process-coated paper

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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ввод с бумажной изоляцией, склеенной смолой
Ввод, в котором основная изоляция состоит из бумаги, склеенной смолой.
[ ГОСТ 27744-88]

EN

resin-bonded paper bushing
RBP
bushing in which the major insulation consists of a core wound from resin-coated paper
NOTE 1 During the winding process, each paper layer is bonded to the previous layer by its resin coating and the bonding achieved by curing the resin.
NOTE 2 A resin-bonded paper bushing can be provided with an insulating envelope, in which case the intervening space can be filled with an insulating liquid or another insulating medium.
[IEC 60137, ed. 6.0 (2008-07)]

FR

traversée en papier enduit de résine
RBP (resin-bonded paper)
traversée dont l'isolation principale est assurée par un corps enroulé en papier enduit de résine
NOTE 1 Lors de l'enroulement, chaque couche de papier est liée à la précédente par l'enduit de résine et la cohésion obtenue par le durcissement de la résine.
NOTE 2 Une traversée en papier enduit de résine peut comporter une enveloppe isolante. Dans ce cas, l'espace intermédiaire peut être rempli d'un isolant liquide ou d'un autre milieu isolant.
[IEC 60137, ed. 6.0 (2008-07)]

Тематики

• изолятор

EN

• RBP
• resin bonded paper bushing

DE

• Durchführung mit Papierisolation verklebt mit Harz

FR

• RBP
• traversée en papier enduit de résine

1 covering (por fuera).

2 coating, covering, cladding, liner.

3 investing, investment.

4 casing.

5 cuffing.

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► nombre masculino

1 covering, coating

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SM (Téc) coating, covering; (=forro) lining; [de carretera] surface; (Mil) revetment

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masculino ( de suelo) covering, flooring; ( de cable) sheathing; ( de tubería) lining

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= coat, coating, housing, overlay, veneer, cladding, revetment, lining, casing, layer.

Ex. We will not accomplish that by being timid or by giving our profession a fresh coat of paint.

Ex. A thesaurus might advise the searcher that the following alternative terms might prove fruitful: coating and other more specific terms, e.g. Printing works.

Ex. For certain categories of material, the physical carrier consists of a storage medium (e.g., tape, film) sometimes encased in plastic, metal, etc., housing (e.g. cassette, cartridge) that is an integral part of the item.

Ex. The pressmen therefore patched the tympan with overlays of tissue paper wherever the type was low, a process that could take hours for a really uneven forme.

Ex. The table is made of rosewood veneer and porcelain marquetry.

Ex. The rest of the fibre is cladding and filling, to aid transmission and provide protection for the core.

Ex. Concrete has been widely used in the remodelling of irrigation channels -- for bottom lining and slope revetment.

Ex. The conference brought together the disciplines of painting, paper and textile conservation and covered their approaches and problems with regard to lining.

Ex. They can also provide casings in steel or aluminium, powder coated to a colour of your choice.

Ex. While the layer of pulp was on this wire, the water drained away and the wire was given a sideways shake.

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* revestimiento con paneles de madera = wainscoting [wainscotting].

* revestimiento de paredes con paneles de madera = wood panelling.

* revestimiento de paredes con paneles de madera de roble = oak panelling.

* revestimiento para suelos = flooring.

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masculino ( de suelo) covering, flooring; ( de cable) sheathing; ( de tubería) lining

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(del suelo) covering, flooring; (de un cable) sheathing; (de una tubería) lining

la pared tiene un revestimiento de madera the wall has wooden paneling

esta sartén tiene un revestimiento antiadherente this frying pan has a nonstick surface

un revestimiento aislante a layer of insulating material

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revestimiento nm

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m TÉC covering

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revestimiento nm

: covering, facing (of a building)

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: Paper and printing

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For the first twenty-five years of his life, Gestetner was a rolling stone and accordingly gathered no moss. Leaving school in 1867, he began working for an uncle in Sopron, making sausages. Four years later he apprenticed himself to another uncle, a stockbroker, in Vienna. The financial crisis of 1873 prompted a move to a restaurant, also in the family, but tiring of a menial existence, he emigrated to the USA, travelling steerage. He began to earn a living by selling Japanese kites: these were made of strong Japanese paper coated with lacquer, and he noted their long fibres and great strength, an observation that was later to prove useful when he was searching for a suitable medium for stencil duplicating. However, he did not prosper in the USA and he returned to Europe, first to Vienna and finally to London in 1879. He took a job with Fairholme \& Co., stationers in Shoe Lane, off Holborn; at last Gestetner found an outlet for his inventive genius and he began his life's work in developing stencil duplicating. His first patent was in 1879 for an application of the hectograph, an early method of duplicating documents. In 1881, he patented the toothed-wheel pen, or Cyclostyle, which made good ink-passing perforations in the stencil paper, with which he was able to pioneer the first practicable form of stencil duplicating. He then adopted a better stencil tissue of Japanese paper coated with wax, and later an improved form of pen. This assured the success of Gestetner's form of stencil duplicating and it became established practice in offices in the late 1880s. Gestetner began to manufacture the apparatus in premises in Sun Street, at first under the name of Fairholme, since they had defrayed the patent expenses and otherwise supported him financially, in return for which Gestetner assigned them his patent rights. In 1882 he patented the wheel pen in the USA and appointed an agent to sell the equipment there. In 1884 he moved to larger premises, and three years later to still larger premises. The introduction of the typewriter prompted modifications that enabled stencil duplicating to become both the standard means of printing short runs of copy and an essential piece of equipment in offices. Before the First World War, Gestetner's products were being sold around the world; in fact he created one of the first truly international distribution networks. He finally moved to a large factory to the north-east of London: when his company went public in 1929, it had a share capital of nearly £750,000. It was only with the development of electrostatic photocopying and small office offset litho machines that stencil duplicating began to decline in the 1960s. The firm David Gestetner had founded adapted to the new conditions and prospers still, under the direction of his grandson and namesake.

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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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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

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Bi Sheng was a commoner, "a man of unofficial position". The only record of his invention is Shen Gua's writings, the Meng Qi Bi Tan (c.1088), which give a clear and complete description of the making of type, typesetting, printing and distribution of the type after printing. Each character was cut in a piece of clay and then baked hard. The type was placed in an iron frame or forme set on an iron plate coated with a sticky resin, wax and paper ash. Printing a few copies was laborious, but for 100 or 1,000 copies the process was relatively quick. Each character had several types, and the commoner ones had as many as twenty or more. No further information about the type has survived, nor has any book produced in this way. Bi Sheng died soon after his invention was made, and so he was probably unable to pass the details on to an apprentice or follower.

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