cumbersome process

1) юр. судовий процес

2) технологічний процес

3) технологія; обробка

1) обробляти, переробляти

2) оформляти (документи)

3) розглядати

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- cumbersome process

cumbersome ['kʌmbəsəm]

adjective

(bulky) encombrant, embarrassant; figurative (process, system, style) lourd, pesant

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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SUBJECT AREA: Photography, film and optics

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Edwin Land's career began when, as a Harvard undergraduate in the late 1920s, he became interested in the possibility of developing a polarizing filter in the form of a thin sheet, to replace the crystal and stacked-glass devices then in use, which were expensive, cumbersome and limited in size. He succeeded in creating a material in which minute anisotropic iodine crystals were oriented in line, producing an efficient polarizer that was patented in 1929. After presenting the result of his researches in a Physics Department colloquium at Harvard, he left to form a partnership with George Wheelwright to manufacture the new material, which was seen to have applications as diverse as anti-glare car headlights, sunglasses, and viewing filters for stereoscopic photographs and films. In 1937 he founded the Polaroid Corporation and developed the Vectograph process, in which self-polarized photographic images could be printed, giving a stereoscopic image when viewed through polarizing viewers. Land's most significant invention, the instant picture, was stimulated by his three-year-old daughter. As he took a snapshot of her, she asked why she could not see the picture at once. He began to research the possibility, and on 21 February 1947 he demonstrated a system of one-step photography at a meeting of the Optical Society of America. Using the principle of diffusion transfer of the image, it produced a photograph in one minute. The Polaroid Land camera was launched on 26 November 1948. The original sepia-coloured images were soon replaced by black and white and, in 1963, by Polacolor instant colour film. The original peel-apart "wet" process was superseded in 1972 with the introduction of the SX-70 camera with dry picture units which developed in the light. The instant colour movie system Polavision, introduced in 1978, was less successful and was one of his few commercial failures.

Land died in March 1991, after a career in which he had been honoured by countless scien-tific and academic bodies and had received the Medal of Freedom, the highest civilian honour in America.

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1) Общая лексика: от французског (Встретилось в книге "From The Corner Of His Eye" by Dean Koontz: "For pottery, he would require a potter's wheel and a cumbersome kiln; and DECOUPAGE was too messy, with all the glue and lacquer.)

2) Искусство: декупаж (the art or process of decorating a surface with shapes or illustrations cut from paper, card, etc), декорирование предметов вырезками из бумаги

The direct French equivalent of the verb to be in subject + to be + predicate sentences is être:

= je suis fatigué

= Caroline est française

= les enfants sont dans le jardin

It functions in very much the same way as to be does in English and it is safe to assume it will work as a translation in the great majority of cases.

Note, however, that when you are specifying a person’s profession or trade, a/an is not translated:

= elle est médecin

= Claudie est toujours étudiante

This is true of any noun used in apposition when the subject is a person:

= il est veuf

But

= Lyon est une belle ville

For more information or expressions involving professions and trades consult the usage note Shops, Trades and Professions.

For the conjugation of the verb être see the French verb tables.

The passive

être is used to form the passive in French just as to be is used in English. Note, however, that the past participle agrees in gender and number with the subject:

= le lapin a été tué par un renard

= la fenêtre avait été cassée

= leurs livres seront vendus

= nos portes ont été repeintes en rouge

In spoken language, French native speakers find the passive cumbersome and will avoid it where possible by using the impersonal on where a person or people are clearly involved : on a repeint nos portes en rouge.

In French the idea of something happening over a period of time cannot be expressed using the verb être in the way that to be is used as an auxiliary verb in English.

French uses simply the present tense where English uses the progressive form with to be:

= je travaille

= Ben lit un livre

In order to accentuate duration être en train de is used: je suis en train de travailler ; Ben est en train de lire un livre.

French also uses the present tense where English uses the progressive form with to be:

= nous allons à Londres demain

= j’arrive!

