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Main Street, Gloucester - 1917
John Sloan (American, 1871 - 1951)
Sloan spent each summer from 1914 to 1918 in the small Cape Ann, Massachusetts, town of Gloucester. This work, executed during the fourth summer, reveals an aesthetic sophistication stimulated by the artist's absorption of the 1913 Armory Show's provocative presentation of avant-garde and modernist art. That landmark exhibition, coupled with those he helped to organize for The Eight in 1908 and the Exhibition of Independent Artists in 1910, inspired Sloan to explore a constellation of new ideas and methods. The body of work he created during the Gloucester years speaks of a renewed rigor as well as an intrepid and vigorous spirit of experimentation that would endure throughout his career.(1)
Initially, “Main Street, Gloucester” captivates as one of Sloan's distinctive "city-life" pictures, for which he garnered an enormous reputation. In the decade and a half preceding this painting's creation, his keen powers of observation, selection, and rendering were honed through his work as an illustrator, etcher, and painter of the urban scene. Yet his production during the Gloucester period represented a fundamental shift in his methods of conception and execution.
I had been dependent on waiting for the inspiration to paint a picture because I had so little leisure time to work for myself. So I decided to save up enough money to take off for a few months, go to the country and work from nature to get fresh ideas about plastic design and color rhythms.(2)
Thus issues of pure painting, rather than subject, motivated his work at this time.
This redirection toward plasticity, design, and color resulted from Sloan's thoughtful analysis of the work of what he called the "ultra-moderns" at the Armory Show. Sloan recalled the impact of that landmark exhibition: "It was exciting, it pointed many ways to freedom of expression, color, texture, most of all “graphics”. It pointed the way back to mental rather than visual thinking."(3) He credited the works of Cézanne, Matisse, and Van Gogh, among others, as powerful antidotes for the disease of "clever eyesight painting," the scourge of art production and consumption since the advent of photography.(4) He wrote: "Many intelligent people have accepted the false idea that accuracy in representing visual facts is a sign of progress in art. Such imitation of superficial effects has nothing to do with art, which is and always has been the making of mental concepts."(5)
Sloan's summers in Gloucester precipitated the auspicious convergence of several paths of inquiry in his own work. Using color as a constructive, expressive element in painting had been one of his preoccupations since 1909, when Robert Henri introduced him to Hardesty Maratta's experimental color system. Through it, Sloan had moved away from a dark tonal palette by increasing the presence of bright vivid colors. Maratta's system was predicated on the analogous relationship of the twelve colors in the chromatic wheel to notes in an octave of music.(6) The careful, precise orchestration of notes, chords, and harmonies was facilitated through the use of a set palette of premixed colors. With this palette, Sloan was confident that he could maintain the continuity of a painting's colors as he worked on it over time:
These Maratta colors opened up the palette for me. I had been analyzing the color of the city streets and the few things I painted from the model, in terms of color changes away from a basic raw umber note. With the Maratta colors I had six, twelve color-hues to work with, and from there could think of branching up into notes of higher intensity.(7)
His use of the Maratta system was given fresh impetus when he coupled it with plein-air techniques. The genre of landscape provided a comfortable arena in which to experiment with color that was often somewhat antinaturalistic. "After selecting the subject I would take half an hour to set my palette. Then I would pick up those set tones and draw with paint. Instead of imitating the colors in nature, I decided on some quality of color that interested me and set a limited palette."(8) His deep sympathy for humanity prevented his taking too many liberties with human subjects. "There is no better subject [than landscape] to free one of color habits. The variety in nature offers new color combinations, new ideas. You also feel more free to take liberties with color in nature than when painting from the figure."(9)
In “Main Street, Gloucester” Sloan effectively merged plein-air techniques with his exploration of color rhythms and plastic design. Through the skilled massing and organization of form, volume, and color, he devised a composition that is at once stable and balanced yet highly animated. By the artist's criteria for a successful composition, “Main Street, Gloucester” is a successful work. "A good design has stability. It is at rest with itself. Sense the opposition of horizontal and vertical rhythms to the dynamic movement of diagonal curves. Feel the weight of tones and colors, balance and counterbalance them against line and mass."
Born in Lock Haven, Pennsylvania, John Sloan was the first child and only surviving son of Henrietta Ireland, a former school teacher, and James Dixon Sloan, who repaired bicycles and worked as a photographer after the decline of his family's cabinetry business. Sloan's childhood was spent reading, sketching, and pouring over illustrated books. He attended Philadelphia's prestigious collegiate Central High School with fellow students William Glackens and Albert Barnes. In 1888 Sloan left school just six months shy of graduation, to become the family's primary breadwinner.
