(for photographs)

1) (be cause of) aufwerfen [Frage, Problem]; darstellen [Bedrohung, Problem]; bedeuten [Bedrohung]; mit sich bringen [Schwierigkeiten]

2) (propound) vorbringen; aufstellen [Theorie]

3) (place) Aufstellung nehmen lassen; posieren lassen [Modell]

1) (assume attitude) posieren; (fig.) sich geziert benehmen (abwertend)

2)

* * *

1) (a position or attitude of the body: a relaxed pose.) die Pose

2) (a false manner or way of behaving assumed in order to impress others; a pretence: His indignation was only a pose.) die Verstellung

1) (to position oneself eg for a photograph to be taken: She posed in the doorway.) sich in Positur stellen

2) ((with as) to pretend to be: He posed as a doctor.) sich ausgeben

* * *

[pəʊz, AM poʊz]

I. n

1. (bodily position) Haltung f, Pose f

to adopt [or assume] [or strike] a \pose eine Pose einnehmen

to hold a \pose eine Pose beibehalten, in einer Haltung verharren

2. usu sing (pretence) Getue nt fig, Gehabe nt pej

it's all a \pose das ist alles bloß Show fam

II. vi

1. (adopt position) posieren, eine Haltung einnehmen

▪ to \pose for sb für jdn Modell sitzen [o stehen]

to \pose for one's photograph sich fotografieren lassen

to \pose nude/topless sich akk nackt/ohne Oberteil fotografieren lassen

2. (pretend)

▪ to \pose as sth sich akk als etw ausgeben

he's just posing! das ist doch alles nur Bluff!

3. (behave affectedly) sich akk geziert [o affektiert] benehmen

III. vt

1. (cause)

▪ to \pose sth etw aufwerfen

it does \pose the problem of where/how/when... es stellt sich dann natürlich das Problem, wo/wie/wann...

to \pose difficulties Schwierigkeiten mit sich dat bringen

to \pose a threat to sb/sth eine Bedrohung für jdn/etw darstellen

2. (ask)

to \pose a question eine Frage stellen

3. (for picture)

▪ to \pose sb jdn Positur einnehmen [o posieren] lassen

* * *

1. n

1) (= position, attitude) Haltung f; (of model, also pej) Pose f, Haltung f

2) (= affectation) Pose f, Gehabe nt; (= façade) Fassade f

2. vt

1) (= position) model aufstellen

2) (= put forward) question, problem vortragen

3) (= formulate) question, problem formulieren

4) (= constitute, present) difficulties, problem aufwerfen; threat darstellen

3. vi

1) (= model) posieren, Modell sitzen/stehen

2) (= attitudinize) posieren, sich in Pose werfen

3)

* * *

pose¹ [pəʊz]

A v/t

1. auf-, hinstellen, eine Pose einnehmen lassen:

2. a) ein Problem, eine Frage aufwerfen

b) eine Bedrohung, Gefahr etc darstellen

3. eine Behauptung aufstellen, einen Anspruch erheben

4. (as) hinstellen (als), ausgeben (für, als)

B v/i

1. sich in Positur setzen oder werfen

2. a) MAL Modell stehen oder sitzen ( for dat)

b) sich fotografieren lassen

c) als Maler- oder Fotomodell arbeiten

3. posieren, eine Pose einnehmen

4. (as) auftreten (als), sich ausgeben (für, als)

C s Pose f (auch fig), Positur f, Haltung f, Stellung f

pose² [pəʊz] v/t verwirren, in Verlegenheit bringen

* * *

1) (be cause of) aufwerfen [Frage, Problem]; darstellen [Bedrohung, Problem]; bedeuten [Bedrohung]; mit sich bringen [Schwierigkeiten]

2) (propound) vorbringen; aufstellen [Theorie]

3) (place) Aufstellung nehmen lassen; posieren lassen [Modell]

1) (assume attitude) posieren; (fig.) sich geziert benehmen (abwertend)

2)

* * *

Pose -n f. v.

aufwerfen v.

posen v.

posieren v.

1) (Photog.) Toner, der

2) (cosmetic) Tönungsmittel, das

* * *

[ˈtəʊnəʳ, AM ˈtoʊnɚ]

1. (for skin) Gesichtswasser nt

2. (for photographs) Toner m

3. COMPUT Toner m

* * *

1) (for printer, copier) Toner m

2) (= cosmetic) Tönung f

* * *

toner [ˈtəʊnə(r)] s Toner m (Druckfarbe für Kopiergeräte etc):

toner cartridge Tonerkassette f

* * *

1) (Photog.) Toner, der

2) (cosmetic) Tönungsmittel, das

ton·er [ʼtəʊnəʳ, Am ʼtoʊnɚ] n

1) ( for skin) Gesichtswasser nt

2) ( for photographs) Toner m

tr[dɪ'veləpə^SMALLr/SMALL]

noun

1 (of land, property - company) promotora inmobiliaria, empresa constructora; (- person) constructor,-ra

2 (for photographs) revelador nombre masculino

3 (child)

■ a slow/late developer un niño de desarrollo lento/tardío

• diseñador, -ora s.m.,f.

• revelador s.m.

