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1 technical photography
Большой англо-русский и русско-английский словарь > technical photography
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2 technical photography
Англо-русский словарь технических терминов > technical photography
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3 technical photography
Техника: техническая фотография, техническая фотосъёмка -
4 technical photography
Englsh-Russian aviation and space dictionary > technical photography
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5 technical photography
n технічна фотографіяEnglish-Ukrainian military dictionary > technical photography
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6 photography
2) фотосъёмка, фотографирование•- additive color photography -
advertising photography
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aerial photography from a kite
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aerial photography
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aerospace photography
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air-to-air photography
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amateur photography
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animated photography
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applied photography
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art photography
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astronomical photography
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ballistic photography
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black-and-white photography
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borehole photography
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bubble chamber photography
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celestial photography
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cine photography
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close-up photography
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color photography
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composite photography
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daylight photography
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deep-ocean photography
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direct photography
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earth-based lunar photography
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electronic photography
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electrostatic photography
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endoscopic photography
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engineering photography
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exoelectron photography
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fade-in photography
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fade-out photography
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flash photography
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frame-by-frame photography
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half-tone photography
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high-resolution photography
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high-speed photography
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identification photography
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imbibition color photography
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industrial photography
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infrared photography
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instantaneous photography
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integral photography
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interference color photography
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laser photography
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lensless photography
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long-distance photography
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lunar photography
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metric photography
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missile photography
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motion picture photography
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multispectral photography
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newsreel photography
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nuclear track photography
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oscilloscope photography
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panoramic photography
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process-camera photography
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professional photography
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reconnaissance photography
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reproduction photography
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satellite-borne photography
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schlieren photography
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screen photography
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short distance photography
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silver photography
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slow-motion photography
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space photography
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spark photography
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speckle photography
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spectral zonal photography
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squeezed photography
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stellar photography
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stereoscopic photography
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still photography
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stroboscopic photography
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studio photography
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subtractive color photography
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technical photography
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three-color photography
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three-dimensional photography
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time-lapse photography
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traveling-matte photography
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two-color photography
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unconventional photography
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underwater photography
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7 photography
фотографирование, фотосъёмка -
8 technical sequential photography
Универсальный англо-русский словарь > technical sequential photography