Sloan took a job as a cashier at Porter and Coates' bookstore and continued his education by reading and studying prints. He taught himself to etch using Philip Hamerton's “Etcher's Handbook” (1881), a popular "how-to" manual, and supplemented his income by selling prints at the bookshop. When A. Edward Newton, one of his co-workers, left to open his own store, he hired Sloan to etch giftbooks and pamphlets. At this time, Sloan made his first oil painting, “Self-Portrait” (1890; Delaware Art Museum, Wilmington), using another "how-to" book, John Collier's “Manual of Oil Painting” (1886), and painting on a piece of window shade his father gave him.
During the 1890s Sloan worked as an illustrator for the “Philadelphia Inquirer” and the “Philadelphia Press”, honing his skills as an astute "spectator of life." Fellow illustrators Glackens, George Luks, and Everett Shinn introduced him to a circle of artists, including Robert Henri, who soon became his close friend and mentor. Their shared aspirations to infuse American art with vitality and release it from the tyranny of the conservative academic system of juried exhibitions and prizes led them to form the group known as The Eight. Their landmark exhibition of 1908 established Sloan's career as an artist, exhibition organizer, and forward-thinking modernist.
Sloan's earliest paintings, many executed in a limited palette, are indebted to the figurative traditions of James McNeill Whistler, Thomas Eakins, and Thomas P. Anshutz. Sloan moved to New York in 1904 and took up the city-life subjects that distinguished his ensuing career. His spirit of artistic exploration, fed by the 1913 Armory Show and summer sojourns to the art colonies of Gloucester (1914-18) and Santa Fe (1919-50), led him to experiment with color, glazing, and a graphic painting technique that he called "linework."
From 1900 until his death, Sloan's paintings, etchings, and drawings were exhibited in nearly nine hundred exhibitions, including those at the Pennsylvania Academy of the Fine Arts, Carnegie Institute, Art Institute of Chicago, Corcoran Gallery of Art, Whitney Studio Club and C. W. Kraushaar Art Galleries. “The Gist of Art” (1939), written with his student Helen Farr (later, Mrs. John Sloan), stands as a thoughtful and eminently readable compendium of his ideas and practices. Happily, Sloan's numerous contributions to the arts and to art education were recognized and celebrated in the decade before his death.
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
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Main Street, Gloucester - 1917
John Sloan (American, 1871 - 1951)
Sloan spent each summer from 1914 to 1918 in the small Cape Ann, Massachusetts, town of Gloucester. This work, executed during the fourth summer, reveals an aesthetic sophistication stimulated by the artist's absorption of the 1913 Armory Show's provocative presentation of avant-garde and modernist art. That landmark exhibition, coupled with those he helped to organize for The Eight in 1908 and the Exhibition of Independent Artists in 1910, inspired Sloan to explore a constellation of new ideas and methods. The body of work he created during the Gloucester years speaks of a renewed rigor as well as an intrepid and vigorous spirit of experimentation that would endure throughout his career.(1)
Initially, “Main Street, Gloucester” captivates as one of Sloan's distinctive "city-life" pictures, for which he garnered an enormous reputation. In the decade and a half preceding this painting's creation, his keen powers of observation, selection, and rendering were honed through his work as an illustrator, etcher, and painter of the urban scene. Yet his production during the Gloucester period represented a fundamental shift in his methods of conception and execution.
I had been dependent on waiting for the inspiration to paint a picture because I had so little leisure time to work for myself. So I decided to save up enough money to take off for a few months, go to the country and work from nature to get fresh ideas about plastic design and color rhythms.(2)
Thus issues of pure painting, rather than subject, motivated his work at this time.