1) c (of land, property) promotor inmobiliario, promotora inmobiliaria m,f

2) u ( Phot) revelador m

3) c ( Psych)

[dɪ'velǝpǝ(r)]

1) (also: property developer) promotor(a) m / f inmobiliario(-a)

2) (Physiol)

3) (Phot) revelador m

* * *

1) c (of land, property) promotor inmobiliario, promotora inmobiliaria m,f

2) u ( Phot) revelador m

3) c ( Psych)

enlarger [ɪnˈlα:dʒə^r]

(for photographs) agrandisseur m

* * *

noun Photography agrandisseur m

SUBJECT AREA: Photography, film and optics

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In 1841, while studying at Cambridge, Sutton became interested in photography and tried out the current processes, daguerreotype, calotype and cyanotype among them. He subsequently settled in Jersey, where he continued his photographic studies. In 1855 he opened a photographic printing works in Jersey, in partnership with L.-D. Blanquart- Evrard, exploiting the latter's process for producing developed positive prints. He started and edited one of the first photographic periodicals, Photographic Notes, in 1856; until its cessation in 1867, his journal presented a fresher view of the world of photography than that given by its London-based rivals. He also drew up the first dictionary of photography in 1858.

In 1859 Sutton designed and patented a wideangle lens in which the space between two meniscus lenses, forming parts of a sphere and sealed in a metal rim, was filled with water; the lens so formed could cover an angle of up to 120 degrees at an aperture of f12. Sutton's design was inspired by observing the images produced by the water-filled sphere of a "snowstorm" souvenir brought home from Paris! Sutton commissioned the London camera-maker Frederick Cox to make the Panoramic camera, demonstrating the first model in January 1860; it took panoramic pictures on curved glass plates 152×381 mm in size. Cox later advertised other models in a total of four sizes. In January 1861 Sutton handed over manufacture to Andrew Ross's son Thomas Ross, who produced much-improved lenses and also cameras in three sizes. Sutton then developed the first single-lens reflex camera design, patenting it on 20 August 1961: a pivoted mirror, placed at 45 degrees inside the camera, reflected the image from the lens onto a ground glass-screen set in the top of the camera for framing and focusing. When ready, the mirror was swung up out of the way to allow light to reach the plate at the back of the camera. The design was manufactured for a few years by Thomas Ross and J.H. Dallmeyer.

In 1861 James Clerk Maxwell asked Sutton to prepare a series of photographs for use in his lecture "On the theory of three primary colours", to be presented at the Royal Institution in London on 17 May 1861. Maxwell required three photographs to be taken through red, green and blue filters, which were to be printed as lantern slides and projected in superimposition through three projectors. If his theory was correct, a colour reproduction of the original subject would be produced. Sutton used liquid filters: ammoniacal copper sulphate for blue, copper chloride for the green and iron sulphocyanide for the red. A fourth exposure was made through lemon-yellow glass, but was not used in the final demonstration. A tartan ribbon in a bow was used as the subject; the wet-collodion process in current use required six seconds for the blue exposure, about twice what would have been needed without the filter. After twelve minutes no trace of image was produced through the green filter, which had to be diluted to a pale green: a twelve-minute exposure then produced a serviceable negative. Eight minutes was enough to record an image through the red filter, although since the process was sensitive only to blue light, nothing at all should have been recorded. In 1961, R.M.Evans of the Kodak Research Laboratory showed that the red liquid transmitted ultraviolet radiation, and by an extraordinary coincidence many natural red dye-stuffs reflect ultraviolet. Thus the red separation was made on the basis of non-visible radiation rather than red, but the net result was correct and the projected images did give an identifiable reproduction of the original. Sutton's photographs enabled Maxwell to establish the validity of his theory and to provide the basis upon which all subsequent methods of colour photography have been founded.

JW / BC

SUBJECT AREA: Photography, film and optics

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Ives trained as a printer in Ithaca, New York, and became official photographer at Cornell University at the age of 18. His research into photomechanical processes led in 1886 to methods of making halftone reproduction of photographs using crossline screens. In 1881 he was the first to make a three-colour print from relief halftone blocks. He made significant contributions to the early development of colour photography, and from 1888 he published and marketed a number of systems for the production of additive colour photographs. He designed a beam-splitting camera in which a single lens exposed three negatives through red, green and blue filters. Black and white transparencies from these negatives were viewed in a device fitted with internal reflectors and filters, which combined the three colour separations into one full-colour image. This device was marketed in 1895 under the name Kromskop; sets of Kromograms were available commercially, and special cameras, or adaptors for conventional cameras, were available for photographers who wished to take their own colour pictures. A Lantern Kromskop was available for the projection of Kromskop pictures. Ives's system enjoyed a few years of commercial success before simpler methods of making colour photographs rendered it obsolete. Ives continued research into colour photography; his later achievements included the design, in 1915, of the Hicro process, in which a simple camera produced sets of separation negatives that could be printed as dyed transparencies in complementary colours and assembled in register on paper to produce colour prints. Later, in 1932, he introduced Polychrome, a simpler, two-colour process in which a bipack of two thin negative plates or films could be exposed in conventional cameras. Ives's interest extended into other fields, notably stereoscopy. He developed a successful parallax stereogram process in 1903, in which a three-dimensional image could be seen directly, without the use of viewing devices. In his lifetime he received many honours, and was a recipient of the Royal Photographic Society's Progress Medal in 1903 for his work in colour photography.

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SUBJECT AREA: Photography, film and optics

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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.

