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JB Reade's Letters to Jabez Hogg
J. B. Reade’s letters to Jabez Hogg – Reade’s last days R. DEREK WOOD [submitted to Quekett Journal of Microscopy] [submitted in Feb 2011 but NOT published] Introducing the Rev. Joseph Bancroft Xanthidia. Quite obviously Reade was Reade, FRS (1801-1870) technically adept with microscope optics and specimen manipulation, using such methods as As a vicar of the Church of England, J. B. micro-incineration. In the mid-1830s (when he Reade served his communities at the churches ran a small school in Peckham, south east of of Stone, Buckinghamshire, from 1839 until London) he used a method of microscopic 1859, then for four years at Ellesborough, also illumination, that he characterised as “oblique in Bucks, before becoming rector of refracted light” in being set up to stop direct Bishopsbourne, near Canterbury, Kent, from transmitted light entering the objective lens, 1862 until his death in December 1870. provided a black background to the specimen, In 1864 he signed ‘The Declaration of i.e. darkground-illumination. His paper on the Students of the Natural and Physical Sciences’ technique entitled ‘A New method of that “deplore that Natural Science should be Illuminating Microscopic Objects’ was looked upon with suspicion ... merely on published in 1837 as an appendix in the account of the unadvised manner in which influential book Micrographia by Goring and some are placing it in opposition to Holy Pritchard, and noticed in all books by various Writ”. Of course where religion is concerned authors on the Microscope in the following that Declaration could be interpreted in decades, including Quekett’s Practical contradictory ways, but there can be little Treatise on the Microscope (2nd edition of doubt that J. -
Basic Sensitometry and Characteristics of Film Basic Sensitometry and Characteristics of Film
BASIC SENSITOMETRY AND CHARACTERISTICS OF FILM BASIC SENSITOMETRY AND CHARACTERISTICS OF FILM BASIC PHOTOGRAPHIC SENSITOMETRY Sensitometry is the science behind the art of filmmaking. It is the measurement of a film’s characteristics. These measurements are expressed in numeric and chart form to convey how a film will react to the amount of light, the type of lighting, the amount of exposure, the type of developer, the amount of development, and how all these factors interact. In most cases, a cinematographer doesn’t need a great depth of technical information to use motion picture films—using the right film speed and the right process will suKce. On the other hand, having a basic understanding of film sensitometry will help you in tasks as simple as film selection to as complicated as communicating the mood of a challenging scene. THE CHARACTERISTIC CURVE At the heart of sensitometry is the characteristic curve. The characteristic curve plots the amount of exposure against the density achieved by that exposure: 3.0 2.8 2.6 2.4 Shoulder 2.2 2.0 1.8 Y Straight Line T 1.6 I S 1.4 N E D 1.2 1.0 Base-Plus-Fog or 0.8 Gross-Fog Density 0.6 Toe 0.4 0.2 0.0 3.0 2.0 1.0 0.0 1.0 2.0 LOG EXPOSURE To create a characteristic curve, we first need some densities to plot, and they come from a sensitometric tablet exposed onto the film. Commonly called a step tablet, this highly calibrated tool consists of 21 equally spaced intervals of grey. -
9780240809984 Cs.Pdf
HISTORY AND EVOLUTION OF PHOTOGRAPHY MARK OSTERMAN George Eastman House International Museum of Photography and Film GRANT B. ROMER George Eastman House International Museum of Photography and Film CCH01-K80998.inddH01-K80998.indd 1 66/20/07/20/07 44:55:07:55:07 PPMM CCH01-K80998.inddH01-K80998.indd 2 66/20/07/20/07 44:55:15:55:15 PPMM ContemporaryA Different Thoughts Set on ofthe Questions History of for Photography a New Age 3 Contemporary Thoughts on the History of Photography GRANT B. ROMER George Eastman House and International Museum of Photography and Film All photographers work today with historical perspective. Th ey know that the technology they use has an origin in the distant past. Th ey know photography has progressed and transformed over time, and they believe the current system of photography must be superior to that of the past. Th ey are sure they will witness further progress in pho- tography. Th ese are the lessons of history understood by all, and none need inquire any further in order to photograph. Yet photography has a very rich and complex history, which has hidden within it the answers to the fundamentally difficult questions: “What is photography?” and “What is a photograph?” All true photogra- phers should be able to answer these ques- tions for themselves and for others. To do so, they must make deep inquiry into the history of photography. Recognition of the importance of his- tory to the understanding of photography is evidenced in the title and content of the very first manual of photography published FIG. -
