When the automotive finesse of Lamborghini and the sporting innovation of Babolat come together, the result is something magical. Yes, the two proven giants of their niches have designed a limited edition padel racquet that’s second to none. The sporting equipment hones the Italian automotive marques’ carbon fiber manufacturing prowess and the expertise of Babolat’s racquet technology. It took a joint research of six months to develop the racquet.
The stylish BL001 racquet inspired by the sportscar chassis is made for enthusiasts with deep pockets who believe they’ll get an edge over their friendly opponents on the court. The model will be limited to just 50 units worldwide, making it a prized possession for tennis lovers and collectors alike. This will be the first model in the collection set to have two future models – the BL002 and BL003.
Rarely do you see a padel racquet with such a streamlined shape, of course, the unparalleled peripheral monocoque frame flowing down the handle is the reason. The racquet is lightweight, yet it packs a punch and exceptional ball speed is guaranteed. So, will this racquet turn your shady tennis-playing skills into tournament-winning sprees? Definitely not, as it will only brush up your skills and make it easy for you to impart backhands and forehands with maximum power and spin.
One thing is for sure, though, once you get this racquet in your hand, the game will be more enjoyable and comfort is also guaranteed even after long stints of rallies. Since we are talking of Babolat here, the thing is completely handcrafted and rigorously tested by the in-house experts. Even if you don’t fair well with this baby in your hand, the onlookers will be mesmerized by the Lamborghini colors – Giallo Auge, Verde Viper, Arancio Livrea, Viola Pasifae, and Verde Gea. Boy they look so cool!
We should soon have a word about the pricing and availability of the Babolat BL001 racquet.
This extraordinary structure is known as the Silt. It is designed to be a massive boulder gently rising out of an artificial sand dune. It is designed by ZJA and is inspired by the Belgian coastal landscape. The impressive structure can withstand a harsh beating from nature and can tackle rising seas and extreme storms as well. The structure was first revealed in 2020 and draws inspiration from the Testerep – an island that was located close to the coast of Middelkerke, Belgium in the Middle Ages. As time passed, this island became connected to the mainland through embankments and sea defenses.
The Silt Tower was designed as an initiative to improve and elevate the local defenses from the North Sea in Middlkerk, and its unusual aesthetics have some utility as well. The artificial dune base expands a public square, which provides stunning views of the coastline. The dune-like building accommodates a casino, restaurant, and event space, while the tower hosts hotel rooms.
“The essence of the design lies in the integration of all the significant aspects, from the experience of the public to coastal reinforcement and economic impetus,” said ZJA. “With the once bleak Epernay Square as its center, the sea embankment and coastal defenses are now fused together, and an extensive new experiential landscape has arisen. Underground parking ensures that is a car-free zone, giving full scope to the public space above. The ground level is thus dedicated as a public space. Marram grass, the dune basin, and sand channels leading to the beach give back to Middelkerke the characteristic landscape it holds dear. The climb to the top of the new dune offers breathtaking views and becomes a tourist attraction in its own right,” concluded ZJA.
Essentially, the Silt includes a chunky concrete base with an attractive boulder-like section which includes a glass and concrete tower covered with latticed beams of Accoya engineered wood. The tower section also contains integrated lighting, which allows it to glow like a lovely beacon in the night. It features a massive sea wall and sturdy construction which allows it to deal well with the extreme climatic conditions of the region, including a once-in-a-thousand-year storm.
New York architecture studio HGX Design has created a linear, glass-fronted home in the Hudson Valley informed by the “individual notes of a music composition”.
Located in Germantown, New York, the Hudson Valley Residence spans 7,300 square feet (678 square metres) and is comprised of interconnected rectangular volumes with courtyards inserted between them.
HGX Design has created a linear home in the Hudson Valley. This photo and top photo are by Peter Aaron.
HGX Design created the house to host the owner’s visiting family and it now stands as the main dwelling on the 35-acre property, which is dotted with agricultural buildings and another residence.
The structure’s horizontal form was informed by the vernacular architecture of the surrounding farmland.
It was informed by the low-lying agricultural buildings of the area
“Comprised of a series of utilitarian, simple form buildings with a repetitive vertical rhythm, the home’s elongated footprint is reminiscent of the long, low-lying characteristics of agricultural buildings that dot the surrounding regional landscape,” said the studio.
