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1 colour process plate
English-Russian big polytechnic dictionary > colour process plate
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2 colour process plate
Англо русский политехнический словарь > colour process plate
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3 plate
1. пластина; плита2. стереотип; гальваностереотип; стереотипировать; изготовлять гальваностереотип3. фотопластинка4. наносить гальваническое покрытие5. гравюра; эстамп; вкладная иллюстрация6. экслибрис7. удалять краску с пробельных элементов формы8. вымывать неэкспонированные участки фотоформыadhesive mounted plate — печатная форма, закреплённая приклеиванием
9. алюминиевая офсетная формная пластина10. алюминиевая офсетная печатная формаplate thickness — толщина пластины, толщина печатной формы
11. алюминиевая формная пластина12. алюминиевая печатная формаaqueous-developed plate — печатная форма, получаемая с использованием водного проявления
Ben Day plate — клише, в котором часть элементов изображения создана тангированием
13. изогнутая стереотипная печатная форма14. биметаллическая формная пластина15. биметаллическая печатная формаblank plate — пластина, подготовленная для гравирования
bridge plate — направляющий мостик, направляющая пластина
chalk plate — стальная пластина, покрытая мелом
16. фототипная печатная форма17. фототипная вкладная иллюстрация18. многокрасочная иллюстрация19. клише для многокрасочной печати; цветоделённая печатная формаcolor line plate — гальваностереотип, подлитый способом «колор лайн»
combination halftone-and-line plate — смешанная печатная форма, содержащая растровые и штриховые изображения
computer output printed paper plate — бумажная печатная форма с выходными данными, полученными из ЭВМ
conversion plate — форма глубокой печати, изготовленная с офсетной фотоформы
20. круглый стереотип21. изогнутая печатная формаdata plate — табличка основных параметров; фирменная табличка
deep-etch plate — офсетная печатная форма с углублёнными печатающими элементами, форма глубокого офсета
22. высекальный штамп23. штемпель, штемпельная пластина, штемпельная формаdiffusion transfer plate — форма, полученная способом диффузионного переноса изображения
direct image plate — форма с прямым изображением ; печатная форма, полученная прямым копированием
24. распашная иллюстрация; распашной вкладной лист25. форма для печатания распашной иллюстрацииduplicate plate — дубликат клише, форма-дубликат; вторичная печатная форма, стереотипная печатная форма, стереотип
26. форма, полученная гравированием27. стапельный стол самонаклада28. подающая планка; толкатель самонаклада29. плоская печатная форма30. слабая печатная формаplate copy — копия, полученная с формы
31. слабый диапозитив или негативflexo plate — флексографская печатная форма, форма флексографской печати
32. кассета фальцевальной машины33. сфальцованная иллюстрация34. неподвижный бортик, пластина для долевой загибки ткани35. рабочая пластина переднего упора36. передний упор37. полосная вкладная иллюстрация38. вкладной лист, имеющий формат страницыhalftone plate — растровая печатная форма; растровое клише
halftone color plate — растровое клише для многокрасочной печати; растровая цветоделённая печатная форма
hand-engraved plate — форма глубокой печати, полученная ручным способом
hard edges plate — растровое клише, дающее более тёмное изображение по краям
high speed projection plate — формная пластина высокой светочувствительности для проекционной съёмки
imaged plate — копия, экспонированная формная пластина
image receiving plate — пластина, воспринимающая изображение
ink plate — раскатная плита, красочная плита
laminated plate — ламинированная формная пластина; тонкая листовая форма
line plate — штриховая печатная форма; штриховое клише
39. форма плоской печати40. офсетная формная пластинаlithographic electrostatic printing plate — офсетная печатная форма, изготовленная электростатическим способом
41. магниевая формная пластина42. магниевая печатная формаmagnetic plate — печатная форма с металлической подложкой для крепления на магнитном формном цилиндре
43. эталонная печатная форма44. шрифтоноситель на пластинеminus plate — печатная форма, на которой печатающие элементы расположены ниже непечатающих
45. полиметаллическая формная пластина46. полиметаллическая офсетная форма47. выворотная форма48. формная пластина с негативным копировальным слоем49. печатная форма негативного копирования50. фотополимерная форма высокой печати типа «найлопринт»51. фотополимеризующаяся пластина типа «найлопринт»offset paper plate — бумажная офсетная форма, офсетная форма на гидрофильной бумаге
