history+of+photography

SUBJECT AREA: Photography, film and optics

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The son of a scientific instrument maker, Dancer was educated privately in Liverpool, where from 1817 his father practised his trade. John Benjamin became a skilled instrument maker in his own right, assisting in the family business until his father's death in 1835. He set up on his own in Liverpool in 1840 and in Manchester in 1841. In the course of his career Dancer made instruments for several of the leading scientists of the day, his clients including Brewster, Dalton and Joule.

Dancer became interested in photography as soon as the new art was announced in 1839 and practised the processes of both Talbot and Daguerre. It was later claimed that as early as 1839 he used an achromatic lens combination to produce a minute image on a daguerreotype plate, arguably the world's first microphotograph and the precursor of modern microfilm. It was not until the introduction of Archer's wet-collodion process in 1851 that Dancer was able to perfect the technique however. He went on to market a long series of microphotographs which proved extremely popular with both the public and contemporary photographers. It was examples of Dancer's microphotographs that prompted the French photographer Dagron to begin his work in the same field. In 1853 Dancer constructed a binocular stereoscopic camera, the first practicable instrument of its type. In an improved form it was patented and marketed in 1856.

Dancer also made important contributions to the magic lantern. He was the first to suggest the use of limelight as an illuminant, pioneered the use of photographic lantern slides and devised an ingenious means of switching gas from one lantern illuminant to another to produce what were known as dissolving views. He was a resourceful innovator in other fields of instrumentation and suggested several other minor improvements to scientific apparatus before his working life was sadly terminated by the loss of his sight.

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SUBJECT AREA: Photography, film and optics

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Fizeau's interest in photography was comparatively brief, but during this period he was at the forefront of French attempts to explore and exploit the potential of the recently announced daguerreotype process (see Daguerre). Fizeau is best remembered for his introduction in August 1840 of the practice of gold-toning daguerreotypes. This improvement not only helped protect the delicate surface of the plate from abrasion and tarnishing, but also enhanced the quality of the image. The technique was not patented and was immediately adopted by all daguerreotypists. Between 1839 and 1841, in association with Alfred Donné, Fizeau conducted experiments with the aim of converting daguerreotypes into printing plates. Prints from two of his plates were published in 1842, but the technique was never widely practised. In association with J.B.Léon Foucault, Fizeau discovered the reciprocity failure of daguerreotypes, and the same partnership produced what were probably the first daguerreotypes of the sun. Fizeau is best known in physics for making the first accurate determination of the speed of light, in 1849.

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SUBJECT AREA: Photography, film and optics

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Educated as a notary's clerk, Bayard began his working life in Paris in the Ministry of Finance. His interest in art led him to investigations into the chemical action of light, and he began his experiments in 1837. In May 1839 Bayard described an original photographic process which produced direct positive images on paper. It was devised independently of Talbot and before details of Daguerre's process had been published. During the same period, similar techniques were announced by other investigators and Bayard became involved in a series of priority disputes. Bayard's photographs were well received when first exhibited, and examples survive to the present day. Because the process required long exposure times it was rarely practised, but Bayard is generally credited with being an independent inventor of photography.

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SUBJECT AREA: Photography, film and optics

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He began his working life in banking but soon went into glassmaking and in 1829 he moved to London to open a glass warehouse. On hearing of the first practicable photographic processes in 1834, Claudet visited Paris, where he received instruction in the daguerreotype process from the inventor Daguerre, and purchased a licence to operate in England. On returning to London he began to sell daguerreotype views of Paris and Rome, but was soon taking and selling his own views of London. At this time exposures could take as long as thirty minutes and portraiture from life was impracticable. Claudet was fascinated by the possibilities of the daguerreotype and embarked on experiments to improve the process. In 1841 he published details of an accelerated process and took out a patent proposing the use of flat painted backgrounds and a red light in dark-rooms. In June of that year Claudet opened the second daguerreotype portrait studio in London, just three months after his rival, Richard Beard. He took stereoscopic photographs for Wheatstone as early as 1842, although it was not until the 1850s that stereoscopy became a major interest. He suggested and patented several improvements to viewers derived from Brewster's pattern.