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быть, существовать - I think, therefore I am я мыслю, следовательно, я существую - the greatest genius that ever was величайший гений, который когда-либо существовал - to be no more (возвышенно) скончаться, умереть;
прекратить существование - Troy is no more Трои больше не существует - to be, or not to be - that is the question (Shakespeare) быть или не быть, вот в чем вопрос быть, находиться;
присутствовать;
пребывать - he will be here all the year он будет (находиться) здесь весь год - is he often in town? часто ли он бывает в городе? - I was before you in the queue я стоял перед вами в очереди - the horse was below in the hold лошадь поместили в трюме - he was at the ceremony он присутствовал на церемонии - the key is in the lock ключ( находится) в замке - I'll be down in a minute я сейчас спущусь - output is considerably below last year's level выпуск продукции намного ниже прошлогоднего /значительно ниже прошлогоднего, значительно упал по сравнению с прошлогодним/ быть, оставаться - don't be long! не задерживайся!, приходи скорее! - what a time you have been! как ты долго! - he was a long time reaching the shore ему понадобилось много времени, чтобы достичь берега происходить, случаться, совершаться - it was yesterday это было /произошло, случилось, состоялось/ вчера - when is the wedding to be? когда должна состояться /будет/ свадьба? - the New Year is on Sunday this time в этот раз Новый год приходится /падает/ на воскресенье - how is that you were there? как получилось, что вы оказались там? равняться, составлять - twice two is four дважды два - четыре - let x be ten предположим, (что) x равняется десяти (разговорное) стоить - how much is it? сколько это стоит? - what are these shoes? сколько стоят эти ботинки? - this book is five shillings эта книга стоит пять шиллингов значить, стоить - it is nothing to me мне это ничего не стоит, для меня это ничего не составляет /не значит/ - what is all that to me? что мне все это? какое мне до этого дело? (возвышенно) сопутствовать( в восклицательных предложениях как пожелание) - success (be) to your efforts! желаю успеха в ваших начинаниях!, да сопутствует вам удача! - victory be yours! желаю (вам) победы! there is имеется, есть - there are many English books in our library в нашей библиотеке (имеется) много английских книг - there is plenty of time времени вполне достаточно, еще есть масса времени - there are no roads дорог нет - there will be dancing будут танцы - there was once an old man... жил-был однажды старик... to have been посещать, бывать - has he been to London? он бывал в Лондоне? - I've been there! я там был!;
(разговорное) это мне известно! to have been (разговорное) заходить, быть - has anyone been? кто-нибудь заходил?, был кто-нибудь? - has the post been? была ли почта? to be at smth. (разговорное) намереваться сделать или сказать что-л. - I don't understand what exactly he is at я не понимаю, что именно он хочет сказать - what would you be at? каковы ваши намерения? to be at smth. (разговорное) нападать, набрасываться на что-л. - the mice are at the cheese again мыши опять добрались до сыра to be at smth.(разг) брать без спроса - he's been at my shaving things again он опять брал (без спроса) мои бритвенные принадлежности to be at smb. (разговорное) приставать к кому-л. - she's always at me она всегда меня пилит to be above smth. /doing smth./ быть выше чего-л., не опускаться до чего-л. - to be above suspicion быть выше /вне/ подозрений - to be above criticism быть выше всякой критики, быть безупречным - he is above reproach его не за что упрекнуть - he is above such matters он такими делами не занимается, он до такого( дела) не унизится - he is above taking bribes брать взятки - ниже его достоинства to be beneath smth., smb. быть ниже чего-л., кого-л. - to be beneath contempt не заслуживать (даже) презрения - it is beneath you /your dignity/ это ниже вашего достоинства to be beyond smth., smb. быть за пределами чего-л., возможностей кого-л. - his behaviour is beyond my endurance я не могу больше терпеть его поведение - he is not beyond redemption он еще может исправиться - this is beyond a joke это уже не шутка - it was beyond expectation такого нельзя было ожидать, на такое нельзя было надеяться - I am beyond caring мне уже все равно - what you say is beyond me мне совершенно непонятно то, что ты говоришь to be abreast of smth. быть в курсе чего-л. - he is abreast of developments in his field он в курсе последних достижений в своей области to be after smth. преследовать, пытаться поймать кого-л. - the police were after him полиция преследовала его to be after smth. покушаться на что-л., стремиться завладеть чем-л. - he's after my job он метит на мое место - he's after her money он охотится за ее деньгами to be about to do smth. собираться, намереваться сделать что-л. - he was about to send for you он собирался послать за вами - she was about to speak, but changed her mind она хотела было заговорить, но передумала to be against smth. противоречить чему-л., идти вразрез с чем-л. - lying is against my principles не в моих правилах врать to be for smth. стоять или быть за - who is for going home? кто за то, чтобы идти домой? to be for some place отправляться, ехать куда-л. - are you for Bristol? вы едете в Бристоль? to be on smb. (разговорное) быть оплаченным кем-л. - put your money away, it's on me убери деньги, я угощаю - the drinks are on the house хозяин( бара, ресторана и т. п.) угощает - the tickets are on me я плачу за билеты to be on smb. внезапно наступить, подоспеть( о праздниках, выборах и т. п.) - the wet season was on us неожиданно на нас обрушился сезон дождей - Christmas was on us наступило рождество to be on smth. входить в состав, быть членом (комиссии и т. п.) - he is on the board он входит в состав правления to be on smb., smth. быть поставленным на кого-л., что-л. - my money is on this horse я поставил на эту лошадь to be up to smth. замышлять, затевать что-л. - the boys are up to smth. мальчики что-то затевают - he is up to no good он затевает что-то скверное, от него хорошего не жди to be up to smth. быть осведомленным о чем-л. - the police must be up to all the dodges полиции должно быть известно обо всех уловках not to be up to (doing) smth. не быть в состоянии сделать что-л., не справиться с чем-л. - I am not up to going to the theatre tonight я не в состоянии пойти сегодня вечером в театр - he is not up to his job он не справляется со своей работой - he is not up to his father as a scholar как ученый он значительно уступает (своему) отцу to be up to smb. быть возложенным на кого-л. (об ответственности) ;