52. бумажная формная пластина53. бумажная печатная формаpattern plate — оригинальная форма, предназначенная для матрицирования
photodirect plate — бумажная формная пластина с ортохроматическим покрытием на основе галоидного серебра
54. фотополимерная пластина55. фотополимерная печатная форма56. печатная форма, полученная на пластмассовой пластине прямым способом, полимерная печатная формаswash plate — диск, насаженный на ось не под прямым углом
57. пластмассовый стереотипplus plate — печатная форма, на которой печатающие элементы возвышаются над непечатающими
58. диапозитив на фотопластинке59. формная пластина с позитивным копировальным слоемguide plate — направляющая пластина; кондуктор
60. печатная форма позитивного копированияpositive-acting plate — офсетная пластина, имеющая после копирования видимое прямое изображение
positive working printing plate — позитивная формная пластина, формная пластина позитивного копирования
powder etched plate — печатная форма, вытравленная с припудриванием
powderless etched plate — печатная форма, вытравленная без припудривания
pressing plate — прессующая губка, прессующая пластина
press-ready plate — форма, готовая к печати
61. формная пластина62. форма для многокрасочного печатания63. репродукционная фотопластинка64. перфорированная печатная форма; печатная форма с перфорированными краями65. форма с пробитыми приводочными отверстиями66. планка механизма бокового равнения67. металлическая пластина на переднем краю накладного столаregistered plate — форма, установленная в положение точной приводки
68. ребристый стереотип69. ребристая печатная формаscan plate — клише, изготовленное на фотоэлектрогравировальной машине
70. клише, имеющее растр на штрихах и заливках рисунка71. растровое клише72. очувствлённая формная пластина73. светочувствительная фотопластинкаshort-lived plate — печатная форма, имеющая малую тиражестойкость
stereotype plate — стереотип, стереотипная печатная форма, вторичная печатная форма
74. офсетная формная пластина субтрактивного типа75. форма позитивного копированияtension lock-up plate — печатная форма, закреплённая натягом
test printing plate — контрольная печатная форма, тест-форма, печатная форма для контрольных испытаний
tipped-in plate — приклеенная иллюстрация, вклейка
76. триметаллическая формная пластина77. триметаллическая печатная формаtub-grained plate — пластина, зернённая шариками
water-cooled plate — форма, охлаждаемая водой, форма с водяным охлаждением
water-developed plate — копия, проявляемая водой
web supporting plate — лентонаправляющая пластина; пластина, служащая опорой для ленты
78. офсетная пластина для изготовления формы способом натирания79. офсетная печатная форма, изготовленная способом натиранияplate supporting surface — поверхность, несущая печатную форму
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4 process
1. способ; технология; процесс2. обрабатывать3. воспроизводить фотомеханическим способом4. проявлятьall-tone process — способ изготовления газетных форм с одновременным травлением текста и иллюстраций
asphalt copying process — «асфальтовый» способ копирования
5. процесс скрепления6. фотонабор7. машинописный набор8. набор с помощью переводного или разрезного шрифта9. многокрасочная печать10. печатание многокрасочной продукции11. цветная фотография12. контактная печать13. контактное копированиеcopying process — копировальный процесс, процесс копирования документов
14. глубокое травление15. способ изготовления офсетных форм с углублением элементовdiffusion transfer process — способ диффузионного переноса изображения, диффузионный способ копирования
direct halftone process — процесс получения цветоделённых негативов непосредственно с оригиналов через светофильтры и растр
direct transfer gravure process — глубокая печать с формного цилиндра, изготовленного способом прямого копирования изображения с фотоформы на фотополимерное покрытие
dry process — сухое проявление, проявление без использования растворов
dry silver process — «сухое серебро»
Dultgen process — способ «Далтжен»
Carbro process — способ < Карбро>
16. процесс копирования документов17. процесс изготовления клишеElectrofax process — способ «Электрофакс»
electrophoretic migration imaging process — миграционный электрофоретический способ получения изображения
electrophotographic liquid toner process — электрофотографический процесс с использованием жидкого тонера