Claudet was also one of the first photographers to practise professionally Talbot's calotype process. He became a personal friend of Talbot, one of the few from whom the inventor was prepared to accept advice. Claudet died suddenly in London following an accident that occurred when he was alighting from an omnibus. A memoir produced shortly after his death lists over forty scientific papers relating to his researches into photography.

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SUBJECT AREA: Photography, film and optics

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Dagron studied chemistry, but little else is known of his early career. He was the proprietor of a Paris shop selling stationery and office equipment in 1860, when he proposed making microscopic photographs mounted in jewellery. Dagron went on to produce examples using equipment constructed by the optician Debozcq. In 1864 Dagron became one of the celebrities of the day when he recorded 450 portraits on a single photograph that measured 1 mm³. The image was viewed by means of a tiny magnifying lens popularly known as a "Stanhope" after its supposed inventor, the English Lord Charles Stanhope. The great demand for Stanhoped jewellery soon allowed Dagron to build a factory for its manufacture. Dagron's main claim to fame rests on his work during the Franco-Prussian War. At the siege of Paris, Dagron was ballooned out of the city to organize a carrier-pigeon communication service. Thousands of microphotographed dispatches could be carried by a single pigeon, and Dagron set up a regular service between Paris and Tours. In Paris the messages from the outside world were enlarged and projected onto a white wall and transcribed by a team of clerks. After the war, Dagron dabbled in aerial photography from balloons, but his interest in microphotography continued until his death in 1900.

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SUBJECT AREA: Photography, film and optics

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England began his distinguished photographic career taking daguerreotype portraits in London in the 1840s. In 1854 he joined the London Stereoscopic Company and became its chief photographer, taking thousands of stereoscopic views all over the world. In 1859 he travelled to America to take views of the Niagara Falls. On returning to Britain he became a freelance photographer, adding to his considerable reputation with a long series of stereoscopic alpine views. He also became interested in panoramic photography and, later, photolithography. England's most important technical innovation was a drop shutter with a horizontal slit sited immediately in front of the plate. Proposed in 1861, this was a crude device, but is usually recognized as the precursor of the modern focal-plane shutter.

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SUBJECT AREA: Photography, film and optics

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A chemist by training, Hunt took an early interest in photography and during the 1840s devised several original photographic processes and techniques. The properties of iron sulphate as a developing agent, widely used by wet-collodion photographers, were first described by Hunt in 1844. He was a prolific author and it was as a writer that he was most influential. In 1841 he published the first substantial English-language photographic manual, a work that was to run to six editions. Perhaps his most important work was his Researches on Light, first published in 1844, with a second edition containing considerable additional material appearing in 1854. In 1851 Hunt was appointed Professor of Mechanical Science at the Royal School of Mines in London. He was a founder member of the London (later Royal) Photographic Society in 1853.

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SUBJECT AREA: Photography, film and optics

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Educated at the Polytechnic Institute in Vienna, Voigtländer travelled widely before taking over the family business in 1837. The business had been founded by Voigtländer's grandfather in 1756, and was continued by his father, Johann Friedrich, the inventor of the opera glass, and by the 1830s enjoyed one of the highest reputations in Europe. When Petzval made the calculations for the first purpose-designed photographic objective in 1840, it was inevitable that he should go to Peter Voigtländer for advice. The business went on to manufacture Petzval's lens, which was also fitted to an all-metal camera of totally original design by Voigtländer.

The Petzval lens was an extraordinary commercial success and Voigtländer sold specimens all over the world. Unfortunately Petzval had no formal agreement with Voigtländer and made little financial gain from his design, a fact which was to lead to dispute and separation; the Voigtländer concern continued to prosper, however. To meet the increasing demand for his products, Peter Voigtländer built a new factory in Brunswick and closed the business in Vienna. The closure is seen by at least one commentator as the death blow to Vienna's optical industry, a field in which it was once preeminent. The Voigtländer dynasty continued long after Peter's death and the name enjoyed a reputation for high-quality photographic equipment well into the twentieth century.

