principal photography

directeur, -trice [diʀεktœʀ, tʀis]

1. adjective

[idée, principe] main

2. masculine noun

( = responsable, gérant) [de banque, usine] manager

• directeur général [d'entreprise] general manager ; (au conseil d'administration) managing director ; [d'organisme international] director general

• directeur de département head of department

• directeur des ressources humaines/commercial human resources/sales manager

• directeur (d'école) headmaster principal (US)

3. feminine noun

directrice [d'entreprise] manageress ; ( = propriétaire) director ; [de département] head

• directrice (d'école) headmistress principal (US)

4. compounds

► directeur artistique artistic director

► directeur de cabinet (d'un ministre) principal private secretary

► directeur de la communication head of communications

► directeur de journal newspaper editor

► directeur de prison prison governor (Brit), head warden (US)

► directeur de théâtre theatre (Brit) or theater (US) manager

► directeur de thèse supervisor (Brit), dissertation director (US)

* * *

- trice diʀɛktœʀ, tʀis adjectif ( central)

nom masculin, féminin

1) ( d'école) headmaster/headmistress GB, principal US; ( d'établissement privé) principal

2) (d'hôtel, de cinéma) manager/manageress

3) ( administrateur) director; ( chef) head (de of)

•

- directeur de banque

- directeur commercial

- directeur général

- directeur général adjoint

- directeur de journal

- directeur de prison

- directeur de la rédaction

- directeur sportif

- directeur d'usine

* * *

1. nm/f

1) COMMERCE manager

2) ADMINISTRATION (= cadre dirigeant, membre du conseil d'administration) director, (= responsable de service) manager

3) [école] head teacher Grande-Bretagne principal USA

2. adj

1) (principe, idée) guiding

2) (instance)

* * *

directeur, - trice

A adj ( central) principe directeur guiding principle; idée directrice d'un ouvrage central theme of a book; les lignes directrices d'une politique the guidelines of a policy.

B ⇒ Les métiers et les professions nm,f

1 Scol ( d'école) head teacher, headmaster/headmistress GB, principal US; ( d'établissement privé) principal;

2 Comm (d'hôtel, de cinéma, casino) manager/manageress;

3 Admin, Entr ( administrateur) director; ( chef) head (de of).

C directrice nf Math directrix.

directeur adjoint deputy manager; directeur d'agence branch manager; directeur artistique artistic director; directeur de banque bank manager; directeur commercial sales manager; directeur de conscience spiritual adviser; directeur exécutif executive director; directeur financier financial director; directeur général managing director GB, chief executive officer US; Admin director general; directeur général adjoint assistant general manager; directeur gérant managing director; directeur de journal newspaper editor; directeur du personnel personnel manager; directeur de la photographie director of photography; directeur de prison prison governor GB, warden US; directeur de projet project manager; directeur de la publication Presse editorial director; directeur de recherche head of research; directeur de la rédaction Presse managing editor; directeur régional district ou regional manager; directeur des ressources humaines, DRH human resources manager; directeur sportif (team) manager; directeur technique Ind works ou plant manager, technical manager; directeur de thèse Univ supervisor GB, adviser US; directeur d'usine works manager GB, plant manager.

( féminin directrice) [dirɛktɶr, tris] adjectif

1. [principal - force] controlling, driving ; [ - principe] guiding ; [ - idée, ligne] main, guiding

2. AUTOMOBILE [roue] front (modificateur)

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, directrice [dirɛktɶr, tris] nom masculin, nom féminin

1. [dans une grande entreprise] manager ( feminine manageress), director

[dans une petite entreprise] manager ( feminine manageress)

directeur d'agence [dans une banque] bank manager

2. ÉDUCATION

3. UNIVERSITÉ [d'un département] head of department

4. CINÉMA & THÉÂTRE & TÉLÉVISION director

directeur nom masculin

1. HISTOIRE Director

2. RELIGION

directrice nom féminin

MATHÉMATIQUES directrix

SUBJECT AREA: Photography, film and optics

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Educated at Harrow, where he first showed an interest in science, and at Cambridge, Talbot was an outstanding scholar and a formidable mathematician. He published over fifty scientific papers and took out twelve English patents. His interests outside the field of science were also wide and included Assyriology, etymology and the classics. He was briefly a Member of Parliament, but did not pursue a parliamentary career.