It consists of four rectangular wings that branch off of an entry foyer. Utility spaces, such as a powder room, laundry room and storage, were placed directly adjacent to the entry, while a long hallway leads to the entrances of three guest bedrooms.
Glass panels line the majority of the home
On the other side of the entry, the largest of the volumes holds an open-plan kitchen, living and dining area, which connects to a primary bedroom and bathroom.
Floor-to-ceiling windows line the majority of the exterior, with the remainder clad in a vertical cedar siding.
Four rectangular volumes wing off of a central entry way
The 13-foot-high panels were used to capture the rising sun from the east at the front of the house and the setting sun at its back, as well as to create shifts in the material palette throughout the day.
“The house meets the sky in a very minimal way, while remaining lightly seated on the ground,” said HGX Design founder Hal Goldstein.
“It’s a predictable system that flows like a piece of music, with subtle tone-on-tone interactions with the elements that bring the colours and material palette to life throughout the day.”
The studio also explained the home defies “the traditional expectations of an open plan” with “no barriers to the visual or physical flow of the home”.
Shadows and daylight were used to create separations
“The intimacy of the home’s smartly laid out spaces defy the traditional expectations of an open plan, with 11.5-foot ceilings throughout,” said the studio. “Separations are defined by sunlight during the day and artificial light at night.”
The house’s interior palette consists of neutral tones, with walnut flooring running throughout and dark wood panelling and grey tile used in the bathrooms.
A neutral palette was used on the interior
A gym and media room are located in the basement, while a pool, pool house and two outdoor areas sit at the entrance and back of the home.
“The land, the views, and the architecture combine in ways that contribute to a very spiritual place,” concludes Hal Goldstein. “The overall flow is truly musical, like individual notes of a musical composition, which was the goal of our work from the beginning.”
It was created to host the owner’s visiting family
HGX Design is New York City-based studio founded in 2020 by Hal Goldstein with a focus on corporate, commercial and residential projects that “inspire human connection and fulfilment”.
Unless you’ve been following Salone del Mobile for the last few years, Google might not be the first organization to come to mind when you hear the words Milan Design Week. And yet, for attendees, years after year, the tech pioneer has continued to explore the world of design through our interconnected senses—and our abundance of feelings—with exhibitions like “A Space for Being” with Suchi Reddy and “Shaped by Water” with Lachlan Turczan. This year, at Garage 21 from 15-21 April, Google’s Vice President of Hardware Design, Ivy Ross, will present “Making Sense of Color” in collaboration with arts and research lab Chromasonic. The immersive installation, which translates sound frequencies into light (and vice versa) is as spectacular as it is serene.
In “Making Sense of Color,” translucent scrims form three rows of seven partially enclosed spaces. All 21 one of these nodes are enhanced with a dedicated color-shifting light source and enveloping spatialized audio. With Chromasonic’s “refrequencing” technology, the frequencies emanating from a soothing soundscape are translated into light—and vice versa—as guests pass from space to space, engaging with others or finding their own peace in the waves of color.
We create a condition where you can see sound or hear light
Johannes Girardoni
“At a really fundamental level, we connect light frequencies and sound frequencies,” multimedia artist Johannes Girardoni, Chromasonic’s cofounder, explains to COOL HUNTING on site. “We map light waves to sound waves to help us all expand our perception. We use technology to do that. We create a condition where you can see sound or hear light because we are aligning all the frequencies and waves algorithmically.” In person, an immediate calm descends as one steps into the experiential space.
In addition to being a sensory immersion, it’s also a tale of human connection—with pleasant encounters shared in the space. “It’s a use of technology that allows us to move our presence into ourselves, to move into presence others, and to connect through community,” Girardoni continues. “The physical spatial expression of this installation creates an elasticization of space through the movement of light and sound so space may appear to expand and contract. When you’re in the space with other participants, they may appear or disappear. You notice yourself. You notice others.”
Ross explains that Chromasonic’s work at the intersection of art and science is what appealed to Google. “They embrace both physical and virtual sensory technologies to create visceral experiences that really resonate with us and relate to how we approach design,” she tells us. “In the case of ‘Making Sense of Color,’ their portion of the exhibit embodies the answer to the question, ‘what does color sound like?’”
“At the Google Hardware Design Studio we are always considering the sensorial nature of what we design, color being an important aspect,” Ross says. “Each color transmits a different vibration. That vibration has a biological and psychological effect on us. Color gives life a pulse. Color resonates with vibrancy, embodying energy, evoking emotion. Right now we are going through a lot of emotion as a society so understanding the power of color and its different properties feels relevant.”