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SUBJECT AREA: Photography, film and optics

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After beginning his working life in a tobacco company, Blanquart-Evrard became Laboratory Assistant to a chemist. He also became interested in painting on ivory and porcelain, foreshadowing a life-long interest in science and art. Following his marriage to the daughter of a textile merchant, Blanquart-Evrard became a partner in the family business in Lyon. During the 1840s he became interested in Talbot's calotype process and found that by applying gallic acid alone, as a developing agent after exposure, the exposure time could be shorter and the resulting image clearer. Blanquart-Evrard recognized that his process was well suited to producing positive prints in large numbers. During 1851 and 1852, in association with an artist friend, he became involved in producing quantities of prints for book illustrations. In 1849 he had announced a glass negative process similar to that devised two years earlier by Niepcc de St Victor. The carrying agent for silver salts was albumen, and more far-reaching was his albumen-coated printing-out paper announced in 1850. Albumen printing paper was widely adopted and the vast majority of photographs made in the nineteenth century were printed in this form. In 1870 Blanquart-Evrard began an association with the pioneer colour photographer Ducos du Hauron with a view to opening a three-colour printing establishment. Unfortunately plans were delayed by the Franco-Prussian War, and Blanquart-Evrard died in 1872 before the project could be brought to fruition.

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SUBJECT AREA: Photography, film and optics

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The son of a distinguished Parisian instrument maker, Charles Chevalier supplied equipment to all the major photographic pioneers of the period. He sold a camera obscura to Niepce de St Victor as early as 1826 and was largely responsible for bringing Niepce de St Victor and Daguerre together. Chevalier was one of the first opticians to design lenses specifically for photographic use; the first photographic camera to be offered for sale to the public, the Giroux daguerreotype camera of 1839, was in fact fitted with a Chevalier achromatic lens. Chevalier also supplied lenses, equipment and examples of daguerreotypes to Talbot in England. In 1841 Chevalier was awarded first prize in a competition for the improvement of photographic lenses, sponsored by the Société d'Encouragement of Paris. Contemporary opinion, however, favoured the runner-up, the Petzval Portrait lens by Voigtländer of Vienna, and Chevalier subsequently became embroiled in an acrimonious dispute which did him little credit. It did not stop him designing lenses, and he went on to become an extremely successful supplier of quality daguerreotype equipment. He was a founder member of the Société Héliographique in 1851.

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1) Спорт: Victoria Park Harriers and Tower Hamlets

2) Военный термин: Video Phase History, vertical photography

3) Техника: viscosity pole height

4) Ветеринария: Veterinary Public Health Conference

5) Электроника: Volume-Phase Holographic gratings

6) Силикатное производство: Vickers pyramid hardness

7) Полимеры: Vickers pyramid hardness number (N)

8) Расширение файла: Virtual Pascal Help file

1) Спорт: Victoria Park Harriers and Tower Hamlets

2) Военный термин: Video Phase History, vertical photography

3) Техника: viscosity pole height

4) Ветеринария: Veterinary Public Health Conference

5) Электроника: Volume-Phase Holographic gratings

6) Силикатное производство: Vickers pyramid hardness

7) Полимеры: Vickers pyramid hardness number (N)

8) Расширение файла: Virtual Pascal Help file

SUBJECT AREA: Paper and printing

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Trained in Nuremberg as a copper-plate engraver, Meisenbach moved to Munich in 1873 and established the first zincographic engraving business in Germany. In 1879 he began experimenting with halftone reproductions and in May 1882 he took out a German patent which described a single-line screen made from the proof of an engraved plate ruled with lines. The screen was then placed before a photographic positive of a picture and the two were photographed together. Approximately half-way through the exposure the screen was turned 90 degrees so that the lines crossed. A halftone negative was thus produced, from which could be made a zinc printing block. The full details of the process were not revealed in the patent so that trade competition would be limited. It was the first commercially practicable halftone process. Ill health forced Meisenbach to retire from the business in 1891, by which time his process was being superseded by Ives's cross-line process.

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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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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.