Talbot's invention of photography arose out of his frustrating attempts to produce acceptable pencil sketches using popular artist's aids, the camera discura and camera lucida. From his experiments with the former he conceived the idea of placing on the screen a paper coated with silver salts so that the image would be captured chemically. During the spring of 1834 he made outline images of subjects such as leaves and flowers by placing them on sheets of sensitized paper and exposing them to sunlight. No camera was involved and the first images produced using an optical system were made with a solar microscope. It was only when he had devised a more sensitive paper that Talbot was able to make camera pictures; the earliest surviving camera negative dates from August 1835. From the beginning, Talbot noticed that the lights and shades of his images were reversed. During 1834 or 1835 he discovered that by placing this reversed image on another sheet of sensitized paper and again exposing it to sunlight, a picture was produced with lights and shades in the correct disposition. Talbot had discovered the basis of modern photography, the photographic negative, from which could be produced an unlimited number of positives. He did little further work until the announcement of Daguerre's process in 1839 prompted him to publish an account of his negative-positive process. Aware that his photogenic drawing process had many imperfections, Talbot plunged into further experiments and in September 1840, using a mixture incorporating a solution of gallic acid, discovered an invisible latent image that could be made visible by development. This improved calotype process dramatically shortened exposure times and allowed Talbot to take portraits. In 1841 he patented the process, an exercise that was later to cause controversy, and between 1844 and 1846 produced The Pencil of Nature, the world's first commercial photographically illustrated book.

Concerned that some of his photographs were prone to fading, Talbot later began experiments to combine photography with printing and engraving. Using bichromated gelatine, he devised the first practicable method of photo engraving, which was patented as Photoglyphic engraving in October 1852. He later went on to use screens of gauze, muslin and finely powdered gum to break up the image into lines and dots, thus anticipating modern photomechanical processes.

Talbot was described by contemporaries as the "Father of Photography" primarily in recognition of his discovery of the negative-positive process, but he also produced the first photomicrographs, took the first high-speed photographs with the aid of a spark from a Leyden jar, and is credited with proposing infra-red photography. He was a shy man and his misguided attempts to enforce his calotype patent made him many enemies. It was perhaps for this reason that he never received the formal recognition from the British nation that his family felt he deserved.

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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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SUBJECT AREA: Paper and printing, Photography, film and optics

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Poitevin graduated as a chemical engineer from the Ecole Centrale in Paris in 1843. He was appointed as a chemist with the Salines National de l'Est, a post which allowed him time for research, and he soon became interested in the recent invention of photography. He conducted a series of electrolytic experiments on daguerreotype plates in 1847 and 1848 which led him to propose a method of photochemical engraving on plates coated with silver or gold. In 1850 he joined the firm of Periere in Lyons, and the same year travelled to Paris. During the 1850s, Poitevin conducted a series of far-reaching experiments on the reactions of chromates with light, and in 1855 he took out two important patents which exploited the light sensitivity of bichromated gelatine. Poitevin's work during this period is generally recognized as having established the essential principles of photolithography, carbon printing and collotype printing, key steps in the development of modern photomechanical printing. His contribution to the advancement of photography was widely recognized and honours were showered upon him. Particularly welcome was the greater part of the 10,000 franc prize awarded by the Duke of Lynes, a wealthy art lover, for the discovery of permanent photographic printing processes. This sum was not sufficient to allow Poitevin to stop working, however, and in 1869 he resumed his career as a chemical engineer, first managing a glass works and then travelling to Africa to work in silver mines. Upon the death of his father he returned to his home town, where he remained until his own death in 1882.

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SUBJECT AREA: Photography, film and optics

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Abney began his career as an officer in the Army and was an instructor in chemistry in the Royal Engineers at Chatham, where he made substantial use of photography as a working tool. He retired from the Army in 1877 and joined the Science and Art Department at South Kensington. It was at Abney's suggestion that a collection of photographic equipment and processes was established in the South Kensington Museum (later to become the Science Museum Photography Collection).

Abney undertook significant researches into the nature of gelatine silver halide emulsions at a time when they were being widely adopted by photographers. Perhaps his most important practical innovations were the introduction of hydroquinone as a developing agent in 1880 and silver gelatine citrochloride emulsions for printing-out paper (POP) in 1882. However, Abney was at the forefront of many aspects of photographic research during a period of great innovation and change in photography. He devised new techniques of photomechanical printing and conducted significant researches in the fields of photochemistry and spectral analysis. Abney published throughout his career for both the specialist scientist and the more general photographic practitioner.

