Author: Jacob Reighard
Publisher: Forgotten Books
ISBN: 9780484291323
Category : Photography
Languages : en
Pages : 44
Book Description
Excerpt from The Photography of Aquatic Animals in Their Natural Environment If the ground glass is put in place and brought by focusing into the plane I I', then the sharp image of distant clouds and trees is seen on it, while the image of the fish lies behind the ground glass and is no longer clearly visible. If the water is smooth, a plate exposed under these circumstances gives a sharp negative of these distant objects, but does not show the fish. If one looks at the fish in the water from the point 0 it is seen clearly, because its image is focused on the retina, while the images of more distant objects mirrored in the water's surface fall in front of the retina, and the objects from which they come are therefore not seen. The observer neglects the glare of light from these distant objects, fixes his attention on the fish, and sees it. If now, while still looking toward the fish, he adjusts his eye to distant objects by relaxing the ciliary muscle, these are clearly seen mirrored in the surface of the water, while the fish is no longer sharply seen. Similarly, if a mirror is laid on the ground so as to reflect the clouds and its image is examined by focusing in a camera, it is impossible to get at the same time on the ground glass a sharp image of the clouds reflected in the mirror and of the frame of the mirror or other near object. It is only when the mirrored object lies near the surface of the water that its image can be focused on the photographic plate or retina at the same time with that of a submerged object near the surface. It nearly always happens that the light entering the camera from distant objects mirrored in the surface of the water is so much more intense than that from submerged objects that the images of the latter are quite obliterated on the photographic plate. Sometimes, on the other hand, when the camera is pointed nearly vertically into the water at an object over a light-colored bottom, the emerging light is more intense than the reflected light, and there is obtained a more or less fogged negative which shows submerged objects. This is the more apt to be the case if the photographer has the sun at his back. (see Saville - Kent, At other times, within the limits of the reflected image (not the shadow) of a dark-colored bridge or building or of dense foliage, one may obtain a fogged negative, showing submerged objects. In this case also the partial success is due to the fact that the reflected light is less intense than that which comes from the submerged objects to be photographed. It is not often, however, that the submerged objects that one wishes to photograph are found within the reflected images of dark-colored backgrounds of sufficient size and far enough away. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Photography of Aquatic Animals in Their Natural Environment (Classic Reprint)
Author: Jacob Reighard
Publisher: Forgotten Books
ISBN: 9780484291323
Category : Photography
Languages : en
Pages : 44
Book Description
Excerpt from The Photography of Aquatic Animals in Their Natural Environment If the ground glass is put in place and brought by focusing into the plane I I', then the sharp image of distant clouds and trees is seen on it, while the image of the fish lies behind the ground glass and is no longer clearly visible. If the water is smooth, a plate exposed under these circumstances gives a sharp negative of these distant objects, but does not show the fish. If one looks at the fish in the water from the point 0 it is seen clearly, because its image is focused on the retina, while the images of more distant objects mirrored in the water's surface fall in front of the retina, and the objects from which they come are therefore not seen. The observer neglects the glare of light from these distant objects, fixes his attention on the fish, and sees it. If now, while still looking toward the fish, he adjusts his eye to distant objects by relaxing the ciliary muscle, these are clearly seen mirrored in the surface of the water, while the fish is no longer sharply seen. Similarly, if a mirror is laid on the ground so as to reflect the clouds and its image is examined by focusing in a camera, it is impossible to get at the same time on the ground glass a sharp image of the clouds reflected in the mirror and of the frame of the mirror or other near object. It is only when the mirrored object lies near the surface of the water that its image can be focused on the photographic plate or retina at the same time with that of a submerged object near the surface. It nearly always happens that the light entering the camera from distant objects mirrored in the surface of the water is so much more intense than that from submerged objects that the images of the latter are quite obliterated on the photographic plate. Sometimes, on the other hand, when the camera is pointed nearly vertically into the water at an object over a light-colored bottom, the emerging light is more intense than the reflected light, and there is obtained a more or less fogged negative which shows submerged objects. This is the more apt to be the case if the photographer has the sun at his back. (see Saville - Kent, At other times, within the limits of the reflected image (not the shadow) of a dark-colored bridge or building or of dense foliage, one may obtain a fogged negative, showing submerged objects. In this case also the partial success is due to the fact that the reflected light is less intense than that which comes from the submerged objects to be photographed. It is not often, however, that the submerged objects that one wishes to photograph are found within the reflected images of dark-colored backgrounds of sufficient size and far enough away. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Publisher: Forgotten Books