As for the importance of Milan Design Week, Ross adds that, “we believe that Salone is the best showcase for design, attracting folks from all over the world. It is the best place to share with the world the thought leadership of the Google Hardware Design group. Our ‘Making Sense of Color’ experience culminates in a feast for the eyes that shows how color comes to life through the design of Google’s hardware portfolio that will be on display.” For those in Milan for Salone del Mobile, it’s a can’t miss—and for those who are mesmerized from afar, the Chromasonic portion of the installation will travel to other destinations in the future.
Unless you’ve been following Salone del Mobile for the last few years, Google might not be the first organization to come to mind when you hear the words Milan Design Week. And yet, for attendees, years after year, the tech pioneer has continued to explore the world of design through our interconnected senses—and our abundance of feelings—with exhibitions like “A Space for Being” with Suchi Reddy and “Shaped by Water” with Lachlan Turczan. This year, at Garage 21 from 15-21 April, Google’s Vice President of Hardware Design, Ivy Ross, will present “Making Sense of Color” in collaboration with arts and research lab Chromasonic. The immersive installation, which translates sound frequencies into light (and vice versa) is as spectacular as it is serene.
In “Making Sense of Color,” translucent scrims form three rows of seven partially enclosed spaces. All 21 one of these nodes are enhanced with a dedicated color-shifting light source and enveloping spatialized audio. With Chromasonic’s “refrequencing” technology, the frequencies emanating from a soothing soundscape are translated into light—and vice versa—as guests pass from space to space, engaging with others or finding their own peace in the waves of color.
We create a condition where you can see sound or hear light
Johannes Girardoni
“At a really fundamental level, we connect light frequencies and sound frequencies,” multimedia artist Johannes Girardoni, Chromasonic’s cofounder, explains to COOL HUNTING on site. “We map light waves to sound waves to help us all expand our perception. We use technology to do that. We create a condition where you can see sound or hear light because we are aligning all the frequencies and waves algorithmically.” In person, an immediate calm descends as one steps into the experiential space.
In addition to being a sensory immersion, it’s also a tale of human connection—with pleasant encounters shared in the space. “It’s a use of technology that allows us to move our presence into ourselves, to move into presence others, and to connect through community,” Girardoni continues. “The physical spatial expression of this installation creates an elasticization of space through the movement of light and sound so space may appear to expand and contract. When you’re in the space with other participants, they may appear or disappear. You notice yourself. You notice others.”
Ross explains that Chromasonic’s work at the intersection of art and science is what appealed to Google. “They embrace both physical and virtual sensory technologies to create visceral experiences that really resonate with us and relate to how we approach design,” she tells us. “In the case of ‘Making Sense of Color,’ their portion of the exhibit embodies the answer to the question, ‘what does color sound like?’”
“At the Google Hardware Design Studio we are always considering the sensorial nature of what we design, color being an important aspect,” Ross says. “Each color transmits a different vibration. That vibration has a biological and psychological effect on us. Color gives life a pulse. Color resonates with vibrancy, embodying energy, evoking emotion. Right now we are going through a lot of emotion as a society so understanding the power of color and its different properties feels relevant.”
As for the importance of Milan Design Week, Ross adds that, “we believe that Salone is the best showcase for design, attracting folks from all over the world. It is the best place to share with the world the thought leadership of the Google Hardware Design group. Our ‘Making Sense of Color’ experience culminates in a feast for the eyes that shows how color comes to life through the design of Google’s hardware portfolio that will be on display.” For those in Milan for Salone del Mobile, it’s a can’t miss—and for those who are mesmerized from afar, the Chromasonic portion of the installation will travel to other destinations in the future.
The Beluga Chair is a symbol of hope in the landfills flooding with plastics. It’s crafted from recycled fishing nets sourced in France, embodying POLIMAIR’s commitment to environmental responsibility. Designed by Arthur Gaudenz, this innovative chair represents a paradigm shift in furniture design, being the first chair in kit form crafted entirely from 100% recycled plastic.
At its core, the Beluga Chair embodies the ethos of sustainability and durability. Its mono-material construction utilizes discarded fishing nets sourced and recycled in France, eliminating the need for additional materials such as steel screws, glues, or wood. This not only reduces waste but also minimizes CO2 emissions, paving the way for a more eco-conscious future.