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SUBJECT AREA: Photography, film and optics

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The only son of Sir William Herschel, the famous astronomer, John graduated from Cambridge in 1813 and went on to become a distinguished astronomer, mathematician and chemist. He left England in November 1833 to set up an observatory near Cape Town, South Africa, where he embarked on a study of the heavens in the southern hemisphere. He returned to England in the spring of 1838, and between 1850 and 1855 Herschel served as Master of the Royal Mint. He made several notable contributions to photography, perhaps the most important being his discovery in 1819 that hyposulphites (thiosulphates) would dissolve silver salts. He brought this property to the attention of W.H.F. Talbot, who in 1839 was using a common salt solution as a fixing agent for his early photographs. After trials, Talbot adopted "hypo", which was a far more effective fixative. It was soon adopted by other photographers and eventually became the standard photographic fixative, as it still is in the 1990s. After hearing of the first photographic process in January 1839, Herschel devised his own process within a week. In September 1839 he made the first photograph on glass. He is credited with introducing the words "positive", "negative" and "snapshot" to photography, and in 1842 he invented the cyanotype or "blueprint" process. This process was later to be widely adopted by engineers and architects for the reproduction of plans and technical drawings, a practice abandoned only in the late twentieth century.

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SUBJECT AREA: Photography, film and optics

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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.

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SUBJECT AREA: Photography, film and optics

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Although born in Hungary, Petzval was the son of German schoolteacher. He studied engineering at the University of Budapest and after graduation was appointed to the staff as a lecturer. In 1835 he became the University's Professor of Higher Mathematics. Within a year he was offered a similar position at the more prestigious University of Vienna, a chair he was to occupy until 1884.

The earliest photographic cameras were fitted with lenses originally designed for other optical instruments. All were characterized by small apertures, and the long exposures required by the early process were in part due to the "slow" lenses. As early as 1839, Petzval began calculations with the idea of producing a fast achromatic objective for photographic work. For technical advice he turned to the Viennese optician Peter Voigtländer, who went on to make the first Petzval portrait lens in 1840. It had a short focal length but an extremely large aperture for the day, enabling exposure times to be reduced to at least one tenth of that required with other contemporary lenses. The Petzval portrait lens was to become the basic design for years to come and was probably the single most important development in making portrait photography possible; by capturing public imagination, portrait photography was to drive photographic innovation during the early years.

Petzval later fell out with Voigtländer and severed his connection with the company in 1845. When Petzval was encouraged to design a landscape lens in the 1850s, the work was entrusted to another Viennese optician, Dietzler. Using some early calculations by Petzval, Voigtländer was able to produce a similar lens, which he marketed in competition, and an acrimonious dispute ensued. Petzval, embittered by the quarrel and depressed by a burglary which destroyed years of records of his optical work, abandoned optics completely in 1862 and devoted himself to acoustics. He retired from his professorship on his seventieth birthday, respected by his colleagues but unloved, and lived the life of a recluse until his death.

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director, directing.

1 director, leader, principal.

2 superintendent, manager, officer.

3 conductor, orchestra conductor.

4 warden.

5 headmaster, head teacher.

* * *

► adjetivo

1 directing, managing

► nombre masculino,nombre femenino

1 director, manager

2 (de colegio - hombre) headmaster; (mujer) headmistress

3 (de universidad) rector

4 (de editorial) editor

5 (de cárcel) governor

6 (de orquesta) conductor

\

director,-ra de cine film director

director,-ra de escena stage manager

director espiritual father confessor

director,-ra gerente managing director

* * *

- director de orquesta

* * *

ADJ [consejo, junta] governing; [principio] guiding

2. SM / F

1) (=responsable) [de centro escolar] headteacher, headmaster/headmistress, principal; [de periódico, revista] editor; (Cine, TV) director; [de orquesta] conductor; [de hospital] manager, administrator; [de prisión] governor, warden (EEUU)