= j’y vais!

To express the distinction between she read a newspaper and she was reading a newspaper French uses the perfect and the imperfect tenses: elle a lu un journal/elle lisait un journal:

= il a écrit à sa mère

= il écrivait à sa mère

However, in order to accentuate the notion of describing an activity which went on over a period of time, the phrase être en train de (= to be in the process of) is often used:

= ‘qu’est-ce qu’il faisait quand tu es arrivé?’ ‘il était en train de préparer le dîner’

= elle était juste en train de finir sa dissertation quand …

Compound past tenses in the progressive form in English are generally translated by the imperfect in French:

= je te cherchais

For progressive forms + for and since (I’ve been waiting for an hour, I had been waiting for an hour, I’ve been waiting since Monday etc.) see the entries for and since.

When to be is used as an auxiliary verb with another verb in the infinitive ( to be to do) expressing obligation, a fixed arrangement or destiny, devoir is used:

= elle doit le faire tout de suite

= qu’est-ce que je dois faire?

= il devait arriver lundi dernier

= elle ne devait plus le revoir.

French has no direct equivalent of tag questions like isn’t he? or wasn’t it? There is a general tag question n’est-ce pas? (literally isn’t it so?) which will work in many cases:

= leur maison est très belle, n’est-ce pas?

= il est médecin, n’est-ce pas?

= c’était un très bon repas, n’est-ce pas?

However, n’est-ce pas can very rarely be used for positive tag questions and some other way will be found to express the extra meaning contained in the tag: par hasard ( by any chance) can be very useful as a translation:

= ‘je ne trouve pas mes lunettes’ ‘elles ne sont pas dans la cuisine, par hasard?’

= tu n’as pas vu Gaby, par hasard?

In cases where an opinion is being sought, si? meaning more or less or is it? or was it? etc. can be useful:

= ce n’est pas cassé, si?

= il n’était pas sérieux, si?

In many other cases the tag question is simply not translated at all and the speaker’s intonation will convey the implied question.

Again, there is no direct equivalent for short answers like yes I am, no he’s not etc. Where the answer yes is given to contradict a negative question or statement, the most useful translation is si:

= ‘tu ne sors pas ce soir’ ‘si’

In reply to a standard enquiry the tag will not be translated:

= ‘êtes-vous médecin?’ ‘oui’

= ‘est-ce qu’il pleuvait?’ ‘oui’

For expressions of probability and supposition ( if I were you etc.) see the entry be.

In expressing physical and mental sensations, the verb used in French is avoir:

= avoir froid

= avoir chaud

= j’ai froid

= avoir soif

= avoir faim

= avoir honte

= j’ai froid aux mains

If, however, you are in doubt as to which verb to use in such expressions, you should consult the entry for the appropriate adjective.

In expressions of health and polite enquiries about how people are, aller is used:

= comment allez-vous?

( more informally) comment vas-tu?

( very informally as a greeting) ça va?

= vous allez bien?

= comment va votre fille?

= mon père va mieux aujourd’hui

In expressions of weather and temperature faire is generally used:

= il fait froid

= il fait du vent

If in doubt, consult the appropriate adjective entry.

When to be is used in the present perfect tense to mean go, visit etc., French will generally use the verbs venir, aller etc. rather than être:

= je ne suis jamais allé en Suède

= est-ce que tu es déjà allé au Louvre?

or est-ce que tu as déjà visité le Louvre?

= Paul est venu nous voir trois fois

Note too:

= est-ce que le facteur est passé?

For here is, here are, there is, there are see the entries here and there.

The translation for an expression or idiom containing the verb to be will be found in the dictionary at the entry for another word in the expression: for to be in danger see danger, for it would be best to … see best etc.

This dictionary contains usage notes on topics such as the clock, time units, age, weight measurement, days of the week, and shops, trades and professions, many of which include translations of particular uses of to be.