process emulsion

1) Техника: репродукционный эмульсионный слой

2) Полиграфия: фотографическая эмульсия

1) эмульсия

2) светочувствительный слой, фотографическая эмульсия, проф. эмульсия

- emulsion to emulsion

- collodion emulsion

- color-blind emulsion

- continuous-tone emulsion

- electronographic emulsion

- fast emulsion

- fine-grain emulsion

- high-contrast emulsion

- high-speed emulsion

- ink-in-water emulsion

- light sensitive emulsion

- Lippmann emulsion

- lith emulsion

- multilayered emulsion

- orthochromatic emulsion

- panchromatic emulsion

- photosensitive emulsion

- photostencil emulsion

- process emulsion

- thin film emulsion

- water emulsion

- water-in-ink emulsion

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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1. авария; поломка; неисправность (машины, механизма)

2. разрыв, разрушение; распад

3. хим. анализ нефти

4. аварийный

5. разложение на компоненты, классификация

— breakdown of emulsion

— fatigue breakdown

— pressure breakdown

— rock breakdown

1. авария; выход из строя; отказ

2. разрушение; поломка; разрыв; обрыв

3. разборка ( на части)

— bit teeth breakdown

— breakdown in maintenance

— breakdown in process

— catastrophic breakdown

— complete breakdown

— drill bit breakdown

— drill string breakdown

— element breakdown

— fatigue breakdown

— foreseeable breakdown

— gradual breakdown

— intermittent breakdown

— latent breakdown

— random breakdown

— reliability breakdown

— successive breakdowns

— sudden breakdown

— system breakdown

— unscheduled breakdown

1) авария; выход из строя; отказ

2) разрушение; поломка; разрыв; обрыв

3) разложение; распад; порча

4) разборка ( на части)

5) гидравлический разрыв пласта

6) химический анализ нефти

•

- breakdown of cement column

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• гидравлический разрыв пласта

• обрыв

• пластикация

• разбивка

• разрыв пласта

• расслоение эмульсии

• расшифровка затрат

• химический анализ нефти

< build> (a thick layer; e.g. pavement, road metal) ■ Belag m

< edp> (process) ■ Beschichtung f ; Beschichtungsvorgang m ; Beschichten n

< food> (ice cream) ■ Überzug m ; Glasur f ; Überzugsmasse f

< join> (of a welding electrode) ■ Umhüllung f

< metal> ■ Schlichte f

< owg> ■ Coating n ; Beschichtung f

< pap> ■ Streichen n

pract < phot> (on photographic paper, film) ■ Emulsion f ; Emulsionsschicht f ; Fotoschicht f ; fotografische Schicht f ; Schicht f prakt

< prod> (stress on: on all sides; e.g. envelope, cladding) ■ Umhüllung f

< srfc> (gen.; process) ■ Beschichten n DIN 6730

< srfc> (organic material) ■ Lack m

< srfc> (surface treatment) ■ Oberflächenbehandlung f

< srfc> ■ Schicht f

< srfc> (application of paint; usu. pigmented) ■ Lackieren n

< srfc> (process) ■ Farbauftrag m

< srfc> (result of painting process; material on substrate) ■ Farbauftrag m ; Farbe f

<srfc.pps> (on outside of pipes) ■ Beschichtung f ; äußerer Überzug m

<srfc.print> (of printed material; typ. paper, carton, board; usu. clear) ■ Lackieren n DIN 16529