зависеть от кого-л. - it is up to him to decide от него зависит решение, он должен решить - it is up to you to choose вы выбираете /решаете/ - whether you learn or not is entirely up to you учиться или нет - твое дело to be up against smth., smb. столкнуться с чем-л., кем-л.;
встретить отпор - he's up against some real opposition он будет иметь дело с сильной оппозицией - he's up against it( разговорное) он столкнулся с большими трудностями to be up for smth. возникать, рассматриваться( о вопросе и т. п.) - to be up for review пересматриваться - to be up for debate обсуждаться, быть поставленным на обсуждение to be up for smth. рассматривать в суде, судить - he was up in court for this его за это судили to be up for smth. предназначаться к продаже - to be up for auction продаваться на аукционе /с молотка/ to be up for smth. быть выдвинутым кандидатом, быть претендентом - he's up for admission to the society at the next meeting его будут принимать в кружок на следующем собрании to be with smb. поддерживать кого-л. - we're with you all the way мы пойдем с тобой до конца - she is at one with her husband она заодно со (своим) мужем to be with smb. понимать, следить за тем, что говорят - are you still with me - or shall I go over it again? ты следишь за ходом моей мысли или мне повторить еще раз? to be with smb., smth. работать у кого-л., где-л. (по найму) - I'm with a shipping firm я работаю в транспортной фирме как глагол-связка: быть - he is a teacher он учитель - are they English? они англичане? - ten yards is a lot десять ярдов - это очень много - his is a fine house его дом чудесный, у него прекрасный дом - our task is to finish the work in time наша задача - вовремя кончить работу - she has been a mother to me она мне была вместо матери - she is twenty ей двадцать лет - today is the tenth сегодня десятое (число) - tomorrow is Friday завтра пятница - the wall is six foot high стена имеет шесть футов в высоту - what is it? что это?;
в чем дело? - to see things as they are видеть вещи такими, какие они есть - if I were you... если бы я был на вашем месте... - seeing is believing увидеть - (это) значит убедиться /поверить/ находиться в (каком-л.) состоянии;
чувствовать, ощущать( что-л.) - I am cold мне холодно - he is asleep он спит - he is glad он рад - he is absent он отсутствует - he is in trouble он попал в беду, у него неприятности - he is at work он работает - isn't he lucky? везет же ему! с последующим инфинитивом выражает долженствование, обусловленное договоренностью, планом - he is to come at six он должен прийти в шесть (часов) - he was to come at six он должен был прийти в шесть - he was to have come at six он должен был прийти в шесть (но не пришел) - when am I to come? когда мне приходить?, когда мне нужно прийти? - the house is to let дом сдается в аренду - he was never to see her again ему больше никогда не суждено было ее увидеть - it was not to be этому не суждено было сбыться /осуществиться/ - they are not to be trusted им нельзя доверять - such men are to be pitied rather than despised таких людей надо не презирать, а жалеть с последующим инфинитивом выражает возможность - he was nowhere to be found его нигде нельзя было найти /отыскать/ - not a cloud was to be seen не видно было ни облачка - how am I to get through all this work today? как я смогу справиться со всей этой работой сегодня? с последующим инфинитивом выражает намерение, желание( в условных предложениях) - if we are to come in time, we must start at once если мы хотим прийти вовремя6 нам надо сразу отправляться (устаревшее) в сочетании с p.p. глаголов to come, to fall, to sit, to run, to get и др. - winter was come зима наступила - the sun was risen солнце встало в сочетании с pres.p. служит для образования длительной формы - he was talking to his son at the time в тот момент он беседовал с сыном - he is working он (сейчас) работает - this question is being discussed этот вопрос сейчас обсуждается в сочетании с p.p. переходных и ряда непереходных глаголов служит для образования пассивной формы - this was made by my son это было сделано моим сыном - they will be punished они будут наказаны, из накажут - such questions are settled by the committee такие вопросы решаются комитетом - he was asked to come его попросили прийти - this book was much spoken of об этой книге много говорили > to be above one /one's head/ (разговорное) быть выше чьего-л. понимания > to be at it шалить, проказничать > the children are at it again дети опять принялись за свое > to be hard at it /at work/ (разговорное) быть очень занятым;
напряженно работать > they were hard at it /at work/ the whole night они работали изо всех сил всю ночь напролет > to be at one with smb. быть с кем-л. заодно > to be beside oneself with grief потерять голову от горя > to be beside oneself with rage выйти из себя, разгневаться > to be beside the point не иметь отношения (к данному вопросу, делу и т. п.) > for the time being пока > the manager for the time being временно исполняющий обязанности заведующего > somebody will be in for кому-то попадет /влетит, нагорит/ > far be it from me to do this я вовсе не собираюсь /я далек от того, чтобы/ делать это > be (that) as it may как бы то ни было;
пусть будет что будет > let it be! оставь это в покое!, пусть все остается как есть! > so be it да будет так, пусть так и будет > how are you? как вы поживаете?;
как вы себя чувствуете? > you never know where you are with him никогда не знаешь, что он может сделать /как он поступит, как себя с ним вести, чего от него ждать/ - be yourself!, be your age! не глупи!, не валяй дурака! - you've been and gone and done it! (сленг) ну и наделали вы дел!, ну и натворили же вы! - I'll be! (американизм) (сленг) вот те на!, господи боже мой!, ну и ну! (восклицание, выражающее удивление)