2) (Com) (=gerente) manager; [de mayor responsabilidad] director

* * *

- tora masculino, femenino

a) ( de escuela) (m) head teacher, principal (AmE), headmaster (BrE); (f) head teacher, principal (AmE), headmistress (BrE); (de periódico, revista) editor (in chief); ( de hospital) administrator; ( de prisión) warden (AmE), governor (BrE)

b) (Com) ( gerente) manager; ( miembro de junta directiva) director, executive

c) (Cin, Teatr) director

- director adjunto -tora adjunta

- director -tora de escena

- director -tora de orquesta

- director ejecutivo -tora ejecutiva

- director -tora general

- director -tora gerente

* * *

= chairman [chairmen, pl.], chairperson [chairpersons, -pl.], chief, chief librarian, director, head, manager [manageress, -fem.], headmaster, office manager, business manager, chair.

Ex. As head of a committee, and being recognized as such, it's perfectly all right with me if I'm called the chairman rather than the chairwoman.

Ex. Special thanks to the ISAD Program Planning Committee, in particular its chairperson, for the conceptual organization.

Ex. He subsequently served as chief of that Division, chief of the Serial Record Division, Assistant Director for Cataloging of the Processing Department, Director of the Processing Department, and Assistant Librarian of Processing Services.

Ex. The chief librarian or director of libraries, by which title the post is sometimes now known, will in general be fully occupied with making decisions on internal professional policy, committee work, and administration and management in the widest sense.

Ex. Hugh C, Atkinson, director of the University of Illinois Libraries, has consistently been in the forefront in applying automation to traditional library problems and services.

Ex. She began her career at Central Missouri State University where she was head of the Documents Depository.

Ex. Such hosts are more likely to be accessed by end-users such as economists and managers, than information workers.

Ex. The author played a large part in the successful establishment of the school library when her husband became headmaster = La autora desempeñó un gran papel en la creación de la biblioteca escolar cuando su esposo fue nombrado director.

Ex. This department is headed by a general office manager who has a staff of bookkeepers, billing clerks, comptrollers, and secretaries.

Ex. Watman wondered how the profession would react to the idea of a business manager instead of assistant.

Ex. Once elected, the chair is responsible for maintaining discipline and ensuring that all students are treated fairly.

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* cargo de director = directorship.

* cartas al director = letter to the editor.

* Conferencia de Directores de Bibliotecas Nacionales (CDNL) = Conference of Directors of National Libraries (CDNL).

* directora conjunta = co-chairperson.

* director adjunto = assistant director, deputy director, joint director.

* director artístico = art director.

* director cinematográfico = film director.

* director comercial = marketing executive, chief commercial officer.

* director conjunto = co-chairperson.

* director de biblioteca = library director.

* director de cine = film director.

* director de curso = course leader.

* director de departamento = department head.

* director de empresa = company director.

* director de escuela = school principal.

* director de filial = branch head.

* director de finanzas = finance director.

* director de funeraria = funeral director, undertaker, mortician.

* director de la biblioteca = head librarian.

* director de marketing = marketing executive.

* director de museo = curator.

* director de operaciones = chief operating officer (COO), director for operations.

* director de orquesta = conductor.

* director de periódico = newspaper editor.

* director de pompas fúnebres = undertaker, funeral director, mortician.

* director de prisión = prison warden.

* director de tesis = PhD supervisor, dissertation adviser, dissertation supervisor, thesis supervisor, thesis adviser, research supervisor.

* director ejecutivo = executive director, executive officer, chief executive officer (CEO), managing director, chief executive.

* director ejecutivo de la gestión del conocimiento = knowledge executive.

* director, el = principal.

* director financiero = finance director, chief financial officer.

* director general = executive director, Director-General, executive officer, chief executive officer (CEO), chief executive, senior director.

* director principal = senior director.

* partichela de piano director, violín director, etc = piano/violin, etc. conductor part.

* subdirector = assistant director.

