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So, I should probably explain this series. For my Methods paper, we had to create a photomontage based around an issue valid in today's society. Mines based around questioning the idea of what the media and society wants females to look like.
I love the little design motifs on these candles, but I passed on them for two reasons:
The design is only a sticker. If it was permanently applied to the candle, I'd consider it because I would always have the cute votive holder.
2.) The text is part of the design. I don't want to advertise for some company in my home decor, even if it's Method.
How I'd solve this:
They'd have to do the labeling in two parts. The charming foil graphics, even including the small M logo would have to be permanently applied to the ceramic.
The rest of the labeling would then be applied via removable sticker.
That way, no extra packaging is needed, but when I get home I can remove the unsightly textual information and still have the cute little candle that I bought for it's charming graphics.
Brenizer Method, 51 photos merged.
Canon 1000D + Canon EF 50mm f/1.8 II + Photoshop CS5
My blog: helyphotography.wordpress.com/
Photodiary: diary-of-lie-life.tumblr.com
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Pelegry method calotype.
5x7, Canson Opalux 110
Eastman View No. 1
EV14/15 f/16 @ 6 min.
Aug. 16, 2017
Hot as hell and only days before hurricane Harvey.
Watercolor (American English) or watercolour (Commonwealth and Ireland), also aquarelle from French, is a painting method in which the paints are made of pigments suspended in a water-soluble vehicle. The term "watercolor" refers to both the medium and the resulting artwork. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas. Watercolors are usually transparent, and appear luminous because the pigments are laid down in a relatively pure form with few fillers obscuring the pigment colors. Watercolor can also be made opaque by adding Chinese white. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns. India, Ethiopia and other countries also have long traditions. Fingerpainting with watercolor paints originated in China.Although watercolor painting is extremely old, dating perhaps to the cave paintings of paleolithic Europe, and has been used for manuscript illumination since at least Egyptian times but especially in the European Middle Ages, its continuous history as an art medium begins in the Renaissance. The German Northern Renaissance artist Albrecht Dürer (1471–1528) who painted several fine botanical, wildlife and landscape watercolors, is generally considered among the earliest exponents of the medium. An important school of watercolor painting in Germany was led by Hans Bol (1534–1593) as part of the Dürer Renaissance.Despite this early start, watercolors were generally used by Baroque easel painters only for sketches, copies or cartoons (full-scale design drawings). Among notable early practitioners of watercolor painting were Van Dyck (during his stay in England), Claude Lorrain, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists. However, Botanical illustrations and those depicting wildlife are perhaps the oldest and most important tradition in watercolor painting. Botanical illustrations became popular in the Renaissance, both as hand tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Botanical artists have always been among the most exacting and accomplished watercolor painters, and even today watercolors—with their unique ability to summarize, clarify and idealize in full color—are used to illustrate scientific and museum publications. Wildlife illustration reached its peak in the 19th century with artists such as John James Audubon, and today many naturalist field guides are still illustrated with watercolor paintings. Many watercolors are more vibrant in pigment if they are higher quality. Some British market watercolors can be found in many craft stores In America and in other countries too.Materials
Paint
Watercolor paint consists of four principal ingredients:
pigments, natural or synthetic, mineral or organic;
gum arabic as a binder to hold the pigment in suspension and fix the pigment to the painting surface;
additives like glycerin, ox gall, honey, preservatives: to alter the viscosity, hiding, durability or color of the pigment and vehicle mixture; and
solvent, the substance used to thin or dilute the paint for application and that evaporates when the paint hardens or dries.
The term "watermedia" refers to any painting medium that uses water as a solvent and that can be applied with a brush, pen or sprayer; this includes most inks, watercolors, temperas, gouaches and modern acrylic paints.
The term watercolor refers to paints that use water soluble, complex carbohydrates as a binder. Originally (16th to 18th centuries) watercolor binders were sugars and/or hide glues, but since the 19th century the preferred binder is natural gum arabic, with glycerin and/or honey as additives to improve plasticity and dissolvability of the binder, and with other chemicals added to improve product shelf life.
Bodycolor refers to paint that is opaque rather than transparent, usually opaque watercolor, which is also known as gouache.[2] Modern acrylic paints are based on a completely different chemistry that uses water soluble acrylic resin as a binder.
Commercial watercolors
Watercolor painters before c.1800 had to make paints themselves using pigments purchased from an apothecary or specialized "colourman"; the earliest commercial paints were small, resinous blocks that had to be wetted and laboriously "rubbed out" in water. William Reeves (1739–1803) set up in business as a colorman about 1766. In 1781 he and his brother, Thomas Reeves, were awarded the Silver Palette of the Society of Arts, for the invention of the moist watercolor paint-cake, a time-saving convenience the introduction of which coincides with the "golden age" of English watercolor painting.
Modern commercial watercolor paints are available in two forms: tubes or pans. The majority of paints sold are in collapsible metal tubes in standard sizes (typically 7.5, 15 or 37 ml.), and are formulated to a consistency similar to toothpaste. Pan paints (actually, small dried cakes or bars of paint in an open plastic container) are usually sold in two sizes, full pans (approximately 3 cc of paint) and half pans (favored for compact paint boxes). Pans are historically older but commonly perceived as less convenient; they are most often used in portable metal paint boxes, also introduced in the mid 19th century, and are preferred by landscape or naturalist painters.
Among the most widely used brands of commercial watercolors today are Daler Rowney, Daniel Smith, DaVinci, Holbein, Maimeri, M. Graham. Reeves, Schmincke, Sennelier, Talens, and Winsor & Newton.
Thanks to modern industrial organic chemistry, the variety, saturation (brilliance) and permanence of artists' colors available today is greater than ever before. However, the art materials industry is far too small to exert any market leverage on global dye or pigment manufacture. With rare exceptions, all modern watercolor paints utilize pigments that were manufactured for use in printing inks, automotive and architectural paints, wood stains, concrete, ceramics and plastics colorants, consumer packaging, foods, medicines, textiles and cosmetics. Paint manufacturers buy very small supplies of these pigments, mill (mechanically mix) them with the vehicle, solvent and additives, and package them.
Color names
Many artists are confused or misled by labeling practices common in the art materials industry. The marketing name for a paint, such as "indian yellow" or "emerald green", is often only a poetic color evocation or proprietary moniker; there is no legal requirement that it describe the pigment that gives the paint its color. More popular color names are "viridian hue" and " chinese white"
To remedy this confusion, in 1990 the art materials industry voluntarily began listing pigment ingredients on the paint packaging, using the common pigment name (such as "cobalt blue" or "cadmium red"), and/or a standard pigment identification code, the generic color index name (PB28 for cobalt blue, PR108 for cadmium red) assigned by the Society of Dyers and Colourists (UK) and the American Association of Textile Chemists and Colorists (USA) and known as the Colour Index International. This allows artists to choose paints according to their pigment ingredients, rather than the poetic labels assigned to them by marketers. Paint pigments and formulations vary across manufacturers, and watercolor paints with the same color name (e.g., "sap green") from different manufacturers can be formulated with completely different ingredients.
Transparency
Watercolor paints are customarily evaluated on a few key attributes. In the partisan debates of the 19th-century English art world, gouache was emphatically contrasted to traditional watercolors and denigrated for its high hiding power or lack of "transparency"; "transparent" watercolors were exalted. Paints with low hiding power are valued because they allow an underdrawing or engraving to show in the image, and because colors can be mixed visually by layering paints on the paper (which itself may be either white or tinted). The resulting color will change depending on the layering order of the pigments. In fact, there are very few genuinely transparent watercolors, neither are there completely opaque watercolors (with the exception of gouache); and any watercolor paint can be made more transparent simply by diluting it with water.
"Transparent" colors do not contain titanium dioxide (white) or most of the earth pigments (sienna, umber, etc.) which are very opaque. The 19th-century claim that "transparent" watercolors gain "luminosity" because they function like a pane of stained glass laid on paper[citation needed] – the color intensified because the light passes through the pigment, reflects from the paper, and passes a second time through the pigment on its way to the viewer—is false: watercolor paints do not form a cohesive paint layer, as do acrylic or oil paints, but simply scatter pigment particles randomly across the paper surface; the transparency consists in the paper being directly visible between the particles.[3] Watercolors appear more vivid than acrylics or oils because the pigments are laid down in a more pure form with no or fewer fillers (such as kaolin) obscuring the pigment colors. Furthermore, typically most or all of the gum binder will be absorbed by the paper, preventing it from changing the visibility of the pigment.[3] Even multiple layers of watercolor do achieve a very luminous effect without fillers or binder obscuring the pigment particles.
Pigments characteristics
Staining is a characteristic assigned to watercolor paints: a staining paint is difficult to remove or lift from the painting support after it has been applied or dried. Less staining colors can be lightened or removed almost entirely when wet, or when rewetted and then "lifted" by stroking gently with a clean, wet brush and then blotted up with a paper towel. In fact, the staining characteristics of a paint depend in large part on the composition of the support (paper) itself, and on the particle size of the pigment. Staining is increased if the paint manufacturer uses a dispersant to reduce the paint milling (mixture) time, because the dispersant acts to drive pigment particles into crevices in the paper pulp, dulling the finished color.
Granulation refers to the appearance of separate, visible pigment particles in the finished color, produced when the paint is substantially diluted with water and applied with a juicy brush stroke; pigments notable for their watercolor granulation include viridian (PG18), cerulean blue (PB35), cobalt violet (PV14) and some iron oxide pigments (PBr7).
Flocculation refers to a peculiar clumping typical of ultramarine pigments (PB29 or PV15). Both effects display the subtle effects of water as the paint dries, are unique to watercolors, and are deemed attractive by accomplished watercolor painters. This contrasts with the trend in commercial paints to suppress pigment textures in favor of homogeneous, flat color.
Grades
Commercial watercolor paints come in three grades: "Artist" (or "Professional"), "Student", and "Scholastic".
Artist Watercolors contain a full pigment load, suspended in a binder, generally natural gum arabic. Artist quality paints are usually formulated with fewer fillers (kaolin or chalk) which results in richer color and vibrant mixes. Conventional watercolors are sold in moist form, in a tube, and are thinned and mixed on a dish or palette. Use them on paper and other absorbent surfaces that have been primed to accept water-based paint.
Student grade paints have less pigment, and often are formulated using two or more less expensive pigments. Student Watercolors have working characteristics similar to professional watercolors, but with lower concentrations of pigment, less expensive formulas, and a smaller range of colors. More expensive pigments are generally replicated by hues. Colors are designed to be mixed, although color strength is lower. Hues may not have the same mixing characteristics as regular full-strength colors.
Scholastic watercolors come in pans rather than tubes, and contain inexpensive pigments and dyes suspended in a synthetic binder. Washable formulations feature colors that are chosen to be non-staining, easily washable, suitable for use even by young children with proper supervision. They are an excellent choice for teaching beginning artists the properties of color and the techniques of painting.
Reserves
As there is no transparent white watercolor, the white parts of a watercolor painting are most often areas of the paper "reserved" (left unpainted) and allowed to be seen in the finished work. To preserve these white areas, many painters use a variety of resists, including masking tape, clear wax or a liquid latex, that are applied to the paper to protect it from paint, then pulled away to reveal the white paper. Resist painting can also be an effective technique for beginning watercolor artists. The painter can use wax crayons or oil pastels prior to painting the paper. The wax or oil mediums repel, or resist the watercolor paint. White paint (titanium dioxide PW6 or zinc oxide PW4) is best used to insert highlights or white accents into a painting. If mixed with other pigments, white paints may cause them to fade or change hue under light exposure. White paint (gouache) mixed with a "transparent" watercolor paint will cause the transparency to disappear and the paint to look much duller. White paint will always appear dull and chalky next to the white of the paper; however this can be used for some effects.
Brushes
A brush consists of three parts: the tuft, the ferrule and the handle.