~ происходить, случаться;
admission exams are once a year in autumn приемные испытания проводятся один раз в год осенью

~ находиться;
бывать;
where are my books? где мои книги?;
are you often in town? часто ли вы бываете в городе?;
I have never been to the Caucasus я никогда не был на Кавказе

~ about быть занятым( чем-л.) ~ about быть на ногах, встать ~ about собираться (c inf.) ;
he is about to go он собирается уходить

~ at намереваться;
what would you be at? каковы ваши намерения?

~ at law соблюдать закон law: ~ суд, судебный процесс;
to be at law( with smb.) быть в тяжбе (с кем-л.) ;
to go to law подать в суд;
начать судебный процесс

~ at liberty to иметь возможность ~ at liberty to получать право

~ away = be off ~ away отсутствовать

~ back вернуться

~ for отправляться в ~ for стоять (за кого-л., что-л.)

to ~ going собираться (с inf. часто придает значение будущего времени) ;
the clock is going to strike часы сейчас будут бить

~ in быть дома to ~ in (smb.) быть свойственным, характерным (для кого-л.) ;
it is not in him to do such a thing это не в его натуре, на него это непохоже ~ in поспеть( о фруктах) ~ in прийти, прибыть( о поезде, пароходе и т. п.) ;
наступить (о времени года) ~ in прийти к власти( о политической партии) ;
the labour candidate is in кандидат лейбористской партии прошел на выборах ~ in (on smth.) участвовать( в чем-л.)

to ~ of (a group, class, etc.) быть одним из (группы, класса и т. п.) ;
they knew he was not of them они распознали в нем чужого

~ away = be off ~ off уходить;
the train is off поезд ушел off: ~ указывает на удаление, отделение: I must be off я должен уходить;
off you go!, be off!, get off!, off with you! убирайтесь!;
уходите!

~ on идти (о спектакле) ;
what is on at the Bolshoi Theatre today? что идет в Большом театре сегодня? ~ on происходить on: to be ~ (to smb.) напасть на след( кого-л.) to be ~ (to smb.) придираться к комулибо to be ~ (to smb.) раскусить( кого-л.) to be ~ (to smb.) связаться( с кем-л.) (по телефону и т. п.)

to ~ oneself быть самим собой to ~ oneself прийтив себя

~ out не быть дома, в комнате out: to be ~ быть без сознания, потерять сознание;
out and about поправившийся после болезни she is ~ for compliments она напрашивается на комплименты;
to be out( with smb.) быть (с кем-л.) в ссоре, не в ладах

~ up встать, подняться ~ up закончиться ~ up (to smth.) замышлять (что-л.) ;
how are you? здравствуйте!, как вы поживаете? ~ up повыситься в цене ~ up произойти

to ~ going собираться (с inf. часто придает значение будущего времени) ;
the clock is going to strike часы сейчас будут бить

~ в составном именном сказуемом является глаголом-связкой: he is a teacher он учитель;
I am cold мне холодно

~ about собираться (c inf.) ;
he is about to go он собирается уходить

~ как модальный глагол с последующим инфинитивом означает долженствование, возможность, намерение: I am to inform you я должен вас известить;
he is to be there now он должен быть там сейчас

~ up (to smth.) замышлять (что-л.) ;
how are you? здравствуйте!, как вы поживаете? how: ~ are you? как поживаете?;
how about..? как насчет..?;
how about going for a walk? не пойти ли нам погулять?

~ стоить;
how mush is it? сколько это стоит?

~ в составном именном сказуемом является глаголом-связкой: he is a teacher он учитель;
I am cold мне холодно cold: ~ холодный;
to be (или to feel) cold зябнуть, мерзнуть;
I am cold мне холодно

~ как вспомогательный глагол служит для образования длительной формы: I am reading я читаю

~ как модальный глагол с последующим инфинитивом означает долженствование, возможность, намерение: I am to inform you я должен вас известить;
he is to be there now он должен быть там сейчас

~ находиться;
бывать;
where are my books? где мои книги?;
are you often in town? часто ли вы бываете в городе?;
I have never been to the Caucasus я никогда не был на Кавказе

I've been there разг. все это уже известно;
you've been (and gone) and done it разг. = ну и наделали вы дел

to ~ in (smb.) быть свойственным, характерным (для кого-л.) ;
it is not in him to do such a thing это не в его натуре, на него это непохоже

~ in прийти к власти( о политической партии) ;
the labour candidate is in кандидат лейбористской партии прошел на выборах

to let ~ оставлять в покое

~ как вспомогательный глагол служит для образования пассива: such questions are settled by the committee подобные вопросы разрешаются комитетом

to ~ of (a group, class, etc.) быть одним из (группы, класса и т. п.) ;
they knew he was not of them они распознали в нем чужого

~ off уходить;
the train is off поезд ушел train: the ~ is off поезд уже отошел;
to make the train поспеть на поезд

~ on идти (о спектакле) ;
what is on at the Bolshoi Theatre today? что идет в Большом театре сегодня?