History of Photography
History of Photography How it all began As of this writing in 2015,the history of photography is over 200 years every exposure. Nevertheless,Daguerre traded the right to old and the humble beginnings of pinhole imaging can even look back on the process with the french government in exchange for 3,000 years of optical evolution(see fig0).Nevertheless, it took until 1839 a patent and a life-long pension for himself and Niepce’s when optical and chemical evolution were first joined by a french partner- son. In turn the french government offered the process to ship into, what we call today traditional photography to be awarded the first anybody for free with the exception of British citizens, who patent.’From this day forward,the art of painting is dead’ a french newspaper had to pay a royalty fee. prematurely announced, but of course, that never happened,just as television never replaced the radio and digital photography never entirely replaced The Daguerreotype the darkroom,older technologies still have enthusiastic followers, keeping The process quickly caught on and soon portrait studios established technologies alive for whatever reasons. were established all over Europe and North America to offer a likeness to whoever could afford it. Many of these images The first Photograph have survived to this day and are still in excellent shape and The credit of having made the first photograph goes to Niepce,who after two look as good now as when they were made. decades of experimenting was the first to make a stable photograph. Fig2 shows a Daguerreotype taken by Daguerre himself At this time,the pinhole camera was already common place and many had of a busy city square in Paris at the beginning of the 19th been fitted with a simple lens to create a brighter image. -
The Techniques and Material Aesthetics of the Daguerreotype
The Techniques and Material Aesthetics of the Daguerreotype Michael A. Robinson Submitted for the degree of Doctor of Philosophy Photographic History Photographic History Research Centre De Montfort University Leicester Supervisors: Dr. Kelley Wilder and Stephen Brown March 2017 Robinson: The Techniques and Material Aesthetics of the Daguerreotype For Grania Grace ii Robinson: The Techniques and Material Aesthetics of the Daguerreotype Abstract This thesis explains why daguerreotypes look the way they do. It does this by retracing the pathway of discovery and innovation described in historical accounts, and combining this historical research with artisanal, tacit, and causal knowledge gained from synthesizing new daguerreotypes in the laboratory. Admired for its astonishing clarity and holographic tones, each daguerreotype contains a unique material story about the process of its creation. Clues from the historical record that report improvements in the art are tested in practice to explicitly understand the cause for effects described in texts and observed in historic images. This approach raises awareness of the materiality of the daguerreotype as an image, and the materiality of the daguerreotype as a process. The structure of this thesis is determined by the techniques and materials of the daguerreotype in the order of practice related to improvements in speed, tone and spectral sensitivity, which were the prime motivation for advancements. Chapters are devoted to the silver plate, iodine sensitizing, halogen acceleration, and optics and their contribution toward image quality is revealed. The evolution of the lens is explained using some of the oldest cameras extant. Daguerre’s discovery of the latent image is presented as the result of tacit experience rather than fortunate accident. -
Sample Manuscript Showing Specifications and Style
F. Cao, F. Guichard, H. Hornung, R. Teissières, An objective protocol for comparing the noise performance of silver halide film and digital sensor, Digital Photography VIII, Electronic Imaging 2012. Copyright 2012 Society of Photo-Optical Instrumentation Engineers. One print or electronic copy may be made for personal use only. Systematic reproduction and distribution, duplication of any material in this paper for a fee or for commercial purposes, or modification of the content of the paper are prohibited. http://dx.doi.org/10.1117/12.910113 An objective protocol for comparing the noise performance of silver halide film and digital sensor Frédéric Cao, Frédéric Guichard, Hervé Hornung, Régis Tessière DxO Labs, 3 Rue Nationale, 92100 Boulogne, France ABSTRACT Digital sensors have obviously invaded the photography mass market. However, some photographers with very high expectancy still use silver halide film. Are they only nostalgic reluctant to technology or is there more than meets the eye? The answer is not so easy if we remark that, at the end of the golden age, films were actually scanned before development. Nowadays film users have adopted digital technology and scan their film to take advantage from digital processing afterwards. Therefore, it is legitimate to evaluate silver halide film “with a digital eye”, with the assumption that processing can be applied as for a digital camera. The article will describe in details the operations we need to consider the film as a RAW digital sensor. In particular, we have to account for the film characteristic curve, the autocorrelation of the noise (related to film grain) and the sampling of the digital sensor (related to Bayer filter array). -
