The red and green images

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Hydrogen chloride forms ions in aqueous solution.

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The roof collapsed giving rise to a crater (геол.).

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As the seawater evaporates, the remaining salt and water make up a brine that is denser than seawater.

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Aldehyde sugars give rise to (or produce) sugar acids.

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The red and green images combine into a black image.

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The three instruments form (or comprise, or make up) a signal generator assembly.

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As Δ_0 v_z changes, the circles generate a surface, which...

SUBJECT AREA: Photography, film and optics

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The son of a tax collector, Ducos du Hauron began researches into colour photography soon after the publication of Clerk Maxwell's experiment in 1861. In a communication sent in 1862 for presentation at the Académie des Sciences, but which was never read, he outlined a number of methods for photography of colours. Subsequently, in his book Les Couleurs en photographie, published in 1869, he outlined most of the principles of additive and subtractive colour photography that were later actually used. He covered additive processes, developed from Clerk Maxwell's demonstrations, and subtractive processes which could yield prints. At the time, the photographic materials available prevented the processes from being employed effectively. The design of his Chromoscope, in which transparent reflectors could be used to superimpose three additive images, was sound, however, and formed the basis of a number of later devices. He also proposed an additive system based on the use of a screen of fine red, yellow and blue lines, through which the photograph was taken and viewed. The lines blended additively when seen from a certain distance. Many years later, in 1907, Ducos du Hauron was to use this principle in an early commercial screen-plate process, Omnicolore. With his brother Alcide, he published a further work in 1878, Photographie des Couleurs, which described some more-practical subtractive processes. A few prints made at this time still survive and they are remarkably good for the period. In a French patent of 1895 he described yet another method for colour photography. His "polyfolium chromodialytique" involved a multiple-layer package of separate red-, green-and blue-sensitive materials and filters, which with a single exposure would analyse the scene in terms of the three primary colours. The individual layers would be separated for subsequent processing and printing. In a refined form, this is the principle behind modern colour films. In 1891 he patented and demonstrated the anaglyph method of stereoscopy, using superimposed red and green left and right eye images viewed through green and red filters. Ducos du Hauron's remarkable achievement was to propose theories of virtually all the basic methods of colour photography at a time when photographic materials were not adequate for the purpose of proving them correct. For his work on colour photography he was awarded the Progress Medal of the Royal Photographic Society in 1900, but despite his major contributions to colour photography he remained in poverty for much of his later life.

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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.

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комбинированное цветное изображение
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[ http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]

EN

colour composition
A remote-sensing term referring to the process of assigning different colours to different spectral bands. The colour picture formed by this process is called a "colour composite" (a colour image produced through optical combination of multiband images by projection through filters) and is produced by assigning a colour to an image of the Earth's surface recorded in a particular waveband. For a Landsat colour composite, the green waveband is coloured blue, the red waveband is coloured green and the infrared waveband is coloured red. This produces an image closely approximating a false colour photograph. Colour composite images are easier to interpret than separate images recording different wavebands. US national experimental crop inventories are based upon visual interpretation of Landsat colour composites. (Source: RRDA / WHIT)
[http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]

Тематики

• охрана окружающей среды

EN

• colour composition

DE

• Farbzusammensetzung

FR

• composition de couleurs

1 to insert, to put in.

2 to intercalate, to interpolate, to insert, to intersperse.

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► verbo transitivo

1 to insert

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1) (=insertar) [+ pausa, ejemplo] to put in, include; [+ comentarios, cultivos] to intersperse, alternate; [+ actividad] to fit in, combine

2) (Inform) [+ archivos, texto] to merge

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verbo transitivo

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= intercalate, interfile, interject, interpolate, interleaf.

Ex. Another feature of UDC is the ability to intercalate certain concepts in compound class numbers.

Ex. File boxes can be used and filed on shelves, if appropriate, interfiled with the books.

Ex. I'd like to interject a comment at this point.

Ex. A word should be interpolated here about `made-up' copies.

Ex. Maps, interleafed with blotters, were laid out on tables in a drying-out location.

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* intercalar mal = misfile.

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verbo transitivo

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intercalar [A1 ]

intercaló algunas citas en su discurso she interspersed her speech with some quotations

hay que intercalar estos gráficos en el texto these diagrams have to be inserted into the text

intercalar algo ENTRE algo to place sth AMONG sth

intercaló las servilletas rojas entre las verdes he placed the red napkins among the green ones

intercalaban las ilustraciones entre las páginas del libro they interleaved the plates into the book

intercalar algo CON algo to alternate sth WITH sth

coloca los ramilletes intercalados con las velas place the bouquets so that they alternate with o are interspersed with the candles

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◊ intercaló algunas citas en su discurso she interspersed her speech with some quotations;

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intercalar vt

to insert, to put in;

intercala los banderines rojos con los verdes alternate red flags with green ones;

intercaló canciones de su nuevo disco con clásicos she interpersed songs from her new album with old favourites;

intercaló varios chistes en el discurso she interspersed her speech with a number of jokes;

intercaló la postal entre las demás he inserted o put the postcard between the others

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v/t insert

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intercalar vt

: to intersperse, to insert

venir [v(ə)niʀ]

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1. intransitive verb

2. auxiliary verb

3. impersonal verb

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► venir is conjugated with être.

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1. <