~ at намереваться;
what would you be at? каковы ваши намерения?

~ находиться;
бывать;
where are my books? где мои книги?;
are you often in town? часто ли вы бываете в городе?;
I have never been to the Caucasus я никогда не был на Кавказе

I've been there разг. все это уже известно;
you've been (and gone) and done it разг. = ну и наделали вы дел

SUBJECT AREA: Photography, film and optics

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The young Eastman was a clerk-bookkeeper in the Rochester Savings Bank when in 1877 he took up photography. Taking lessons in the wet-plate process, he became an enthusiastic amateur photographer. However, the cumbersome equipment and noxious chemicals used in the process proved an obstacle, as he said, "It seemed to be that one ought to be able to carry less than a pack-horse load." Then he came across an account of the new gelatine dry-plate process in the British Journal of Photography of March 1878. He experimented in coating glass plates with the new emulsions, and was soon so successful that he decided to go into commercial manufacture. He devised a machine to simplify the coating of the plates, and travelled to England in July 1879 to patent it. In April 1880 he prepared to begin manufacture in a rented building in Rochester, and contacted the leading American photographic supply house, E. \& H.T.Anthony, offering them an option as agents. A local whip manufacturer, Henry A.Strong, invested $1,000 in the enterprise and the Eastman Dry Plate Company was formed on 1 January 1881. Still working at the Savings Bank, he ran the business in his spare time, and demand grew for the quality product he was producing. The fledgling company survived a near disaster in 1882 when the quality of the emulsions dropped alarmingly. Eastman later discovered this was due to impurities in the gelatine used, and this led him to test all raw materials rigorously for quality. In 1884 the company became a corporation, the Eastman Dry Plate \& Film Company, and a new product was announced. Mindful of his desire to simplify photography, Eastman, with a camera maker, William H.Walker, designed a roll-holder in which the heavy glass plates were replaced by a roll of emulsion-coated paper. The holders were made in sizes suitable for most plate cameras. Eastman designed and patented a coating machine for the large-scale production of the paper film, bringing costs down dramatically, the roll-holders were acclaimed by photographers worldwide, and prizes and medals were awarded, but Eastman was still not satisfied. The next step was to incorporate the roll-holder in a smaller, hand-held camera. His first successful design was launched in June 1888: the Kodak camera. A small box camera, it held enough paper film for 100 circular exposures, and was bought ready-loaded. After the film had been exposed, the camera was returned to Eastman's factory, where the film was removed, processed and printed, and the camera reloaded. This developing and printing service was the most revolutionary part of his invention, since at that time photographers were expected to process their own photographs, which required access to a darkroom and appropriate chemicals. The Kodak camera put photography into the hands of the countless thousands who wanted photographs without complications. Eastman's marketing slogan neatly summed up the advantage: "You Press the Button, We Do the Rest." The Kodak camera was the last product in the design of which Eastman was personally involved. His company was growing rapidly, and he recruited the most talented scientists and technicians available. New products emerged regularly—notably the first commercially produced celluloid roll film for the Kodak cameras in July 1889; this material made possible the introduction of cinematography a few years later. Eastman's philosophy of simplifying photography and reducing its costs continued to influence products: for example, the introduction of the one dollar, or five shilling, Brownie camera in 1900, which put photography in the hands of almost everyone. Over the years the Eastman Kodak Company, as it now was, grew into a giant multinational corporation with manufacturing and marketing organizations throughout the world. Eastman continued to guide the company; he pursued an enlightened policy of employee welfare and profit sharing decades before this was common in industry. He made massive donations to many concerns, notably the Massachusetts Institute of Technology, and supported schemes for the education of black people, dental welfare, calendar reform, music and many other causes, he withdrew from the day-to-day control of the company in 1925, and at last had time for recreation. On 14 March 1932, suffering from a painful terminal cancer and after tidying up his affairs, he shot himself through the heart, leaving a note: "To my friends: My work is done. Why wait?" Although Eastman's technical innovations were made mostly at the beginning of his career, the organization which he founded and guided in its formative years was responsible for many of the major advances in photography over the years.

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1) (an apparatus for taking still or (movie-camera) moving photographs.) kamera

2) (in television, an apparatus which receives a picture and turns it into electrical impulses for transmitting.) fjernsynskamera

* * *

1) (an apparatus for taking still or (movie-camera) moving photographs.) kamera

2) (in television, an apparatus which receives a picture and turns it into electrical impulses for transmitting.) fjernsynskamera

1) (the house, town, country etc where a person etc usually lives: I work in London but my home is in Bournemouth; When I retire, I'll make my home in Bournemouth; Africa is the home of the lion; We'll have to find a home for the kitten.) hjem

2) (the place from which a person, thing etc comes originally: America is the home of jazz.) hjemsted

3) (a place where children without parents, old people, people who are ill etc live and are looked after: an old folk's home; a nursing home.) -hjem

4) (a place where people stay while they are working: a nurses' home.) internat; -hjem

5) (a house: Crumpy Construction build fine homes for fine people; He invited me round to his home.) hus; hjem; bolig