The tuft is a bundle of animal hairs or synthetic fibers tied tightly together at the base;
The ferrule is a metal sleeve that surrounds the tuft, gives the tuft its cross sectional shape, provides mechanical support under pressure, and protects from water wearing down the glue joint between the trimmed, flat base of the tuft and the handle;
The lacquered wood handle, which is typically shorter in a watercolor brush than in an oil painting brush, has a distinct shape—widest just behind the ferrule and tapering to the tip.
When painting, painters typically hold the brush just behind the ferrule for the smoothest brushstrokes.
Hairs and fibers
Brushes hold paint (the "bead") through the capillary action of the small spaces between the tuft hairs or fibers; paint is released through the contact between the wet paint and the dry paper and the mechanical flexing of the tuft, which opens the spaces between the tuft hairs, relaxing the capillary restraint on the liquid. Because thinned watercolor paint is far less viscous than oil or acrylic paints, the brushes preferred by watercolor painters have a softer and denser tuft. This is customarily achieved by using natural hair harvested from farm raised or trapped animals, in particular sable, squirrel or mongoose. Less expensive brushes, or brushes designed for coarser work, may use horsehair or bristles from pig or ox snouts and ears.
However, as with paints, modern chemistry has developed many synthetic and shaped fibers that rival the stiffness of bristle and mimic the spring and softness of natural hair. Until fairly recently, nylon brushes could not hold a reservoir of water at all so they were extremely inferior to brushes made from natural hair. In recent years, improvements in the holding and pointing properties of synthetic filaments have gained them much greater acceptance among watercolorists.
There is no market regulation on the labeling applied to artists' brushes, but most watercolorists prize brushes from kolinsky (Russian or Chinese) sable. The best of these hairs have a characteristic reddish brown color, darker near the base, and a tapering shaft that is pointed at the tip but widest about halfway toward the root. Squirrel hair is quite thin, straight and typically dark, and makes tufts with a very high liquid capacity; mongoose has a characteristic salt and pepper coloring. Bristle brushes are stiffer and lighter colored. "Camel" is sometimes used to describe hairs from several sources (none of them a camel).
In general, natural hair brushes have superior snap and pointing, a higher capacity (hold a larger bead, produce a longer continuous stroke, and wick up more paint when moist) and a more delicate release. Synthetic brushes tend to dump too much of the paint bead at the beginning of the brush stroke and leave a larger puddle of paint when the brush is lifted from the paper, and they cannot compete with the pointing of natural sable brushes and are much less durable. On the other hand they are typically much cheaper than natural hair, and the best synthetic brushes are now very serviceable; they are also excellent for texturing, shaping, or lifting color, and for the mechanical task of breaking up or rubbing paint to dissolve it in water.
A high quality sable brush has five key attributes: pointing (in a round, the tip of the tuft comes to a fine, precise point that does not splay or split; in a flat, the tuft forms a razor thin, perfectly straight edge); snap (or "spring"; the tuft flexes in direct response to the pressure applied to the paper, and promptly returns to its original shape); capacity (the tuft, for its size, holds a large bead of paint and does not release it as the brush is moved in the air); release (the amount of paint released is proportional to the pressure applied to the paper, and the paint flow can be precisely controlled by the pressure and speed of the stroke as the paint bead is depleted); and durability (a large, high quality brush may withstand decades of daily use).
Most natural hair brushes are sold with the tuft cosmetically shaped with starch or gum, so brushes are difficult to evaluate before purchasing, and durability is only evident after long use. The most common failings of natural hair brushes are that the tuft sheds hairs (although a little shedding is acceptable in a new brush), the ferrule becomes loosened, or the wood handle shrinks, warps, cracks or flakes off its lacquer coating.
Shapes
Natural and synthetic brushes are sold with the tuft shaped for different tasks. Among the most popular are:
Rounds. The tuft has a round cross section but a tapering profile, widest near the ferrule (the "belly") and tapered at the tip (the "point"). These are general purpose brushes that can address almost any task.
Flats. The tuft is compressed laterally by the ferrule into a flat wedge; the tuft appears square when viewed from the side and has a perfectly straight edge. "Brights" are flats in which the tuft is as long as it is wide; "one stroke" brushes are longer than their width. "Sky brushes" or "wash brushes" look like miniature housepainting brushes; the tuft is usually 3 cm to 7 cm wide and is used to paint large areas.
Mops (natural hair only). A round brush, usually of squirrel hair and, decoratively, with a feather quill ferrule that is wrapped with copper wire; these have very high capacity for their size, especially good for wet in wet or wash painting; when moist they can wick up large quantities of paint.
Filbert (or "Cat's Tongue", hair only). A hybrid brush: a flat that comes to a point, like a round, useful for specially shaped brush strokes.
Rigger (hair only). An extremely long, thin tuft, originally used to paint the rigging in nautical portraits.
Fan. A small flat in which the tuft is splayed into a fan shape; used for texturing or painting irregular, parallel hatching lines.
Acrylic. A flat brush with synthetic bristles, attached to a (usually clear) plastic handle with a beveled tip used for scoring or scraping.
A single brush can produce many lines and shapes. A "round" for example, can create thin and thick lines, wide or narrow strips, curves, and other painted effects. A flat brush when used on end can produce thin lines or dashes in addition to the wide swath typical with these brushes, and its brushmarks display the characteristic angle of the tuft corners.
Every watercolor painter works in specific genres and has a personal painting style and "tool discipline", and these largely determine his or her preference for brushes. Artists typically have a few favorites and do most work with just one or two brushes. Brushes are typically the most expensive component of the watercolorist's tools, and a minimal general purpose brush selection would include:
4 round (for detail and drybrush)
8 round
12 or 14 round (for large color areas or washes)
1/2" or 1" flat
12 mop (for washes and wicking)
1/2" acrylic (for dissolving or mixing paints, and scrubbing paints before lifting from the paper)
Major watercolor brush manufacturers include DaVinci, Escoda, Isabey, Raphael, Kolonok, Robert Simmons, Daler-Rowney, Arches, and Winsor & Newton. As with papers and paints, it is common for retailers to commission brushes under their own label from an established manufacturer. Among these are Cheap Joe's, Daniel Smith, Dick Blick and Utrecht.
Sizes
The size of a round brush is designated by a number, which may range from 0000 (for a very tiny round) to 0, then from 1 to 24 or higher. These numbers refer to the size of the brass brushmakers' mould used to shape and align the hairs of the tuft before it is tied off and trimmed, and as with shoe lasts, these sizes vary from one manufacturer to the next. In general a #12 round brush has a tuft about 2 to 2.5 cm long; tufts are generally fatter (wider) in brushes made in England than in brushes made on the Continent: a German or French #14 round is approximately the same size as an English #12. Flats may be designated either by a similar but separate numbering system, but more often are described by the width of the ferrule, measured in centimeters or inches.
Watercolor pencil
Watercolor pencil is another important tool in watercolors techniques. This water-soluble color pencil allows to draw fine details and to blend them with water. Noted artists who use watercolor pencils include illustrator Travis Charest.[4] A similar tool is the watercolor pastel, broader than watercolor pencil, and able to quickly cover a large surface.
Paper
Most watercolor painters before c.1800 had to use whatever paper was at hand: Thomas Gainsborough was delighted to buy some paper used to print a Bath tourist guide, and the young David Cox preferred a heavy paper used to wrap packages. James Whatman first offered a wove watercolor paper in 1788, and the first machinemade ("cartridge") papers from a steam powered mill in 1805.
All art papers can be described by eight attributes: furnish, color, weight, finish, sizing, dimensions, permanence and packaging. Watercolor painters typically paint on paper specifically formulated for watermedia applications. Fine watermedia papers are manufactured under the brand names Arches, Bockingford, Cartiera Magnani, Fabriano, Hahnemühle, Lanaquarelle, The Langton, The Langton Prestige, Millford, Saunders Waterford, Strathmore, Winsor & Newton and Zerkall; and there has been a recent remarkable resurgence in handmade papers, notably those by Twinrocker, Velke Losiny, Ruscombe Mill and St. Armand.
Watercolor paper is essentially Blotting paper marketed and sold as an art paper, and the two can be used interchangeably, as watercolor paper is more easily obtainable than blotter and can be used as a substitute for blotter. Lower end watercolor papers can resemble heavy paper more while higher end varieties are usually entirely cotton and more porous like blotter. Watercolor paper is traditionally torn and not cut.
Furnish
The traditional furnish or material content of watercolor papers is cellulose, a structural carbohydrate found in many plants. The most common sources of paper cellulose are cotton, linen, or alpha cellulose extracted from wood pulp. To make paper, the cellulose is wetted, mechanically macerated or pounded, chemically treated, rinsed and filtered to the consistency of thin oatmeal, then poured out into paper making moulds. In handmade papers, the pulp is hand poured ("cast") into individual paper moulds (a mesh screen stretched within a wood frame) and shaken by hand into an even layer. In industrial paper production, the pulp is formed by large papermaking machines that spread the paper over large cylinders—either heated metal cylinders that rotate at high speed (machinemade papers) or wire mesh cylinders that rotate at low speed (mouldmade papers). Both types of machine produce the paper in a continuous roll or web, which is then cut into individual sheets.
Weight
The basis weight of the paper is a measure of its density and thickness. It is described as the gram weight of one square meter of a single sheet of the paper, or grams per square meter (gsm). Most watercolor papers sold today are in the range between 280gsm to 640gsm. (The previous Imperial system, expressed as the weight in pounds of one ream or 500 sheets of the paper, regardless of its size, obsolete in some areas, is still used in the United States. The most common weights under this system are 300 lb (heaviest), 200 lb 140 lb, and 90 lb.) Heavier paper is sometimes preferred over lighter weight or thinner paper because it does not buckle and can hold up to scrubbing and extremely wet washes. Watercolor papers are typically almost a pure white, sometimes slightly yellow (called natural white), though many tinted or colored papers are available. An important diagnostic is the rattle of the paper, or the sound it makes when held aloft by one corner and shaken vigorously. Papers that are dense and made from heavily macerated pulp have a bright, metallic rattle, while papers that are spongy or made with lightly macerated pulp have a muffled, rubbery rattle.
Finish
All papers obtain a texture from the mold used to make them: a wove finish results from a uniform metal screen (like a window screen); a laid finish results from a screen made of narrowly spaced horizontal wires separated by widely spaced vertical wires. The finish is also affected by the methods used to wick and dry the paper after it is "couched" (removed) from the paper mold or is pulled off the papermaking cylinder.
Watercolor papers come in three basic finishes: hot pressed (HP), cold press (CP, or in the UK "Not", for "not hot pressed"), and rough (R). These vary greatly from manufacturer to manufacturer.
Rough papers are typically dried by hanging them like laundry ("loft drying") so that the sheets are not exposed to any pressure after they are couched; the wove finish has a pitted, uneven texture that is prized for its ability to accent the texture of watercolor pigments and brushstrokes.
Cold pressed papers are dried in large stacks, between absorbent felt blankets; this acts to flatten out about half of the texture found in the rough sheets. CP papers are valued for their versatility.
Hot pressed papers are cold pressed sheets that are passed through heated, compressing metal cylinders (called "calendering"), which flattens almost all the texture in the sheets. HP papers are valued because they are relatively nonabsorbent: pigments remain on the paper surface, brightening the color, and water is not absorbed, so it can produce a variety of water stains or marks as it dries.
These designations are only relative; the CP paper from one manufacturer may be rougher than the R paper from another manufacturer. Fabriano even offers a "soft press" (SP) sheet intermediate between CP and HP.
Sizing
Watercolor papers are traditionally sized, or treated with a substance to reduce the cellulose absorbency. Internal sizing is added to the paper pulp after rinsing and before it is cast in the paper mould; external or "tub" sizing is applied to the paper surface after the paper has dried. The traditional sizing has been gelatin, gum arabic or rosin, though modern synthetic substitutes (alkyl ketene dimers such as Aquapel) are now used instead. The highly absorbent papers that contain no sizing are designated waterleaf.