This redirection toward plasticity, design, and color resulted from Sloan's thoughtful analysis of the work of what he called the "ultra-moderns" at the Armory Show. Sloan recalled the impact of that landmark exhibition: "It was exciting, it pointed many ways to freedom of expression, color, texture, most of all “graphics”. It pointed the way back to mental rather than visual thinking."(3) He credited the works of Cézanne, Matisse, and Van Gogh, among others, as powerful antidotes for the disease of "clever eyesight painting," the scourge of art production and consumption since the advent of photography.(4) He wrote: "Many intelligent people have accepted the false idea that accuracy in representing visual facts is a sign of progress in art. Such imitation of superficial effects has nothing to do with art, which is and always has been the making of mental concepts."(5)
Sloan's summers in Gloucester precipitated the auspicious convergence of several paths of inquiry in his own work. Using color as a constructive, expressive element in painting had been one of his preoccupations since 1909, when Robert Henri introduced him to Hardesty Maratta's experimental color system. Through it, Sloan had moved away from a dark tonal palette by increasing the presence of bright vivid colors. Maratta's system was predicated on the analogous relationship of the twelve colors in the chromatic wheel to notes in an octave of music.(6) The careful, precise orchestration of notes, chords, and harmonies was facilitated through the use of a set palette of premixed colors. With this palette, Sloan was confident that he could maintain the continuity of a painting's colors as he worked on it over time:
These Maratta colors opened up the palette for me. I had been analyzing the color of the city streets and the few things I painted from the model, in terms of color changes away from a basic raw umber note. With the Maratta colors I had six, twelve color-hues to work with, and from there could think of branching up into notes of higher intensity.(7)
His use of the Maratta system was given fresh impetus when he coupled it with plein-air techniques. The genre of landscape provided a comfortable arena in which to experiment with color that was often somewhat antinaturalistic. "After selecting the subject I would take half an hour to set my palette. Then I would pick up those set tones and draw with paint. Instead of imitating the colors in nature, I decided on some quality of color that interested me and set a limited palette."(8) His deep sympathy for humanity prevented his taking too many liberties with human subjects. "There is no better subject [than landscape] to free one of color habits. The variety in nature offers new color combinations, new ideas. You also feel more free to take liberties with color in nature than when painting from the figure."(9)
In “Main Street, Gloucester” Sloan effectively merged plein-air techniques with his exploration of color rhythms and plastic design. Through the skilled massing and organization of form, volume, and color, he devised a composition that is at once stable and balanced yet highly animated. By the artist's criteria for a successful composition, “Main Street, Gloucester” is a successful work. "A good design has stability. It is at rest with itself. Sense the opposition of horizontal and vertical rhythms to the dynamic movement of diagonal curves. Feel the weight of tones and colors, balance and counterbalance them against line and mass."
Born in Lock Haven, Pennsylvania, John Sloan was the first child and only surviving son of Henrietta Ireland, a former school teacher, and James Dixon Sloan, who repaired bicycles and worked as a photographer after the decline of his family's cabinetry business. Sloan's childhood was spent reading, sketching, and pouring over illustrated books. He attended Philadelphia's prestigious collegiate Central High School with fellow students William Glackens and Albert Barnes. In 1888 Sloan left school just six months shy of graduation, to become the family's primary breadwinner.
Sloan took a job as a cashier at Porter and Coates' bookstore and continued his education by reading and studying prints. He taught himself to etch using Philip Hamerton's “Etcher's Handbook” (1881), a popular "how-to" manual, and supplemented his income by selling prints at the bookshop. When A. Edward Newton, one of his co-workers, left to open his own store, he hired Sloan to etch giftbooks and pamphlets. At this time, Sloan made his first oil painting, “Self-Portrait” (1890; Delaware Art Museum, Wilmington), using another "how-to" book, John Collier's “Manual of Oil Painting” (1886), and painting on a piece of window shade his father gave him.
During the 1890s Sloan worked as an illustrator for the “Philadelphia Inquirer” and the “Philadelphia Press”, honing his skills as an astute "spectator of life." Fellow illustrators Glackens, George Luks, and Everett Shinn introduced him to a circle of artists, including Robert Henri, who soon became his close friend and mentor. Their shared aspirations to infuse American art with vitality and release it from the tyranny of the conservative academic system of juried exhibitions and prizes led them to form the group known as The Eight. Their landmark exhibition of 1908 established Sloan's career as an artist, exhibition organizer, and forward-thinking modernist.
Sloan's earliest paintings, many executed in a limited palette, are indebted to the figurative traditions of James McNeill Whistler, Thomas Eakins, and Thomas P. Anshutz. Sloan moved to New York in 1904 and took up the city-life subjects that distinguished his ensuing career. His spirit of artistic exploration, fed by the 1913 Armory Show and summer sojourns to the art colonies of Gloucester (1914-18) and Santa Fe (1919-50), led him to experiment with color, glazing, and a graphic painting technique that he called "linework."
From 1900 until his death, Sloan's paintings, etchings, and drawings were exhibited in nearly nine hundred exhibitions, including those at the Pennsylvania Academy of the Fine Arts, Carnegie Institute, Art Institute of Chicago, Corcoran Gallery of Art, Whitney Studio Club and C. W. Kraushaar Art Galleries. “The Gist of Art” (1939), written with his student Helen Farr (later, Mrs. John Sloan), stands as a thoughtful and eminently readable compendium of his ideas and practices. Happily, Sloan's numerous contributions to the arts and to art education were recognized and celebrated in the decade before his death.