electrothermographic duplicating process — электротермографический копировально-множительный процесс
Elko process — процесс «Элко»
fake color process — процесс изготовления цветных изображений с одноцветного оригинала при помощи специальной обработки форм
18. отделочные процессы19. брошюровочно-переплётные процессыfour-color process — процесс изготовления цветоделённых печатных форм для четырёхкрасочной печати
frost deformation process — фототермопластический процесс с «морозной» записью
gelatin process — печать с желатиновых форм, фототипия
glue process — проклейка, промазка клеем
gum process — нанесение клеевого слоя, гуммирование
halftone process — растрирование, фоторепродуцирование с растрированием
intaglio process — процесс глубокой печати, глубокая печать
intaglio halftone process — процесс глубокой растровой печати, глубокая автотипия
invert dot process — травление по способу «изменяемой точки»
Jacobs-Frerichs process — метод Джекобса—Фрерихса
large plate process — способ получения технического углерода при помощи неподвижных дисков с вращающимися горелками и скребками
letterpress process — процесс высокой печати, высокая печать
Mead Photocapsule process — способ ускоренной цветопробы с использованием в качестве подложки микрокапсулированной бумаги
MICR process — «МИКР-процесс»
microfilming process — процесс микрофильмирования; процесс съёмки микрофильма
multiple copy electrophotographic reproduction process — копировально-множительный электрофотографический процесс
offset process — процесс офсетной печати, офсетная печать
perforating process — процесс перфорирования, перфорация
photocolographic process — процесс фототипной печати, фототипная печать
photogelatin process — печать с желатиновых форм, фототипия
photogravure process — глубокая печать, процесс глубокой печати
photooffset process — изготовление форм для офсетной печати фотомеханическим способом; офсетная печать с форм, подготовленных фотомеханическим способом
post-printing process — послепечатная обработка ; pl брошюровочно-переплётные и отделочные процессы
printing process — печатный процесс; процесс печатания
reflex copy process — процесс рефлексного копирования; рефлексное печатание
reusable electrostatic recording process — процесс с повторно используемой электрографической записью
line process — отработанный процесс; отработанная технология
20. субтрактивный способ образования цвета21. субтрактивный способ изготовления печатных платcalibration process — методика поверки; способ градуировки
22. субтрактивный способ изготовления формsurface process — процесс плоской печати, плоская печать
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5 colour
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6 photoarc process
English-Russian big polytechnic dictionary > photoarc process
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7 plaster mold process
Jacobs-Frerichs process — метод Джекобса—Фрерихса
English-Russian big polytechnic dictionary > plaster mold process
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8 Gronok process
printing process — печатный процесс; процесс печатания
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9 intaglio process
English-Russian big polytechnic dictionary > intaglio process
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10 printing
1. печать, печатание2. фотографическое копирование; копирование на формную пластину3. печатное издание4. тираж5. полиграфия, полиграфическая промышленность6. различные сорта печатной бумагиprinting together — печатание «со своим оборотом»
printing two-up — печатание двойников, параллельное печатание с двух одинаковых форм
printing verse — печатание на обороте, запечатывание оборотной стороны
address printing — адресование, печатание адреса
arc printing — дуговая печать, печатание с помощью электрической дуги
7. печатание на оборотной стороне прозрачной плёнкиbackground printing — фоновая печать, печатание фона
bible printing — словарная бумага, библьдрук
bichromate printing — печатание с форм, изготовленных с использованием хромированных коллоидов
8. печатание голубой краской; светокопирование9. изготовление синих копий, изготовление «синек»Braille printing — Брайлевская печать, печать для слепых
bronze printing — бронзирование, печатание бронзовой краской
10. печатание на картонных заготовках; печатание на картоне11. производство картонных упаковокcode printing — печатание кодовых меток, печатание кодовых знаков, кодирование, шифрование