* * *

- tora masculino, femenino

a) ( de escuela) (m) head teacher, principal (AmE), headmaster (BrE); (f) head teacher, principal (AmE), headmistress (BrE); (de periódico, revista) editor (in chief); ( de hospital) administrator; ( de prisión) warden (AmE), governor (BrE)

b) (Com) ( gerente) manager; ( miembro de junta directiva) director, executive

c) (Cin, Teatr) director

- director adjunto -tora adjunta

- director -tora de escena

- director -tora de orquesta

- director ejecutivo -tora ejecutiva

- director -tora general

- director -tora gerente

* * *

el director

* * *

1 (de una escuela) ( masculine) head teacher, principal ( AmE), headmaster ( BrE); ( feminine) head teacher, principal ( AmE), headmistress ( BrE); (de un periódico, una revista) editor, editor in chief; (de un hospital) administrator; (de una prisión) warden ( AmE), governor ( BrE)

2 ( Com) (gerente) manager; (miembro de la junta directiva) director, executive

3 ( Cin, Teatr) director

masculine, feminine deputy director

masculine, feminine divisional director

masculine, feminine stage manager

masculine, feminine conductor

masculine, feminine sales manager o director

masculine, feminine executive director

masculine father confessor

masculine, feminine (de una empresa) general manager; (de un organismo oficial) director-general

masculine, feminine managing director

masculine, feminine ( AmL) head coach ( AmE), manager ( BrE)

* * *

◊ - tora sustantivo masculino, femenino

a) ( de escuela) (m) head teacher, principal (AmE), headmaster (BrE);

b) (Com) ( gerente) manager;

◊ director gerente managing director

c) (Cin, Teatr) director;

◊ director de orquesta conductor

* * *

director, -ora nm,f

1. [de empresa] director;

director comercial marketing manager;

director ejecutivo executive director;

director espiritual spiritual director;

director financiero finance o financial director, US chief financial officer;

director en funciones acting manager;

director general general manager;

director gerente managing director, chief executive, esp US chief executive officer;

director de recursos humanos human resources manager;

director técnico [en fútbol] director of football;

director de tesis supervisor;

director de ventas sales director o manager

2. [de obra artística] director

director de banda musical bandmaster;

director de cine movie o Br film director;

director de circo ringmaster;

director de escena producer, stage manager;

director de fotografía director of photography;

director musical musical director;

director de orquesta conductor

* * *

I adj leading

II m, directora f

1 de empresa manager

2 EDU principal, Br

head (teacher)

3 TEA, de película director

* * *

director, - tora n

1) : director, manager, head

2) : conductor (of an orchestra)

* * *

director n

1. (de cine) director

2. (de empresa, banco) manager

3. (de colegio) head / headteacher

Si es hombre se puede llamar headmaster y si es mujer, headmistress

4. (de periódico) editor

SUBJECT AREA: Photography, film and optics

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The son of a minor official in a magistrate's court, Daguerre showed an early aptitude for drawing. He was first apprenticed to an architect, but in 1804 he moved to Paris to learn the art of stage design. He was particularly interested in perspective and lighting, and later showed great ingenuity in lighting stage sets. Fascinated by a popular form of entertainment of the period, the panorama, he went on to create a variant of it called the diorama. It is assumed that he used a camera obscura for perspective drawings and, by purchasing it from the optician Chevalier, he made contact with Joseph Nicéphore Niepce. In 1829 Niepce and Daguerre entered into a formal partnership to perfect Niepce's heliographic process, but the partnership was dissolved when Niepce died in 1833, when only limited progress had been made. Daguerre continued experimenting alone, however, using iodine and silver plates; by 1837 he had discovered that images formed in the camera obscura could be developed by mercury vapour and fixed with a hot salt solution. After unsuccessfully attempting to sell his process, Daguerre approached F.J.D. Arago, of the Académie des Sciences, who announced the discovery in 1839. Details of Daguerre's work were not published until August of that year when the process was presented free to the world, except England. With considerable business acumen, Daguerre had quietly patented the process through an agent, Miles Berry, in London a few days earlier. He also granted a monopoly to make and sell his camera to a Monsieur Giroux, a stationer by trade who happened to be a relation of Daguerre's wife. The daguerreotype process caused a sensation when announced. Daguerre was granted a pension by a grateful government and honours were showered upon him all over the world. It was a direct positive process on silvered copper plates and, in fact, proved to be a technological dead end. The future was to lie with negative-positive photography devised by Daguerre's British contemporary, W.H.F. Talbot, although Daguerre's was the first practicable photographic process to be announced. It captured the public's imagination and in an improved form was to dominate professional photographic practice for more than a decade.

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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

BC / MG

(n.) = ordnance survey

Ex. The principal sources are ordnance surveys, geological surveys, aerial photography, satellite imagery, and agricultural and forestry land use data.

