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GAUTHIER Bernard-Claude; GUILLEMIN Henri (intro), IVERNOIS Roger d' (photos):
Images.
Genève, Service Culutrel Migros, 1965. In-8 broché carré, couverture photographique.
Reference : 20344
Photographies en noir de Roger d'Ivernois. Petite introduction d'Henri Guillemin. Les photos sont légendées par Bernard-Claude Gauthier. ou l'on peut reconnaître Ella Maillart, Édouard Elzingre, Léon Savary...
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5 book(s) with the same title
"MAREY, (ETIENNE JULES). - THE INVENTION OF THE PHOTOGRAPHY OF MOTION, THE CINEMATOGRAPHE.
Reference : 48088
(1882)
Analyse du méchanisme de la locomotion au moyen d'une série d'images photographiques recueillies sur une même plaque et représentant les phases successives du mouvement (Séance 3 Juillet 1882). (+) Emploi de la photographie pour déterminer la tr...
Paris, Gauthier-Villars, 1882, 1888, 1892. 4to. No wrappers. 7 entire issues. In: ""Comptes Rendus Hebdomadaires des Séances de L'Academie des Sciences"", Tome 95, No 1, 6 a. 14. Tome 107, No 16, 17 a. 18, Tome 114, No 18. (7 entire issues offered). With halftitles and titlepages to Vol. 95, 107 a. 114. The papers: pp. 14-16 (No1), 267-270 (no 6), 583-585, 2 textillustr. (no 14) - pp. 607-609 (No 16), 643-645, 1 textillustr. (No 17), 677-678 (No 18) - pp. 989-990 (No. 18). Stamps on verso of titlepages.
First printing of the main papers CONSTITUTING THE INVENTION OF MODERN CINEMATOGRAPHY -- from his invention of 1888 of the ""Chronophotograph"" followed the modern ""Cinematograph"" (first described here in the offered papers of 1888).It started with his invention of the chronographic apparatus with stationary plates and chronographic disk schutter... the paper of August 7, 1882, later in 1882 his description of the photographic gun, and in the 1892 paper ""Marey constructs, according to the reversible principle of the chronophotograph, an apparatus for the projection on a screen of series of pictures taken by the afore-mentioned apparatus and thus realizes the photographic synthesis of motion"" (Joseph Maria Eder ""History of Photography"", p.510).Marey (1830-1904) was a French physician, and his inventions sprang from his investigations in the physiology of the motion of men and animals.""In 1882, Marey, often claimed to be the 'inventor of cinema,' constructed a camera (or ""photographic gun"") that could take multiple (12) photographs per second of moving animals or humans - called chronophotography or serial photography, similar to Muybridge's work on taking multiple exposed images of running horses. [The term shooting a film was possibly derived from Marey's invention.] He was able to record multiple images of a subject's movement on the same camera plate, rather than the individual images Muybridge had produced. Marey's chronophotographs (multiple exposures on single glass plates and on strips of sensitized paper - celluloid film - that passed automatically through a camera of his own design) were revolutionary. He was soon able to achieve a frame rate of 30 images. Further experimentation was conducted by French-born Louis Aime Augustin Le Prince in 1888. Le Prince used long rolls of paper covered with photographic emulsion for a camera that he devised and patented. Two short fragments survive of his early motion picture film (one of which was titled Traffic Crossing Leeds Bridge).The work of Muybridge, Marey and Le Prince laid the groundwork for the development of motion picture cameras, projectors and transparent celluloid film - hence the development of cinema. American inventor George Eastman, who had first manufactured photographic dry plates in 1878, provided a more stable type of celluloid film with his concurrent developments in 1888 of sensitized paper roll photographic film (instead of glass plates) and a convenient ""Kodak"" small box camera (a still camera) that used the roll film. He improved upon the paper roll film with another invention in 1889 - perforated celluloid (synthetic plastic material coated with gelatin) roll-film with photographic emulsion."" (Tim Dirks ""The History of Film. The Pre-1920s"").
Binocular depth perception of computer-generated images. - [INVENTION OF RANDOM-DOT STEREOGRAMS - THE ANTICIPATION OF MODERN 3D-VIEWING]
(New York), American Telephone and Telegraph Company, 1960. 8vo. Volume XXXIX, September, No. 5, 1960 of ""The Bell System Technical Journal"". In the original printed blue wrappers. A small closed tear to upper spine, otherwise an excellent, very nice and clean copy. Numerous 3D-illustrations in black/white. Pp. 1125-1162. The pasted-in small envelope containing the ""Lenses for use with ""Binocular Depth Perception of Computer-Generated Patterns..."" also present, as are the lenses contained in the envelope. [Entire issue: Pp. 1125-1380].