12. цветная печатная бумагаcolor process printing — многокрасочное печатание с форм, изготовленных фотомеханическим способом
13. контактная печать14. контактное копированиеprinting lamp — лампа для копирования, копировальная лампа
15. печатание издания в нескольких вариантах с учётом интересов потребителей16. печатание по требованию одного экземпляра издания17. прямое контактное копирование18. прямая печать19. печатание с первичной формы20. печатание изобразительной продукцииprinting contrast — контраст, реализуемый при печатании
21. печатание на прозрачном материалеdot-in-dot printing — печатание с точной приводкой, печатание «точка в точку»
dot matrix character printing — печатание знаков, формируемых точечной матрицей
printing process — печатный процесс; процесс печатания
22. двукратное запечатывание23. комбинирование деталей двух разных негативов на одном позитиве или печатной формеduotone printing — печатание двухкрасочных репродукций с одноцветного оригинала, дуплекс-автотипия
electrophoretic printing — электрофоретическая печать, способ электрофоретической печати
electrostatographic printing — электрография, электрографическая печать
embossed printing for blind — рельефная печать для слепых, Брайлевская печать
facsimile printing — факсимильное воспроизведение, факсимильная печать
ferromagnetic printing — печатание ферромагнитными красками, магнитографская печать, магнитография
flat-bed printing — печатание на плоскопечатных машинах, печатание с плоских форм высокой печати
flexographic printing — флексографская печать, печатание с эластичных форм
form skip printing — печатание формуляров с пропусками отдельных пунктов на последовательно идущих страницах
24. четырёхкрасочная печатьprinting device — печатающее устройство; устройство печати
printing station — пункт вывода на печать; станция печати
25. печатание в четыре краски26. многокрасочная печать всеми основными краскамиgelatin printing — фототипия, печать с желатиновых печатных форм
27. нанесение клеевого слоя28. гуммированиеheat-set printing — печатание красками, закрепляющимися под действием нагрева
helios printing — гелиопечать, гелиография
hot foil printing — горячее тиснение фольгой, тиснение фольгой с использованием нагретого штампа
29. переводной способ копирования30. печатание через промежуточную поверхность; офсетная печать31. ведомственная печать32. внутрифирменная печатьiridescent printing — радужная печать; печать враскат
level impression printing — печатание с равномерным натиском, печатание с равномерным давлением
33. печатание литографским способом, литография34. офсетная печатьmagnetic ink printing — печатание магнитными красками, магнитографская печать, магнитография
35. картографическая печать, картопечатание36. производство картографической продукции37. копирование изображения на металлическую пластину38. печатание на металле39. акцидентная печать40. печатание акцидентной продукции41. однокрасочная печать42. печатание однокрасочной продукцииprinting pressure — давление печатания, натиск
43. многокрасочная печать44. печатание многокрасочной продукцииmultigraph printing — печатание с ручного набора, закреплённого на цилиндре
45. печатание газетно-журнальной продукции46. газетно-журнальное производство47. печатание газет48. газетное производствоoff-register printing — печатание с несовмещением, печатание с нарушением приводки
offset printing — офсет, офсетная печать
49. распечатка информации, хранящейся в базе данных вычислительной системы по требованию50. печатание по требованию51. печатание персонализированных изданий52. оптическая печать53. проекционное копирование54. печатание на упаковочных материалах55. производство упаковкиpackaging printing and converting — печать и изготовление упаковок; печать и изготовление тары
56. фотография57. фотопечать; копированиеphotographic offset printing — офсетная печать с форм, изготовленных фотомеханическим способом
58. глубокая печать59. печатание с гелиогравюрphotolithooffset printing — офсетная печать с форм, изготовленных фотомеханическим способом
60. печатание с форм, изготовленных фотомеханическим способом61. фотомеханический способ размножения62. печатание с гравированных медных пластин63. печатание вкладных иллюстрацийprocess printing — многокрасочная печать с форм, изготовленных фотомеханическим способом
64. печатание издательской продукции65. заключительная стадия печатанияraised printing — печатание с последующим оплавлением рельефа; рельефная печать