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SUBJECT AREA: Photography, film and optics

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A man of considerable intellect, Cros occupied himself with studies of topics as diverse as Sanskrit and the synthesis of precious stones. He was in particular interested in the possibility of colour photography, and deposited an account of his theories in a sealed envelope with the Académie des Sciences on 2 December 1867, with instructions that it should be opened in 1876. Learning of a forthcoming presentation on colour photography by Ducos du Hauron at the Société Française de Photographie, he arranged for the contents of his communication to be published on 25 February 1869 in Les Mondes. At the Société's meeting on 7 May 1869, Cros's letter was read and samples of colour photography from Ducos du Hauron were shown. Both had arrived at similar conclusions: that colour photography was possible with the analysis of colours using negatives exposed through red, green and blue filters, as demonstrated by Clerk Maxwell in 1861. These records could be reproduced by combining positive images produced in blue-green, magenta and yellow pigments or dyes. Cros and Ducos du Hauron had discovered the principle of subtractive colour photography, which is used in the late twentieth century. In 1878 Cros designed the Chromometre, a device for measuring colours by mixing red, green and blue light, and described the device in a paper to the Société Française de Photographie on 10 January 1879. With suitable modification, the device could be used as a viewer for colour photographs, combining red, green and blue positives. In 1880 he patented the principle of imbibition printing, in which dye taken up by a gelatine relief image could be transferred to another support. This principle, which he called hydrotypie, readily made possible the production of three-colour subtractive photographic prints.

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(n.) = cinematic photography

Ex. The author traces the history behind cinematic photography and film stills.

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SUBJECT AREA: Medical technology, Photography, film and optics

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At the age of 19 Marey went to Paris to study medicine, becoming particularly interested in the problems of the circulation of the blood. In an early communication to the Académie des Sciences he described a much improved device for recording the pulse, the sphygmograph, in which the beats were recorded on a smoked plate. Most of his subsequent work was concerned with methods of recording movement: to study the movement of the horse, he used pneumatic sensors on each hoof to record traces on a smoked drum; this device became known as the Marey recording tambour. His attempts to study the wing movements of a bird in flight in the same way met with limited success since the recording system interfered with free movement. Reading in 1878 of Muybridge's work in America using sequence photography to study animal movement, Marey considered the use of photography himself. In 1882 he developed an idea first used by the astronomer Janssen: a camera in which a series of exposures could be made on a circular photographic plate. Marey's "photographic gun" was rifle shaped and could expose twelve pictures in approximately one second on a circular plate. With this device he was able to study wing movements of birds in free flight. The camera was limited in that it could record only a small number of images, and in the summer of 1882 he developed a new camera, when the French government gave him a grant to set up a physiological research station on land provided by the Parisian authorities near the Porte d'Auteuil. The new design used a fixed plate, on which a series of images were recorded through a rotating shutter. Looking rather like the results provided by a modern stroboscope flash device, the images were partially superimposed if the subject was slow moving, or separated if it was fast. His human subjects were dressed all in white and moved against a black background. An alternative was to dress the subject in black, with highly reflective strips and points along limbs and at joints, to produce a graphic record of the relationships of the parts of the body during action. A one-second-sweep timing clock was included in the scene to enable the precise interval between exposures to be assessed. The fixed-plate cameras were used with considerable success, but the number of individual records on each plate was still limited. With the appearance of Eastman's Kodak roll-film camera in France in September 1888, Marey designed a new camera to use the long rolls of paper film. He described the new apparatus to the Académie des Sciences on 8 October 1888, and three weeks later showed a band of images taken with it at the rate of 20 per second. This camera and its subsequent improvements were the first true cinematographic cameras. The arrival of Eastman's celluloid film late in 1889 made Marey's camera even more practical, and for over a decade the Physiological Research Station made hundreds of sequence studies of animals and humans in motion, at rates of up to 100 pictures per second. Marey pioneered the scientific study of movement using film cameras, introducing techniques of time-lapse, frame-by-frame and slow-motion analysis, macro-and micro-cinematography, superimposed timing clocks, studies of airflow using smoke streams, and other methods still in use in the 1990s. Appointed Professor of Natural History at the Collège de France in 1870, he headed the Institut Marey founded in 1898 to continue these studies. After Marey's death in 1904, the research continued under the direction of his associate Lucien Bull, who developed many new techniques, notably ultra-high-speed cinematography.

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See also: Demenÿ, Georges

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SUBJECT AREA: Photography, film and optics

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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.

