absorption photos on Flickr

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.

_CHP2810 by www.Chphotographic.com

Fluorescing Coral- Fluorescence is the absorption of one wavelength of light and the re-emission of another, a totally different colour. A fluorescent object under near UV light, it absorbs the blue and re-emits a fluorescent colour, brightly glowing in a totally different colour. - Raja Ampat, Dampier Strait, West Papua, Indonesia.

Sanctuary Sound Absorption Gobo's by bozian

Reflection / Dispertion Units

Mucoid Colon Plaque by michaelhontele

High level of Mucoid Colon Plaque. Diminished degree of nutrient absorption.

Hydrogen Energy Storage Market by Dhanashree Pawar

1

Hydrogen Energy Storage Market Research Report: Information by Technology (Liquid Hydrogen, Metal Hydrides, Carbon Absorption, Underground Salt Caverns), End-User (Power Generation, Transportation, Chemicals, Metal Working) & Region.

Simple Columnar Epithelium by maryyyaaaam

Function: absorption; secretion of mucus, enzymes and other substances; ciliated type propels mucus by ciliary action

Location: Nonciliated type lines most of digestive tract (stomach and anal canal) and gallbladder; ciliated type lines small bronchi, uterine tubes, and some regions of uterus.

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.

2023-02-14 (223) by B

1

Reconstruction of the marble funerary stele of Phrasikleia, 2010

Polymethyl metacrylate

Vinzenz Brinkmann & Ulrike Koch-Brinkmann

The colors in this reconstruction of an ancient Greek marble statue of a young woman were identified on the original with the help of ultraviolet-visible absorption spectroscopy and X-ray fluorescence spectroscopy. These techniques revealed numerous pigments: red and brown madder lake, red and brown ocher, and lead white for the eyes, skin, and hair, as well as red and yellow iron oxide, orpiment, and cinnabar for the dress. Certain ornaments had been gilded or perhaps covered with a lead-and-tin foil.

"This richly decorated statue stood on the tomb of a girl named Phrasikleia. She wears a crown of lotus buds and holds a single bud in her left hand. The epigram on the base tells us that she died young, before she could marry.

The famous sculptor Aristion of Paros signed the work. With the help of ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) and X-ray fluorescence spectroscopy (XRF), traces of a numbers of colors on the flesh and clothing could be identified: red and brown madder, red and brown ocher, lead white for the eyes, flesh, and hair, as well as three different reds and yellows (red and yellow iron oxide and orpiment for the garment). Wherever the underside of the fabric is visible - on the sleeve and the lower hem - a dark red pigment (hematite) was deliberately used. Gold leaf and lead tin foil that gleams like silver were applied to the dress and the jewelry. Metal rosettes and shiny yellow swastikas (painted with orpiment and gold ocher) were scattered over the entire garment. Additionally, stars appear on the back of the garment, evidently intended to represent a constellation.

The reconstruction made in 2010 follows the incised patterns and colors that were identified by scientific analysis. But after the latest discoveries by the conservators in the Athens National Museum, the red ocher of the robe has been mixed with cinnabar, giving the color an even more intense effect. The polish of the skin was based on contemporary Egyptian mummy portraits and was done using agate, while a shimmering lacquer (gum arabic) was applied to the irises of the eyes. In 2019, gilding was added to the volute ornament of the belt and precious stones were inserted into the round depressions that are still preserved."

Pigments used in the reconstruction: red: burnt Cypriot yellow ocher, cinnabar, red ocher, hematite; yellow: light yellow Cypriot ocher, gold ocher, orpiment; white: lead white; brown: brown madder, umbra; black: vine black; flesh color: red and yellow ocher, lead white (polished).*

Taken from the exhibition

Chroma: Ancient Sculpture in Color

(July 2022 to March 2023)

Ancient Greek and Roman sculpture was once colorful, vibrantly painted and richly adorned with detailed ornamentation. Chroma: Ancient Sculpture in Color reveals the colorful backstory of polychromy—meaning “many colors,” in Greek—and presents new discoveries of surviving ancient color on artworks in The Met’s world-class collection. Exploring the practices and materials used in ancient polychromy, the exhibition highlights cutting-edge scientific methods used to identify ancient color and examines how color helped convey meaning in antiquity, and how ancient polychromy has been viewed and understood in later periods.

The exhibition features a series of reconstructions of ancient sculptures in color by Prof. Dr. V. Brinkmann, Head of the Department of Antiquity at the Liebieghaus Skulpturensammlung, and Dr. U. Koch-Brinkmann, and introduces a new reconstruction of The Met’s Archaic-period Sphinx finial, completed by The Liebieghaus team in collaboration with The Met.Presented alongside original Greek and Roman works representing similar subjects, the reconstructions are the result of a wide array of analytical techniques, including 3D imaging and rigorous art historical research. Polychromy is a significant area of study for The Met, and the Museum has a long history of investigating, preserving, and presenting manifestations of original color on ancient statuary.