66. рефлексное копирование67. рефлексное печатание68. печатание с выворотных форм69. печатание с реверсивным приводом цилиндров; реверсивное печатание70. печатание на обороте, запечатывание оборотной стороныrotary printing — ротационная печать, печатание на ротационных машинах
71. печатание многокрасочных газет «по сырому»72. цветные краски для печатания газет73. растровая печать74. второй завод, допечаткаprinting mistake — опечатка, типографская ошибка
75. второй прогонselective printing — избирательное печатание, печатание с избирательным воспроизведением знаков
76. малотиражная печать77. малотиражное копированиеside-by-side printing — радужная печать, печать враскат
small offset printing — «малый офсет», печатание малоформатной продукции офсетным способом
solid printing — печатание со сплошных форм, печатание плашек
solid color printing — печатание со сплошных форм цветными красками, печатание цветных плашек
solventless printing — печатание красками, не содержащими растворителя
split color printing — радужная печать, печать враскат
78. трафаретная печать79. ротаторная печатьsublimatic heat transfer printing — термодекалькомания, сублимационная печать
test printing — пробное печатание, изготовление пробных оттисков
thermal printing — термопечать, термографская печать, термография; печатание термокрасками
thermographic printing — термопечать, термографская печать, термография, печатание термокрасками
three-color process printing — трёхкрасочная печать с цветоделённых печатных форм, изготовленных фотомеханическим способом
three-over-one printing — печатание красочностью 3+1
80. печатание на тканях81. печатание на тонкой бумаге82. декалькомания, печатание переводных изображений83. печатание с переносом изображенияtrouble-free printing — бесперебойное печатание, печатание без помех и перебоев
vapor printing — «дымовая» печать, печатание паром
water-based ink printing — печатание водными красками, печатание красками на водной основе
web printing — печатание на рулонном материале, рулонная печать
wood block printing — печатание с деревянного клише; ксилография
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11 Lumière, Auguste
SUBJECT AREA: Photography, film and optics[br]b. 19 October 1862 Besançon, Franced. 10 April 1954 Lyon, France[br]French scientist and inventor.[br]Auguste and his brother Louis Lumière (b. 5 October 1864 Besançon, France; d. 6 June 1948 Bandol, France) developed the photographic plate-making business founded by their father, Charles Antoine Lumière, at Lyons, extending production to roll-film manufacture in 1887. In the summer of 1894 their father brought to the factory a piece of Edison kinetoscope film, and said that they should produce films for the French owners of the new moving-picture machine. To do this, of course, a camera was needed; Louis was chiefly responsible for the design, which used an intermittent claw for driving the film, inspired by a sewing-machine mechanism. The machine was patented on 13 February 1895, and it was shown on 22 March 1895 at the Société d'Encouragement pour l'In-dustrie Nationale in Paris, with a projected film showing workers leaving the Lyons factory. Further demonstrations followed at the Sorbonne, and in Lyons during the Congrès des Sociétés de Photographie in June 1895. The Lumières filmed the delegates returning from an excursion, and showed the film to the Congrès the next day. To bring the Cinématographe, as it was called, to the public, the basement of the Grand Café in the Boulevard des Capuchines in Paris was rented, and on Saturday 28 December 1895 the first regular presentations of projected pictures to a paying public took place. The half-hour shows were an immediate success, and in a few months Lumière Cinématographes were seen throughout the world.The other principal area of achievement by the Lumière brothers was colour photography. They took up Lippman's method of interference colour photography, developing special grainless emulsions, and early in 1893 demonstrated their results by lighting them with an arc lamp and projecting them on to a screen. In 1895 they patented a method of subtractive colour photography involving printing the colour separations on bichromated gelatine glue sheets, which were then dyed and assembled in register, on paper for prints or bound between glass for transparencies. Their most successful colour process was based upon the colour-mosaic principle. In 1904 they described a process in which microscopic grains of potato starch, dyed red, green and blue, were scattered on a freshly