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1 contact printing apparatus
контактно-копировальный аппарат; аппарат контактной печатиАнгло-русский словарь промышленной и научной лексики > contact printing apparatus
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2 contactkast
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3 контактно-копировальный станок
2) Makarov: contact exposure unit, contact printing apparatus, contact unit, printing frame, printing-down machineУниверсальный русско-английский словарь > контактно-копировальный станок
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4 аппарат контактной печати
Makarov: contact printing apparatusУниверсальный русско-английский словарь > аппарат контактной печати
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5 матрица печатающего устройства
печатающее устройство; устройство печати — printing device
Русско-английский большой базовый словарь > матрица печатающего устройства
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6 калькулятор с печатающим устройством
Русско-английский большой базовый словарь > калькулятор с печатающим устройством
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7 печатающее устройство
1. printing station2. printing deviceРусско-английский словарь по информационным технологиям > печатающее устройство
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8 Carlson, Chester Floyd
SUBJECT AREA: Photography, film and optics[br]b. 8 July 1906 Seattle, Washington, USAd. 19 September 1968 New York, USA[br][br]Carlson studied physics at the California Institute of Technology and in 1930 he took a research position at Bell Telephone Laboratories, but soon transferred to their patent department. To equip himself in this field, Carlson studied law, and in 1934 he became a patent attorney at P.R.Mallory \& Co., makers of electrical apparatus. He was struck by the difficulty in obtaining copies of documents and drawings; indeed, while still at school, he had encountered printing problems in trying to produce a newsletter for amateur chemists. He began experimenting with various light-sensitive substances, and by 1937 he had conceived the basic principles of xerography ("dry writing"), using the property of certain substances of losing an electrostatic charge when light impinges on them. His work for Mallory brought him into contact with the Battelle Memorial Institute, the world's largest non-profit research organization; their subsidiary, set up to develop promising ideas, took up Carlson's invention. Carlson received his first US patent for the process in 1940, with two more in 1942, and he assigned to Battelle exclusive patent rights in return for a share of any future proceeds. It was at Battelle that selenium was substituted as the light-sensitive material.In 1946 the Haloid Company of Rochester, manufacturers of photographic materials and photocopying equipment, heard of the Xerox copier and, seeing it as a possible addition to their products, took out a licence to develop it commercially. The first Xerox Copier was tested during 1949 and put on the market the following year. The process soon began to displace older methods, such as Photostat, but its full impact on the public came in 1959 with the advent of the Xerox 914 Copier. It is fair to apply the overworked word "revolution" to the change in copying methods initiated by Carlson. He became a multimillionaire from his royalties and stock holding, and in his last years he was able to indulge in philanthropic activities.[br]Further ReadingObituary, 1968, New York Times, 20 September.R.M.Schaffert, 1954, "Developments in xerography", Penrose Annual.J.Jewkes, 1969, The Sources of Invention, 2nd edn, London: Macmillan, pp. 405–8.LRD -
9 Muybridge, Eadweard
SUBJECT AREA: Photography, film and optics[br]b. 9 April 1830 Kingston upon Thames, Englandd. 8 May 1904 Kingston upon Thames, England[br]English photographer and pioneer of sequence photography of movement.[br]He was born Edward Muggeridge, but later changed his name, taking the Saxon spelling of his first name and altering his surname, first to Muygridge and then to Muybridge. He emigrated to America in 1851, working in New York in bookbinding and selling as a commission agent for the London Printing and Publishing Company. Through contact with a New York daguerreotypist, Silas T.Selleck, he acquired an interest in photography that developed after his move to California in 1855. On a visit to England in 1860 he learned the wet-collodion process from a friend, Arthur Brown, and acquired the best photographic equipment available in London before returning to America. In 1867, under his trade pseudonym "Helios", he set out to record the scenery of the Far West with his mobile dark-room, christened "The Flying Studio".His reputation as a photographer of the first rank spread, and he was commissioned to record the survey visit of Major-General Henry W.Halleck to Alaska and also to record the territory through which the Central Pacific Railroad was being constructed. Perhaps because of this latter project, he was approached by the President of the Central Pacific, Leland Stanford, to attempt to photograph a horse trotting at speed. There was a long-standing controversy among racing men as to whether a trotting horse had all four hooves off the ground at any point; Stanford felt that it did, and hoped than an "instantaneous" photograph would settle the matter once and for all. In May 1872 Muybridge photographed the horse "Occident", but without any great success because the current wet-collodion process normally required many seconds, even in a good light, for a good result. In April 1873 he managed to produce some better negatives, in which a recognizable silhouette of the horse showed all four feet above the ground at the same time.Soon after, Muybridge left his young wife, Flora, in San Francisco to go with the army sent to put down the revolt of the Modoc Indians. While he was busy photographing the scenery and the combatants, his wife had an affair with a Major Harry Larkyns. On his return, finding his wife pregnant, he had several confrontations with Larkyns, which culminated in his shooting him dead. At his trial for murder, in February 1875, Muybridge was acquitted by the jury on the grounds of justifiable homicide; he left soon after on a long trip to South America.He again took up his photographic work when he returned to North America and Stanford asked him to take up the action-photography project once more. Using a new shutter design he had developed while on his trip south, and which would operate in as little as 1/1,000 of a second, he obtained more detailed pictures of "Occident" in July 1877. He then devised a new scheme, which Stanford sponsored at his farm at Palo Alto. A 50 ft (15 m) long shed was constructed, containing twelve cameras side by side, and a white background marked off with vertical, numbered lines was set up. Each camera was fitted with Muybridge's highspeed shutter, which was released by an electromagnetic catch. Thin threads stretched across the track were broken by the horse as it moved along, closing spring electrical contacts which released each shutter in turn. Thus, in about half a second, twelve photographs were obtained that showed all the phases of the movement.Although the pictures were still little more than silhouettes, they were very sharp, and sequences published in scientific and photographic journals throughout the world excited considerable attention. By replacing the threads with an electrical commutator device, which allowed the release of the shutters at precise intervals, Muybridge was able to take series of actions by other animals and humans. From 1880 he lectured in America and Europe, projecting his results in motion on the screen with his Zoopraxiscope projector. In August 1883 he received a grant of $40,000 from the University of Pennsylvania to carry on his work there. Using the vastly improved gelatine dry-plate process and new, improved multiple-camera apparatus, during 1884 and 1885 he produced over 100,000 photographs, of which 20,000 were reproduced in Animal Locomotion in 1887. The subjects were animals of all kinds, and human figures, mostly nude, in a wide range of activities. The quality of the photographs was extremely good, and the publication attracted considerable attention and praise.Muybridge returned to England in 1894; his last publications were Animals in Motion (1899) and The Human Figure in Motion (1901). His influence on the world of art was enormous, over-turning the conventional representations of action hitherto used by artists. His work in pioneering the use of sequence photography led to the science of chronophotography developed by Marey and others, and stimulated many inventors, notably Thomas Edison to work which led to the introduction of cinematography in the 1890s.[br]Bibliography1887, Animal Locomotion, Philadelphia.1893, Descriptive Zoopraxography, Pennsylvania. 1899, Animals in Motion, London.1901, The Human Figure in Motion, London.Further Reading1973, Eadweard Muybridge: The Stanford Years, Stanford.G.Hendricks, 1975, Muybridge: The Father of the Motion Picture, New York. R.Haas, 1976, Muybridge: Man in Motion, California.B.Coe, 1992, Muybridge and the Chromophoto-graphers, London.BC
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