The Fingerprint Sourcebook
CHAPTER THE PRESERVATION OF FRICTION RIDGES Laura A. Hutchins Contributing author Robert E. May CONTENTS 3 8.1 Introduction 16 8.6 Other Methods of Friction Ridge Preservation 3 8.2 History of Photography 19 8.7 Conclusion 5 8.3 Photography in the Criminal 20 8.8 Reviewers Justice Community 6 8.4 The Fingerprint Camera 20 8.9 References 7 8.5 Modern Photography 8–1 The Preservation of Friction RIdges C H A P T E R 8 8.1 Introduction CHAPTER 8 Inherent in the criminal justice community, and specifi- cally the crime laboratory, is the policy that the information derived from evidence must be preserved to the extent possible. With regard to friction ridge detail, methods of THE PRESERVATION OF preservation include film and digital photography, latent print lifts, and the use of casting material. Although the FRICTION RIDGES two latter methods do create secondary evidence in the form of a lift or cast, the photographing of the friction ridge detail on the lift or the cast is still important to generate ad- Laura A. Hutchins ditional secondary evidence. Certainly with respect to state Contributing author and national labs, evidence submitted with a case must be Robert E. May returned to the contributor. With this in mind, the preserva- tion of all relevant friction ridge information derived from evidence is mandatory, and the production of an archival image enables most of that information to be retained within the case file. 8.2 History of Photography Photography dates back to the time of Aristotle and his study of light, specifically his reference to the passing of light through a pinhole and the creation of a reverse image on the ground (London, 2005, p 368). -
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey. -
19Th Century Materials, Processes, Technologies
19th Century Materials, Processes, Technologies Photographic Process ID Webinar #1 Image Permanence Institute 2017-2018 Resources Web Resources • Graphics Atlas – www.graphicsatlas.org • George Eastman Museum Photographic Processes Series – YouTube • Lingua Franca: A Common Language for Conservators of Photographic Materials – iTunes App • The Atlas of Analytical Signatures of Photographic Processes – www.getty.edu/conservation/publications_resources/pdf_publications/atlas.html Print Resources • Care and Identification of 19th Century Photographic Prints by James Reilly • Photographs of the Past: Process and Preservation by Bertrand Lavedrine • In the Darkroom: An Illustrated Guide to Photographic Processes Before the Digital Age by Sarah Kennel What is a Photograph? • An Image – Light Sensitivity of Chemical Compounds • Silver Salts • Iron Salts • Chromium Salts • A substrate Salts (Chemistry): an ionic compound which is made up of two groups of oppositely charged ions (positive and Chromium Salt: Potassium dichromate negative) Building Blocks of a Photograph • Image Material • Support • Image Binder* • Support Coating* *not always present Image Material • Metal – Silver – Gold – Platinum • Pigment Supports • Common – Paper – Metal – Glass • Less common – Cloth – Ceramic – Leather Image Binder • Materials – Albumen – Collodion – Gelatin • Purpose – To hold and suspend the image material above support – Sharper image • Properties – Transparent – Ideal for suspensions Albumen print – Each binder has specific properties Support Coating Baryta • Materials – Barium sulfate and gelatin • Purpose – Cover paper fibers • Smooth surface • Reduces light scattering – Higher surface sheen – Sharper image – Higher density in shadows – Improve binder adhesion Gelatin POP Building Blocks of Photographic Prints Image material One layer Support Image material in Binder Two layers Support Image material in Binder Three layers Baryta Support Types of Photographs • Negative • Print • Positive Transparency • Direct Positive Negative A tonally reversed image on a transparent support. -
An Exposure Indicator for Digital Radiography Report of AAPM Task