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1) (something which is done, said etc in order to cheat or deceive someone, and sometimes to frighten them or make them appear stupid: The message was just a trick to get her to leave the room.) truco, trampa, engaño

2) (a clever or skilful action (to amuse etc): The magician performed some clever tricks.) truco

- trickery

trick¹ n

1. engaño / trampa

2. truco / número

trick² vb engañar

tr[trɪk]

noun

1 (skill, knack) truco

2 (for entertainment) truco, juego de manos; (with cards) juego de naipes; (by animals) número

3 (deception, ruse) ardid nombre masculino, engaño, trampa, truco

■ there must be a trick in it aquí debe de haber trampa

■ you can't fool me with that old trick a mí no me engañas con ese viejo truco

■ it's a trick of the light es un efecto de la luz

4 (prank, joke) broma

■ the children are always playing tricks on their friends los niños siempre gastan bromas a sus amigos

5 (cards won) baza

6 (habit) hábito, costumbre nombre femenino, manía

adjective

1 de juguete, de mentira

transitive verb

1 (deceive) engañar, burlar

■ he realized he'd been tricked se dio cuenta de que lo habían engañado

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every trick in the book todos los trucos

■ he tried every trick in the book lo intentó todo

how's tricks? ¿cómo van las cosas?, ¿qué tal?

never to miss a trick no perderse nada

to be up to one's tricks hacer de las suyas

to do the trick funcionar, ser la solución

to have a trick up one's sleeve guardarse un as en la manga

to play a dirty trick on somebody jugar una mala pasada a alguien

to trick somebody into doing something engañar a alguien para que haga algo

■ she tricked him into marrying her lo engañó para que se casara con ella

to trick somebody out of something estafar a alguien, timar a alguien

■ they tried to trick her out of her share of the money trataron de estafarle su parte del dinero

trick or treat SMALLAMERICAN ENGLISH/SMALL frase de los niños que en Halloween van por las casas pidiendo un regalo a cambio de no hacer una jugarreta

trick of the trade truco del oficio

trick photograph fotografía trucada

trick photography trucaje nombre masculino

trick question pregunta capciosa

trick ['trɪk] vt

: engañar, embaucar

trick n

1) ruse: trampa f, treta f, artimaña f

2) prank: broma f

we played a trick on her: le gastamos una broma

3) : truco m

magic tricks: trucos de magia

the trick is to wait five minutes: el truco está en esperar cinco minutos

4) mannerism: peculiaridad f, manía f

5) : baza f (en juegos de naipes)

• burlar v.

• capear v.

• embaucar v.

• embaír v.

• embudar v.

• engañar v.

• entrampar v.

• entruchar v.

• pelar v.

• petardear v.

• trampear v.

• baza (Naipes) s.f.

• burla s.f.

• burlería s.f.

• chasco s.m.

• engaño s.m.

• ilusión s.f.

• juego de manos s.m.

• treta s.f.

• truco s.m.

1)

a) ( ruse) trampa f, ardid m; (before n)

b) (prank, joke) broma f, jugarreta f

2) (feat, skilful act) truco m

3) ( in card games) baza f

transitive verb engañar

adjective (before n)

a) <cigar/spider> de juguete, de mentira, de pega (Esp fam)

b) (AmE) <knee/elbow> con problemas

1. N

1) (=joke, hoax) broma f ; (=mischief) travesura f ; (=ruse) truco m, ardid m

- he's up to his old tricks again

- how's tricks?

2) (=card trick) baza f ; (=conjuring trick) truco m ; (in circus) número m

- he/she knows a trick or two

- I know a trick worth two of that

- that should do the trick

- he/she doesn't miss a trick

- try every trick in the book

- that's the oldest trick in the book

- the whole bag of tricks

3) (=special knack) truco m

4) (=peculiarity, strange habit) manía f, peculiaridad f

5) (=catch) trampa f

6) ** [of prostitute] cliente m

VT (=deceive) engañar; (=swindle) estafar, timar

- trick out

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1)

a) ( ruse) trampa f, ardid m; (before n)

b) (prank, joke) broma f, jugarreta f

2) (feat, skilful act) truco m

3) ( in card games) baza f

transitive verb engañar

adjective (before n)

a) <cigar/spider> de juguete, de mentira, de pega (Esp fam)

b) (AmE) <knee/elbow> con problemas