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9 technical sequential photography
n послідовне фотографування технічних процесівEnglish-Ukrainian military dictionary > technical sequential photography
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10 техническая фотография
Большой англо-русский и русско-английский словарь > техническая фотография
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11 техническая фотосъемка
Большой англо-русский и русско-английский словарь > техническая фотосъемка
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12 техническая фотография
Англо-русский словарь технических терминов > техническая фотография
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13 техническая фотосъемка
Англо-русский словарь технических терминов > техническая фотосъемка
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14 Eastman, George
SUBJECT AREA: Photography, film and optics[br]b. 12 July 1854 Waterville, New York, USAd. 14 March 1932 Rochester, New York, USA[br]American industrialist and pioneer of popular photography.[br]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.[br]Further ReadingC.Ackerman, 1929, George Eastman, Cambridge, Mass.B.Coe, 1973, George Eastman and the Early Photographers, London.BC -
15 Herschel, John Frederick William
SUBJECT AREA: Photography, film and optics[br]b. 7 March 1792 Slough, Englandd. 11 May 1871 Collingwood, England[br]English scientist who introduced "hypo" (thiosulphate) as a photographic fixative and discovered the blueprint process.[br]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.[br]Principal Honours and DistinctionsKnight of the Royal Hanoverian Guelphic Order 1831. Baronet 1838. FRS 1813. Copley Medal 1821.Further ReadingDictionary of National Biography, 1968, Vol. IX, pp. 714–19.H.J.P.Arnold, 1977, William Henry Fox Talbot, London; Larry J.Schaaf, 1992, Out of the Shadows: Herschel, Talbot and the Invention of Photography, Newhaven and London (for details of his contributions to photography and his relationship with Talbot).JWBiographical history of technology > Herschel, John Frederick William
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16 Petzval, Josef Max
SUBJECT AREA: Photography, film and optics[br]b. 1807 Spisska-Beila, Hungaryd. 17 September 1891 Vienna, Austria[br]Hungarian mathematician and photographic-lens designer, inventor of the first "rapid" portrait lens.[br]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.[br]Principal Honours and DistinctionsMember of the Hungarian Academy of Science 1873.Further ReadingJ.M.Eder, 1945, History of Photography, trans. E. Epstean, New York (provides details of Petzval's life and work; Eder claims he was introduced to Petzval by mutual friends and succeeded in obtaining personal data).Rudolf Kingslake, 1989, A History of the Photographic Lens, Boston (brief biographical details).L.W.Sipley, 1965, Photography's Great Inventors, Philadelphia (brief biographical details).JW -
17 Paul, Robert William
[br]b. 3 October 1869 Highbury, London, Englandd. 28 March 1943 London, England[br]English scientific instrument maker, inventor of the Unipivot electrical measuring instrument, and pioneer of cinematography.[br]Paul was educated at the City of London School and Finsbury Technical College. He worked first for a short time in the Bell Telephone Works in Antwerp, Belgium, and then in the electrical instrument shop of Elliott Brothers in the Strand until 1891, when he opened an instrument-making business at 44 Hatton Garden, London. He specialized in the design and manufacture of electrical instruments, including the Ayrton Mather galvanometer. In 1902, with a purpose-built factory, he began large batch production of his instruments. He also opened a factory in New York, where uncalibrated instruments from England were calibrated for American customers. In 1903 Paul introduced the Unipivot galvanometer, in which the coil was supported at the centre of gravity of the moving system on a single pivot. The pivotal friction was less than in a conventional instrument and could be used without accurate levelling, the sensitivity being far beyond that of any pivoted galvanometer then in existence.In 1894 Paul was asked by two entrepreneurs to make copies of Edison's kinetoscope, the pioneering peep-show moving-picture viewer, which had just arrived in London. Discovering that Edison had omitted to patent the machine in England, and observing that there was considerable demand for the machine from show-people, he began production, making six before the end of the year. Altogether, he made about sixty-six units, some of which were exported. Although Edison's machine was not patented, his films were certainly copyrighted, so Paul now needed a cinematographic camera to make new subjects for his customers. Early in 1895 he came into contact with Birt Acres, who was also working on the design of a movie camera. Acres's design was somewhat impractical, but Paul constructed a working model with which Acres filmed the Oxford and Cambridge Boat Race on 30 March, and the Derby at Epsom on 29 May. Paul was unhappy with the inefficient design, and developed a new intermittent mechanism based on the principle of the Maltese cross. Despite having signed a ten-year agreement with Paul, Acres split with him on 12 July 1895, after having unilaterally patented their original camera design on 27 May. By the early weeks of 1896, Paul had developed a projector mechanism that also used the Maltese cross and which he demonstrated at the Finsbury Technical College on 20 February 1896. His Theatrograph was intended for sale, and was shown in a number of venues in London during March, notably at the Alhambra Theatre in Leicester Square. There the renamed Animatographe was used to show, among other subjects, the Derby of 1896, which was won by the Prince of Wales's horse "Persimmon" and the film of which was shown the next day to enthusiastic crowds. The production of films turned out to be quite profitable: in the first year of the business, from March 1896, Paul made a net profit of £12,838 on a capital outlay of about £1,000. By the end of the year there were at least five shows running in London that were using Paul's projectors and screening films made by him or his staff.Paul played a major part in establishing the film business in England through his readiness to sell apparatus at a time when most of his rivals reserved their equipment for sole exploitation. He went on to become a leading producer of films, specializing in trick effects, many of which he pioneered. He was affectionately known in the trade as "Daddy Paul", truly considered to be the "father" of the British film industry. He continued to appreciate fully the possibilities of cinematography for scientific work, and in collaboration with Professor Silvanus P.Thompson films were made to illustrate various phenomena to students.Paul ended his involvement with film making in 1910 to concentrate on his instrument business; on his retirement in 1920, this was amalgamated with the Cambridge Instrument Company. In his will he left shares valued at over £100,000 to form the R.W.Paul Instrument Fund, to be administered by the Institution of Electrical Engineers, of which he had been a member since 1887. The fund was to provide instruments of an unusual nature to assist physical research.[br]Principal Honours and DistinctionsFellow of the Physical Society 1920. Institution of Electrical Engineers Duddell Medal 1938.Bibliography17 March 1903, British patent no. 6,113 (the Unipivot instrument).1931, "Some electrical instruments at the Faraday Centenary Exhibition 1931", Journal of Scientific Instruments 8:337–48.Further ReadingObituary, 1943, Journal of the Institution of Electrical Engineers 90(1):540–1. P.Dunsheath, 1962, A History of Electrical Engineering, London: Faber \& Faber, pp.308–9 (for a brief account of the Unipivot instrument).John Barnes, 1976, The Beginnings of Cinema in Britain, London. Brian Coe, 1981, The History of Movie Photography, London.BC / GW -