ISBN: 9780484291323
Category : Photography
Languages : en
Pages : 44
Book Description
Excerpt from The Photography of Aquatic Animals in Their Natural Environment If the ground glass is put in place and brought by focusing into the plane I I', then the sharp image of distant clouds and trees is seen on it, while the image of the fish lies behind the ground glass and is no longer clearly visible. If the water is smooth, a plate exposed under these circumstances gives a sharp negative of these distant objects, but does not show the fish. If one looks at the fish in the water from the point 0 it is seen clearly, because its image is focused on the retina, while the images of more distant objects mirrored in the water's surface fall in front of the retina, and the objects from which they come are therefore not seen. The observer neglects the glare of light from these distant objects, fixes his attention on the fish, and sees it. If now, while still looking toward the fish, he adjusts his eye to distant objects by relaxing the ciliary muscle, these are clearly seen mirrored in the surface of the water, while the fish is no longer sharply seen. Similarly, if a mirror is laid on the ground so as to reflect the clouds and its image is examined by focusing in a camera, it is impossible to get at the same time on the ground glass a sharp image of the clouds reflected in the mirror and of the frame of the mirror or other near object. It is only when the mirrored object lies near the surface of the water that its image can be focused on the photographic plate or retina at the same time with that of a submerged object near the surface. It nearly always happens that the light entering the camera from distant objects mirrored in the surface of the water is so much more intense than that from submerged objects that the images of the latter are quite obliterated on the photographic plate. Sometimes, on the other hand, when the camera is pointed nearly vertically into the water at an object over a light-colored bottom, the emerging light is more intense than the reflected light, and there is obtained a more or less fogged negative which shows submerged objects. This is the more apt to be the case if the photographer has the sun at his back. (see Saville - Kent, At other times, within the limits of the reflected image (not the shadow) of a dark-colored bridge or building or of dense foliage, one may obtain a fogged negative, showing submerged objects. In this case also the partial success is due to the fact that the reflected light is less intense than that which comes from the submerged objects to be photographed. It is not often, however, that the submerged objects that one wishes to photograph are found within the reflected images of dark-colored backgrounds of sufficient size and far enough away. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Marine Animals of Baja California
Author: Daniel W. Gotshall
Publisher:
ISBN:
Category : Nature
Languages : en
Pages : 116
Book Description
Publisher:
ISBN:
Category : Nature
Languages : en
Pages : 116
Book Description
Reel Nature
Author: Gregg Mitman
Publisher: Harvard University Press
ISBN: 9780674715714
Category : Nature
Languages : en
Pages : 312
Book Description
Americans have had a long-standing love affair with the wilderness. As cities grew and frontiers disappeared, film emerged to feed an insatiable curiosity about wildlife. The camera promised to bring us into contact with the animal world, undetected and unarmed. Yet the camera's penetration of this world has inevitably brought human artifice and technology into the picture as well. In the first major analysis of American nature films in the twentieth century, Gregg Mitman shows how our cultural values, scientific needs, and new technologies produced the images that have shaped our contemporary view of wildlife. Like the museum and the zoo, the nature film sought to recreate the experience of unspoiled nature while appealing to a popular audience, through a blend of scientific research and commercial promotion, education and entertainment, authenticity and artifice. Travelogue-expedition films, like Teddy Roosevelt's African safari, catered to upper- and middle-class patrons who were intrigued by the exotic and entertained by the thrill of big-game hunting and collecting. The proliferation of nature movies and television shows in the 1950s, such as Disney's True-Life Adventures and Marlin Perkins's Wild Kingdom, made nature familiar and accessible to America's baby-boom generation, fostering the environmental activism of the latter part of the twentieth century. Reel Nature reveals the shifting conventions of nature films and their enormous impact on our perceptions of, and politics about, the environment. Whether crafted to elicit thrills or to educate audiences about the real-life drama of threatened wildlife, nature films then and now reveal much about the yearnings of Americans to be both close to nature and yet distinctly apart.