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Bnei Menashe aliyah and arrival ceremony at Ben Gurion Airport, with the Minister of Absorption.
Photos taken by Laura Ben-David
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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).
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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 Force 1 Mid 07, Obsidian, Denim, Sail, Gum, Light Brown, 315123-408, Men’s, Size 10.5, Off White, leather and textile upper, padded ankle collar, provides a comfortable fit, VELCRO closure across the ankle adds stability and support, Full-length Phylon midsole with heel Air-Sole unit provides added shock absorption, Rubber outsole supplies durable traction, Basketball, Classic/Retro, Mid-Top, Bruce Kilgore, Release Year 2015, AF1, Uptowns, Basketball, Classic/Retro, Mid-Top
Timberland 6” Premium Waterproof Boots, Men’s Size 11, Black, Nubuck, 10073, TB010073 Premium waterproof Nubuck leather upper, Seam-sealed waterproof construction, Direct-attach construction for durability, Leather lining for comfort and durability, Rustproof hardware, Classic nylon boot laces, 200 grams of PrimaLoft® insulation, Padded collar for a comfortable fit around the ankle, Anti-fatigue midsole and removable footbed for all-day comfort, lightweight cushioning and shock absorption, Rubber lug outsole is made with 10% plant-based materials, padded collar,
Seng demonstrates how to absorb light from a subject's face by using any old dark object.. Its all about the light people.
Copper is found in all body tissues, plays a role in making red blood cells with iron & maintaining nerve cells, the immune system, formation of collagen, plays a role in energy production, aids in iron absorption, helps carry oxygen to your brain. Most copper in the body is found in the liver, brain, heart, kidneys, skeletal muscle & regulating stress response.
Body needs copper to produce specific enzymes responsible for making the connective tissue in our ligaments, tendons & heart. These enzymes are also involved with maintaining strong blood vessel structure & support bone formation. Copper plays an important role in melanin formation. Copper peptides possibly stimulates hair follicles, so they receive adequate oxygen & nutrients to produce new hair growth.
Normal copper level in blood is 70-140 microgram/dL for males & 80-155 microgram/dL.
Copper deficiency can lead to problems with connective tissue, muscle weakness, anemia, low white blood cell count, neurological problems, paleness. As an antioxidant, it binds with free radicals in our body, preventing them from harming our cells. Excessive free radicals, in long run, can cause chronic diseases like diabetes, arthritis & heart disease.
Besides, copper deficiency causes low body temperature, bone fractures and osteoporosis, low white blood cell count, irregular heartbeat, loss of pigment from the skin, thyroid problems.
Copper poisoning occurs from prolonged use of copper dietary supplements or from drinking contaminated water. Poisoning cause feeling of anxiety, irritability, non-attention, overexcited, sad, mood changes with other common symptoms abdominal cramps, nausea, jaundice etc.
Main reason for copper deficiency is malabsorption due to bariatric surgery. Ascorbic acid is known to inhibit the absorption of copper. Rich dietary copper sources include shellfish, seeds, nuts, organ meats, wheat-bran cereals, whole-grain products, chocolate, potatoes. Sweet potatoes are rich in beta carotene (vitamin A), copper, potassium, manganese, Vit B6, B5, Vit E.
Copper supplements like copper gluconate, copper sulfate, copper chloride are prescribed for copper deficiency as medication.
TAILPIECE: Copper is a micro-nutrient, eating or drinking out of copper vessels healthy as it is great for the immune system, digestion. Water stored in a copper vessel is alkaline and better for your health. However, avoid preparation of acidic foods in copper vessels since the acids react with copper.
Agappe, your best partner in diagnostics, offers Copper reagent in semi auto clinical chemistry analyzer platform.
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. 6: 1/100s f/8 focusing @ infinite - Yellow filter
Montée du Lieutenant Allouche, July 5, 2025
69001 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.
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.
My first stacked image of the Milky Way galactic center. The framing is a little off, but with some artistic insight you can appreciate the dark absorption nebula of the milky way encroaching on the rest of interstellar space.
Around 1000 frames untracked at 3 seconds each, f/1.8 ISO 1600 on a Canon Rebel T3i with calibration frames flats, darks and bias stacked with DSS and processed in photoshop.
Nike Air Force 1 High, Menâs Size 11.5, Black, Iridescent, UPC: 00886691908005, 2016, Padded high-cut collar, Full-length Nike Air unit, Ankle strap, Iridescent accents, leather upper, Black rubber midsole and outsole, Nike AIR printed on heel, Nike Swoosh on the sides, Ankle strap for security, tongue with Nike Air branding, Midsole Air-sole for impact absorption, Rubber outsole, Air-Sole cushioning unit, reddealsonline, redd3413
All Weather Sound Panels block and absorb sound from one direction. This is the front side where the sound is prevented from encroaching on an adjacent neighborhood.