[*The Met]

In the Met

The Metropolitan Museum of Art was conceived in Paris by John Jay in Paris, 1866, as a "national institution and gallery of art" for the American people. The Union League Club in New York campaigned for funding, and The Metropolitan Museum of Art opened to the public in 1870, in the Dodworth Building 681 Fifth Avenue. Initially formed from donations by its founders, the Museum collection increased to the point that it outgrew the initial site, and then a consecutive one, moving to its current location (on Fifth Avenue and 82nd Street) in 1880.

The initial museum building was designed by Calvert Vaux and Jacob Wrey Mould, with extensions added from 1888 onwards - the Fifth Avenue facade, Grand Stairway, and Great Hall, designed by Richard Morris Hunt, opened 1902, and the Fifth Avenue wings by McKim, Mead & White in 1910. The last major development was the installation of glass at the sides and rear of the building, designed by Roch-Dinkeloo in 2011-12.

Taken in Manhattan

Elms School, Dover 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.

SAR Evaluations by Northwest EMC

Working closely with health and safety organizations, the FCC and other spectrum authorities around the world have adopted limits for exposure to radio frequency (RF) energy. For devices used closer than 20 cm to the head or body, the limits are given in terms of the Specific Absorption Rate (SAR), which is a measure of radio frequency energy absorbed by the head or body.

IMG_8600-2 Panorama-Redigera by Thomas Males

1

Klämman in 1000nm

Delrin Sheets are no by Emco Plastics

Delrin Sheets are noted for low moisture absorption, high tensile strength, creep resistance, and durability. Delrin® is a thermoplastic acetal resin. that features a effective chemical resistance to numerous hydrocarbons, solvents, and other chemicals, For detailed specifications documents, please get in touch with Emco for details or call us for a prompt reply. Delrin plastic Sheets have great dimensional stability and minimal moisture absorption. .

- Delrin Sheets are no

Atomic Absorption Meter At Aoil Aci.Res.Inst. = 土壌研　原子吸光 by JIRCAS Library

JIRCAS Photo Archive

www.jircas.go.jp/ja/database/photoarchive

Author: Hamamura Kunio

浜村邦夫 (TARC)

Date: 1992.07.25

Description: 中国農業科学院

Project: 中国河南省黄河沿岸稲麦研究計画長期調査(国際協力事業団の委託による)

Country: 中国(中華人民共和国) (China(people's Republic Of China))

Place: Zhen Zhou,henan,china (中国，河南省鄭州市)

Keywords: 中国河南省黄河沿岸稲麦研究計画長期調査(国際協力事業団の委託による),中国(中華人民共和国),中国，河南省鄭州市,土壌肥料

Slide no. 02-059-01

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本コンテンツは、政府標準利用規約第2.0版(クリエイティブ・コモンズ表示 4.0 国際ライセンス（CC BY）互換)に基づき、出典を明記の上で利用できます。利用条件の内容については「JIRCAS Webサイトの利用について」をご参照ください。

印刷物、調査研究等でご利用頂いた場合は、お問い合わせフォームにてお知らせ頂ければ幸いです（任意）

This content is provided under the terms and conditions of the JIRCAS Website Terms of Use or Creative Commons Attribution 4.0 International (CC BY 4.0) license.

"ABSOLTON" RANGEAS Absorption ver. アブソルトンランジアス吸収版 #ABSOLTON #RANGEAS #T9G #custom #oneoff #Handpaint by T9G/MUSEUM

Arp 211 - LRGB by Dan Crowson

1

Arp 211, part of the ‘Galaxies – Irregularities, Absorption and Resolution class,’ is located approximately 20 million light-years away in Canes Venatici. It consists of couple of galaxies:

UGCA 290 (PGC 42134, VV 42/a and others) – the largest part

MCG+07-26-034 (PGC 42135, VV 42b and others) – an area towards the top of UGCA 290

Luminance – 24x600s – 240 minutes – binned 1x1

RGB – 8x300s – 40 minutes each – binned 2x2

360 minutes total exposure – 6 hours

Imaged over eight nights in April and May, 2024 from Dark Sky New Mexico at Rancho Hidalgo (Animas, New Mexico) with a SBIG STF-8300M on an Astro-Tech AT12RCT at f/8 2432mm.

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.