- ink for machine-coated paper

- ink for multicolor printing

- ink for use on foodwrappers and packages

- ink up

- abrasive ink

- acetate ink

- acidproof ink

- alkaliproof ink

- aluminum ink

- amalgam ink

- aniline ink

- antimisting ink

- aqueous ink

- aqueous emulsion ink

- aromatic-base ink

- balanced ink

- basic ink

- black ink

- black light ink

- blind ink

- book ink

- box-board ink

- bronze ink

- carbon transfer ink

- carton ink

- catalyst ink

- cellophane ink

- celluloid ink

- ceramic ink

- changeable printing ink

- charged ink

- check ink

- chilled ink

- chill-set ink

- China ink

- cold-set ink

- colored ink

- copyable ink

- copying ink

- day-glo fluorescent ink

- decorative ink

- developing ink

- difficult ink

- double-tone ink

- drawing ink

- dry ink

- drying oil ink

- duotone ink

- duplex ink

- dye ink

- easy-drying ink

- electrically conductive ink

- electrographic ink

- embedded nonimage ink

- endorsing ink

- etching ink

- evaporation set ink

- fast-setting ink

- ferrofluid ink

- finished ink

- flat ink

- flexographic printing ink

- fluorescent ink

- fluoro-carbon-base ink

- flying ink

- foam ink

- foamed ink

- free-flowing ink

- fresh ink

- frozen ink

- glass marking ink

- gloss ink

- gloss steam-set ink

- glossy ink

- glycol-base ink

- gold ink

- gold bronze ink

- gold paste ink

- gravure ink

- greasy ink

- ground ink

- hard top ink

- heat-set ink

- heat-transfer ink

- heavy ink

- hectograph ink

- higher viscosity ink

- highly viscous ink

- high-solids ink

- high-speed ink

- hot wax ink

- Indian ink

- invisible ink

- IR-curing ink

- jobbing ink

- craft-bag ink

- lacquer-like ink

- label ink

- lake ink

- lettering waterproof ink

- letterpress ink

- lighting-set ink

- linoleum-cut ink

- linseed-base ink

- liquid ink

- litho ink

- lithocarton ink

- lithographic ink

- long ink

- low-viscosity ink

- luminous ink

- magnetic ink

- marking ink

- mat ink

- metallic ink

- metal marking ink

- mineral ink

- misting ink

- moisture-set ink

- news printing ink

- noncarbon ink

- nonfluid ink

- nonskinning ink

- nonscratch ink

- numbering machine ink

- odorless ink

- offset ink

- oil and rubber based ink

- process ink

- process color ink

- quick-drying ink

- quick-set ink

- radioactive ink

- rapid-setting press wet ink

- reverse ink

- rotary press ink

- rotogravure ink

- rubber-based ink

- rubber stamp ink

- rub-fast ink

- rub-in ink

- ruling ink

- run-of-press color process ink

- scented ink

- screen printing ink

- screen process ink

- shear-thinning ink

- short ink

- silk screen ink

- silver ink

- soft ink

- solid-state ink

- solvent-free ink

- solventless ink

- solvent-type ink

- speciality ink

- speed-set ink

- splash ink

- stable ink

- stamp ink

- steam-set ink

- steel plate engraving ink

- stencil ink

- stiff ink

- strong ink

- sublimable ink

- surface ink

- sympathetic ink

- synthetic ink

- "tailor-made" ink

- temperature-sensitive ink

- thermal ink

- thermo-fluid printing ink

- thermoplastic ink

- thermosetting ink

- thin ink

- tin plate ink

- tin printing ink

- transfer ink

- transparent ink

- trichromatic ink

- two-tone ink

- unground ink

- UV-curable ink

- UV-curing ink

- vapor-set ink

- varnish-base ink

- vermillion ink

- viscous paste ink

- washout ink

- water-based ink

- water-missible ink

- waterproof ink

- water-saving ink

- wax-setting ink

SUBJECT AREA: Photography, film and optics

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The young Eastman was a clerk-bookkeeper in the Rochester Savings Bank when in 1877 he took up photography. Taking lessons in the wet-plate process, he became an enthusiastic amateur photographer. However, the cumbersome equipment and noxious chemicals used in the process proved an obstacle, as he said, "It seemed to be that one ought to be able to carry less than a pack-horse load." Then he came across an account of the new gelatine dry-plate process in the British Journal of Photography of March 1878. He experimented in coating glass plates with the new emulsions, and was soon so successful that he decided to go into commercial manufacture. He devised a machine to simplify the coating of the plates, and travelled to England in July 1879 to patent it. In April 1880 he prepared to begin manufacture in a rented building in Rochester, and contacted the leading American photographic supply house, E. \& H.T.Anthony, offering them an option as agents. A local whip manufacturer, Henry A.Strong, invested $1,000 in the enterprise and the Eastman Dry Plate Company was formed on 1 January 1881. Still working at the Savings Bank, he ran the business in his spare time, and demand grew for the quality product he was producing. The fledgling company survived a near disaster in 1882 when the quality of the emulsions dropped alarmingly. Eastman later discovered this was due to impurities in the gelatine used, and this led him to test all raw materials rigorously for quality. In 1884 the company became a corporation, the Eastman Dry Plate \& Film Company, and a new product was announced. Mindful of his desire to simplify photography, Eastman, with a camera maker, William H.Walker, designed a roll-holder in which the heavy glass plates were replaced by a roll of emulsion-coated paper. The holders were made in sizes suitable for most plate cameras. Eastman designed and patented a coating machine for the large-scale production of the paper film, bringing costs down dramatically, the roll-holders were acclaimed by photographers worldwide, and prizes and medals were awarded, but Eastman was still not satisfied. The next step was to incorporate the roll-holder in a smaller, hand-held camera. His first successful design was launched in June 1888: the Kodak camera. A small box camera, it held enough paper film for 100 circular exposures, and was bought ready-loaded. After the film had been exposed, the camera was returned to Eastman's factory, where the film was removed, processed and printed, and the camera reloaded. This developing and printing service was the most revolutionary part of his invention, since at that time photographers were expected to process their own photographs, which required access to a darkroom and appropriate chemicals. The Kodak camera put photography into the hands of the countless thousands who wanted photographs without complications. Eastman's marketing slogan neatly summed up the advantage: "You Press the Button, We Do the Rest." The Kodak camera was the last product in the design of which Eastman was personally involved. His company was growing rapidly, and he recruited the most talented scientists and technicians available. New products emerged regularly—notably the first commercially produced celluloid roll film for the Kodak cameras in July 1889; this material made possible the introduction of cinematography a few years later. Eastman's philosophy of simplifying photography and reducing its costs continued to influence products: for example, the introduction of the one dollar, or five shilling, Brownie camera in 1900, which put photography in the hands of almost everyone. Over the years the Eastman Kodak Company, as it now was, grew into a giant multinational corporation with manufacturing and marketing organizations throughout the world. Eastman continued to guide the company; he pursued an enlightened policy of employee welfare and profit sharing decades before this was common in industry. He made massive donations to many concerns, notably the Massachusetts Institute of Technology, and supported schemes for the education of black people, dental welfare, calendar reform, music and many other causes, he withdrew from the day-to-day control of the company in 1925, and at last had time for recreation. On 14 March 1932, suffering from a painful terminal cancer and after tidying up his affairs, he shot himself through the heart, leaving a note: "To my friends: My work is done. Why wait?" Although Eastman's technical innovations were made mostly at the beginning of his career, the organization which he founded and guided in its formative years was responsible for many of the major advances in photography over the years.

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SUBJECT AREA: Photography, film and optics

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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) скорость (см. тж
rate)

2) частота вращения; число оборотов

3) угловая скорость

4) быстродействие || быстродействующий

5) авто передача

6) светочувствительность

7) кфт. частота смены кадров

8) светосила

9) двигаться с большой скоростью, идти полным ходом