POLIMAIR’s visionary approach recognizes the evolving role of plastic—from a durable substitute for ivory in billiard balls to one of the most pressing ecological challenges of our era. In response, the design team advocates for a return to the essence of plastic as a material designed to last. The Beluga Chair stands by this philosophy, embodying four foundational pillars that prioritize sustainability in furniture production.
Central to POLIMAIR’s ethos is the commitment to local craftsmanship and environmental responsibility. From the design conception in Paris to the raw material sourcing from coastal regions such as Brittany, Normandy, Provence, and Occitania, every step of the production process integrates local expertise and promotes sustainable practices. The label “100% Made in France” not only ensures quality but also reinforces the company’s dedication to supporting local communities.
One of the most innovative features of the Beluga Chair is its 100% life guarantee, a testament to its durability and longevity. With the kit format, any damaged part can be easily replaced, ensuring that the chair remains functional for a lifetime. This commitment to product longevity aligns with the company’s mission to prevent its furniture from ending up in landfills. Furthermore, the option for customization allows users to tailor the design to their individual preferences, enhancing the personal connection between the product and its owner.
By embracing the aspects of DIY assembly and customization, it elevates the value of the Beluga Chair beyond mere functionality. It fosters a sense of ownership and creativity, empowering users to actively engage with the product and participate in its lifecycle. This not only enhances the user experience but also underscores the chair’s status as a sustainable lifestyle choice.
The Beluga Chair’s versatility extends beyond its environmental benefits, making it a suitable choice for various interior design aesthetics. Whether paired with a rustic farmhouse table or a sleek modern desk, its minimalist yet elegant design seamlessly integrates into any setting. Furthermore, its vibrant color options add a touch of personality to spaces like studies, libraries, or foyers, where it can serve as a statement piece. Whether opting for bold hues to accentuate contemporary décor or choosing more subdued tones for a classic ambiance, the chair offers endless possibilities for customization, allowing individuals to express their unique style while promoting sustainability.
Portuguese studio Spaceworkers has completed a geometric garden pavilion near Porto, featuring an overhanging roof and monolithic walls of concrete and green ceramic tiles.
Pavilion in the Garden is a multipurpose event space that sits on a former parking lot in the green outskirts of the Portuguese village of Sobrado.
Spaceworkers has completed a geometric garden pavilion near Porto
Looking to capture the “essence” of this place, Spaceworkers created a glazed, column-free interior intended to feel like an extension of the surrounding landscape.
“The search for essence can be understood as the attempt to understand and express the true nature of something, in this case, the relationship between man, nature and architecture,” Marques told Dezeen.
It has an overhanging roof and sliding glass walls
Pavilion in the Garden is formed of two offset concrete blocks containing visitor facilities and services. These support a large gridded canopy punctured by square skylights, which sits over a central events space.
Full-height, sliding glass doors wrap the events space, while the canopy and stone floor extend outwards to create a sheltered terrace around its edges.
The canopy is punctured by square skylights
“We were able to have a perception of lightness in the building, further accentuated by the apparent fragility with which the heavy slab rests on a very occasional contact with a pillar, freeing the entire room from any structural elements,” Marques told Dezeen.
“This lightness and feeling of integration helps us reduce the project to its most basic essence, which in practice are two dominant materials in a volumetric composition where the balance of the elements is the dominant element,” he added.
While Pavilion in the Garden’s roof has an exposed, board-marked concrete finish, the supporting volumes and a slender vertical column have been clad with green, marble-effect ceramic tiles.
“The choice of materials was based on two aspects, the first related to the reduction of long-term maintenance – the raw materials, such as concrete and the ceramic coating of the facade, do not require much maintenance beyond their spot cleaning,” said Marques.
“The second aspect is related to the attempt to integrate the built mass into the natural context, so that the building blends in with the surroundings, thus reducing its impact despite its scale,” he added.
Marble-effect tiles feature throughout
A bar stands at the southern side of the central area, while to the east a recessed serving counter with a pizza oven is lined in matt gold-coloured panels.
For our latest lookbook, we’ve collected eight living rooms from Denmark to Japan that have been decorated in an organic modern style, featuring natural wood and stone details.
The deceptively simple organic modern style combines modernist interior designs with natural materials and earthy colours.
