08.Waverine - Whale

09.Owl Challenger - Exit My Vegetable

10.Awaycaboose - tHe uNdErToW

11.Sevish - Umbriel

12.Moments Before Collapse - Tarpit Ritual

13.Fafnirrockson - Night After Night Radio Edit

14.Delcraft - Walk of Lu

Released: 15th Feb 2010

Prinz Gholam by Sequences 2009

Suspended time and absorption are central in our performative work. We perform „engrossed in an activity as if in denial of an audience“. We keep still. We move according to a choreographed path. We keep close to each other, we touch each other, we lie on the floor. From one tableau to the next. Holding the image for few minutes. One of us lies on a wooden plank. The whole leg, buttocks and lower back rest on the plank. Only shoulders and head touch the floor. The second figure is already doing a shoulderstand, bending the left knee and simultaneously stretching and leaning the right leg slightly over the head. The stretched leg remains leaning… The piece is inspired by the long scene in the sculpture garden at the Museum of Modern Art in New York from the film „Shadows“ by John Casavettes; Stills from Bob Fosse’s „All that Jazz“; photos of works by Yvonne Rainer and Rudolph von Laban and Kinesiology, physical therapy exercises.

Prinz Gholam by Sequences 2009

Suspended time and absorption are central in our performative work. We perform „engrossed in an activity as if in denial of an audience“. We keep still. We move according to a choreographed path. We keep close to each other, we touch each other, we lie on the floor. From one tableau to the next. Holding the image for few minutes. One of us lies on a wooden plank. The whole leg, buttocks and lower back rest on the plank. Only shoulders and head touch the floor. The second figure is already doing a shoulderstand, bending the left knee and simultaneously stretching and leaning the right leg slightly over the head. The stretched leg remains leaning… The piece is inspired by the long scene in the sculpture garden at the Museum of Modern Art in New York from the film „Shadows“ by John Casavettes; Stills from Bob Fosse’s „All that Jazz“; photos of works by Yvonne Rainer and Rudolph von Laban and Kinesiology, physical therapy exercises.

Nike Air Force 1 Hi Suede University Red Women’s Size 8.5 Gum Brown 749266-601 by Red Deals Online

Nike Air Force 1 Hi Suede University Red, Women’s Size 8.5, Gum Brown, 749266-601, UPC 00888410279908, 2015, University Red suede upper, “AIR” printed on heel, Perforated detailing on the toe box, Perforations for breathability, Nike Swoosh on the sides, Ankle strap for security, Nubuck tongue with Nike Air branding, Midsole Air-sole for impact absorption, Tonal branding on the side panels, Nike Air branding on the heel, Rubber outsole for increased traction, rubber foam sole, Air-Sole cushioning unit, gum rubber sole reddealsonline, sneakerhead, eBay shoes, Authenticate, Authenticity Guarantee, Red Deals Online

Brookways School by Sound Reduction Systems Ltd

Sonata Class A rated Acoustic panels are used within a wide variety of buildings to reduce reverberation and give a suitable acoustic environment.

Swarraton and Northington Village Hall by Sound Reduction Systems Ltd

Sonata Class A rated Acoustic panels are used within a wide variety of buildings to reduce reverberation and give a suitable acoustic environment.

Wii absorption by Lisa

Meyer-Optik Görlitz Oreston by Jean-Marc Célinan

On September 7, 2024, at the annual photo fair of Saint-Bonnet-de-Mure, France, I found this Meyer-Optik Görlitz lens Oreston 1:1.8 f=50mm in M42 mount that I wanted to associate to my Praktica IV SLR camera body.

The lens was in acceptable condition for 20€ in the range range of price of my Praktica IV. Both were manufactured in Dresden, Germany in the year 1960’s. Oreston lens was marketed starting from 1965 in order to equip, in particular, the Praktica Nova that was anticipated to be produced massively by Pentacon for exportation (zeissikonveb.de/start/objektive/normalobjektive/oreston.html).

Oreston was a modern normal lens 6-lens double Gauss type, capable to compete with other foreign productions of that time, with a large aperture, automatic diaphragm mechanism, and optical performances that could not rival to Zeiss Jena productions (as the Flexon and Pancolar) but still very near at medium apertures.

For testing the lens, I loaded a 36-exposure black-and-white Fomapan 100.In the Praktica IV equipped with the Oreston lens. The lens was equipped a generic Yellow 49mm screw-on filter and a cylindrical modern shade hood for the views taken. The expositions were determined for 64 ISO instead of the nominal 100 ISO to compensate the filter light absorption, using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas or with the integrative dome for measurement of the incident light.