1) (of a person's home or family: home comforts.) hjem-; hjemme-

2) (of the country etc where a person lives: home produce.) hjemme-; indenlandsk

3) ((in football) playing or played on a team's own ground: the home team; a home game.) hjemme-

1) (to a person's home: I'm going home now; Hallo - I'm home!) hjem; hjemme

2) (completely; to the place, position etc a thing is intended to be: He drove the nail home; Few of his punches went home; These photographs of the war brought home to me the suffering of the soldiers.) ind; hjem

•

- homeless

* * *

1) (the house, town, country etc where a person etc usually lives: I work in London but my home is in Bournemouth; When I retire, I'll make my home in Bournemouth; Africa is the home of the lion; We'll have to find a home for the kitten.) hjem

2) (the place from which a person, thing etc comes originally: America is the home of jazz.) hjemsted

3) (a place where children without parents, old people, people who are ill etc live and are looked after: an old folk's home; a nursing home.) -hjem

4) (a place where people stay while they are working: a nurses' home.) internat; -hjem

5) (a house: Crumpy Construction build fine homes for fine people; He invited me round to his home.) hus; hjem; bolig

1) (of a person's home or family: home comforts.) hjem-; hjemme-

2) (of the country etc where a person lives: home produce.) hjemme-; indenlandsk

3) ((in football) playing or played on a team's own ground: the home team; a home game.) hjemme-

1) (to a person's home: I'm going home now; Hallo - I'm home!) hjem; hjemme

2) (completely; to the place, position etc a thing is intended to be: He drove the nail home; Few of his punches went home; These photographs of the war brought home to me the suffering of the soldiers.) ind; hjem

•

- homeless

1) ((often with at) to send or fire (bullets, arrows etc) from a gun, bow etc: The enemy were shooting at us; He shot an arrow through the air.) skyde

2) (to hit or kill with a bullet, arrow etc: He went out to shoot pigeons; He was sentenced to be shot at dawn.) skyde

3) (to direct swiftly and suddenly: She shot them an angry glance.) sende

4) (to move swiftly: He shot out of the room; The pain shot up his leg; The force of the explosion shot him across the room.) ryge; jage; kaste

5) (to take (usually moving) photographs (for a film): That film was shot in Spain; We will start shooting next week.) skyde; optage

6) (to kick or hit at a goal in order to try to score.) skyde

7) (to kill (game birds etc) for sport.) skyde

- shooting-star

* * *

1) ((often with at) to send or fire (bullets, arrows etc) from a gun, bow etc: The enemy were shooting at us; He shot an arrow through the air.) skyde

2) (to hit or kill with a bullet, arrow etc: He went out to shoot pigeons; He was sentenced to be shot at dawn.) skyde

3) (to direct swiftly and suddenly: She shot them an angry glance.) sende

4) (to move swiftly: He shot out of the room; The pain shot up his leg; The force of the explosion shot him across the room.) ryge; jage; kaste

5) (to take (usually moving) photographs (for a film): That film was shot in Spain; We will start shooting next week.) skyde; optage

6) (to kick or hit at a goal in order to try to score.) skyde

7) (to kill (game birds etc) for sport.) skyde

- shooting-star

1) (of the same kind as that already mentioned or being mentioned: Animals that gnaw, such as mice, rats, rabbits and weasels are called rodents; He came from Bradford or some such place; She asked to see Mr Johnson but was told there was no such person there; I've seen several such buildings; I've never done such a thing before; doctors, dentists and such people.) sådan; den slags

2) (of the great degree already mentioned or being mentioned: If you had telephoned her, she wouldn't have got into such a state of anxiety; She never used to get such bad headaches (as she does now).) sådan

3) (of the great degree, or the kind, to have a particular result: He shut the window with such force that the glass broke; She's such a good teacher that the headmaster asked her not to leave; Their problems are such as to make it impossible for them to live together any more.) sådan

4) (used for emphasis: This is such a shock! They have been such good friends to me!) sådan; så

- suchlike

* * *

1) (of the same kind as that already mentioned or being mentioned: Animals that gnaw, such as mice, rats, rabbits and weasels are called rodents; He came from Bradford or some such place; She asked to see Mr Johnson but was told there was no such person there; I've seen several such buildings; I've never done such a thing before; doctors, dentists and such people.) sådan; den slags

2) (of the great degree already mentioned or being mentioned: If you had telephoned her, she wouldn't have got into such a state of anxiety; She never used to get such bad headaches (as she does now).) sådan

3) (of the great degree, or the kind, to have a particular result: He shut the window with such force that the glass broke; She's such a good teacher that the headmaster asked her not to leave; Their problems are such as to make it impossible for them to live together any more.) sådan

4) (used for emphasis: This is such a shock! They have been such good friends to me!) sådan; så