No_51 by David Hanes

Icyball Literature by blazer8696

Crosley Icyball gas absorption refrigerator

See it to believe it by photodriven

1 1

a rare moment of absorption and stillness, glad I captured it, I will need physical evidence to remind me there were such moments

Prinz Gholam @ The national gallery of Iceland 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 Max 1 GS ND Have A Nike Day Size 7Y Space Purple Black AT8131-001 by Red Deals Online

Nike Air Max 1, ND, Have A Nike Day, GS, Size 7Y, Space Purple, Black, Bleached Coral, AT8131-001, UPC 00888409493087, Release Year 2018, tongue features "Have A Nike Day" textile eyelets, embroidered smiley face, mesh base, multi-color sole, White midsole, Woven tongue label, black Nike “Swoosh”, smiley face metal lace dubrae, smiley face logo on the heels, pastel-translucent outsole, Black overlays on the Swoosh and mudguard, Visible air sole unit, mesh and suede upper, pastel tones and smiley face logos, debut in 1987, Air-Sole unit, Air Max technology, impact absorption, runners

Equestrian Protective Vest Women Men Multicolor Honeycomb Rider Vest Shock Absorption Safety Protection Riding Horse Vest by Lisha Huang

Equestrian Protective Vest Women Men Multicolor Honeycomb Rider Vest Shock Absorption Safety Protection Riding Horse Vest

Honeycomb Breathable Design-- This protective vest features a honeycomb design, which is ergonomically designed for safety, breathability, and comfort.

360-degree safety protection -- Made of safety shock-absorbing materials, it can effectively protect important parts of the human body and avoid accidents and accidents caused by horseback riding.

Stylish Slim -- Lightweight, flexible and slim fit, this is a safety vest that combines safety protection with a stylish fit. Don't hesitate to buy now.

Use promo code: GET2021 and get a 5% discount on your order! Hurry up - the offer is valid until Jan 28th! Don’t miss out!

Follow Our Telegram group for more offers: t.me/ifavorpet

Shop Now: bit.ly/3KvKEi3

That's interesting! by Whitesusie

1 4

Distracted from a toy by a chef preparing food on the TV.

Total absorption!

冰晶玉石JPB8D02 by Wenne Yuan

Water Absorption :below 0.15%

Mohs Hardness:8

Glossy Rate: above 55 degree

Flatness :+-0.15%

Size Tolarance:+-0.5mm

Size Products Description:

Item No:JPB8D00/ JPB8D01/ JPB8D02/ JPB8D03(Light Colour)

Series Name:PULATI

Water Absorption :below 0.15%

Mohs Hardness:8

Glossy Rate: above 55 degree

Flatness :+-0.15%

Size Tolarance:+-0.5mm

Size Available:600*600mm,800*800mm, 1000*1000mm;

Colour:white, beighe , brown, grey, and so on, each color with polished, matt, rustic three finish.

Price and Package:

600*600MM : 4PCS/CARTON,30G/CARTON;

Ex-Work Price:17.5RMB/PCS,48.65RMB/SQM;

800*800MM:

3PCS/CARTON,45KG/CARTON;

Ex-Work Price:36.00RMB/PCS,56.16RMB/SQM;

1000*1000MM:

2PCS/CARTON,60KG/CARTON;

Ex-Work Price:80.00RMB/PCS,80.00RMB/SQM;

NOTE:

1.The price is based on EX-Work which includes the wooden pallets and VAT.

2.The glazed tiles are porcelain glazed tiles ,the water absorption is below 0.5%;

3.If you need to change the cartons ,It will charges you 0.3RMB/PCS(600*600MM) and 0.6RMB/PCS(800*800MM).

4.If load the tiles from Shiwan warehouse,It needs you to pay the freight cost as below:

1RMB/CARTON(600*600MM);1.2RMB/CARTON(800*800MM);1.5RMB/CARTON(1000MM*1000MM)

"Old Man's Beard," Point Reyes by Charles G. Haacker

Indians used this in a deerskin diaper for absorption.

金玉银河JK8801 by Wenne Yuan

Products Description:

Item No:JK8800/JK8801

Series Name:All and Deep Double Loading

Water Absorption :below 0.15%

Mohs Hardness:8

Glossy Rate: above 55 degree

Flatness :+-0.15%

Size Tolarance:+-0.5mm

Size Available:600*600mm,800*800mm, 1000*1000mm;

Colour:white, beighe , brown, grey, and so on, each color with polished, matt, rustic three finish.

Price and Package:

600*600MM : 4PCS/CARTON,30G/CARTON;

Ex-Work Price:16.00RMB/PCS,44.48RMB/SQM;

800*800MM:

3PCS/CARTON,45KG/CARTON;

Ex-Work Price:31.00RMB/PCS,48.36RMB/SQM;

1000*1000MM:

2PCS/CARTON,60KG/CARTON;

Ex-Work Price:72.00RMB/PCS,72.000RMB/SQM;

NOTE:

1.The price is based on EX-Work which includes the wooden pallets and VAT.

2.The glazed tiles are porcelain glazed tiles ,the water absorption is below 0.5%;

3.If you need to change the cartons ,It will charges you 0.3RMB/PCS(600*600MM) and 0.6RMB/PCS(800*800MM).