First publication of Julesz' seminal paper on stereograms, which led directly to the 3D visualizations of pop-culture. A stereogram is a two-dimensional image creating a three-dimensional optical illusion. The invention has had profound influence in the entertainment industry with 3D posters and films as well as scientific researching"" the two Mars Exploration Rovers, launched by NASA in 2003 to explore the surface of Mars, are both equipped with cameras that allow researchers to view stereoscopic images of the surface of Mars.""Julesz (1960) constructed stereograms from a textured pattern of dots randomly positioned in a matrix of cells. The random-dot stereogram (RDS) contained no lines, contours, or edges that could supply monocular information about the shape of the target figure. In an RDS, each eye is presented with a field of randomly distributed dots that essentially disguise the disparity information it provides when the stereogram is viewed dichoptically at the proper fixation distance. [...] To construct an RDS, a random-dot pattern is reproduced so that there is a left and a right half image. A portion of the pattern in the two half-images is altered so as to carry a retinal disparity of dots."" (Hershenson, Visual space perception, 1991, p. 61).Other papers of interest contained in the present issue:1. Flanagan, J.L. Models for Approximating Basilar Membrane Displacement. Pp. 1163-1191.2. Warner, A.W.Design and Performance of Ultraprecise 2.5-mc Quartz Crystal Units. Pp. 1193-1217.3. Slepian, David. Some Further Theory of Group Codes. Pp. 1219-1252.4. Gilbert, E.N.Capacity of a Burst-Noise Channel. Pp. 1253-1265.5. Lee, C.Y. Automata and Finite Automata. Pp. 1267-1295.6. Benes, V.E. Transition Probabilities for Telephone Traffic. Pp. 1297-1320.7. Franks, L.E." Sandberg, I.W.An Alternative Approach to the Realization of Network Transfer Functions: The N-Path Filter. Pp. 1321-1350.8. Zupa, F.A. Magnetic Latching Crossbar Switches: A New Development in Magnetic Properties of Tool Steel. Pp. 1351-1374.
L’Imagerie populaire. Les Images de toutes les provinces françaises du XVe siècle au second empire. Les Complaintes, contes, chansons, légendes qui ont inspiré les imagiers.
1925 Paris, Librairie de France, 1925.
1 volume in-4 grand de marge (31 x 23,5 cm), demi-maroquin brun à coins (reliure de l’époque, signée J. Van West) , dos à nerfs, tête dorée, couverture illustrée et dos conservés. 448-[2] pages (complet). Petits frottements au dos de la reliure. Bon état. ÉDITION ORIGINALE illustrée de 34 planches en couleurs reproduisant des images populaires des 4 coins de la France, sur papier teinté, de nombreux bois gravés in-texte, certains à pleine page, et petites vignettes reproduisant des documents, et contrecollées in-texte. 1/156 exemplaires sur papier de Hollande Pannekoek, celui-ci un des 5 de tête comportant une suite complète des 34 hors-texte en couleurs sur papier ancien, (n°4). Les auteurs : Pierre-Louis Duchartre (1894-1983) conservateur de musée français, spécialiste de l'histoire de l'imagerie populaire, de l'histoire de la chasse et agent de la récupération artistique en Allemagne après la Seconde Guerre mondiale; et son collègue et ami, le collectionneur René Saulnier. Très bel exemplaire.
Nouveau moyen de préparer la Couche sensible des Plaques destinées a Recevoir les Images photographiques. (Lettré à M. Arago).
Paris, Fortin, Masson et Cie, 1844. Without wrappers. In: ""Annales de Chimie et de Physique"", 3. Series - Tome 11, Cahier Juin 1844. Titlepage to vol. 11. Pp. 129-256. (The entire issue offered).. Daguerre's paper: pp. 188-196.
First appearance of an importent paper in the history of photography in which Daguerre, the inventor of photography, announces his recent invention to photography. This paper was later the in same year published in English ""On a new Mode of preparing the plates destined to receive photographic Images."".
Extrait d'un Mémoire sur une relation existent entre la couleur de certaines flammes colorées et les images héliographiques colorées par la lumière. (+) Supplement au Mémoir déposé à l'Academie le 24 mars 1851
Paris, Victor Masson, 1851. 8vo. Contemp. hcalf, raised bands, gilt spine. Light wear along edges. Some scratches to spine. Small stamps on verso of titlepage. In: ""Annales de Chimie et de Physique"", 3e Series - Tome 32. - 512 pp. a. 2 folded plate. (The entire volume offered). Niepce de Saint-Victor's paper: pp. 373-381 a. 381-383. Some brownspots.
First printing of this paper in which he described his invention of the so-called ""HELIOCROMS"", a pioneer paper in the development of colour-photography. Niepce de Saint Victor discovered there was a connection between the color that chloride salt produced in a flame with the color light produced on a chloride salt-treated plate. Heliochrome was the name of this process, which enabled Mr. Niepce de Saint Victor to produce copies of color engravings and landscapes. He did not produce daguerreotypes, and soon learned that the images he produced using the heliochrome process were not fixed and began turning gray with increased light exposure. Applying transparent coatings did not prove effective, and therefore Mr. Niepce de Saint Victor soon abandoned this unfeasible method. However, his experiments with heliochrome did lead to the successful daguerreotype color process developed by a New York Baptist minister named Levi L. Hill (1816-1865).