Dimensions
Most art papers are sold as single sheets of paper in standard sizes. Most common is the full sheet (22" x 30"), and half sheets (15" x 22") or quarter sheets (15" x 11") derived from it. Larger (and less standardized) sheets include the double elephant (within an inch or two of 30" x 40") and emperor (40" x 60"), which are the largest sheets commercially available. Papers are also manufactured in rolls, up to about 60" wide and 30 feet long. Finally, papers are also sold as watercolor "blocks"—a pad of 20 or so sheets of paper, cut to identical dimensions and glued on all four sides, which provides high dimensional stability and portability, though block papers tend to have subdued finishes. The painter simply works on the exposed sheet and, when finished, uses a knife to cut the adhesive around the four sides, separating the painting and revealing the fresh paper underneath.
IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix. Levels adjusted in PSE.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
Went all over the town with Sarah and Jesse and I saw this spot where I knew would make a great image using the Brenizer Method. But I don't why I torture myself with this method?! This took me forever to put together. Maybe it's because my version of photoshop decides to quit unexpectedly when I merge a photo--I had to do it all by hand. It's addictive though, once you start you can't stop. Your eye starts to see things "Brenzified."
Would you all be so kind a nominate me for Portland's best wedding photographer of 2010?! It only takes a minute to fill out the form and put in Daniel Stark Photography in the "wedding photography" section.
Thank you so much!
-----
IR HDR. Pikes Peak in the background. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
Go to the Book with image in the Internet Archive
Title: United States Naval Medical Bulletin Vol. 5 Nos. 1-4, 1911
Creator: U.S. Navy. Bureau of Medicine and Surgery
Publisher:
Sponsor:
Contributor:
Date: 1911
Language: eng
Vol. 5, No. 1<br /><br />Preface... ... . ..... . . .. ......... .. ... .... . ... . .. . .... .. . . ..... . .. . . . ..... . v<br />Special articles ............. . ....... . . . .. . ............... . ............1<br />Diphtheria prophylaxis in the Navy. by C. S. Butler. .... . .. .. . ...1<br />Notes on "606," by Raymond Spear.. . .... .. . ... .. .. . ... ..... . ........ . . 4<br />Recent diagnostic methods in otology applicable to the naval service, by<br />G. B. Trible.... . . .. .... ...... . . .......... .. .. . .. 6<br />Bier's method of treatment in acute gonorrheal arthritis, by H.F. Strine. 12<br />Problems of sanitation in landing and expeditionary service in tropical and<br />subtropical regions, translation by P. J. Waldner.. .. . . .. . . . . . . . .. . .. .. 13<br />The mental examination of candidates for enlistment in the Navy and<br />Marine Corps, by Heber Butts.. . ......... . . . .............. . .... . . . .... 29<br />The recent outbreak of cholera in Italy, by C. J. Holeman.. ..... .. . .. . . . 38<br /><br />United States Naval Medical School Laboratories... ... ... .. ... .. .......... . . 41<br />The United States National Museum in its relation to other Government<br />scientific collections, by P. E . Garrison .... . . . .. . .. . ..... . ..... .,..... 41<br />Specimens added to the helminthological collection, United States Naval<br />Medical School, June-August, 1910....... . ... . .... ... . . ........ . .... . 43<br />Recent additions to the pathological collection, United States Naval Medical School. . . . . . . . . . . . . . . . . . . . .. . . 43<br /><br />Suggested devices............ . . . . . . . . .. . . . . .. . . ..... . . . .. . ... . . . ..... . . . .. . 46<br />A sanitary garbage-can holder, by H. C. Kellers. . . . . . . . . .. . . . . . . 46<br />The blanket splint, by F. X. Koltes..... ..... ... . . .. . . .. .. . . . . . . . . . . . . . . 45<br /><br />Clinical notes.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47<br />Reports of four transfusions by the vein-to-vein method with curved glass<br />tubes, by A. M. Fauntleroy.. . . . . . . . .. . ...... . . . . . . . . . . . . . . 47<br />Bilateral inguino-superficial hernia with bilateral undescended testicle,<br />by H. C. Curl...... . ..... . .. . ... . . . . .. . . . . . . . . . . . . . . . . 51<br />Larvae in the deep urethra and bladder, by H. F. Strine..... ... .. . . .. ... 51<br />An extensive razor wound of throat, by W. G. Farwell. ...... . ....... ..... 62<br />Report of two cases of heat cramps on U. S. S. Charleston, by H. A. May... 53<br />Fatigue and exhaustion in the fireroom, by F. G. Abeken .... ... . ... .. . . 67<br />A case of diabetes mellitus, by J.B. Dennis and A. C. Stanley . ........... 58<br />Sciatica incident to physical test (50-mile walk), by J. A. B. Sinclair..... 58<br />Poisoning resulting from the injection of bismuth paste, by C. B. Camerer... 59<br /><br />Current comment. . . . . . . . . . . . . . 61<br />The medical library on the U. S. S. Solace... . ..... .. ......... .... . ... .. 61<br />Dioxydiamidoarsenobenzol in the treatment of syphilis. .. . .. . .. . . . . . . ... 61<br />New blank forms and instructions pertaining thereto.. . .. .... . ... . . ..... 63<br />A case of yellow fever reaches Honolulu . . . . . . . . . . . . . . . . . . . . 65<br /><br />Progress in medical sciences. . ....... ... . .. . . . .. . . . ... . . .. . .... . ... .. ... . .. 67<br />General medicine. . .. .. ... . . .. . .... .. ... .. . .. . . .. . .. ..... .. . .. ........ 67<br />A modern conception of the psychoneuroses; status thymolymphaticus and its relation to sudden death; the Cammidge test in experimental pancreatitis and other conditions; hiccough in course of diaphragmatic pleurisy treated by Laborde's method ; fatigue the cause of enuresis; pellagra, some clinical and other features of the disease; is mercury a specific in pulmonary tuberculosis; a case of an acute febrile and probably infectious disease of unknown origin; further remarks on duodenal alimentation ; pemphigoid eruptions in typhoid<br />fever, A. W. Dunbar and J . L. Neilson . .. . .... . ... . . . .. . ... . . . .. 67<br />Surgery - The special field of neurological surgery, five years later; hypodermic injections in action, suggestions for simplifying their administration; the result of 168 operations for hernia; modern treatment of<br />fractures; report of two cases of revolver shot wound of the brain; haemophilia; the exclusion of the skin in surgery; removal of foreign bodies<br />from the bronchi; some notes on the use of nitrous oxid and oxygen for<br />prolonged anesthesia; the end results of prostatectomy, R. Spear and<br />E. Thompson ... . . . .. .. . .. . .... . . , . . . . . . . . . . . . . . . . . . . . 76<br />Hygiene and sanitation - Ventilation of ships, particularly merchant ships;<br />oral prophylaxis; recruiting in the German army; concerning the sources<br />of infection in cases of venereal diseases in the city of New York; the<br />effect of a mosquito net on the air within it, H. G. Beyer and C. N.<br />Fiske. .. . . .. ... . .. . .. . . .. . ... . . . . . .. . .. . . . ... . .... .. ... .... .. .. ..... 87<br />Tropical medicine - The rationale of quinine prophylaxis; a case of sleeping<br />sickness studied by precise enumerative methods; statistical study of<br />uncinariasis among white men in the Philippines, C. S. Butler.. . .. .. . .. 95<br />Pathology and bacteriology - A case of typhoid meningitis; complement fixation in thrombo-angiitie obliterans; personal observations on the Ehrlich-Hata "606;" certain aspects of the bacteriology of bacillary dysentery; a rapid presumptive test for diarrhea caused by the gas bacillus; investigation into the acid-fast bacteria found in the faeces with special reference to their presence in cases of tuberculosis; on the nature of the cellular elements presence in milk; infection of a still-born infant by an amoebiform protozoan (entamooba mortinatalium), O. J . Mink.. . . ..... . 99<br />Medical zoology - Ulcerating granuloma of the pudenda a protozoal disease<br />(preliminary communication); report of 15 cases of hymenolepis nana,<br />P. E. Garrison ... .... ... . ... ... .... .. ... ... . . . . . . . . . . . . .. . . . . .. . . . .. 102<br />Chemistry and pharmacy - Studies in OEdema. VI. The influence of adrenaline on absorption from the peritoneal cavity, with some remarks<br />on the influence of calcium chloride on absorption ; the action of mercury<br />and iodine in experimental syphilis; a protein reaction in the blood of the insane; chemistry of the antigen used in the Wassermann reaction; a lack of oxygen not a cause of death in cases of diminished air pressure; influence of mercury on the results of the serum reaction in antisyphilitic treatment; quantitative determination of albumin in the urine;<br />E.W. Brown and O. G. Ruge ............. . ............ ... ..... 104<br />Eye, ear, nose, and throat - The use of carbon dioxide snow in eye work;<br />preliminary communication of a new method for the prevention and treatment<br />of sympathetic ophthalmitis, E. M. Shipp......... .. . .. ... ... .. . 106 <br />Reports and letters .. . . . ...... . .... . .... . ... . . ... . ... . .. . . . .. . . 109<br />A visit to the Leper Settlement, Molokai, Hawaii, J. D. Gatewood .... ... . 109<br />Report on the meeting of the American Public Health Association, 1910,<br />C. N. Fiske. . ... ......... .. .. . .. . . . ... . . . ...... . . . .... .. . . ..... ... . . . 114<br />Report on the meeting of the American Hospital Association, 1910, A. W.<br />Dunbar.. . .. .. .... . ... . ... .. . .. .. .. . . . .... ... ... ... .. .. .. ... . ....... 117<br />The latest word from Ehrlich........ . .............................. . .. 122<br /><br />Vol. 5, No. 2<br /><br />Preface... ... .. ... .. ........ ... .................. .... ..... .............. vii<br />Special articles.....................125<br />The intravenous administration of "606" in 56 case, by G. B. Trible and<br />H. A. Garrison ...................... 125<br />Ehrlich discusses "606," translation, by Dr. J.C. Bierwirth. . ...... . . . ... 134<br />Satisfactory results with a simplified Wassermann technique (Emery), by<br />E. R. Stitt. ..................... 142<br />Further notes on the preparation of a culture medium from dried blood<br />serum, by E. W. Brown... . . .. .... . . .. . .. .... . . ... ........ .. .. . .... 144<br />Note on the existence of Agchylostoma duodenale in Guam, by W. M. Kerr. .....................145<br />Intestinal parasites found among the crew of the U.S.S. South Dakota, by<br />E.G. Parker. .... . ..... .. . ..... .. . ..... ...... . .... ... . . ... .. ...... . 145<br />Results of an examination of Filipino mess attendants for intestinal parasites,<br />by W. A. Angwin and C. E. Camerer ..................... 147<br />The practical use of carbon dioxide snow as seen at the West London Hospital, by G. D. Hale. .. .... . .. . . . .. ... . . . .......... . .......... . ..... . 148<br />Nomenclature for causes of physical disability in the Navy, by 0. N.<br />Fiske.. . .. . .......................... . .. .. . .... .. . . .. ...... .. .. .. . 149<br /><br />United States Naval Medical School laboratories . . . . . . ..................... 159<br />An atypical typhoid bacillus, by O. J. Mink.. .. . .. ........ .. ........... 159<br />Notes on parasites found at animal autopsies in the Naval Medical School<br />laboratories during 1910, by C. S. Butler and P. E. Garrison.. . .. . ...... 159<br />Specimens added to the helminthological collection, United States Naval<br />Medical School, December, 1910-February, 1911 . .. ... . . 161<br />Additions to the pathological collection, United States Naval Medical<br />School, December, 1910-February, 1911 . .... .162<br /><br />Suggested devices ...... . . . ... ... .. . . . . . . 163<br />An intestine tray for autopsies, by P. E. Garrison. . . .... .... .. .. .. .. .. ... 163<br />A suggested improvement in the method of taking finger prints, by F. H.<br />Brooks . .... .. .. .. . .. .. . .. .. ... . .... .. .. .. .. . . .. .... . . .. .. . ..... . .. 164<br /><br />Clinical notes . . . . . . . . . . . . . . . . . . . . . . . . . . . 167<br />A case of cholecystectomy, by R. Spear. . . . . .. . . . . . . . . . 167<br />A case of fracture of the skull, by W. M. Garton. . . ... ... . ... . ........ . .. 168<br />Hypernephroma of right kidney, nephrectomy with recovery, by A. M.<br />Fauntleroy... ... .. ... .. ..... .... . .. . . ..... ..... . .... . ............. . 169<br />A case of general chronic perihepatitis, by E. R. Stitt .. . . . . . .. ...... . ... 171<br />Bacillary dysentery showing extreme toxaemia, by E. R. Stitt........ .. .. 173<br />Report on 10 cases of syphilis treated with "606," by U. R. Webb....... 173<br />A suspected case of gangosa, by O. J. Mink.. . . .. . ...... . .... .. . . . .... .... 178<br />Lamblia intestinalis and ascaris lumbricoides associated with amoebic dysentery by G. B. Trible . . . . . ... ....... . . . . .. . .. .. ... . .... . ........ . . . . . . 178<br />A case of pernicious anemia showing points of resemblance to kala azar,<br />by E. R. Stitt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180<br />A case of amoebic dysentery with liver abscess by E. R. Stitt. . .. .. ... ... 180<br />A case of intussusception, by E. R. Stitt..... . . .. . . . . . .. ......... .. . .. . . . 181<br />Report of two unusual fracture cases, by J. B. Dennis and A. C. Stanley... 181<br />Associated tuberculosis and syphilis, by O. J. Mink and E. H. H. Old...... 182<br />An undesirable recruit, by Heber Butts............................ . . . . . 183<br />Report of six cases of appendicitis aboard the U.S. S. Tennessee, by M. K.<br />Johnson and W. L. Mann...... ... .......................... .. ........ 190<br /><br />Current comment... .. .................................................... 193<br />Notification of venereal diseases.............. . .......................... 193<br />The use of salvarsan in filarial disease.. ...................... . .......... 194<br />Howard Taylor Ricketts...................................... . ........ 195<br />Typhoid vaccination. . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . 195<br />Further notes on the new blank forms..................................... 196<br />The bacteriology of acute poliomyelitis............. . .... .. .. ...... ..... 197<br />Hospital facilities at Montevideo.... .... . .............................. 197<br />A correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197<br />A course of instructive lectures . ......................................... 197<br />Physical culture......... ... . . ........... .. .......................... . . 198<br /><br />Progress in medical sciences...... . ................. . ..... . ............. . .. 199<br />General medicine - Haemoglobinuric fever on the Canal Zone; malingering; on the presence of a venous hum in the epigastrium in cirrhosis of the liver; the use of the X-ray in the diagnosis of pulmonary tuberculosis; mercury succinimid in the treatment of tuberculosis; high blood pressure in arteriosclerosis; the treatment and prognosis of exophthalmic goitre; some clinical methods of diagnosis of the functional activity of the heart; further notes on the treatment of paralysis agitans with parathyroid gland; on fever caused by the bite of the sand fly (Phlebotomus papatasii); Myzomyia roasii as a malaria carrier; a modified Caldwell kitchen incinerator for field use, by A. W. Dunbar and J. L. Xeilson....... 199<br />Surgery - The cause of death from shock by commercial electric currents<br />and the treatment of same; the best method of exposing the interior of the bladder in suprapubic operations; "606 "; a consideration of surgical methods of treating hyperthyroidism; genito-urinary diseases; radium therapy; the intravenous use of cocaine, report of a case; diseases of the stomach and duodenum from a surgical standpoint; dry iodine catgut; disinfection of the skin by tincture of iodine; the Roentgen-ray examination of the esophagus; solitary perforation of the ileum associated with strangulated and obstructed hernia; the time and method for prostatectomy; a practical mechanical method of end-to-end anastomosis of blood vessels; by R. Spear and E. \V . Thompson................... 213<br />Hygiene and sanitation - Sterilization of water on a large scale by means<br />of ultra-violet rays; nota sulla carne refrigerata e sui refrigeranti dei piroscafi; the American game of football, is it a factor for good or for evil? the hygiene of the simming pool ; "cordite eating"; the process of disinfection by chemical agencies and hot water; eggs, a study of eggs offered for sale as pure food; by H. G. Beyer and C. N. Fiske. ..... .. 226<br />Tropical medicine - Upon a new pathognomonic sign of malaria; a simple<br />method for the treatment of cholera; traitement de la trypanosomiase<br />humaine, by C. S. Butler. . .... .. ....... ... .. ...... . . . . ..... .. . ....... 237<br />Pathology and bacteriology - A method for the bacteriological standardization of disinfectants; microorganism found in the blood of acute cases of poliomyelitis; experimental rssearches upon typhus exanthematicus<br />done at the Pasteur Institute of Tunis during the year l910; bacteriology of human bile with especial reference to the typhoid carrier problem; the control of typhoid in the army by vaccination; experiments on transmission of bacteria by flies with special relation to an epidemic of bacillary dysentery at the Worcester State Hospital, Massachusetts, 1910; experiences in the use of vaccines in chronic suppuration of the nasal access0ry sinuses; histological study of skin lesions of pellagra; a resume of the evidence concerning the diagnostic and clinical value of the Wassermann reaction; experimentelle Beitrage zum Studium des Mechanismus der Immunkorper und Komplementwirkung; by O. J . Mink.............. 240<br />Chemistry and pharmacy.-The preparation of thyroid extract for therapeutic<br />purposes; the action of urinary antiseptics; wird eingenommenes<br />Chinin mit der Muttermilch ausgeschieden? Uebergang von Arzenmitteln<br />in die Milch; the quantitative estimation of albumin in the urine, by Tsuchiya's procss; the quantitative determination of albumin according to Tsuchiya; on the stability of the solutions prepared for Bang's method of estimating sugar in the urine, by E. M. Brown and O. G. Ruge.. . .......... 251<br />Eye, ear, nose, and throat - Tests for color-vision ; a note on the use of scarlet red in corneal diseases; report on progress in otology; ear disease and its prevention; the prevalence of middle ear disease in the [British] army, with a suggestion for a remedy; peritonsillar abscess; by E. M. Shipp. . ........ . . 266<br /><br />Reports and letters ............ 267<br />The surgical aspect of the engagement of La Ceiba, Honduras, by L. W.<br />Bishop and W. L. Irvine.......... . ......... . .. . ... . ....... . . . ...... 267<br />Extract from sanitary report of U.S.S. New Orleans, for the year 1901, by<br />W. F. Arnold... .. .. .. ....... ... . . . ... . . ... ..... . . ... . . . .. .. . . ....... 269<br /><br />Vol. 5, No. 3<br /><br />Preface...... ........... ................... .... ...... .... .. .... ...... .. ... v<br />Special articles: ·<br />Tropical diseases in their relation to the eye, by E. M. Shipp.... .... . . . . 271<br />Intravenous administration of salvarsan, by G. B. Trible and H. A.<br />Garrison. ... . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . 285<br />The mental examination of 50 recruits who became insane soon after enlistment, by Heber Butts........ . . . . . . . . . . . . . . . . . . . . . . . . . 295<br />Diagnosis and treatment of hernia in the Navy, by B. F. Jenness.... .. ... 313<br /><br />United States Medical School laboratories:<br />Davainea madagascariensis in the Philippine Islands, by P. E. Garrison. . 321<br />The interpretation of negative and weakly positive reactions in Noguchi's<br />complement fixation test, by M. E. Higgins... . .. . . . ....... . ......... 327<br />Specimens added to the helminthological collection, United States Naval<br />Medical School, March-May, 1911........ . . .. . . . . . . . . . . . . . . . .. 328<br />Specimens added to the pathological collection, United States Naval<br />Medical School, March-May, 1911. . . . . . . . . . . . . . . . . . . . . . . . 328<br /><br />Suggested devices:<br />An improvised X-ray apparatus, by H. A. Harris. . . . ..... . .. .. . .. . . . . . . 331<br />Fracture of mandible with improved method of adjustment, by W. A.<br />Angwin .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332<br /><br />Clinical notes:<br />Gunshot wound of elbow, by Raymond Spear..... .. .. . .... . . . ... . . . ... . 335<br />Clinical symptoms appearing immediately after antityphoid inoculation,<br />by J. R. Phelps and G. F. Clark. . .. .... . .. ..... . . ... . . ... .. . .. . . . . . .. 336<br />Posterior gastro-enteroetomy three years after anterior gastro-enteroetomy,<br />by A. M. Fauntleroy... . .. ... .. ... . . ... . .. . . .. ... ... ... .. ..... . .. . . . 338<br />Pontine hemorrhage resulting from a blow in boxing, by H. C. Curl.. . . . . 340<br />Fracture of the zygoma, by R. B. Williams... ... .. . . ............ ....... 341<br />Death from unruptured thoracic aneurism, by E. P. Huff... . . .... . .. ... 342<br />A plastic pernicious anemia associated with agchyloetomiaeis, by E. R. Stitt. 345<br />Balantidium coli infection associated with amoebic dysentery, by G. B.<br />Trible..... . ..... ... . ... . . . ... . . . ....... . ........ . ..... .. . 346<br />Return of syphilitic symptoms after administration of salvarsan, by C. F.<br />Sterne. . ....... . .. . . . . .. . . ... . ..... . .... . ........ . .... . . . . .... . ... . . . 348<br />A case of syphilis which poeeibly demonstrates the efficacy of prophylaxis<br />against venereal diseases, by E. H. H. Old ... . . . . .. ..... 349<br />Cerebral syphilis in a native of Guam, by W. M. Kerr.. ... . . ... ... ..... 350<br />A case of autoserotherapy, by E. O. J. Eytinge and L. W. McGuire. ...... 351<br />Haemoglobinuric fever, by D. G. Sutton. . . . ...... . .. . .. .. . .... .. . .... .. 352<br />Shock caused by lightning stroke, by W. S. Hoen .... . .. . . ............ . . 353<br />An unusual cause of burn, by F. M. Munson.......... .. . . .. . ..... . .. .. 354<br />Traumatic extrusion of testicle, by J . A. B. Sinclair. . . .. . . . . ....... . ... 355<br /><br />Current comment: <br />Criticisms and suggestions relative to the health records . .. .. . . . · 357<br />Distinguished honors conferred . . . . . . . . . . . . . . . . . . . . . . . . . . . 358<br />The closing exercises of the Naval Medical School... . ...... . .... . ... . . . 358<br /><br />Progress in medical sciences:<br />General medicine - Plague in Manchuria and its lessons; the treatment of<br />arthritis deformans; hereditary haemophilia, deficiency in the coagulability<br />of the blood the only immediate cause of the condition; discussion of acidosis, by A. W. Dunbar and J . L. Neilson .. ........ .. ... .. . . .... 361<br />Surgery - Laceration of the axillary portion of the shoulder joint as a factor in the etiology of traumatic combined paralysis of the upper extremity; tuberculosis of the kidney and ureter; injuries to the kidneys with end results; fracture of the patella; acute emergencies of abdominal disease; intestinal obstruction due to kinks and adhesions of the terminal ileum; the functions of the great omentum; treatment of peritonitis consecutive to appendicitis; treatment of ascites by drainage into the subcutaneous tissue of the abdomen; special dangers associated with operations on the biliary passages and their avoidance; a simple method for the relief of certain forms of odynphagia; by Raymond Spear and Edgar Thompson....... ...... . . ... . ... ... ... .. 365<br />Hygiene and sanitation - Food requirements for sustenance and work; carbo-gasoline method for the disinfection of books; typhoid fever and mussel pollution; the duty of the community toward ita consumptives; some aspects of tropical sanitation; table jellies; the significance of the bacillus carrier in the spread of Asiatic cholera; the value of vaccination and revaccination; prophylaxie de la syphilis; the value of terminal disinfection; a method for determining the germicidal value and penetrating power of liquid disinfectants; by H. G. Beyer and C. N. Fiske........... 377<br />Tropical medicine - Further researches on the hyphomycetes of tinea imbricata; the action of'' 606" in sleeping sickness; the action of salvarsan in malaria; the application of "606" to the treatment of kala-azar; the specific treatment of leprosy; the role of the infective granule in certain protozoa! infections as illustrated by the spirochaetosis of Sudanese fowls, preliminary note; by C. S. Butler. . .... . . . ..... . .. .. .. . . . . ... . ... .... 