varnished glass plate. When dried the mosaic was coated with varnish and then with a panchromatic emulsion. The plate was exposed with the mosaic towards the lens, and after reversal processing a colour transparency was produced. The process was launched commercially in 1907 under the name Autochrome; it was the first fully practical single-plate colour process to reach the public, remaining on the market until the 1930s, when it was followed by a film version using the same principle.Auguste and Louis received the Progress Medal of the Royal Photographic Society in 1909 for their work in colour photography. Auguste was also much involved in biological science and, having founded the Clinique Auguste Lumière, spent many of his later years working in the physiological laboratory.[br]Further ReadingGuy Borgé, 1980, Prestige de la photographie, Nos. 8, 9 and 10, Paris. Brian Coe, 1978, Colour Photography: The First Hundred Years, London ——1981, The History of Movie Photography, London.Jacques Deslandes, 1966, Histoire comparée du cinéma, Vol. I, Paris. Gert Koshofer, 1981, Farbfotografie, Vol. I, Munich.BC -
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14 Godowsky, Leopold Jr
SUBJECT AREA: Photography, film and optics[br]b. 27 May 1900 Chicago, Illinois, USA d. 1983[br]American musician and photographic experimenter whose researches, with those of his colleague Mannes, led to the introduction of the first commercial tripack colour film, Kodachrome.[br]Both from distinguished musical families, Godowsky and Leopold Damrosch Mannes met at Riverdale School in New York in 1916, and shared an interest in photography. They began experiments in methods of additive colour photography, gaining a patent for a three-colour projector. Godowsky went to the University of California to study chemistry, physics and mathematics, while working as a professional violinist; Mannes, a pianist, went to Harvard to study music and physics. They kept in touch, and after graduating they joined up in New York, working as musicians and experimenting in colour photography in their spare time.Initially working in kitchens and bathrooms, they succeeded in creating a two-layer colour photographic plate, with emulsions separately sensitized to parts of the spectrum, and patented the process. This achievement was all the greater since they were unable to make the emulsions themselves and had to resort to buying commercial photographic plates so that they could scrape off the emulsions, remelt them and coat their experimental materials. In 1922 their work came to the attention of C.E.K. Mees, the leading photographic scientist and Director of the Eastman Kodak Research Laboratory in Rochester, New York. Mees arranged for plates to be coated to their specifications. With a grant from Kuhn, Loeb \& Co. they were able to rent laboratory space. Learning of Rudolf Fischer's early work on dye couplers, they worked to develop a new process incorporating them. Mees saw that their work, however promising, would not develop in an amateur laboratory, and in 1930 he invited them to join the Kodak Research Laboratory, where they arrived on 15 June 1931. Their new colleagues worked on ways of coating multi-layer film, while Mannes and Godowsky worked out a method of separately processing the individual layers in the exposed film. The result was Kodachrome film, the first of the modern integral tripack films, launched on 15 April 1935.They remained with Eastman Kodak until December 1939; their work contributed to the later appearance of Ektachrome colour-reversal film and the Kodacolor and Eastman Color negative-positive colour processes. Mannes became the Director of his father's Music Academy in New York, remaining as such until his death in 1964. Godowsky returned to Westport, Connecticut, and continued to study mathematics at Columbia University. He carried out photographic research un his private laboratory up until the time of his death in 1983.[br]Further ReadingC.E.K.Mees, 1961, From Dry Plates to Ektachrome Film, New York.BC -
15 Wratten, Frederick Charles Luther