- suchlike

SUBJECT AREA: Photography, film and optics

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As a young man Georges Demenÿ was a pioneer of physical education in France, and this led him to contact the physiologist Professor Marey in 1880. Marey had made a special study of animal movement, and Demenÿ hoped to work with him on research into physiological problems related to gymnastics. He joined Marey the following year, and when in 1882 the Physiological Station was set up near Paris to develop sequence photography for the study of movement. Demenÿ was made Head of the laboratory. He worked with the multiple-image fixed-plate cameras, and was chiefly responsible for the analysis of the records, having considerable mathematical and graphical ability. He also appeared as the subject in a number of the sequences. When in 1888 Marey began the development of a film camera, Demenÿ was involved in its design and operation. He became interested in the possibility of using animated sequence photographs as an aid to teaching of the deaf. He made close-up records of himself speaking short phrases, "Je vous aime" and "Vive la France" for example, which were published in such journals as Paris Photographe and La Nature in 1891 and 1892. To present these in motion, he devised the Phonoscope, which he patented on 3 March 1892. The series of photographs were mounted around the circumference of a disc and viewed through a counter-rotating slotted disc. The moving images could be viewed directly, or projected onto a screen. La Nature reported tests he had made in which deaf lip readers could interpret accurately what was being said. On 20 December 1892 Demenÿ formed a company, Société Générale du Phonoscope, to exploit his invention, hoping that "speaking portraits" might replace family-album pictures. This commercial activity led to a rift between Marey and Demenÿ in July 1893. Deprived of access to the film cameras, Demenÿ developed designs of his own, patenting new camera models in France on 10 October 1893 and 27 July 1894. The design covered by the latter had been included in English and German patents filed in December 1893, and was to be of some significance in the early development of cinematography. It was for an intermittent movement of the film, which used an eccentrically mounted blade or roller that, as it rotated, bore on the film, pulling down the length of one frame. As the blade moved away, the film loop so formed was taken up by the rotation of the take-up reel. This "beater" movement was employed extensively in the early years of cinematography, being effective yet inexpensive. It was first employed in the Chronophotographe apparatus marketed by Gaumont, to whom Demenÿ had licensed the patent rights, from the autumn of 1896. Demenÿ's work provided a link between the scientific purposes of sequence photography— chronophotography—and the introduction of commercial cinematography.

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SUBJECT AREA: Photography, film and optics

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A professional photographer working from a studio in Dorchester, Pouncy had a long interest in "permanent" photographs. In 1857 he published two volumes of photolithographed views of Dorset. He was later to devise a number of variations of the photolithographic process.

Pouncy is best remembered for his pigment process, patented in 1858, using vegetable carbon, gum arabic and potassium bichromate. His prints exhibited at the London Photographic Society the same year were greatly admired. However, Pouncy's gum bichromate process was, in fact, covered by earlier patents filed by Poitevin, but this did not deter Pouncy from submitting his prints to the Duke of Lyne's competition for permanent photographs in 1859. For the excellence of his work, Pouncy was awarded the lesser part of the major prize won by Poitevin. Although Pouncy's work was not original, he pioneered the carbon process in England and can be considered the practical founder of the different technique of gum bichromate printing.

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SUBJECT AREA: Photography, film and optics

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He began his photographic career as a daguerreotypist and at an early date called himself "Nadar", the name by which he was known for the rest of his life. Between 1855 and 1858 he made captive balloon ascents with the idea of producing a topographic map of Paris from aerial photographs. Nadar was also one of the first photographers to take successful photographs with the aid of artificial illuminants; using Bunsen batteries to power electric arc lamps, he was able to take views of the underground catacombs in Paris during 1861 and 1862. This exercise captured the imagination of the Paris public, and Nadar's work was widely acclaimed. In December 1863 he exhibited portraits taken by electric light, and later used magnesium illuminants to photograph underground canal construction. For many years Nadar practised as a photographer with his son Paul, a relationship that was sometimes stormy. Paul eventually took the name Nadar for himself and was, in turn, to become one of France's most celebrated photographers.

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официальное фотоагентство
Со времени проведения Олимпийских зимних игр 1988 года в Калгари МОК назначает официальное фотоагентство. Официальное фотоагентство призвано удовлетворять оперативные потребности МОК и Олимпийских маркетинг-партнеров в фотосъемке. Его наличие также позволяет партнерам не направлять собственных фотографов для работы на Играх. Официальное фотоагентство ведет архив собственных Олимпийских фотоснимков, а также снимков, принадлежащих МОК и доступных в сети Интернет для платного коммерческого использования средствами массовой информации и для использования маркетинг-партнерами. Официальное фотоагентство также предоставляет МОК и ОКОИ неисключительную лицензию на право бесплатного использования находящихся в его полной собственности редакционных фотоснимков Игр, а также находящихся в его полной собственности редакционных фотоснимков иных крупных спортивных событий для редакционных, образовательных и рекламных целей, определенных договором между МОК и фотоагентством.
[Департамент лингвистических услуг Оргкомитета «Сочи 2014». Глоссарий терминов]

EN

official photo agency
IOC has appointed an official photographic agency since the Olympic Winter Games of 1988 in Calgary. The main purpose of this arrangement has been to meet the operational photographic needs of the IOC and the Olympic marketing partners, while at the same time eliminating the need for the partners to bring their own photographers to the Games. The official photo agency maintains an archive of its Olympic images, as well as certain IOC-owned images, which are available online at a commercial fee to media organizations for editorial purposes and IOC marketing partners. The official photo agency also grants the IOC and the OCOGs a non-exclusive license to use, free of charge, all of its wholly owned editorial photographs of the Games as well as its wholly owned editorial sport photographs from events, other than the Games for certain editorial, educational and promotional purposes, as defined in the IOC - agency contract.
[Департамент лингвистических услуг Оргкомитета «Сочи 2014». Глоссарий терминов]

Тематики

• спорт (коммуникации и средства массовой информации)

EN

• official photo agency