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101 successive photographs
English-Russian cartography dictionary > successive photographs
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102 twin oblique air photographs
English-Russian cartography dictionary > twin oblique air photographs
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103 twin oblique photographs
English-Russian cartography dictionary > twin oblique photographs
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104 twin photographs
• аэроснимки, полученные двухобъективной аэрофотокамерой с взаимно пересекающимися осями -
105 overlapping photographs
English-Russian dictionary of fishery > overlapping photographs
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106 overlapping photographs
English-Russian maritime law dictionary > overlapping photographs
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107 take photographs
v.fotografiar. -
108 vacation photographs
s.fotos tomadas en las vacaciones. -
109 exploratory photographs
Englsh-Russian aviation and space dictionary > exploratory photographs
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110 cloud-cover photographs
English-russian astronautics dictionary > cloud-cover photographs
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111 strip of photographs
фгр. маршрут аэрофотоснимковсерия перекрывающихся аэрофотоснимков, выполненных на одном прямолинейном участке полетаThe English-Russian dictionary of geoinformatics > strip of photographs
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112 block of photographs
фгр. блок аэрофотоснимковThe English-Russian dictionary of geoinformatics > block of photographs
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113 pix
photographs; picturesфотографии; картины -
114 photograph
1. nounFotografie, die; Foto, das2. transitive & intransitive verbtake a photograph [of somebody/something] — [jemanden/etwas] fotografieren; ein Foto [von jemandem/etwas] machen
* * *1. noun(( abbreviation photo ['foutou]) a picture taken by a camera, using the action of light on film or plates covered with certain chemicals: I took a lot of photographs during my holiday.) die Fotografie2. verb(to take a photograph or photographs of (a person, thing etc): He spends all his time photographing old buildings.) fotografieren- academic.ru/55184/photographer">photographer- photographic
- photography* * *pho·to·graph[ˈfəʊtəgrɑ:f, AM ˈfoʊt̬əgræf]I. n Fotografie f, Foto ntaerial \photograph Luftaufnahme fnude \photograph Nacktfoto nt, Aktfoto ntto take a \photograph [of sb/sth] [jdn/etw] fotografieren, ein Foto [von jdm/etw] machenII. vt▪ to \photograph sb/sth jdn/etw fotografierenIII. vito \photograph well/badly gut/schlecht auf Fotos aussehenhe \photographs well er ist fotogen* * *['fəʊtəgrf]1. nFotografie f, Aufnahme fto take a photograph (of sb/sth) — (jdn/etw) fotografieren, eine Aufnahme or ein Bild (von jdm/etw) machen
2. vtfotografieren, knipsen (inf)"photographed by John Mayne" — "Foto/Fotos: John Mayne"
3. vito photograph well — sich gut fotografieren lassen
she doesn't photograph well — sie ist nicht sehr fotogen
* * *A s Fotografie f, (Licht)Bild n, Aufnahme f:in the photograph auf der Fotografie;“no photographs” „Fotografieren nicht gestattet“;take a photograph of → B;take photographs Aufnahmen machen, fotografierenB v/t fotografieren, aufnehmen, eine Aufnahme machen von (oder gen)C v/i1. fotografieren2. fotografiert werden:she photographs well sie lässt sich gut fotografieren, sie ist sehr fotogen;he does not photograph well er lässt sich schlecht fotografieren, er wird nicht gut auf Bildernphot. abk1. photograph2. photographer Fotogr.3. photographic fotogr.4. photography Fotogr.* * *1. nounFotografie, die; Foto, das2. transitive & intransitive verbtake a photograph [of somebody/something] — [jemanden/etwas] fotografieren; ein Foto [von jemandem/etwas] machen
* * *n.Aufnahme -n f.Fotografie -n f.Lichtbild n. v.fotografieren v.photographieren (alt.Rechtschreibung) v. -
115 photograph
1. noun(( abbreviation photo ['foutou]) a picture taken by a camera, using the action of light on film or plates covered with certain chemicals: I took a lot of photographs during my holiday.) foto; billede2. verb(to take a photograph or photographs of (a person, thing etc): He spends all his time photographing old buildings.) fotografere- photographic
- photography* * *1. noun(( abbreviation photo ['foutou]) a picture taken by a camera, using the action of light on film or plates covered with certain chemicals: I took a lot of photographs during my holiday.) foto; billede2. verb(to take a photograph or photographs of (a person, thing etc): He spends all his time photographing old buildings.) fotografere- photographic
- photography -
116 photograph
1. noun(( abbreviation photo ['foutou]) a picture taken by a camera, using the action of light on film or plates covered with certain chemicals: I took a lot of photographs during my holiday.) fotografia2. verb(to take a photograph or photographs of (a person, thing etc): He spends all his time photographing old buildings.) fotografar- photographic
- photography* * *pho.to.graph[f'outəgra:f; f'outəgræf] n fotografia. • vt 1 fotografar. 2 prestar-se para ser fotografado. it photographs badly é difícil para fotografar. to take a photograph tirar uma fotografia. -
117 photograph
------------------------------------------------------------[English Word] photograph[English Plural] photographs[Swahili Word] foto[Swahili Plural] foto[Part of Speech] noun[Class] 9/10------------------------------------------------------------[English Word] photograph[English Plural] photographs[Swahili Word] picha[Swahili Plural] picha[Part of Speech] noun[Class] 9/10[Derived Language] English[Derived Word] picture[Related Words] mpigapicha------------------------------------------------------------[English Word] photograph[English Plural] photographs[Swahili Word] sanamu[Swahili Plural] sanamu[Part of Speech] noun[Class] 9/10------------------------------------------------------------[English Word] photograph[Swahili Word] -piga picha[Part of Speech] verb[Related Words] piga[English Example] the tourist photographed many large animals[Swahili Example] mtalii alipiga picha za wanyama wakubwa wengi------------------------------------------------------------[English Word] take a photograph[Swahili Word] -forota[Part of Speech] verb------------------------------------------------------------[English Word] take a photograph[Swahili Word] -fotoa foto[Part of Speech] verb------------------------------------------------------------ -
118 Ives, Frederic Eugene
SUBJECT AREA: Photography, film and optics[br]b. 17 February 1856 Litchfield, Connecticut, USAd. 27 May 1937 Philadelphia, Pennsylvania, USA[br]American printer who pioneered the development of photomechanical and colour photographic processes.[br]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.[br]Further ReadingB.Coe, 1978, Colour Photography: The First Hundred Years, London J.S.Friedman, 1944, History of Colour Photography, Boston. G.Koshofer, 1981, Farbfotografie, Vol. I, Munich.E.J.Wall, 1925, The History of Three-Colour Photography, Boston.BC -
119 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 -
120 Sutton, Thomas
SUBJECT AREA: Photography, film and optics[br]b. 1819 Englandd. 1875 Jersey, Channel Islands[br]English photographer and writer on photography.[br]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
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