Class A Sonata acoustic absorption panels used to reduce reverberation within School, Village and Church Halls
Class A Sonata acoustic absorption panels used to reduce reverberation within School, Village and Church Halls
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via
Sound panels reduce sound and enhance the experience and comfort in any given space. Sound absorption creates a great atmosphere by filtering out unwanted sounds from outside the room and from sounds bouncing around inside the room.
But the question of how many sound panels do I need is not always an easy question to answer. Multiple factors influence the number of panels you need.
In this article, we’ll explore a few of the factors you need to consider before choosing the number of sound panels for your room.
Shape & Size Of The Room
It probably comes as no surprise that the larger the room size, the more panels you’ll need for optimal sound absorption. Larger rooms produce more echo and more reverberation, requiring a higher level of protection to prevent sound from bouncing around the room and onto other surfaces.
The shape of a room will also affect how sound travels in and around it. A high ceiling will completely change the acoustics of a similar-sized room with lower ceilings. More height = and more space = more reverberation.
Rooms with straight, square, or rectangular walls are pretty straightforward by placing sound panels around the perimeter. But spaces with high-ceiling can benefit from sound panels on the ceiling to reduce the reverberation. Longer rooms have different problems to solve.
So before you decide on the number of panels you need, it’s important to take into consideration the size and shape of the room.
Materials In The Room
The contents of the room are important to how sound travels and is absorbed. Does your space have carpet or hardwood floors? Are the walls drywall, concrete, or wood? Is it heavily furnished or sparse? Questions like these are critical to determining the type and number of acoustical panels are needed for any given room.
Remember that hard surfaces reflect more sound than soft surfaces. Ceramic tile floors will reflect a lot more sound than carpet for example. A room full of plush couches will reflect less sound than a room full of metal chairs.
The Purpose Of The Room
The purpose of the room won’t directly affect the sound levels but is more so used to determine what is an acceptable level of noise and sound reverberation. Is your room a theater? An office? A home recording studio?
All of these rooms require different levels of noise reduction to suit their unique needs. There is no one-size-fits-all when it comes to the acoustics of a room.
For many spaces, it’s not just the amount of sound that needs consideration, but the frequency as well. Different panels will absorb different frequencies, and in general, a thinner panel will absorb higher frequencies, while a thicker panel will absorb lower frequencies.
Different materials inside the panel and the outer wrapping will affect how the panel reduces noise, and which frequencies it takes out the most.
Just like using too few panels will not reduce the sound enough, using too many panels can deaden the sound too much and produce an unnatural and undesirable effect. Reverberation is natural, and important for many rooms. Too many panels in the wrong space results in a room sounding “dead”, which is not what you want unless you’re in a recording studio or similar space.
Positioning Of The Sound Panels
The position of the sound panels plays an important role in how sound is absorbed and reflected. In general, you want to place sound panels at the first reflection points, which is the first area sound would otherwise bounce in a space.
It is recommended to place panels on the sidewalls, ceilings, corners, or the back wall to deal with the first reflections. The size, and shape of the room as well as sound source and type will all play a part in determining the best place to put the panels.
How Many Do I Need?
The short answer to this question is in general you want to have 10-30% of the area covered. However, as we explained above, several factors will determine the exact number and type. You can also use this formula as a rough guide.
Cubic Volume of the room x 3% = square footage of product
Height x Width x Depth x 0.03 = Sq/Ft
These calculations and estimates are just guides, however. If you want your room to have the best soundproofing and absorption possible, it’s best to contact an expert to help you make the right decision.
Each room is different and unique. Call Specialty Interiors and speak to one of our trained sound panel specialists who will answer all your questions and help you choose the best panels for your room.
The post How Many Sound Panels Do I Need? first appeared on Winnipeg's Leader in Flooring & Ceiling Tiles. specialtyinteriors.ca/2021/11/how-many-sound-panels-do-i-...
100%PP Grey Universal Oil Absorbent Pads:
* Oil absorption quantity of 10-20 times
* Economical and effective
* 100% PP construction
Feature:
* One sided spun bond gives extra strength as well as lower lint.
* Chemically inert : product does not degrade or cause a dangerous chemical reaction with the adsorbed liquid.
* Green colour alerts workers that the product is being used for hazardous liquids.
* Green colour also allows the user to identify and separate hazardous waste for disposal, resulting in lower disposal costs.
* Perforated for flexibility : use only what you need and minimize waste.
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