Publisher: Harvard University Press
ISBN: 9780674715714
Category : Nature
Languages : en
Pages : 312
Book Description
Americans have had a long-standing love affair with the wilderness. As cities grew and frontiers disappeared, film emerged to feed an insatiable curiosity about wildlife. The camera promised to bring us into contact with the animal world, undetected and unarmed. Yet the camera's penetration of this world has inevitably brought human artifice and technology into the picture as well. In the first major analysis of American nature films in the twentieth century, Gregg Mitman shows how our cultural values, scientific needs, and new technologies produced the images that have shaped our contemporary view of wildlife. Like the museum and the zoo, the nature film sought to recreate the experience of unspoiled nature while appealing to a popular audience, through a blend of scientific research and commercial promotion, education and entertainment, authenticity and artifice. Travelogue-expedition films, like Teddy Roosevelt's African safari, catered to upper- and middle-class patrons who were intrigued by the exotic and entertained by the thrill of big-game hunting and collecting. The proliferation of nature movies and television shows in the 1950s, such as Disney's True-Life Adventures and Marlin Perkins's Wild Kingdom, made nature familiar and accessible to America's baby-boom generation, fostering the environmental activism of the latter part of the twentieth century. Reel Nature reveals the shifting conventions of nature films and their enormous impact on our perceptions of, and politics about, the environment. Whether crafted to elicit thrills or to educate audiences about the real-life drama of threatened wildlife, nature films then and now reveal much about the yearnings of Americans to be both close to nature and yet distinctly apart.
Over in the Ocean
Author: Marianne Berkes
Publisher: Sourcebooks, Inc.
ISBN: 1584694564
Category : Juvenile Fiction
Languages : en
Pages : 35
Book Description
Learning becomes fun with this book about the animals of the ocean! In Over in the Ocean: In a Coral Reef, amazing artwork will inspire kids in classrooms and at home to appreciate the beauty and biology of coral reefs and world around us! Brilliant artwork is the star of this oceanic counting book, based on the classic children's song "Over in the Meadow". Kids will sing, clap, and count their way among pufferfish that "puff," gruntfish that "grunt" and seahorses that "flutter," and begin to appreciate the animals in the ocean. And the clay art will inspire many a project. Parents, teachers, giftgivers, and many others will find: captivating illustrations of sculptures fashioned from polymer clay. backmatter that includes further information about the coral reef and the animals of the ocean. music and song lyrics to "Over in the Ocean" sung to the tune "Over in the Meadow"! a book for young readers learning to count!
Publisher: Sourcebooks, Inc.
ISBN: 1584694564
Category : Juvenile Fiction
Languages : en
Pages : 35
Book Description
Learning becomes fun with this book about the animals of the ocean! In Over in the Ocean: In a Coral Reef, amazing artwork will inspire kids in classrooms and at home to appreciate the beauty and biology of coral reefs and world around us! Brilliant artwork is the star of this oceanic counting book, based on the classic children's song "Over in the Meadow". Kids will sing, clap, and count their way among pufferfish that "puff," gruntfish that "grunt" and seahorses that "flutter," and begin to appreciate the animals in the ocean. And the clay art will inspire many a project. Parents, teachers, giftgivers, and many others will find: captivating illustrations of sculptures fashioned from polymer clay. backmatter that includes further information about the coral reef and the animals of the ocean. music and song lyrics to "Over in the Ocean" sung to the tune "Over in the Meadow"! a book for young readers learning to count!
The United States Catalog
The Origin and History of the English Language and of the Early Literature it Embodies
Author: George Perkins Marsh
Publisher:
ISBN:
Category : English language
Languages : en
Pages : 618
Book Description
Publisher:
ISBN:
Category : English language
Languages : en
Pages : 618
Book Description
The Photography of Aquatic Animals in Their Natural Environment
Author: Jacob Ellsworth Reighard
Publisher: Hardpress Publishing
ISBN: 9781290317443
Category :
Languages : en
Pages : 50
Book Description
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
Publisher: Hardpress Publishing
ISBN: 9781290317443
Category :
Languages : en
Pages : 50
Book Description
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
We Animals
Author: Jo-Anne McArthur
Publisher: Lantern Books
ISBN: 1590565207
Category : Art
Languages : en
Pages : 473
Book Description
Drawn from a thousand photos taken over fifteen years, We Animals illustrates and investigates animals in the human environment: whether they're being used for food, fashion and entertainment, or research, or are being rescued to spend their remaining years in sanctuaries. Award-winning photojournalist and animal advocate Jo-Anne McArthur provides a valuable lesson about our treatment of animals, makes animal industries visible and accountable, and widens our circle of compassion to include all sentient beings.