* * *

(n.) = geological survey

Ex. The principal sources are ordnance surveys, geological surveys, aerial photography, satellite imagery, and agricultural and forestry land use data.

* * *

SUBJECT AREA: Chemical technology, Photography, film and optics, Synthetic materials

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The son of an illiterate shoemaker, Baekeland was first apprenticed in that trade, but was encouraged by his mother to study, with spectacular results. He won a scholarship to Gand University and graduated in chemistry. Before he was 21 he had achieved his doctorate, and soon afterwards he obtained professorships at Bruges and then at Gand. Baekeland seemed set for a distinguished academic career, but he turned towards the industrial applications of chemistry, especially in photography.

Baekeland travelled to New York to further this interest, but his first inventions met with little success so he decided to concentrate on one that seemed to have distinct commercial possibilities. This was a photographic paper that could be developed in artificial light; he called this "gas light" paper Velox, using the less sensitive silver chloride as a light-sensitive agent. It proved to have good properties and was easy to use, at a time of photography's rising popularity. By 1896 the process began to be profitable, and three years later Baekeland disposed of his plant to Eastman Kodak for a handsome sum, said to be $3–4 million. That enabled him to retire from business and set up a laboratory at Yonkers to pursue his own research, including on synthetic resins. Several chemists had earlier obtained resinous products from the reaction between phenol and formaldehyde but had ignored them. By 1907 Baekeland had achieved sufficient control over the reaction to obtain a good thermosetting resin which he called "Bakélite". It showed good electrical insulation and resistance to chemicals, and was unchanged by heat. It could be moulded while plastic and would then set hard on heating, with its only drawback being its brittleness. Bakelite was an immediate success in the electrical industry and Baekeland set up the General Bakelite Company in 1910 to manufacture and market the product. The firm grew steadily, becoming the Bakélite Corporation in 1924, with Baekeland still as active President.

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SUBJECT AREA: Photography, film and optics

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Originally destined to follow his father into the Church, Brewster studied divinity at Edinburgh University, where he met many distinguished men of science. He began to take a special interest in optics, and eventually abandoned the clerical profession. In 1813 he presented his first paper to the Royal Society on the properties of light, and within months invented the principle of the kaleidoscope. In 1844 Brewster described a binocular form of Wheatstone's reflecting stereoscope where the mirrors were replaced with lenses or prisms. The idea aroused little interest at the time, but in 1850 a model taken to Paris was brought to the notice of L.J. Duboscq, who immediately began to manufacture Brewster's stereoscope on a large scale; shown at the Great Exhibition of 1851, it attracted the attention of Queen Victoria. Stereoscopic photography rapidly became one of the fashionable preoccupations of the day arid did much to popularize photography. Although originally marketed as a scientific toy and drawing-room pastime, stereoscopy later found scientific application in such fields as microscopy, photogrammetry and radiography. Brewster was a prolific scientific author throughout his life. His income was derived mainly from his writing and he was one of the nineteenth century's most distinguished popularizers of science.

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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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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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1 dry, dead, lean, thin.

2 dry, snap, snappy, curt.

1^st person singular (yo) present indicative of spanish verb: secar.

* * *

► adjetivo

1 (gen) dry

2 (frutos, flores) dried

■ compramos flores secas we bought some dried flowers

3 (marchito) withered, dried up

4 figurado (vino) dry

5 figurado (carácter) dry; (tono, respuesta) curt, sharp

6 figurado (golpe, ruido) sharp

7 figurado (persona - delgada) skinny; (- vieja) old and wizened

\

a secas figurado simply, just

■ Carmen a secas just plain Carmen

dejar seco,-a familiar to bump off

en seco (acción) suddenly

■ frenar en seco to brake suddenly

■ parar en seco to stop dead

estar más seco,-a que un higo familiar (delgado) to be as thin as a rake 2 (envejecido) to be old and wizened

estar seco,-a familiar to be thirsty, be dry

limpiar en seco to dry-clean

quedarse seco,-a familiar to snuff it, croak

* * *

1) dry

2) dried

3) sharp

4) barren, arid

5) curt, brusque

* * *

1. ADJ

1) (=no húmedo) dry

2) (=desecado) [higo, pescado] dried; [hojas] dead, dried; [árbol] dead

3) (=no graso) [piel, pelo] dry

4) (=no dulce) [vino, licor] dry

5) (=flaco) thin, skinny *

- está seco como un palo

6) (=no amable) [persona, carácter, respuesta] curt; [orden] sharp; [estilo] dry

7) (=sin resonancia) [tos] dry; [ruido] dull; [impacto] sharp

8)