Plenty of wood, in the form of flooring, panelling and furniture give these interiors an organic feel. Designers have also chosen stone to create the same effect, with stone floors, tables and sofa bases adding an elegant and natural touch.
All of these living rooms also have discrete and neutral colour palettes, with hues of brown, beige, tan and various white and cream shades creating restful environments.
Danish studio Norm Architects designed the cedar-clad Heatherhill Beach House to resemble a traditional barn, with a material palette that leans heavily on wood and brick.
In the ocean-facing living room, the studio combined a brick floor and wooden wall with modernist furniture, including the slender graphic Valerie Objects Hanging Lamp by design studio Muller Van Severen.
Originally a concrete pig shed, Hutch Design transformed The Maker’s Barn into a holiday rental using “natural and honest” materials.
Its living, dining and kitchen area features a concrete fireplace, bulbous soft furniture and a shaggy beige rug in front of floor-to-ceiling windows that underline the house’s connection to the landscape.
This Tribeca loft inside a former textile factory has a dramatic double-height living room surrounded by large windows. To make the room feel more intimate, interior designer Timothy Godbold added sheer curtains and softly rounded furniture.
A discrete colour palette of cream and beige hues is offset with plenty of green plants, while a central stone table and stone sofa base add a rustic touch.
Named for the California desert town, the Palm Springs extension in London draws on the area’s specific type of modernism. This is exemplified by the use of natural materials and floor-to-ceiling glazing.
The sandy hues in the living room also nod to the arid Palm Springs surroundings, with a sage green sofa adding more colour to the interior.
The interiors of this flat in Melbourne form a softer contrast to its gridded concrete facade. A rounded sofa with undulating shapes is juxtaposed against branch-like side tables and designer Hans J Wegner‘s classic Flag Halyard chair.
Textile accents in the form of a patterned rug and a fur throw also help make the room feel cosier.
The living room of Amity Street Residence in Brooklyn, New York, houses a collection of sculptural furniture pieces that give it an art-gallery feel.
Here, designer Isamu Noguchi‘s Akari rice lamp with its bamboo stem matches a wooden chair and plinth and contrasts with a green marble table.
“A warm colour palette was deployed to unify the spaces by way of gentle oak floors, cream-hued walls that contrasted with dark stone, and stained-wood inset bookshelves,” said designer Selma Akkari.
Azabu Hills Residence (above and main image) sits on a hilltop in Tokyo and was designed to have a “calm and serene atmosphere”. Local zelkova wood was used for its custom-made furniture, including an ovoid coffee table.
A clever use of materials enhances the organic modern interior, with a glossy, lacquered brown vase standing out against the textured rug and sofa.
New and old meet inside the Can Santacilia apartment building in Palma de Mallorca’s old town, parts of which are from the 12th or 13th century.
In the living room of one of the flats, architecture studio OHLAB used geometric-shaped rattan furniture and a rug to bring a natural colour palette into the all-white room.
Japanese design studio Sozai Center has created Adam Sheet, a washable and scratch-resistant biomaterial made of leftover apple pomace mixed with bioplastic.
Studio founder Shotaro Oshima and his team created the earthy-hued biotextile using apple pomace salvaged from Japan’s Aomori Prefecture – one of the country’s leading apple production areas.
Sozai Center has designed a biomaterial made from apple waste
Adam Sheet is a translucent speckled material made of “every part” of the pomace, including the flesh, skin, seeds and stem.
Sozai Center ground the pomace into a fine powder, which is first adjusted to the correct moisture and sugar content, according to Oshima.
Earthy-hued Adam Sheet is speckled and translucent
After this, the pomace powder was combined with a small amount of bio-based polyvinyl chloride (PVC) to bind the finished sheet together.
“Almost 87 per cent of the sheet is made out of pure apple pomace,” said Oshima, who told Dezeen that the material does not contain any fossil-derived plastic.
The material has been turned into bank and travel card cases
The designer likened the seasonal production process to making wine and explained how the colour of the material “varies from year to year, depending on the moisture and sugar content of the batch of apples”.
“The colour of the sheets reflects these changes,” he added.
Adam Sheet has also been used to make crossbody pouches
Playfully named after Adam’s apples, Adam Sheet was designed in response to the large volume of apple waste created in Aomori Prefecture each year – something that Oshima said has become a “big issue”.
The waterproof material is machine-washable and scratch-resistant, according to Oshima.