18 England, William
SUBJECT AREA: Photography, film and optics[br]b. early 19th centuryd. 1896 London, England[br]English photographer, inventor of an early focal-plane shutter.[br]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.[br]Further ReadingMichael Aver, 1985, Photographers Encyclopedia International, Vol. I (A-K), Hermance, Switzerland.H.Gernsheim and A.Gernsheim, 1969, The History of Photography, rev. edn, London.JW -
19 proof
[pru:f]1) ((a piece of) evidence, information etc that shows definitely that something is true: We still have no proof that he is innocent.) dokaz2) (a first copy of a printed sheet, that can be corrected before the final printing: She was correcting the proofs of her novel.) krtačni odtis3) (in photography, the first print from a negative.) poskusna kopija•- - proof* * *I [pru:f]noundokaz, potrdilo; juridically dokaz, dokazilo, (pismena) izjava prič; poskus, preizkus (tudi mathematics technical); printing krtačni odtis; photography poskusna kopija; poskusno kovanje (kovancev); standardna količina alkohola, predpisan odstotek alkohola; military preizkus strelnega orožjaproof to the contrary — nasproten dokaz, protidokazproof positive — jasen, nedvoumen dokazthe proof of the pudding is in the eating — kakovost spoznamo šele, ko se o njej sami prepričamoprinting clean proof — pregledna polaprinting to correct proofs — opraviti korekturoabove (under) proof — z večjim (manjšim) odstotkom alkohola, kot je predpisanoII [pru:f]adjectivetrden, odporen ( against proti), neprodušen, neprepusten; varen, zavarovan (npr. pred vremenom; against); figuratively nedostopen; poskusen, preizkušen, potrjen; vsebujoč predpisan odstotek alkohola, v redu; American ki ima predpisan odstotek zlata ali srebra (kovanec)fire-proof — odporen proti ognju, nezgorljiv, nevnetljivIII [pru:f]transitive verbimpregnirati -
20 Cousteau, Jacques-Yves
SUBJECT AREA: Ports and shipping[br]b. 11 June 1910 Saint-André-de-Cubzac, France[br]French marine explorer who invented the aqualung.[br]He was the son of a country lawyer who became legal advisor and travelling companion to certain rich Americans. At an early age Cousteau acquired a love of travel, of the sea and of cinematography: he made his first film at the age of 13. After an interrupted education he nevertheless passed the difficult entrance examination to the Ecole Navale in Brest, but his naval career was cut short in 1936 by injuries received in a serious motor accident. For his long recuperation he was drafted to Toulon. There he met Philippe Tailliez, a fellow naval officer, and Frédéric Dumas, a champion spearfisher, with whom he formed a long association and began to develop his underwater swimming and photography. He apparently took little part in the Second World War, but under cover he applied his photographic skills to espionage, for which he was awarded the Légion d'honneur after the war.Cousteau sought greater freedom of movement underwater and, with Emile Gagnan, who worked in the laboratory of Air Liquide, he began experimenting to improve portable underwater breathing apparatus. As a result, in 1943 they invented the aqualung. Its simple design and robust construction provided a reliable and low-cost unit and revolutionized scientific and recreational diving. Gagnan shunned publicity, but Cousteau revelled in the new freedom to explore and photograph underwater and exploited the publicity potential to the full.The Undersea Research Group was set up by the French Navy in 1944 and, based in Toulon, it provided Cousteau with the Opportunity to develop underwater exploration and filming techniques and equipment. Its first aims were minesweeping and exploration, but in 1948 Cousteau pioneered an extension to marine archaeology. In 1950 he raised the funds to acquire a surplus US-built minesweeper, which he fitted out to further his quest for exploration and adventure and named Calypso. Cousteau also sought and achieved public acclaim with the publication in 1953 of The Silent World, an account of his submarine observations, illustrated by his own brilliant photography. The book was an immediate success and was translated into twenty-two languages. In 1955 Calypso sailed through the Red Sea and the western Indian Ocean, and the outcome was a film bearing the same title as the book: it won an Oscar and the Palme d'Or at the Cannes film festival. This was his favoured medium for the expression of his ideas and observations, and a stream of films on the same theme kept his name before the public.Cousteau's fame earned him appointment by Prince Rainier as Director of the Oceanographie Institute in Monaco in 1957, a post he held until 1988. With its museum and research centre, it offered Cousteau a useful base for his worldwide activities.In the 1980s Cousteau turned again to technological development. Like others before him, he was concerned to reduce ships' fuel consumption by harnessing wind power. True to form, he raised grants from various sources to fund research and enlisted technical help, namely Lucien Malavard, Professor of Aerodynamics at the Sorbonne. Malavard designed a 44 ft (13.4 m) high non-rotating cylinder, which was fitted onto a catamaran hull, christened Moulin à vent. It was intended that its maiden Atlantic crossing in 1983 should herald a new age in ship propulsion, with large royalties to Cousteau. Unfortunately the vessel was damaged in a storm and limped to the USA under diesel power. A more robust vessel, the Alcyone, was fitted with two "Turbosails" in 1985 and proved successful, with a 40 per cent reduction in fuel consumption. However, oil prices fell, removing the incentive to fit the new device; the lucrative sales did not materialize and Alcyone remained the only vessel with Turbosails, sharing with Calypso Cousteau's voyages of adventure and exploration. In September 1995, Cousteau was among the critics of the decision by the French President Jacques Chirac to resume testing of nuclear explosive devices under the Mururoa atoll in the South Pacific.[br]Principal Honours and DistinctionsLégion d'honneur. Croix de Guerre with Palm. Officier du Mérite Maritime and numerous scientific and artistic awards listed in such directories as Who's Who.Bibliography1953, The Silent World.1972, The Ocean World of Jacques Cousteau, 21 vols.Further ReadingR.Munson, 1991, Cousteau, the Captain and His World, London: Robert Hale (published in the USA 1989).LRD
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