Publisher: Lantern Books
ISBN: 1590565207
Category : Art
Languages : en
Pages : 473
Book Description
Drawn from a thousand photos taken over fifteen years, We Animals illustrates and investigates animals in the human environment: whether they're being used for food, fashion and entertainment, or research, or are being rescued to spend their remaining years in sanctuaries. Award-winning photojournalist and animal advocate Jo-Anne McArthur provides a valuable lesson about our treatment of animals, makes animal industries visible and accountable, and widens our circle of compassion to include all sentient beings.
The Unnatural History of the Sea
Author: Callum Roberts
Publisher: Island Press
ISBN: 1597265772
Category : History
Languages : en
Pages : 649
Book Description
Humanity can make short work of the oceans’ creatures. In 1741, hungry explorers discovered herds of Steller’s sea cow in the Bering Strait, and in less than thirty years, the amiable beast had been harpooned into extinction. It’s a classic story, but a key fact is often omitted. Bering Island was the last redoubt of a species that had been decimated by hunting and habitat loss years before the explorers set sail. As Callum M. Roberts reveals in The Unnatural History of the Sea, the oceans’ bounty didn’t disappear overnight. While today’s fishing industry is ruthlessly efficient, intense exploitation began not in the modern era, or even with the dawn of industrialization, but in the eleventh century in medieval Europe. Roberts explores this long and colorful history of commercial fishing, taking readers around the world and through the centuries to witness the transformation of the seas. Drawing on firsthand accounts of early explorers, pirates, merchants, fishers, and travelers, the book recreates the oceans of the past: waters teeming with whales, sea lions, sea otters, turtles, and giant fish. The abundance of marine life described by fifteenth century seafarers is almost unimaginable today, but Roberts both brings it alive and artfully traces its depletion. Collapsing fisheries, he shows, are simply the latest chapter in a long history of unfettered commercialization of the seas. The story does not end with an empty ocean. Instead, Roberts describes how we might restore the splendor and prosperity of the seas through smarter management of our resources and some simple restraint. From the coasts of Florida to New Zealand, marine reserves have fostered spectacular recovery of plants and animals to levels not seen in a century. They prove that history need not repeat itself: we can leave the oceans richer than we found them.
Publisher: Island Press
ISBN: 1597265772
Category : History
Languages : en
Pages : 649
Book Description
Humanity can make short work of the oceans’ creatures. In 1741, hungry explorers discovered herds of Steller’s sea cow in the Bering Strait, and in less than thirty years, the amiable beast had been harpooned into extinction. It’s a classic story, but a key fact is often omitted. Bering Island was the last redoubt of a species that had been decimated by hunting and habitat loss years before the explorers set sail. As Callum M. Roberts reveals in The Unnatural History of the Sea, the oceans’ bounty didn’t disappear overnight. While today’s fishing industry is ruthlessly efficient, intense exploitation began not in the modern era, or even with the dawn of industrialization, but in the eleventh century in medieval Europe. Roberts explores this long and colorful history of commercial fishing, taking readers around the world and through the centuries to witness the transformation of the seas. Drawing on firsthand accounts of early explorers, pirates, merchants, fishers, and travelers, the book recreates the oceans of the past: waters teeming with whales, sea lions, sea otters, turtles, and giant fish. The abundance of marine life described by fifteenth century seafarers is almost unimaginable today, but Roberts both brings it alive and artfully traces its depletion. Collapsing fisheries, he shows, are simply the latest chapter in a long history of unfettered commercialization of the seas. The story does not end with an empty ocean. Instead, Roberts describes how we might restore the splendor and prosperity of the seas through smarter management of our resources and some simple restraint. From the coasts of Florida to New Zealand, marine reserves have fostered spectacular recovery of plants and animals to levels not seen in a century. They prove that history need not repeat itself: we can leave the oceans richer than we found them.