Croix-Paquet, September 10, 2024

69001 Lyon

France

After complete exposure, the film was revealed using Adox Adonal (Agfa Rodinal) developper at dilution 1+50 at 20°C for 9 min. The film was then digitized using a Sony A7 body fitted to a Minolta Slide Duplicator installed on a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5. The RAW files obtained were processed without intermediate files in LR and edited to the final jpeg pictures.

All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg plus some documentary smartphone color pictures.

About the Praktica IV camera :

I got the camera body Praktica IV and a set of related KDH Leipzig accessories from an eBay seller near Paris, France.. The whole arrived to me on January, 31, 2024, in Lyon, France.

The Praktica IV was designed by the prestigious KW (Kamera Werk Niedersedlitz) German company in Dresden on the basis of their previous Praktica FX SLR camera's. The camera was produced first under the KW name starting from June 1959 then within the Kombinat VEB Pentacon after the merge of the company in 1960.

166.800 Praktica IV and V (6 models) were produced until January 1966. Praktica IV essentially incorporates a condenser focusing screen plus a pentaprism. Due to the Praktica FX architecture the Pentaprism looks protruding from the camera body with an unusual style. It fits lenses with M42x1 mount and the mirror has no automatic return. The shutter is made of two horizontal curtains of rubberized fabric giving 1/500s to 1/2s plus B in two registers of slow speeds (1/2s to 1/10s) and high speeds (1/25s to 1/500s). The film is advanced coupled to the shutter cocking using either the right upper button or the rapid lever underneath the body.

The Praktica IV handles the "Auto" M42 lenses with the lever for automatic iris closing upon the release. Sequentially, when pressing the shutter release button, the diaphragm closes to the indicated value, the mirror is lift-off and finally the shutter is erased at the given value. If a non-auto (manual closing) M42 is used the pushing lever could be cancelled (declutched) moving a small red button to the right in the mirror chamber.

The camera camera came without lens but with a body cap and the original ever-ready leather bag with et "Ernermann tower" Pentacon logo. This model is likely the second Praktica IV essentially the same as the initial KW one with a different front plate. The camera was likely art of a collection and is completely preserved without use marks.

The KDH Leipzig (Kurt-Dieter Huffziger Foto- und Kinozubehör) accessories set included:

-A panoramic tripod head

-A set of three extension tubes M42x1)

- A big aluminum shade hood (screw-on 49mm) for wide-angle lens.

- A M42x1 metal body cap in its original box.

- An accessory shoe fitting the the Praktica IV eye piece.

-------------------------------------

Foca Universel RC "408" Test Film by Jean-Marc Célinan

For testing on film my newly arrived exceptional French 35mm camera FOCA Universel RC (see below for details about this rare and fascinating camera), I went for photowalk in my district, Lyon, France. The weather was very sunny and the outside temperature warm (32°C).

Testing a new collection camera is always is great moment. We know the camera only from its blank manipulations but the real judge is the test film on the field, the camera exposed to outside elements in real photography operations. Some possible problems as light leaks or slight unpairing of the shutter curtains, will be only detected on film.

I used the camera with its ever-ready bag and I removed the front part for operation. In particular, I previously checked very carefully the exact condition of the thin leather neck strap. Old leather may crack and it would a shame and a nightmare to drop such camera. The OPLAR standard lens 1/:2.8 f=5cm was equipped with a yellow filter FOCA x2.5. The OPLAR lens fro the FOCA’s only accept push-on filter (42.5mm in this specific case). A vintage Genaco cylindric stainless-steel shade hood conceived for a 5cm focal length was also used all along the session.

The test film was a 36-exposure Fomapan 100. Expositions were determined for 50 ISO to compensate the absorption of the yellow filter. Metering was achieved using a Minolta Autometer III lightmeter fitted with a 10° finder for selective metering privileging the shadow areas.

View Nr 36: 1/100s f/8 focusing @ 10 m - Yellow filter

Brocante à la Croix Rousse, July 5, 2025

Place des Tapis

69004 Lyon

France

After completion at view #39, the film was rewound normally and processed using 350 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+50 for 9 min at 20°C.

Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The diffuse light source was a LED panel CineStill Cine-lite.

The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.4) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.

As a result, the test film shows that this FOCA Universel RC is in perfect conditions and could be used normally with confidence.