However, being made from a mix of food waste and bioplastic will likely make Apple Sheet difficult – if not impossible – to recycle.
So far, Adam Sheet has been turned into bank and travel card cases as well as small crossbody pouches.
Oshima said that Sozai Center is currently testing the boundaries of the material and has plans to transform it into fashion, furniture and interior design.
“Adam Sheet can be sewn, easily cut and transmits light – characteristics applied to fashion,” explained the designer.
Sozai Center plans for the biomaterial to be used in fashion projects
Elsewhere, Australian studio Great Wrap has used potato waste to create a compostable bioplastic alternative to clingfilm while design studio Tomorrow Machine produced GoneShells, a biodegradable juice bottle made from potato starch that can be peeled away like fruit skin.
Your $1000 smartphone may not be able to handle low-light selfies, but this affordable pair of binoculars give you military-grade night-vision even in pitch darkness. Meet the YASHICA Vision (yes, the same YASHICA that manufactures cameras), a state-of-the-art 4K binocular device that’s designed for campers, night photographers, wildlife enthusiasts, security personnel, and even for surveillance. The night-vision camera can see what your eyes can’t, capturing in full color or even in IR in vivid detail. The camera leverages AI-powered image enhancement to give you literal superpowers, while letting you capture images and videos in high resolution locally. Pretty impressive for a device that costs less than a pair of AirPods…
With 75 years of experience in the optics field, YASHICA’s built itself a rather indelible reputation for cameras… but the night-vision binocular is a uniquely different application of the company’s technologies. Built for explorers, adventurers, and the occasional reconnaissance or search and rescue mission, the YASHICA Vision lets you see up to distances of nearly 2000 feet (600 meters to be precise) in defyingly dark environments. The binoculars rely on AI-powered image signal processing to let you see in vivid color, outshining most night-vision goggles that coat everything in monochrome green. Switch to the IR mode and you can even see in absolute darkness, with the ability to toggle between 3 modes.
YASHICA Vision reveals a radiant spectrum of colors, even under the most challenging lighting conditions.
Equipped with a state-of-the-art CMOS sensor and a 0.0037lux sensitivity that lets you see even in pitch darkness, the binoculars promise an unrivaled clarity that brings the night to life in vibrant color. The F/1 wide lens aperture ensures that even the faintest light is captured and transformed into a crisp, 4K visual feast, while an 850NM IR illuminator relies on wavelengths that humans can’t even perceive, quite literally giving you superhuman vision. This enables both wildlife enthusiasts and urban adventurers to safely and intimately engage with environments that were once off-limits after dusk.
Clarity in complete darkness.
The YASHICA Vision further redefines night-time exploration with its remarkable aperture size of F/1. This feature is crucial as it allows for a higher light intake, especially under low-light conditions.
Images get transmitted to the YASHICA Vision’s digital viewfinder, while the binoculars themselves capture in detailed 4K. 3x fixed optical zoom and 5x digital zoom let you hone in on your subject even if you’re more than half a kilometer away (0.3 miles), and an SD card slot lets you locally record images and videos (with support up to 512GB) directly from the binoculars. A sizeable 5000mAh battery means that your exploration can go on for as long as your curiosity does. The battery outputs an impressive 16 hours of usage without the IR enabled.
Given the very outdoor nature of the YASHICA Vision, it’s built with the robust reliability that you’d expect from tactical outdoor gear. The binoculars are IP65 water and dust-resistant, which means you can use them in a rainforest or a desert without worrying about your binoculars the way you would about an expensive camera. The lenses also come with 7-layer coatings that repel everything from UV rays to reflections, glare, dust, scratches, or even fingerprints. To help you navigate the outdoors and stay safe, the binoculars have a built-in compass that lets you stay oriented at all times, and a tactical light for emergency or SOS scenarios.
The YASHICA Vision weighs a mere 746 grams (26.3 ounces) and comes with its own soft-shell carrying case that includes a USB-C charging cable, a lens cleaning cloth, and an extra compass as an accessory. The YASHICA Vision also comes with a default 2-year warranty for campaign backers, along with a free 5-year battery replacement guarantee. It’s perfect for hunting, fishing, wildlife observation, night photography, camping, first-response, and surveillance/security… although for its $149 price tag, I’d probably buy it because 15-year-old me would have loved to own military-grade night-vision tech!
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