389<br />Pathology and bacteriology - Ehrlich's biochemical theory and its conception<br />and application; researches on experimental typhoid fever; a record of 90 diphtheria carriers; the serum diagnosis of syphilis; by M. E. Higgins. . . . 392<br />Medical zoology - Note on the presence of a lateral spine in the eggs of<br />Schistosoma japonicum; onchocerciasis in cattle with special reference<br />to the structure and bionomic characters of the parasite; by P. E.<br />Garrison .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397<br />Chemistry and pharmacy - The preparation of a convenient and stable litmus solution; a method to demonstrate and estimate the digestive fermenta in the feces; a simple method for the estimation of ammonia in the urine of diabetics for the recognition of acidosis; new process for sterilizing water by potassium permanganate; the colorimetric estimation of dextrose in urine; a new method for the estimation of sugar in the urine; by E.W. Brown and O. G. Ruge . .. . .. ... . . . ..... ... . . 398<br />Eye, ear, nose, and throat - Examination of the nose and throat in relation<br />to general diagnosis, results in asthma; the nonsurgical treatment of<br />cataract; by E. M. Shipp..... . . . .. . .. .. .. . .... .. ... . 400<br /><br />Reports and letters:<br />Plague conditions in North China, by W. D. Owens.......... .. .. ... ... 405<br /><br />Vol. 5, No. 4<br /><br />Preface ... .. . . . ............... . ...... ... ........................ .. ........ v<br /><br />Special articles:<br />The tenth convention of the second Hague conference of 1907, and its <br />relation to the evacuation of the wounded in naval warfare, by F. L.<br />Pleadwell (first paper) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409<br />Is gangoea a form of syphilis? by H. E. Odell....... .. ... . ............. 430<br />Salvarsan as a diagnostic and therapeutic agent in syphilis, by C. M.<br />George.... .. ............ ...... . . .. .... . . . .... . .. . 485<br />Flat foot and its relation to the Navy, by R. G. Heiner.. . ............... 451<br />Notes on submarine cruising, by I. F. Cohn............................ 455<br />Important features in the technique of carbon dioxide estimations in air,<br />by E. W. Brown... . ................. . .. . . . ... . ...... . ...... . ..... . . 457<br />The use of salvarsan on board the U.S.S. Michigan, by J . J. Snyder and<br />A. L. Clifton............. . . .. . . .............. . .................... . .. 459<br />Notes on vaccination, by A. B. Clifford... .. ........................... 461<br />The preparation of patient.e for operation at the United States Naval Hospital,<br />Norfolk, Va., by W. M. Garton.. . ..... .... .. .. ... . . . ...... ..... 462<br /><br />United States Naval Medical School laboratories:<br />Specimens added to the helminthological collection, United States Naval<br />Medical School, June-Aug., 1911 ........ . ... .......... . .. . .. 465<br />Specimens added to the pathological collection, United States Naval<br />Medical School, June-Aug., 1911.................... . .... . .. .. . ... . .. 465<br /><br />Suggested devices:<br />An apparatus for hoisting patients aboard the hospital ship Solace, by<br />E. M. Blackwell... . ............ . . . ................................ . . 467<br />An inexpensive and satisfactory ethyl chloride inhaler for general<br />anaesthesia, by J. H. Barton .. . . ... .. .. .. . . .. .. . .. .... ...... 469<br /><br />Clinical notes:<br />Old "irreducible" dislocation of head of humerus, by H. C. Curl. . . . ... . 471<br />A case of brain tumor, by R. E. Hoyt.. .. .... .... . ...... . . .... . .. ........ 472<br />A case of brain abscess, by J. R. Phelps and G. F. Clark.. .. . .. . . . . . . .. . . 474<br />Report of two cases of cerebrospinal fever, by R. A. Bachmann.. . . . .... 477<br />A case of leprosy on board the U.S.S. Villalobos, by D. H. Noble....... 479<br />A case resembling gangosa, in which a treponema was found, by P. S.<br />Rossiter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481<br />A case extensively burned, by N. T. McLean.. ... .... .. . . .. . .. ... ... . . . 481<br />Acute pemphigus following vaccination, by R. Hayden.... ... . .... ..... . . 482<br />Two interesting cases on the U.S.S. Prairie, by C. C. Grieve . .. . . . .... . . 486<br />An atypical case of typhoid fever, by L. W. Johnson... . ... . .. . .... . .. . .. 488<br />Tolerance of the peritoneum rarely seen, by P. R. Stalnaker and G. W.<br />Shepard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489<br />Note on tincture of iodine, by R. Spear...... . . . . . ... . ... .... . .. . .. ..... 490<br />Notes on salvarsan, by R. Spear..... . ...... . .............. . ..... . . ..... 491<br /><br /><br />Current comment :<br />Instructions relative to medical returns ... ....... . ..... . ............... .493<br />Clinical cards .. ........... ... . . .. .. ... . .... . . . . . .. . ... . .. . ......... . . .494<br />Measles in Samoa . ................ .. . ... . . . . ... . ....................... .495<br />The conservation of the public health ........ . .................... .496<br />Closure of the naval stations at San Juan and Culebra ....... .. .. . . . ..... 498<br />New pavilion for the practice of thoracic surgery ........ . ..... ...... 498<br />The Bellevue Hospital nomenclature of diseases and conditions, 1911 .... .498<br /><br />Progress in medical sciences:<br />General medicine - Pathological and experimental data derived from a<br />further study of an acute infectious disease of unknown origin; the mode<br />of transmission of leprosy; genesis of incipient tuberculisus; a method<br />for determining the absolute pressure of the cerebrospinal fluid; the after<br />history of cases of albuminuria occurring in adolescence; the stereoscopic<br />X-ray examination of the chest with special reference to the diagnosis of<br />pulmonary tuberculosis; the use of antiformin in the examination for the<br />tubercle bacillus; by A. W. Dunbar and J. L. Neilson ............. . . . 501<br />Surgery - The control of bleeding in operations for brain tumors; intravenous<br />anesthesia from hedonal; the difficulties and limitations of diagnosis in advanced cases of renal tuberculosis; the treatment of X-ray ulcer; nephroureterectomy; by Raymond Spear and Edgar Thompson .. 511<br />Hygiene and Sanitation - A simple method of purifying almost any infected<br />water for drinking purposes; the physiology of the march; wall paper and illumination; vaccination et serotherapie anticholeriques; upon the<br />inoculation of materia morbi through the human skin by fleabites; garbage receptacles; the relative influence of the heat and chemical impurity of close air; method for measuring the degree of vitiation of the air of inclosed spaces; by H. G. Beyer and C.N. Fiske . .. . .. ..... . 518<br />Tropical medicine - The diagnosis of pellagra; researches upon acarids <br />among lepers; action of "606" upon malaria; by C. S. Butler ......... . 523<br />Pathology and bacteriology - An outbreak of gastroenteritis caused by<br />B. paratyphosus; infection of rabbits with the virus of poliomyelitis; the<br />mechanism of the formation of metastases in malignant tumors; a method<br />for the pure cultivation of pathogenic treponema pallidum; by Y. E .<br />Higgins .. .... .. .. . ..................... .. ..... . ............. . ...... . 528<br />Medical zoology - On Kwan's fluke and the presence of spines in<br />fasciolopsis; endemic Mediterranean fever (Malta fever) in southwest<br />Tcxas; by P. E. Garrison . ..... . .......... .. . . .... . .... . ........... . . . 532<br />Chemistry and pharmacy - Detection of blood by means of leuco-malachitegreen; an improved form of Heller's ring test for detection of albumin in the urine; an important reagent for Fehling's method for sugar estimation; method for the estimation of urotropin in the urine; detection of amylolytic ferments in the feces; new technique for the estimation of total nitrogen, ammonia, and urea in the urine; chemotherapy and "606" by E. W. Brown and O. G. Ruge ............... 533<br />Eye, ear, nose, and throat - Defective vision and its bearing on the question<br />of fitness for service; "606 ' ' and eye diseases; by E. M. Shipp ... .. .. .538<br /><br />Reports and letters:<br />American Medical Association meeting, by C. P. Bfagg .. .. .... . .....550<br />Sanitary report on Kiukiang, Kiangse Province, China, by D. H. Noble ...550<br />Index to volume V ...............559<br />Subject index .......... . ........ . ....................... 559<br />Author's index . . . ........ . ..... . ......... . ......... . 570<br /><br /><br />
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Plumer planned to capture Gheluvelt Plateau in four steps, with an interval of six days between each to allow time to bring forward artillery and supplies, a faster tempo of operations than that envisaged by Gough in the planning before 31 July.[Each step was to have even more limited geographical objectives, with infantry units attacking on narrower fronts in greater depth. The previous practice of attacking the first objective with two battalions and the following objectives with a battalion each, was reversed in view of the greater density of German defensive positions the further the attack penetrated. Double the medium and heavy artillery was available than that used on 31 July. The method would ensure that more infantry was on tactically advantageous ground, having had time to consolidate and regain contact with their artillery, before they received German counter-attacks. The British began a desultory bombardment on 31 August and also sought to neutralize the German batteries with gas in the days before the attack, including gas attacks on the three evenings before the assault. Aircraft were to be used for systematic air observation of German troop movements to and on the battlefield, to avoid the failures of previous battles where too few aircraft had been burdened with too many duties in bad weather.
Like the attack of 31 July, nine British divisions from four corps were to participate on a front of approximately 10,000 yards. In late August destructive fire by the heaviest artillery began on German strongpoints and counter-battery began early in September, although hampered by poor visibility.
Elastic defence had been rejected by the Fourth Army Chief of Staff, Major-General von Lossberg, who believed that a tactical withdrawal by trench garrisons would disoganise the counter-attacking reserves, leading to the loss of the sector concerned and danger to flanking units. Lossberg ordered the front line of sentry groups (Postengraben) to be held rigidly; British attacks would exhaust themselves and then be repulsed by local German reserves or Eingreif divisions if needed. Lossberg also judged that there was little prospect of British attacks being delayed by their need to move artillery forward and build supply routes. The British had a huge mass of artillery and the infrastructure necessary to supply it with ammunition, much of it built opposite Flandern I in the period between the attack at Messines and 31 July.
Lossberg's methods had succeeded on the front of XIX Corps in 31 July and against II Corps on the Gheluvelt Plateau on 31 July and during August, although the counter-attacks had been stopped in their turn by British artillery fire, when they reached areas where observation and communications between British infantry and artillery had been restored.[18] Ludendorff later wrote that losses in the August battles had been unexpectedly high.[32] The pause in British operations in early September helped to mislead the Germans. General von Kuhl (Chief of Staff, Army Group Crown Prince Rupprecht) doubted that the offensive had ended but by 13 September had changed his mind. Despite Kuhl urging caution, two divisions, thirteen heavy batteries and twelve field batteries of artillery, three fighter squadrons and four other air force units were transferred from the German Fourth Army.[33] In the area about to be attacked, the Fourth Army had six ground-holding divisions backed by three Eingref divisions and 750 guns.