9) (=sin acompañamiento)

10)

- dejar seco a algn

- ser seco para algo

- tomarse algo al seco

SM Col main course

* * *

- ca adjetivo

1)

a) [ESTAR] <ropa/platos/pintura> dry

b) [ESTAR] <planta/río/comida> dry

c) [SER] <clima/región> dry

2) ( disecado) <higos/flores> dried

3) [SER] ( no graso) <piel/pelo> dry

4) [SER] ( no dulce) <vino/licor/vermut> dry

5) <golpe/sonido> sharp; < tos> dry

6)

a) <respuesta/carácter> dry

b) (fam) ( delgado) thin

c) [ESTAR] (fam) ( sediento) parched (colloq)

7) (en locs)

* * *

= curt, dry [drier -comp., driest -sup.], shrivelled [shriveled, -USA], waterless, sun-dried, dried.

Ex. The young man pointed to him and said in a sharp, curt tone: 'Let me see your briefcase'.

Ex. Machine-made paper, provided that it was dry, could be laid on with sufficient accuracy for register to be made with no more ado than adjustment of the forme for the second run.

Ex. Green leaf parts showed higher transpiration rates and lower surface temperature than those that were yellow and shrivelled.

Ex. This area is visited only by desert rats, biologists, military personnel, and those desperate people willing to walk across as much as 60 miles of waterless trail.

Ex. This tasty salad with broad beans, sun-dried tomatoes and griddled lamb is great as a healthy and filling main meal.

Ex. Smoked and dried fish are preferable to canned, and there are excellent varieties of tuna jerky on the market today.

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* albaricoque seco = dried apricot.

* alergia a los frutos secos = nut allergy.

* completamente seco = bone dry.

* dejar en el dique seco = mothball.

* dique seco = dry dock.

* en el dique seco = in dry dock, in the wilderness.

* en seco = in blind, blind, cold turkey.

* estación seca, la = dry season, the.

* flor seca = cut-and-dried flower.

* fotografía en seco = dry photography.

* fruta seca = dried fruit.

* fruto seco = nut.

* frutos secos = nuts.

* frutos secos garrapiñados = marron glacé.

* frutos secos glaseados = marron glacé.

* golpe seco = flop.

* hielo seco = dry ice powder.

* hielo seco en polvo = dry ice powder.

* impresión en seco = blind impression.

* impreso en seco = blind-tooled.

* legumbre seca = dry bean.

* limpieza en seco = dry cleaning.

* período seco = dry spell.

* polvo seco = dry powder.

* semilla seca = dried seed.

* totalmente seco = bone dry.

* * *

- ca adjetivo

1)

a) [ESTAR] <ropa/platos/pintura> dry

b) [ESTAR] <planta/río/comida> dry

c) [SER] <clima/región> dry

2) ( disecado) <higos/flores> dried

3) [SER] ( no graso) <piel/pelo> dry

4) [SER] ( no dulce) <vino/licor/vermut> dry

5) <golpe/sonido> sharp; < tos> dry

6)

a) <respuesta/carácter> dry

b) (fam) ( delgado) thin

c) [ESTAR] (fam) ( sediento) parched (colloq)

7) (en locs)

* * *

* * *

1 [ ESTAR] ‹ropa/platos/pintura› dry

[ S ] manténgase en lugar seco store in a dry place

tengo la boca/garganta seca my mouth/throat is dry

2 [ ESTAR] ‹planta/tierra› dry

el campo está sequísimo the countryside o land is really dry o parched

3 [ ESTAR] ‹río/pozo› dry

4 [ ESTAR] ‹arroz/pollo› dry

el pescado estuvo demasiado tiempo en el horno y está muy seco the fish was in the oven for too long so it's got(ten) very dry