SUBJECT AREA: Photography, film and optics[br]b. 1840 Englandd. 8 April 1926 London, England[br]English inventor and manufacturer, founder of one of the first successful gelatine dry-plate companies.[br]He started his working life as a schoolteacher, but in his early twenties he moved to London to become a clerk with a photographic wholesaler, Soloman. There Wratten became interested in photography, and on the announcement of the new gelatine dry-plate processes he began to conduct his own experiments. In 1876 he devised a means of drying gelatine emulsions and removing excess silver with alcohol, and published details in 1877 and 1878. It was during this period that he formed a partnership with Henry Wainwright to manufacture and sell photographic materials. The mass production of gelatine dry plates was a British invention and monopoly, and the new firm of Wratten \& Wainwright was one of the first in the field and soon proved to be amongst the most successful. The business exported extensively to Europe, introducing a succession of plates of increasing sensitivity. Wratten continued to trade under the same name when his partner Wainwright died in 1882. His success continued, and in 1890 he moved the company to a newly equipped factory in Croydon, near London. Six years later Wratten incorporated as co-owners of the business his son, S.H.Wainwright and a young graduate from London University, C.E.Kenneth Mees. The newly constituted company soon introduced the first British panchromatic plates and filters. The introduction of Lumiere's Autochrome plates in 1907 prompted Wratten and Mees to take out a patent on a colour screen plate process of their own. The company also found work coating plates for other similar innovations. In 1912 the business was finally sold to George Eastman and Wratten and Mees joined Kodak Ltd at Harrow.[br]BibliographyWratten's early work on the action of alcohol on gelatine emulsions was described in a series of articles: 1877, Photographic News: 390, 49.1878, Photographic News: 121–3.1878, British Journal of Photography: 124–5.Further ReadingE.J.Wall, 1925, Three Colour Photography.C.E.K.Mees, 1961, From Dry Plates to Ektachrome Film, New York.JWBiographical history of technology > Wratten, Frederick Charles Luther
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16 Joly, John
SUBJECT AREA: Photography, film and optics[br]b. 1857 Holywood, King's County (now County Down, Northwern Ireland), Irelandd. 8 December 1933 Dublin, Eire[br]Irish pioneer of additive screen-plate colour photography.[br]Professor of Physics at Trinity College, Dublin, Joly developed a concept first suggested by Ducos du Hauron, creating in 1893 a process in which fine transparent red, green and blue lines, less than 0.1 mm wide, were ruled on a glass plate. The coloured inks were aniline dyes mixed with gum. This screen plate was held in close contact with a photographic negative plate which was exposed through the screen in a camera. The processed negative was printed onto a positive plate, and a viewing screen, similar to that used for taking, was bound up with it in careful register, to reproduce the original colours. The process was patented in 1894, and marketed in 1895. It was the first commercially successful additive screen-plate process to appear. While the results could be quite acceptable, the inadequate colour sensitivity of the negative plates then available limited the usefulness of this process. Professor Joly's other achievements included geological research and the treatment of cancer by radium.[br]Further ReadingJ.S.Friedman, 1944, History of Colour Photography, Boston.B.Coe, 1978, Colour Photography: The First Hundred Years, London. G.Koshofer, 1981, Farbfotografie, Vol. I, Munich.BC -
17 Lippman, Gabriel
SUBJECT AREA: Photography, film and optics[br]b. 16 August 1845 Hallerick, Luxembourgd. 14 July 1921 at sea, in the North Atlantic[br]French physicist who developed interference colour photography.[br]Born of French parents, Lippman's work began with a distinguished career in classics, philosophy, mathematics and physics at the Ecole Normale in Luxembourg. After further studies in physics at Heidelberg University, he returned to France and the Sorbonne, where he was in 1886 appointed Director of Physics. He was a leading pioneer in France of research into electricity, optics, heat and other branches of physics.In 1886 he conceived the idea of recording the existence of standing waves in light when it is reflected back on itself, by photographing the colours so produced. This required the production of a photographic emulsion that was effectively grainless: the individual silver halide crystals had to be smaller than the shortest wavelength of light to be recorded. Lippman succeeded in this and in 1891 demonstrated his process. A glass plate was coated with a grainless emulsion and held in a special plate-holder, glass