4.If load the tiles from Shiwan warehouse,It needs you to pay the freight cost as below:

1RMB/CARTON(600*600MM);1.2RMB/CARTON(800*800MM);1.5RMB/CARTON(1000MM*1000MM)

38 Vacuum absorption by aDark Matter Black Hole by Leo Vuyk (Quantum FFF Theory Posters)

1

The origin of: Hubble redshift despite universal contraction= the thinning of the vacuum lattice by dark matter black holes.

聚金芙蓉JJ8700 by Wenne Yuan

Products Description:

Item No:JJ8700/JJ8701/JJ8702/JJ8703

Series Name:Crystal Double Loading

Water Absorption :below 0.15%

Mohs Hardness:8

Glossy Rate: above 55 degree

Flatness :+-0.15%

Size Tolarance:+-0.5mm

Size Available:600*600mm,800*800mm, 1000*1000mm;

Colour:white, beighe , brown, grey, and so on, each color with polished, matt, rustic three finish.

Price and Package:

600*600MM : 4PCS/CARTON,30G/CARTON;

Ex-Work Price:15.00RMB/PCS,41.70RMB/SQM;

800*800MM:

3PCS/CARTON,45KG/CARTON;

Ex-Work Price:30.00RMB/PCS,46.80RMB/SQM;

1000*1000MM:

2PCS/CARTON,60KG/CARTON;

Ex-Work Price:70.00RMB/PCS,70.00RMB/SQM;

NOTE:

1.The price is based on EX-Work which includes the wooden pallets and VAT.

2.The glazed tiles are porcelain glazed tiles ,the water absorption is below 0.5%;

3.If you need to change the cartons ,It will charges you 0.3RMB/PCS(600*600MM) and 0.6RMB/PCS(800*800MM).

4.If load the tiles from Shiwan warehouse,It needs you to pay the freight cost as below:

1RMB/CARTON(600*600MM);1.2RMB/CARTON(800*800MM);1.5RMB/CARTON(1000MM*1000MM)

New Britain, Connecticut, Museum of American Art - May 8, 2025 by JR P

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."

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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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The Root of the Matter by Ben Carpenter

1

Asexual Reproduction; Meristematic Tissue; Water/Nutrient Absorption

Though members of the family Araceae reproduce sexually, the Philodendron scandens also has the ability to reproduce asexually. When placed in water, submerged buds will activate meristematic tissue and start to grow a root structure, creating a new plant that is a clone of the original.

This adaptation isn't limited to cut stems. When any bud along the stem falls in the right conditions, it will signal activity, causing meristematic tissue to create new root systems. In turn, the plant gains a greater flexibility and strength.

Many people use the Philodendron scandens as a regular houseplant, often leaving the root structure in water instead of planting in soil. This bare root system limits the roots' ability to forge symbiotic partnerships, leading me to believe the plant produces enough nourishment from photosynthesis, and gains enough usable nitrogen from bacteria in the water.

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2020-02-FL-228376 by ACME

Praktica IV Helios-44M by Jean-Marc Célinan

For a photo walk along the Rhône banks, Lyon, France, I took again my Praktica IV camera but equipped this time with a Helios-44M lens :2 f=58mm, the normal lens of my Zenit 122 camera.

With the Helios-44M-6 lens, the diaphragm is stopped down automatically to the selected aperture value by pressing the shutter release but there is no auto/manual selection possible from the lens. For all the views the lens was equipped with a yellow screw-on 52mm filter assuming a coefficient of x2. The lens was also equipped with generic modern cylindric shade hood.

The Praktica camera was loaded with a 36-exposure Ilford HP5+ and exposed for 200 ISO instead of 400 to compensate the yellow filter absorption. Expositions were determined using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas. The weather was relatively cloudy (13h30-16h30) giving typical exposures of 1/100s at f/8.

February 6, 2024

69002 Lyon

France

After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 6min.

The film was then digitized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.

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

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About the 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.

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About the lens :

The normal lens fitted on the camera using the M42 mount is the multi-coated version 6 of the Helios 44M manufactured at Юпитер, (Оптико-механический завод «Юпитер» , "Jupiter") Valday, Novgorod region. Helios-44 lens directly derived from the Carl Zeiss Jena Biotar lens 1:2 f=58mm.

It came with my Zenit-122 that was produced in 1994 by the Russian company KMZ (Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. Zenit-122 were also manufactured by BelOMO factory. From 1990 to 2005, about 2 millions of Zenit-122 were overall produced. The camera is built on the tough previous Zenit chassis and uses the same curtain Leica-type shutter with no slow speeds. The body is cased with ABS (Acrylonitrile Butadiene Styren) thermoplastic. Zenit-122 is equipped with a two CdS cells for light metering (25-400 ISO) using a LED indicator in the viewfinder.