AAPM REPORT NO. 116 An Exposure Indicator for Digital Radiography Report of AAPM Task Group 116 July 2009 DISCLAIMER: This publication is based on sources and information believed to be reliable, but the AAPM and the editors disclaim any warranty or liability based on or relating to the contents of this publication. The AAPM does not endorse any products, manufacturers, or suppliers. Nothing in this publication should be interpreted as implying such endorsement. © 2009 by American Association of Physicists in Medicine DISCLAIMER: This publication is based on sources and information believed to be reliable, but the AAPM, the editors, and the publisher disclaim any warranty or liability based on or relating to the contents of this publication. The AAPM does not endorse any products, manufacturers, or suppliers. Nothing in this publication should be interpreted as implying such endorsement. ISBN: 978-1-888340-86-0 ISSN: 0271-7344 © 2009 by American Association of Physicists in Medicine All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means (electronic, mechanical, photocopying, recording, or otherwise) without the prior written permission of the publisher. Published by American Association of Physicists in Medicine One Physics Ellipse College Park, MD 20740-3846 AAPM REPORT NO. 116 An Exposure Indicator for Digital Radiography Report of AAPM Task Group 116 Co-Chairs S. Jeff Shepard Jihong Wang Imaging Physics Department #056 Division of Diagnostic Imaging The University of Texas M.D. Anderson Cancer Center Houston, TX 77030 Task Group Members: Michael Flynn, Henry Ford Hospital, Detroit, MI Eric Gingold, Thomas Jefferson University, Philadelphia, PA Lee Goldman, Hartford Hospital, Hartford, CT Kerry Krugh, Toledo Hospital, Toledo OH David L. -
Sensitometry in Canadian Aerial Survey
P. D. CARMAN National Research Council of Canada Ottawa, Ontario KIA OR6, Canada Sensitometry in Canadian Aerial survey The NRC Sensitometer, its design goals, its design features and reasons for their choice, some evolutionary changes, methods of calibration and verification, and some of the sensitometric studies it has facilitated, are described. photography was done by the Royal Canadian Air Force. They encountered occasional problems in ENSITOMETRIC CONTROL of aerial photography is diagnosing negative faults. For example, thin S needed for consistent optimized quality. A negatives might be variously blamed on under ex- sensitometric exposure on every roll of film pro- posure, under development, or defective film, vides a continuing check of film and processing, with no clear evidence for a choice. This problem accumulates a useful background of information, was submitted to the Joint RCAF-NRC Photo- and aids early detection and correction of any graphic Research Committee, which recom- problems. Advance knowledge of the speeds and mended printing a calibrated sensitometric expo- gradients of the actual films available, under vari- sure on every roll of film. Sensitometers for this ous conditions of development, permits optimum use were calibrated in absolute terms by the Na- selection of film, development, lens aperture, tional Research Council's Optics Laboratory so ABSTRACT:The advantages of sensitometric control of the processing of aerial films became apparent and was brought into common use in Canada about 1943, first by the Royal Canadian Air Force and later by private companies. A sensitometer specifically for this purpose was designed at the National Research Council in 1956-57. -
The Soft-Focus Lens and Anglo-American Pictorialism
THE SOFT-FOCUS LENS AND ANGLO-AMERICAN PICTORIALISM William Russell Young, III A Thesis Submitted for the Degree of PhD at the University of St. Andrews 2008 Full metadata for this item is available in the St Andrews Digital Research Repository at: https://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/505 This item is protected by original copyright This item is licensed under a Creative Commons License The Soft-Focus Lens and Anglo-American Pictorialism William Russell Young, III B.S.B.A., M.B.A., M.A. Submitted in fulfillment of the requirements for Doctor of Philosophy April 30, 2007 Declarations (i) I, William Russell Young, III, hereby certify that this thesis, which is approximately 90,000 words in length, has been written by me, that it is the record of work carried out by me and that it has been written by me and that it has not been submitted in any previous application for a higher degree. April 30, 2007 ______________________________ William Russell Young, III (ii) I was admitted as a research student in January, 2001, and as a candidate for the degree of Doctor of Philosophy in Art History; the higher study for which this is a record was carried out in the University of St. Andrews between 2001 and 2007. April 30, 2007 _______________________________ William Russell Young, III (iii) I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctor of Philosophy in the University of St.