towards the lens. The back of the holder was filled with mercury, which provided a perfect reflector when in contact with the emulsion. The standing waves produced during the exposure formed laminae in the emulsion, with the number of laminae being determined by the wavelength of the incoming light at each point on the image. When the processed plate was viewed under the correct lighting conditions, a theoretically exact reproduction of the colours of the original subject could be seen. However, the Lippman process remained a beautiful scientific demonstration only, since the ultra-fine-grain emulsion was very slow, requiring exposure times of over 10,000 times that of conventional negative material. Any method of increasing the speed of the emulsion also increased the grain size and destroyed the conditions required for the process to work.[br]Principal Honours and DistinctionsRoyal Photographic Society Progress Medal 1897. Nobel Prize (for his work in interference colour photography) 1908.Further ReadingJ.S.Friedman, 1944, History of Colour Photography, Boston.Brian Coe, 1978, Colour Photography: The First Hundred Years, London. Gert Koshofer, 1981, Farbfotografie, Vol. I, Munich.BC -
18 Baxter, George
SUBJECT AREA: Paper and printing[br]b. 31 July 1804 Lewes, Sussex, Englandd. 11 January 1867 Sydenham, London, England[br]English pioneer in colour printing.[br]The son of a printer, Baxter was apprenticed to a wood engraver and there began his search for improved methods of making coloured prints, hitherto the perquisite of the rich, in order to bring them within reach of a wider public. After marriage to the daughter of Robert Harrild, founder of the printing firm of Harrild \& Co., he set up house in London, where he continued his experiments on colour while maintaining the run-of-the-mill work that kept the family.The nineteenth century saw a tremendous advance in methods of printing pictures, produced as separate prints or as book illustrations. For the first three decades colour was supplied by hand, but from the 1830s attempts were made to print in colour, using a separate plate for each one. Coloured prints were produced by chromolithography and relief printing on a small scale. Prints were first made with the latter method on a commercial scale by Baxter with a process that he patented in 1835. He generally used a key plate that was engraved, aquatinted or lithographed; the colours were then printed separately from wood or metal blocks. Baxter was a skilful printer and his work reached a high standard. An early example is the frontispiece to Robert Mudie's Summer (1837). In 1849 he began licensing his patent to other printers, and after the Great Exhibition of 1851 colour relief printing came into its own. Of the plethora of illustrated literature that appeared then, Baxter's Gems of the Great Exhibition was one of the most widely circulated souvenirs of the event.Baxter remained an active printer through the 1850s, but increasing competition from the German coloured lithographic process undermined his business and in 1860 he gave up the unequal struggle. In May of that year, all his oil pictures, engravings and blocks went up for auction, some 3,000 lots altogether. Baxter retired to Sydenham, then a country place, making occasional visits to London until injuries sustained in a mishap while he was ascending a London omnibus led to his death. Above all, he helped to initiate the change from the black and white world of pre-Victorian literature to the riotously colourful world of today.[br]Further ReadingC.T.Courtney Lewis, 1908, George Baxter, the Picture Printer, London: Sampson Lowe, Marsden (the classic account).M.E.Mitzmann, 1978, George Baxter and the Baxter Prints, Newton Abbot: David \& Charles.LRD -
19 Ducos du Hauron, Arthur-Louis
SUBJECT AREA: Photography, film and optics[br]b. 1837 Langon, Bordeaux, Franced. 19 August 1920 Agen, France[br]French scientist and pioneer of colour photography.[br]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.[br]Further ReadingB.Coe, 1978, Colour Photography: The First Hundred Years, London. J.S.Friedman, 1944, History of Colour Photography, Boston. E.J.Wall, 1925, The History of Three-Colour Photography, Boston. See also Cros, Charles.BCBiographical history of technology > Ducos du Hauron, Arthur-Louis
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20 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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