Second Army
The 19th Division in IX Corps covered the southern defensive flank of the attack front against the German 9th Reserve and 207th divisions, on a 1,600 yards (1,500 m) front from the Comines canal to Groenenburg Farm on the west slope of the Bassevillebeek valley. The six attacking battalions of the 58th Brigade on the right and the 57th Brigade on the left and their supporting battalions had a difficult approach. The 58th brigade battalions had to make their way through the obstructions of Opaque Wood and Imperfect Copse and then at midnight it began to rain until 5:00 a.m.. Zero hour was decided according to the weather and the time of 5:40 a.m. was passed forward at 1:45 a.m. so all ranks had to lie quiet in the rain for more than three hours. Around dawn a heavy mist formed and at 5:40 a.m. the barrage began. On the right the short advance to the first objective (red line) was met with opposition from dug-outs south-west of Hessian Wood, Jarrocks Farm, Pioneer House and a small wood nearby. Heavy machine-gun fire was also encountered from Hollebeke Château and the railway embankment. The right battalion reached the objective on time but the two to the left had many casualties and lost touch with their flanking units and the barrage, until the pause on the red line (first objective) allowed them to reorganise, mop-up and regain touch with units which had lost direction. The third battalion on the left was still held up by Hessian Wood so a defensive flank was formed facing north.[35]
The 57th Brigade advanced to the red line with slight opposition on the right while the two battalions on the left had to cross an extremely boggy area which slowed them and stopped them from keeping up with the barrage. The delay resulted in them being caught by machine-gun fire from dug-outs near Top House while bunched up because of the heavy going. The red line (second objective) which here was little different to the first objective (green line) was reached and two platoons from each attacking company moved up ready to advance to the blue line (second objective) which began at 6:24 a.m. The second and final lines (red and blue) were contiguous on the right from Hessian Wood but the Germans defending the wood were still fighting when the advance was due to resume. Two companies of the right hand battalion had advanced after suffering many losses and then a platoon went to assist the centre battalion. A number of dug-outs were cleared 50 prisoners taken which enabled the centre battalion to get into the north end of the wood and gain touch with the left-hand battalion in the south-western corner. On the front of the 57th Brigade opposition at Wood Farm and Belgian Wood was overrun by a bayonet charge and the blue line (third objective) reached on time. During this advance machine-gun sections and a battalion liaison detachment of the 39th Division pushed forward to North Farm, which was captured with four machine-guns and 29 prisoners. At 8:10 a.m. the protective barrage lifted 200 yards (180 m) and patrols were sent forward to establish outposts and to clear the area of remaining German troops; Moat Farm and Funny Farm being mopped-up. Consolidation was begun despite machine-gun fre from Hollebeke Château, the green line (first objective) was dug-in and posts forward to the blue line (final objective) defended in depth by posts. A German counter-attack was attempted at 7:30 a.m. and "annihilated" by small-arms and artillery fire.[36]
In X Corps to the north the 39th Division on the right prolonged the southern defensive flank, from Groenenburg Farm northwards down the slope to the Bassevillebeek. The division suffered badly from German fire as it advanced 800 yards (730 m) to its objective, from hidden dug-outs in the area further north, which had already stopped the 41st Division. When the division reached its objective it swung back its left flank to link with the right hand brigade of 41st Division.[37] The main attack was made by X Corps and 1st Anzac Corps on a 4,000 yards (3,700 m) front on the Gheluvelt plateau. Steady pressure by the 47th Division had advanced the British front line near Inverness Copse a considerable distance, during the pause in large operations in early September, which made better jumping-off positions for the attack by I Anzac Corps.[21] The four divisions advanced behind a creeping barrage of unprecedented weight. The increased amount of artillery allowed the heavy guns to place two belts of fire beyond the two from the field artillery; a machine-gun barrage in the middle made five belts of fire, each 200 yards (180 m) deep in front of the infantry.[38] The creeping barrage started quickly, lifting 50 yards (46 m) every two minutes and this allowed the British infantry to surprise the German outpost garrisons while the Germans were still in their shelters, by looming out of the mist; after four lifts, the barrage slowed to 100 yards (91 m) every six minutes. Most German troops encountered were so stunned by the bombardment that they were incapable of resistance and surrendered immediately, despite few of the concrete pill-boxes and Mebu shelters being destroyed by the British artillery. In the few areas where the German defenders were capable of resisting, they inflicted heavy losses but were quickly outflanked in the mist. The new system of local reserves allowed the British to maintain momentum despite local checks.[39]
The 41st Division had to advance across the Bassevillebeek valley against the right of the German 9th Division and the left of the Bavarian Ersatz Division to capture Tower Hamlets spur. The advance was hampered by overnight rain, which affected the valley more than the plateau to the north. Fire from camouflaged German machine-gun nests in the valley caused confusion and delay in the British infantry and the barrage was lost. The Bassevillebeek stream in the valley was eventually crossed, with the 122nd Brigade struggling forward and the 124th brigade held up near the British front line, by numerous machine-guns in the Quadrilateral, fortifications in three ruined cottages inside a digging 400 by 100 yards (370 m × 91 m) at the south end of the spur. The Quadrilateral commanded the western approach to the spur and the rise north to the pill-boxes at Tower Hamlets. The left hand brigade of the division reached the third objective and threw back its right flank to the brigade on the right, which had advanced just beyond the second objective and then joined the left flank of 39th Division. Despite the failure to capture Tower Hamlets and parts of the two leading battalions of 124th brigade running away before being rallied, two dead and three wounded battalion commanders, the division defeated all German counter-attacks during the day.[40]
The 23rd Division was held up for a short time by a German strong point in Dumbarton Wood, which had been missed by the barrage and caused many casualties. Despite the delay and the difficulty of navigating through clouds of dust and smoke, caused by the barrage and the marshy ground north of Dumbarton Lake, the first objective was reached a few minutes after the barrage and consolidated along the source of the Bassevillebeek. 69th Brigade on the left managed to get through Inverness Copse but German troops emerged from cover and fired on the troops behind, as they moved up to attack the second objective, causing severe losses before they were killed or captured. The troops who had been severely reduced in numbers, following on through the copse, were still able to capture a line of German fortifications along Menin Road, north of the hamlet of Kantinje Cabaret. Of four tanks attached for the attack along Menin Road, one bogged early and the infantry advance was too swift for the other three tanks to keep up. One tank was knocked out on the road and the other two carried ammunition and equipment to the troops at the final objective.
The 1st Australian Division on the right of I Anzac Corps, advanced on a 1,000 yards front north of the Menin Road, with its right aimed at Fitzclarence Farm against part of the Bavarian Ersatz Division and most of the 121st Division. The Australians passed through Glencorse Wood, which had changed hands twice in August, quickly suppressing German resistance. The Germans at Fitzclarence Farm were kept under cover by rifle grenade fire, while other groups got behind and rushed the garrison, taking 41 prisoners. Infiltration was also used against German machine-gunners in concrete shelters in the sunken road in the north of the wood, who had caused many casualties. Close reserves worked behind the shelters and fought their way in and killed or captured the garrison. Nonne Bosschen was crossed by moving along the edges of shell craters, the second objective along the west edge of Polygon Wood being reached on time at 7:45 a.m. The Wilhelm (third) Line pill-boxes and Mebu shelters[Note 3] were captured quickly, while the German defenders were dazed by the bombardment and unable to resist.[43] Few accounts survive from the Bavarian Ersatz Division companies holding the ground either side of the Menin road, as they were quickly overwhelmed by the 23rd and 1st Australian divisions. Machine-gun fire was heard from the Albrecht (second) Line at 8:30 a.m. but by 9:00 a.m. the British were well on the way to the Wilhelm (third) Line.[44]
The 2nd Australian Division attacked with two brigades, one either side of the Westhoek – Zonnebeke road, against the German 121st Division, down the Hanebeek valley to the near bank. The German outpost garrisons were surprised and overrun. On the far side of the stream the advance overwhelmed the Germans who mostly surrendered en masse. Visibility began to improve to 200–300 yards (180–270 m) and on breasting the rise, machine-guns in Albert and Iron Cross redoubts in the Wilhelm (third) Line on Anzac House spur, the next rise to the east, were blinded by smoke grenades and the garrisons ran off. Further to the left, Anzac House, an important German artillery observation post overlooking the Steenbeek valley to the north, was captured as the garrison tried to engage the Australians by moving their machine-guns outside. As the divisions on the Gheluvelt plateau reached their second objective at 7:45 a.m. a breeze blew away the mist and revealed the magnitude of their achievement. The British had carried the defences which had held them up through August and had gained observation all the way to Broodseinde.[45]
No German counter-attacks were mounted in the two hours that the British spent consolidating the second objective, as the creeping barrage stood for fourteen minutes in front of the second objective, then advanced 2,000 yards (1,800 m) before returning to the new British front line and then advancing again to lead the British troops to the third objective. German counter-attacks were stopped before they reached the new British outposts. The German artillery only managed to fire a disjointed and sparse barrage, which did little to obstruct the troops ready to advance to the third objective as they moved up but snipers and long-range machine-gun fire began to harass the troops consolidating the second objective. Local operations were mounted to stop sniping, using the methods that had been so successful earlier in the morning, leading to Black Watch Corner at the south-west of Polygon Wood and Garter Point east of Anzac House and other strong-points being captured.[46]
At 9:53 a.m. the barrage resumed its forward movement towards the third objective, another 300–400 yards (270–370 m) away. The 23rd Division had to fight forward through pill-boxes hidden in ruined cottages along the Menin Road, concrete shelters in Veldhoek and a hedgerow in front of it, before the German garrisons retreated. The left brigade was held up by a dozen pill-boxes in the Wilhelm (third) Line until noon, which caused the division many losses but the ground at the final objective proved to be dry enough for the troops to dig in.[47] The two Australian divisions reached the third objective in half an hour, finding the Germans in those strongpoints not subdued during the halt on the second objective as stunned as those met earlier in the day. Strafing by eight German aircraft, (one of which was shot down by ground fire) and some shelling by German artillery caused minor losses as the Australian divisions consolidated captured trenches and shell holes in their new front line.[47]
Fifth Army[edit source | editbeta]
Frezenberg Ridge, September–October 1917.