5 [ SER] ‹clima/región› dry

B (desecado) ‹higos› dried; ‹flores› dried

bacalao seco stockfish, dried salt cod

fruto

C [ SER] (no graso) ‹piel/pelo› dry

D [ SER] (no dulce) ‹vino/licor/vermú› dry

E ‹golpe/sonido› sharp; ‹tos› dry

1 ‹respuesta/carácter› dry

estuvo muy seco conmigo he was very short o brusque o curt with me

2 ( fam) (delgado) thin

está más seco que un palo he's as thin as a rake

3 [ ESTAR] ( fam) (sediento) parched ( colloq)

G ( en locs):

en seco ‹frenar› sharply, suddenly

me paró en seco he stopped me dead o he stopped me in my tracks

el coche paró en seco the car stopped dead

limpieza en seco dry cleaning

a secas ( fam): quíteme el `doctor', llámeme Roberto a secas there's no need to call me `doctor', just call me (plain) Roberto

le dijo que no, así a secas she gave him a straight `no'

pan así a secas no me apetece I don't feel like eating just bread on its own like that

le pidió mil dólares así, a secas he just asked him for a thousand dollars outright o straight out, he asked him for a thousand dollars, just like that

dejar a algn seco ( fam); to kill sb stone dead ( colloq)

seco para algo ( Chi fam): el hijo le salió seco para la física her son turned out to be brilliant o a whiz at physics ( colloq)

es seco para el garabato he has a great line in swear words ( colloq)

tener seco a algn (Col, RPl fam): este tipo me tiene seca I'm up to here with o I'm sick and tired of this guy ( colloq)

tomarse algo al seco ( Chi fam); to down sth o knock sth back (in one go) ( colloq)

( Col)

main dish

* * *

1ª persona singular (yo) presente indicativo

3ª persona singular (él/ella/usted) pretérito indicativo

a) ‹ropa/pelo/platos› to dry;

b) ‹tierra/plantas/hierba› to dry up;

a) [ropa/pintura/pelo] to dry;

◊ se me seca mucho la piel my skin gets very dry

b) [ herida] to heal (up)

c) [tierra/planta/hierba] to dry up

d) [río/pozo/fuente] to dry up

e) [arroz/guiso] to go dry

◊ -ca adjetivo

a) [ESTAR] ‹ropa/platos/pintura› dry;

b) [ESTAR] ‹planta/río/comida› dry

c) [SER] ‹clima/región› dry

◊ bacalao seco stockfish, dried salt cod

◊ estuvo muy seco conmigo he was very short with me

◊ en seco ‹frenar/parar› sharply, suddenly;

* * *

♦ adj

1. [ropa, lugar] dry;

el pantalón todavía no está seco the Br trousers o US pants aren't yet dry;

tiene la piel seca/el cabello seco she has dry skin/hair;

consérvese en un lugar seco [en etiqueta] keep in a dry place

2. [higos] dried;

flores secas dried flowers

3. [clima, país] dry

4. [marchito] withered

5. [pozo, fuente] dry, dried up

6. [persona, actitud] brusque ( con to);

me contestó con un no seco she answered me with a curt “no”

7. [flaco] thin, lean;

se está quedando seco he's getting skinny

8. [vino, licor] dry

9. [ruido] dull;

un golpe seco a thud

10. Fam [sediento] thirsty;

estar seco to be thirsty

11. Fam [muerto] stone-dead;

dejar a alguien seco [matar] to kill sb stone-dead;

12.

♦ nm

1. Perú [guiso] = meat stew served with rice and a garlic, lemon and coriander sauce

2. Col [plato principal] main dish

♦ a secas loc adv

simply, just;

llámame Juan a secas just call me Juan;

no comas pan a secas don't eat just bread

* * *

1 dry; planta dried up;

estar seco fam ( tener sed) be parched fam

2 fig ( antipático) curt, brusque

dejar a alguien seco fam kill s.o. stone dead;

parar en seco stop dead

llámala Carmen a secas just call her Carmen

* * *

seco, -ca adj

1) : dry

2) disecado: dried

fruta seca: dried fruit

3) : thin, lean

4) : curt, brusque

5) : sharp

un golpe seco: a sharp blow

a secas : simply, just

se llama Chico, a secas: he's just called Chico

en seco : abruptly, suddenly

frenar en seco: to make a sudden stop

* * *

seco adj

1. (en general) dry [comp. drier; superl. driest]

2. (frutos, flores) dried

3. (persona) unfriendly [comp. unfriendlier; superl. unfriendliest]