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1 сухой коллодионный способ
Русско-английский политехнический словарь > сухой коллодионный способ
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2 сухой коллодионный способ
1) Engineering: dry collodion2) Polygraphy: dry collodianУниверсальный русско-английский словарь > сухой коллодионный способ
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3 Hurter, Ferdinand
SUBJECT AREA: Photography, film and optics[br]b. 15 March 1844 Schaffhausen, Switzerlandd. 5 March 1898[br]Swiss chemist who, with Vero Charles Driffield, established the basis of modern sensitometry in England.[br]Ferdinand Hurter worked for three years as a dyer's apprentice before entering the Polytechnic in Zurich; he transferred to Heidelberg, where he graduated in 1866. A year later he secured an appointment as a chemist for the British alkali manufacturing company, Gaskell, Deacon \& Co. of Widnes, Cheshire. In 1871 he was joined at the company by the young engineer Vero Charles Driffield, who was to become his co-worker. Driffield had worked for a professional photographer before beginning his engineering apprenticeship and it was in 1876, when Hurter sought to draw on this experience, that the partnership began. At this time the speed of the new gelatine halide dry plates was expressed in terms of the speed of a wet-collodion plate, an almost worthless concept as the speed of a collodion plate was itself variable. Hurter and Driffield sought to place the study of photographic emulsions on a more scientific basis. They constructed an actinometer to measure the intensity of sunlight and in 1890 published the first of a series of papers on the sensitivity of photographic plates. They suggested methods of exposing a plate to lights of known intensities and measuring the densities obtained on development. They were able to plot curves based on density and exposure which became known as the H \& D curve. Hurter and Driffield's work allowed them to express the characteristics of an emulsion with a nomenclature which was soon adopted by British plate manufacturers. From the 1890s onwards most British-made plates were identified with H \& D ratings. Hurter and Driffield's partnership was ended by the former's death in 1898.[br]Further ReadingW.B.Ferguson (ed.), 1920, The Photographic Researches of Ferdinand Hurter \& Vero C. Driffield, London: Royal Photographic Society reprinted in facsimile, with a new introd. by W.Clark, 1974, New York (a memorial volume; the most complete account of Hurter and Driffield's work, includes a reprint of all their published papers).JW -
4 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 -
5 Monckhoven, Désiré Charles Emanuel van
SUBJECT AREA: Photography, film and optics[br]b. 1834 Ghent, Belgium d. 1882[br]Belgian chemist, photographic researcher, inventor and author.[br]Born in Belgium of German stock, Monckhoven spoke German and French with equal fluency. He originally studied chemistry, but devoted the greater part of his working life to photography. His improved solar enlarger of 1864 was seen by his contemporaries as one of the significant innovations of the day. In 1867 he moved to Vienna, where he became involved in portrait photography, but returned to Ghent in 1870. In 1871 he announced his discovery of a practicable collodion dry-plate process, and later in the decade he conducted research into the carbon printing process. In 1879 Monckhoven constructed a comprehensively equipped laboratory where he commenced a series of experiments on gelatine dry-plate emulsions, including some which yielded the discovery that the ripening of silver bromide was greatly accelerated by ammonia; this allowed the production of emulsions of much greater sensitivity. He was a prolific author, and his 1852 book on photography, Traité général de photographie, published when he was only 18, became one of the standard texts of his day.[br]Bibliography1852, Traité général de photographie, Paris.Further ReadingJ.M.Eder, 1945, History of Photography, trans. E.Epstean, New York.JWBiographical history of technology > Monckhoven, Désiré Charles Emanuel van
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