The British Fifth Army attacked on the left of the Second Army, V Corps on the right to capture the Wilhelm (third) Line, XVIII Corps in the centre, to finish the capture of the line from Schuler Farm to Langemarck and then advance 500–800 yards (460–730 m) east towards Poelcappelle; XIV Corps formed the northern flank with 20th Division. V Corps had more field guns than the I Anzac Corps to the right and fewer heavy guns so only three barrage belts were possible. A creeping barrage by 18-pdr field guns was to move at the same speed as that of the Second Army. 18-pdr and 4.5-inch howitzer fire were to comb the area in front of the creeping barrage, from 100–400 yards (91–370 m) deep and a neutralizing barrage by 6-inch howitzers and 60-pdr guns was to sweep ground 450–1,200 yards (410–1,100 m) in front of the creeping barrage. Artillery not needed for counter-battery fire was to put standing barrages on the most dangerous German positions, like Hills 37 and 40 and the German assembly areas in the dips behind Zonnebeke and Gravenstafel.[48]
9th and 55th Divisions of V Corps were to attack on fronts of 1,800 yards (1,600 m) over ground held by the right of the German 121st Division and the 2nd Guards Reserve Division, which had also changed hands twice in August. The large numbers of strong-points, pill-boxes and fortified farms east of the Hanebeek and Steenbeek streams were mostly intact, despite numerous attempts to smash them with artillery fire. The artillery brought to the Ypres salient in September went to the Second Army so the Fifth Army adopted a new infantry formation, where moppers-up were reorganised into small groups of up to half a platoon, moving with the leading assault waves to capture specific strong-points and then garrison them. XVIII Corps adopted the same practice, which became standard in the Fifth Army soon after the battle.[49]
The 9th Division was confronted by the morass of the Hanebeek valley, where the stream had been choked by frequent bombardment and turned into a swamp and water-filled shell-holes. Both brigades sent two battalions forward to the first objective and leap-frogged two more through them to take the final objective. Hanebeek Wood on the right was barraged with smoke and high-explosive shell rather than shrapnel, except for a lane along which a company was able to move behind the wood. When the artillery fire moved beyond the wood it was rushed from both directions and captured with fifty prisoners and four machine-guns. The South African Brigade on the left did the same thing at Borry Farm. In the mist the strong points were easily overrun except for four pill-boxes around Potsdam House, which were eventually attacked on three sides and captured, after inflicting heavy casualties on the attackers. Delays caused by machine-gun nests dug in along the Ypres–Roulers railway did not stop the division reaching the first objective as the barrage began to creep forward again at 7:08 a.m.[50] At 7:08 a.m. when the 9th Division began the advance to the final objective, the right hand brigade found only minor opposition. The South African Brigade on the left was badly hit by German machine-gun fire from Hill 37, as delays to the 55th Division meant that it was well short of the hill. The South Africans managed to capture Bremen Redoubt and Waterend House in the Zonnebeek valley and extend a defensive flank back to the first objective.[51]
To the north of 9th Division the 55th Division began the day understrength, after the losses of 31 July. Replacements had arrived slowly and 1,000 soldiers were left out of the battle having arrived too late to be trained for the attack. German artillery and machine-gun fire from Reserve Regiment 91 of the 2nd Guards Reserve Division hit the infantry with intense fire as the attack began. The mist worked to the Germans' advantage in this part of the front, because the depleted British units missed several German strong points and dug-outs, from which the Germans were able to stop the British support waves from moving up. The advanced troops realising this either halted or turned back and lost the barrage. The difficulties of the division were made worse at 7:08 a.m. when the scheduled advance to the final objective coincided with the dispersal of the mist. Reserves were pushed forward around 10:00 a.m. from 166th Brigade, which allowed the 165th and 164th Brigades to take the first objective around Gallipoli Farm and the Schuler Galleries in front of Schuler Farm by mid-day. Fighting at Hill 35 continued and the Germans regained Hill 37 with a counter-attack. Machine-guns were placed in the Schuler Galleries and nine were dug in near Keir Farm, which were able to stop German counter-attacks from making any more progress. In the afternoon the rest of the reserve brigade was able to capture Hills 35 and 37, which dominated the Zonnebeke spur. The right of the division established touch with the 9th Division but the centre and left of 55th Division were 500 yards (460 m) short of the final objective.[52]
XVIII Corps was to advance onto the Gravenstafel and Poelcappelle spurs, held by the German 36th Division since 8 September. The divisions had to assemble east of the Steenbeek between St Julien and Langemarck in low ground which was still muddy and full of flooded shell-holes despite the better weather. The 58th Division objective was 1,000 yards (910 m) ahead, among German strong points on the west end of Gravenstafel spur. As a frontal attack here had failed, the division feinted with its right brigade, while the left brigade made the real attack from the flank. The feint captured Winnipeg cross-roads, as the main attack by three battalions one behind the other, captured Vancouver Farm, Keerselaere and Hubner Farm. The next two battalions passed through and turned right half way up the spur, to reach Wurst Farm on a tactically vital part of the spur at the same time as the barrage. Nearly 300 prisoners and fifty machine-guns were taken and outposts were established to the left overlooking the Stroombeek valley. The division ascribed the success to the excellence of their training, an excellent creeping barrage and smoke shell, which had thickened the mist and blinded the German defenders and that gas shell barrages on the German reinforcement routes had depressed German morale.[53]
51st Division further north, had the same task on Poelcappelle spur. The division advanced with one brigade on a 1,400 yards (1,300 m) front. The Germans in the Wilhelm (third) Line were ready for them and fought until they were almost annihilated in new machine-gun nests that they had dug in front of their front line, which had avoided the worst of the artillery bombardment. The division was able to reach the final objective in sight of Poelcappelle village. By these advances XVIII Corps got observation of Poelcappelle and up the Lekkerboterbeek and Lauterbeek valleys, the capture of which allowed British artillery to move forward of the Steenbeek.[54]
20th Division on the right of XIV Corps, had to form the northern defensive flank of the offensive, on a front of 1,400 yards (1,300 m) from Poelcappelle spur to the Ypres – Staden railway. Two brigades attacked with two battalions each. The German Wilhelm (third) Line, here known as Eagle trench, was held as determinedly as that part in the 51st Division sector ("Pheasant trench") despite a bombardment from Livens Projectors (which fell behind the German trench and illuminated the British infantry as they advanced). By the end of the day the division was still short of the first objective, except on the left next to the railway.[55]
The British offensive had captured most of the German outpost zones to a depth of about 1,500 yards (1,400 m). As the ground was captured it was prepared for defence, in anticipation of counter-attacks by the German Eingreif divisions. Captured German machine-gun nests and strong points were garrisoned and wired with German barbed wire found in the area. The final objective became the outpost zone and the second objective the main line of resistance, a chain of irregular posts using shell-holes concealed by folds of the ground and reverse slopes, avoiding trenches which attracted German shell fire. Communication between the infantry and artillery was established with runners, messenger dogs and pigeons. Wireless transmitters and power buzzers were set up at brigade headquarters and artillery observation posts, one for each artillery group. Engineer and pioneer units began to dig in telephone lines, which took until the afternoon of 21 September.[56]
Air operations[edit source | editbeta]
Hannover CL.II
Observing and reporting on German counter-attack movements was made a duty for all aircraft and patrol areas were given to II and V Brigades and the Ninth Wing to patrol. "Hostile Tactical Maps" were issued, showing German assembly points and the likely routes to them and towards the front line. II Brigade covered the Second Army front east to the Roulers–Menin railway. The area was divided into three sectors, each with a counter-attack patrol of two fighters, maintained for eight hours after "zero-hour", flying below 500 feet and using the special maps, to attack any German units they caught on the move and to drive off German low-flying aircraft. On return they were to telephone a report direct to the Second Army Report Centre at Locre, similar arrangements being made for the Fifth Army. Ninth Wing aircraft were to patrol at low altitude east of Zarren–Oostnieukerke–Menin beginning two hours after the start of the attack, to harass German reinforcements. Corps squadrons were to maintain counter-attack patrols on their Corps fronts, calling for immediate artillery fire and warning British infantry by smoke signal. Not all of these measures were possible on the day due to the weather, because it had rained on 19 September and was misty next morning. Air operations commenced as soon as the mist cleared at 8.00 a.m.[23] German aircraft attempting to intervene during the battle suffered from the presence of anti-aircraft guns near the front line, a Lewis gunner of a pioneer battalion in the 19th Division, shooting down a German aircraft in flames at 1:30 p.m.; the feat was repeated next day and several German formations were broken up by ground fire.[57]
German Fourth Army counter-attacks[edit source | editbeta]
Reproduction of captured German trench map, 20 Sept 1917.
During the British infantry advances, German artillery managed a considerable amount of counter-battery fire, particularly from Zillebeke to Vebrandenmolen but this was not enough to stop the British artillery heavily bombarding German reserve battalions of the ground-holding (Stellungsdivisionen) divisions as they made futile attempts to counter-attack between 10:00 a.m. and 1.30 p.m. At 1:48 p.m. the British standing barrage in front of the new line ended. Air reconnaissance from zero hour by a contact aeroplane over each Corps area, to observe the progress of the British infantry and one counter-attack observation machine watching for German counter-attacks, revealed German Eingreif units advancing from Flandern III at Menin, Moorslede and Westroosebeek. During the day 394 wireless messages were received from British observation aircraft, about a third resulting in immediate artillery fire.[58]
After 3.00 p.m. approximately three German infantry battalions were reported north of the Menin Road moving up the Reutelbeek valley towards Polderhoek, a similar force with field artillery was seen moving west towards I Anzac Corps at Polygon Wood and Anzac spur and another was observed, descending from the Poelcappelle spur at Westroosebeek towards positions held by the Fifth Army. These troops were the leading regiments of three Eingreif divisions, 16th Bavarian from Gheluwe, 236th Division from Moorslede and 234th Division from Oostniewkirke. The 16th Bavarian Division counter-attack plan "Get Closer" (Näher heran) had been ordered at 5:15 a.m. By 9:00 a.m. the division advanced towards the area between Polygon Wood and Inverness Copse.[59] British medium and heavy artillery fired on the German units, which were forced to deploy and advance from cover. After considerable delay the survivors reached British machine-gun range as their artillery support overshot the British positions. Visibility was still exceptionally good, with the sun behind the British who were easily able to see all movement in front of them on the Gheluvelt plateau. The German force moving up the Reutelbeek valley into the area of 23rd and 1st Australian divisions was watched by the infantry for an hour, when at 7:02 p.m. a field artillery and machine-gun barrage fell on the Germans for an hour, stopping all movement towards the British positions, "16th Bavarian Division was a high quality formation, but all the skill and dash in the world stood no chance in the face of the torrent of fire the British artillery could bring to bear at the critical points".[60]
A similar barrage for forty minutes in front of 2nd Australian division on a regiment of the 236th Division advancing from Molenaarelsthoek and downhill from Broodseinde, stopped the counter-attack long before it came within range of the Australian infantry. On the southern edge of the plateau, German troops dribbling forward in the 39th Division area managed to reinforce the garrison at Tower Hamlets, then tried twice to advance to the Bassevillebeek and were "smashed" by artillery and machine-gun fire.[61]
In the Fifth Army area, from 800 yards (730 m) south of the Ypres – Roulers railway, north to the Ypres – Staden railway, many Germans were seen moving west down Passchendaele ridge around 5:30 p.m. into the area held by the 55th, 58th and 51st divisions. In the 58th Division area fire was opened on the Germans after half an hour, which forced the Germans to deploy into open order. When the Germans were 150 yards (140 m) from the first British strong point, the British defensive barrage arrived with such force that the German infantry "stampeded". No Germans were seen in the area until night when patrols occupied an outpost. On the 55th Division front "an extraordinarily gallant" German counter-attack by the 459th Reserve Regiment (236th Division) from Gravenstafel, on Hill 37 through Reserve Regiment 91, was stopped by artillery and enfilade fire by machine-guns at Keir Farm and Schuler Galleries.[62] A German attack down Poelcappelle spur at 5:30 p.m. towards the 51st Division had much better artillery support and although stopped in the area of the Lekkerboterbeek by 7:00 p.m., pushed the British left back to Pheasant trench (Wilhelm Line) before the British counter-attacked, pushing the Germans back to the line of the first objective, 600 yards (550 m) short of the final objective. By nightfall the German Eingreif divisions had been defeated.[63][Note 4] The British Official History records that the counter-attack divisions had been held back, waiting for another British advance.[66]
Aftermath[edit source | editbeta]
Casualties[edit source | editbeta]
British casualties 20–25 September are given by the British Official Historian as 20,255; 3,148 being killed, the 19th Division lost 1,933 casualties.[67] 3,243 prisoners were taken with "very heavy" losses of killed or wounded inflicted on the German defenders.[68][Note 5] The Official Historian's calculations of German losses have been severely criticised ever since.[70]
Subsequent operations[edit source | editbeta]
Minor attacks took place after 20 September as both sides jockeyed for position and reorganised their defences. In the Second Army area on 21 September, a 41st Division brigade attacked towards Bassevillbeek Copse, through extremely boggy ground by short rushes and consolidated posts on the Bassevillebeek. Several German counter-attacks in the afternoon were repulsed and at 7:00 p.m. a much larger German attack was dispersed by artillery and small-arms fire.[71] In the evening a German attack was made on Hill 37 against the 55th Division, taking some ground behind a heavy barrage, until a British counter-attack restored the position by 9:15 p.m. A German raid on posts of the 8th Division (II Corps) next day failed and in the X Corps area the 23rd Division and the 1st Australian Division (I Anzac Corps) re-took the front line. In the XVIII Corps area the 58th Division held Stroppe Farm and in the evening the 51st Division repulsed a big German attack from Poelcappelle with artillery and small-arms fire. The 20th Division repulsed a German attack at 6.30 a.m., then attacked Eagle Trench from both ends and captured it, despite fierce German resistance.[72] Crown Prince Rupprecht wrote in his diary for 23 and 24 September that the Germans could not allow the British to remain in control of the higher ground around Zonnebeke or the Gheluvelt Plateau and that counter-strokes during the next enemy attack must reach their objectives. The Fourth Army lacked reserves and needed time to meet another attack.[73]
A bigger German attack on 25 September, on a 1,800 yards (1,600 m) front, from the Menin Road to Polygon Wood, began as the 23rd Division was being relieved by the 33rd Division. A German bombardment from 20 heavy and 44 field batteries (nearly four times the usual amount for a German division) began at 5:15 a.m., part of which fell short onto the German infantry of two 50th Reserve Division regiments, which fell back until the bombardment began its creep towards the British positions. The German infantry advanced in the morning mist, either side of the Reutelbeek as the artillery boxed the British position opposite, which isolated it from its supports and prevented supplies of ammunition from being brought to the front line.[74] The German attack made little progress on the British right, lost direction in the gloom and veered north, joined with the German battalion there and reached Black Watch Corner, at the south-western extremity of Polygon Wood, which was lost during the Battle of Polygon Wood next day.[75]
Notes
This is only about 25 of my 50 shots, PTgui had some trouble (maybe it was me?) stitching the out of focus areas, so I had to crop massively which is a shame, as the DOF is amazing when you get all of the surrounding area. Sorry about the choppy editing around the bottom, had to fill in the areas for cropping but don't have a spot editing program!
