A photographic study of bubble coalescence

Abstract

The coalescence of nitrogen bubbles in liquid was studied by using a high‐speed motion picture camera at speeds up to 3,000 frames per second. Examination of the films frame by frame reveals that the general process of bubble coalescence is growth‐touching‐coalescence‐vibrating‐detachment. A small amount of surface active additive influences the time of coalescence significantly: 0.9ppm of sodium lauryl sulfate (SLS), 1.6 ppm of sodium laury benzene sulfonate (SLBS) or 1.8 ppm of n‐octanol inhibits the bubble coalescence completely. This phenomenon is attributed to the dynamic surface effect or the departure from static surface tension caused by extension of the gas‐liquid interface.     

Talbot's photographic art

Abstract

Among the papers belonging to James David Forbes preserved in the University Library at St Andrews is a short letter that Sir John Herschel sent to Forbes on 6 June 1839. Writing while he was waiting to go in to a committee meeting at the Royal Society, Herschel's intention was to thank Forbes for having sent hirn copies of two of his scientific papers, but the most interesting part of the note is the hurriedly scribbled postcript with which it ends: ‘I have seen Daguerre's drawings (Photographs) in Paris which are all but miraculous!!!’. It is no exaggeration to say that Larry Schaaf's new book, The Photographic Art of William Henry Fox Talbot, generates a similar reaction.     

Early scottish photographic exhibitions

Abstract

There is that nerve-shredding time after the finalization of a text before, and immediately after, publication, when the author wonders what new photographs, correspondence, or other invaluable materials will rise up from unknown sources to mock his or her temporary certainties. So far, no one has yet come forward with another print of Camille Silvy's River Scene, France, or La Vallée de l'Huisne, from 1858 to disturb the (admittedly open) conclusions of my book on the photograph.¹ There is, however, new material to add. Pointed in the right direction by Sara Stevenson of the Scottish National Portrait Gallery, I recently read some fascinating documents in the Scottish Record Office. Deposited on indefinite loan there by the Edinburgh Photo graphic Society in 1979 are the papers of the Photographic Society of Scotland (founded 1856, dissolved 1873). Bundies of hundreds of letters, invoices, and other papers document some of the early Edinburgh exhibitions more amply and significantly than any other photographic exhibitions of the time, so far as I am aware.² I concentrate here on the exhibition held in the Winter of 1858/59, at which Silvy's River Scene, France (1858) was first shown.     

Recognition of photographic processes

Abstract

Although Diane Arbus was not an overtly political photographer, her concern with human appearances as defmed by sex, age, and social roles deserves re-examination for it focuses on the visual identity of women in our society. The monograph Diane Arbus, the only extant major book on her noncommercial work, is a fair if numerically limited assessment of her scope, and in the main, accurately reflects the visual world she recorded in her contact sheets.¹ This world is not an even-handed one, for it is disproportionately and stereotypically female through its depiction of women, transvestites, vulnerable men and a generally private leisure society where subjects display a frontal and emotional gaze and identify themselves through clothing and gesture.     

关于单浴工艺

本文综合阐述了感光材料单浴冲洗加工工艺有关的主要技术问题，如：功能、作用机理、药液成分、性能特点、影响因素和实际应用等。     

Ingres and photographic vision

Abstract

The initial impact of photography on painting and the continuing interplay between the two remain one of the intriguing questions confronting the historian of nineteenth century art. Recognition of photographic history as a significant discipline in its own right has grown. rapidly in the last four decades, but a great deal remains to be done on the connection between the two arts. The pioneering works of Newhall, Schwarz and, later, Scharf, Coke and others, have already focused attention on the way in which photography acted upon the style and content of painting, a matter now widely recognized among art historians. There is no longer any novelty or surprise in discovering that a prominent artist made reference to, or in some cases actually copied, a specific photograph. The student today accepts the fact that such artists as Delacroix, Courbet, Manet and Degas made use of the works of Durieu, Villeneuve, Nadar, Carjat, Disdéri and others.     

China, 1860: A photographic album by Felice Beato

Abstract

The documentation of wars had become a significant feature of photography by the 1860s. As the camera's advantages became apparent, photographers gradually took the place of the graphic artists and painters who had previously accompanied military and diplomatic missions. The camera could reproduce reality in minute detail and an infinite number of prints were possible from each negative. Its precision as a recorder, coupled with its apparent objectivity, also made it a potentially powerful tool of propaganda.     

Photo-A-Day: A digital photographic practice and its impact on wellbeing

The practice of taking and sharing one photo every day for a year has become a popular new form of photography enabled by the internet. The purpose of this study was to investigate how people use photo-a-day to enhance their wellbeing. The data for the study were 16 interviews with people who practised photo-a-day, analysed by thematic analysis. The analysis showed how photos offer positive affordances because of the conventions to take aesthetically pleasing images, share positive events and comment positively. A seemingly simple activity, photo-a-day creates a new layer of interest woven around daily activities, and expands social relationships. Representations of identity are complex, emerging through photos taken, rather than a premeditated profile.     

Home at a Forensic Mental Health Unit: A photographic essay

Clients residing on a Minimum Secure Forensic mental health unit at Regional Mental Health Care – St. Thomas partnered with co-investigating staff in the creation of a photographic essay. The black and white photographs selected by the client co-investigators describe the interior and exterior lived environmental space. The images also address issues such as spirituality, ritual, companionship, frustration and stigma.     

照想冲洗加工系统讲座（四） 暗房的要求和配置

暗房 , 顾名思义 , 是关闭门窗 , 息掉照明灯后全黑不透光的房间 . 冲洗胶卷、印放照片等作业涉及在暴露的空间中处理未加工的感光材料 , 例如装卸胶卷、裁切相纸、曝光、显影等 , 需要在暗房中进行 . 对于扩印 , 因曝光和冲洗加工这两步主要作业都在封闭的机器内完成 , 可在明室条件下进行 , 只有少量的作业需用暗房 , 因此 , 对暗房的要求就少得多 , 因而下面所述是侧重于业余冲洗胶卷和印放相片的 .     

The Canadian photographic periodical press

Abstract

From the very beginning, Canadian photography periodicals have had to cope with not only the small and uncertain home market, but also with the ready availability of similar imported publications, some of which included Canadian photographic news from time to time. As a result, the earliest native journals to appear were subsidized by photographic dealers, and were designed to appeal to both a professional and amateur readership. Around the tum of the century, with the rise in the numbers of amateur photographers, a few photojoumals directed specifically at them briefly prospered before succumbing to economic crisis and war. After the peace, it was the camera clubs, with their enlarged or new newsletters, that soldiered on during the Depression. Then another war intervened, during which time photographic activity halted once again. It was only in the 1950s that photomagazines began to appear (and disappear) with increasing frequency, until the efflorescence of the 1970s when the popular periodicals aimed at the amateur were joined by the non-profit ones devoted to photography as a visual art. This period of extraordinary photographic activity lasted about a decade, leaving behind a few popular publications issued by commercial concerns in French and English Canada, as well as one devoted to the history of the medium.