If you use PTgui and have any advice for stitching the out of focus areas, please let me know!
Using 50mm 1.4 at f1.4
Will upload the next attempt when its done.
Project by:
Federica Bardelli
Alessandro Marino Giuseppe Brunetti
Gabriele Colombo
Giulia De Amicis
Carlo Alessandro Morgan De Gaetano
Project by:
Federica Bardelli
Alessandro Marino Giuseppe Brunetti
Gabriele Colombo
Giulia De Amicis
Carlo Alessandro Morgan De Gaetano
This is the re-edit of my first attempt (next in my stream) at using the Brenizer Method in any of my photography work. It's a composition of 78 stills (...a bit overkill) using my NIKKOR 50mm f1.8. I'm really happy with how it turned out (thank you computer for chugging away for 45 minutes to get decent stitches), but it's by no means perfect. Still lots to work to do with the stitching, but I'll get there in time.
Thanks to the NeoTrio for being patient with me!
U.S. Department of Agriculture, Marketing and Regulatory Program Under Secretary Jenny Moffitt visits the Animal and Plant Health Inspection Service Forest Pest Methods Laboratory in Massachusetts to see the tools for detection, survey, and control of various invasive plant pests.
USDA photo by Hajar Faal
Project by:
Federica Bardelli
Alessandro Marino Giuseppe Brunetti
Gabriele Colombo
Giulia De Amicis
Carlo Alessandro Morgan De Gaetano
Project by:
Federica Bardelli
Alessandro Marino Giuseppe Brunetti
Gabriele Colombo
Giulia De Amicis
Carlo Alessandro Morgan De Gaetano
Attempting to obtain pregnant once more following a miscarriage could be a company that's extremely challenging for some couples. The failure of prior pregnancy could be a really heavy, simply because it produced ??the choice to attempt to conceive once more is extremely difficult to do fastpregnant.devhub.com/blog/986608-best-way-to-get-pregn...
Maxim Gorky
Alexei Maximovich Peshkov (Russian: Алексе́й Макси́мович Пешко́в or Пе́шков;[1] 28 March [O.S. 16 March] 1868 – 18 June 1936), primarily known as Maxim Gorky (Russian: Макси́м Го́рький), was a Russian and Soviet writer, a founder of the socialist realism literary method, and a political activist.[2] He was also a five-time nominee for the Nobel Prize in Literature.[3] Around fifteen years before success as a writer, he frequently changed jobs and roamed across the Russian Empire; these experiences would later influence his writing. Gorky's most famous works were The Lower Depths (1902), Twenty-six Men and a Girl (1899), The Song of the Stormy Petrel (1901), My Childhood (1913–1914), Mother (1906), Summerfolk (1904) and Children of the Sun (1905). He had an association with fellow Russian writers Leo Tolstoy and Anton Chekhov; Gorky would later mention them in his memoirs.
Gorky was active with the emerging Marxist social-democratic movement. He publicly opposed the Tsarist regime, and for a time closely associated himself with Vladimir Lenin and Alexander Bogdanov's Bolshevik wing of the party. For a significant part of his life, he was exiled from Russia and later the Soviet Union. In 1932, he returned to the USSR on Joseph Stalin's personal invitation and lived there until his death in June 1936.
Contents
1 Life
1.1 Early years
1.2 Political and literary development
1.3 Capri years
1.4 Return from exile
1.5 Povolzhye famine
1.6 Second exile
1.7 Death of Lenin
1.8 Return to Russia: last years
1.9 Apologist for the gulag
1.10 Hostility to gays
1.11 Conflicts[citation needed] with Stalinists
1.12 Death
2 Depictions and adaptations
3 Selected works
3.1 Novels
3.2 Novellas
3.3 Short stories
3.4 Drama
3.5 Non-fiction
3.6 Collections
4 See also
5 Notes
6 Sources
7 Further reading
8 External links
Life
Early years
Born as Alexei Maximovich Peshkov on 28 March [O.S. 16 March] 1868, in Nizhny Novgorod, Gorky became an orphan at the age of eleven. He was brought up by his grandmother[2] and ran away from home at the age of twelve in 1880. After an attempt at suicide in December 1887, he travelled on foot across the Russian Empire for five years, changing jobs and accumulating impressions used later in his writing.[2]
As a journalist working for provincial newspapers, he wrote under the pseudonym Иегудиил Хламида (Jehudiel Khlamida).[4] He started using the pseudonym "Gorky" (from горький; literally "bitter") in 1892, when his first short story, "Makar Chudra", was published by the newspaper Kavkaz (The Caucasus) in Tiflis, where he spent several weeks doing menial jobs, mostly for the Caucasian Railway workshops.[5][6][7] The name reflected his simmering anger about life in Russia and a determination to speak the bitter truth. Gorky's first book Очерки и рассказы (Essays and Stories) in 1898 enjoyed a sensational success, and his career as a writer began. Gorky wrote incessantly, viewing literature less as an aesthetic practice (though he worked hard on style and form) than as a moral and political act that could change the world. He described the lives of people in the lowest strata and on the margins of society, revealing their hardships, humiliations, and brutalisation, but also their inward spark of humanity.[2]
Political and literary development
Anton Chekhov and Gorky. 1900, Yalta
Gorky's reputation grew as a unique literary voice from the bottom strata of society and as a fervent advocate of Russia's social, political, and cultural transformation. By 1899, he was openly associating with the emerging Marxist social-democratic movement, which helped make him a celebrity among both the intelligentsia and the growing numbers of "conscious" workers. At the heart of all his work was a belief in the inherent worth and potential of the human person. In his writing, he counterposed individuals, aware of their natural dignity, and inspired by energy and will, with people who succumb to the degrading conditions of life around them. Both his writings and his letters reveal a "restless man" (a frequent self-description) struggling to resolve contradictory feelings of faith and scepticism, love of life and disgust at the vulgarity and pettiness of the human world.[citation needed]
In 1916, Gorky said that the teachings of the ancient Jewish sage Hillel the Elder deeply influenced his life: "In my early youth I read...the words of...Hillel, if I remember rightly: 'If thou art not for thyself, who will be for thee? But if thou art for thyself alone, wherefore art thou'? The inner meaning of these words impressed me with its profound wisdom...The thought ate its way deep into my soul, and I say now with conviction: Hillel's wisdom served as a strong staff on my road, which was neither even nor easy. I believe that Jewish wisdom is more all-human and universal than any other; and this not only because of its immemorial age...but because of the powerful humaneness that saturates it, because of its high estimate of man."[8]
He publicly opposed the Tsarist regime and was arrested many times. Gorky befriended many revolutionaries and became a personal friend of Vladimir Lenin after they met in 1902. He exposed governmental control of the press (see Matvei Golovinski affair). In 1902, Gorky was elected an honorary Academician of Literature, but Tsar Nicholas II ordered this annulled. In protest, Anton Chekhov and Vladimir Korolenko left the Academy.[9]
Leo Tolstoy with Gorky in Yasnaya Polyana, 1900
From 1900 to 1905, Gorky's writings became more optimistic. He became more involved in the opposition movement, for which he was again briefly imprisoned in 1901. In 1904, having severed his relationship with the Moscow Art Theatre in the wake of conflict with Vladimir Nemirovich-Danchenko, Gorky returned to Nizhny Novgorod to establish a theatre of his own.[10] Both Konstantin Stanislavski and Savva Morozov provided financial support for the venture.[11] Stanislavski believed that Gorky's theatre was an opportunity to develop the network of provincial theatres which he hoped would reform the art of the stage in Russia, a dream of his since the 1890s.[11] He sent some pupils from the Art Theatre School—as well as Ioasaf Tikhomirov, who ran the school—to work there.[11] By the autumn, however, after the censor had banned every play that the theatre proposed to stage, Gorky abandoned the project.[11]
As a financially successful author, editor, and playwright, Gorky gave financial support to the Russian Social Democratic Labour Party (RSDLP), as well as supporting liberal appeals to the government for civil rights and social reform. The brutal shooting of workers marching to the Tsar with a petition for reform on 9 January 1905 (known as the "Bloody Sunday"), which set in motion the Revolution of 1905, seems to have pushed Gorky more decisively toward radical solutions. He became closely associated with Vladimir Lenin and Alexander Bogdanov's Bolshevik wing of the party, with Bogdanov taking responsibility for the transfer of funds from Gorky to Vpered.[12] It is not clear whether he ever formally joined, and his relations with Lenin and the Bolsheviks would always be rocky. His most influential writings in these years were a series of political plays, most famously The Lower Depths (1902). While briefly imprisoned in Peter and Paul Fortress during the abortive 1905 Russian Revolution, Gorky wrote the play Children of the Sun, nominally set during an 1862 cholera epidemic, but universally understood to relate to present-day events. He was released from the prison after a European-wide campaign, which was supported by Marie Curie, Auguste Rodin and Anatole France, amongst others.[13]
In 1906, the Bolsheviks sent him on a fund-raising trip to the United States with Ivan Narodny. When visiting the Adirondack Mountains, Gorky wrote Мать (Mat', Mother), his notable novel of revolutionary conversion and struggle. His experiences in the United States—which included a scandal over his travelling with his lover (the actress Maria Andreyeva) rather than his wife—deepened his contempt for the "bourgeois soul" but also his admiration for the boldness of the American spirit.[citation needed]
Capri years
In 1909–1911 Gorky lived on the island of Capri in the burgundy-coloured "Villa Behring".
From 1906 to 1913, Gorky lived on the island of Capri in southern Italy, partly for health reasons and partly to escape the increasingly repressive atmosphere in Russia.[2] He continued to support the work of Russian social-democracy, especially the Bolsheviks and invited Anatoly Lunacharsky to stay with him on Capri. The two men had worked together on Literaturny Raspad which appeared in 1908. It was during this period that Gorky, along with Lunacharsky, Bogdanov and Vladimir Bazarov developed the idea of an Encyclopedia of Russian History as a socialist version of Diderot's Encyclopedia. During a visit to Switzerland, Gorky met Lenin, who he charged spent an inordinate amount of his time feuding with other revolutionaries, writing: "He looked awful. Even his tongue seemed to have turned grey".[14] Despite his atheism,[15] Gorky was not a materialist.[16] Most controversially, he articulated, along with a few other maverick Bolsheviks, a philosophy he called "God-Building" (богостроительство, bogostroitel'stvo),[2] which sought to recapture the power of myth for the revolution and to create a religious atheism that placed collective humanity where God had been and was imbued with passion, wonderment, moral certainty, and the promise of deliverance from evil, suffering, and even death. Though 'God-Building' was ridiculed by Lenin, Gorky retained his belief that "culture"—the moral and spiritual awareness of the value and potential of the human self—would be more critical to the revolution's success than political or economic arrangements.
Return from exile
An amnesty granted for the 300th anniversary of the Romanov dynasty allowed Gorky to return to Russia in 1913, where he continued his social criticism, mentored other writers from the common people, and wrote a series of important cultural memoirs, including the first part of his autobiography.[2] On returning to Russia, he wrote that his main impression was that "everyone is so crushed and devoid of God's image." The only solution, he repeatedly declared, was "culture".
After the February Revolution, Gorky visited the headquarters of the Okhrana (secret police) on Kronversky Prospekt together with Nikolai Sukhanov and Vladimir Zenisinov.[17] Gorky described the former Okhrana headquarters, where he sought literary inspiration, as derelict, with windows broken, and papers lying all over the floor.[18] Having dinner with Sukhanov later the same day, Gorky grimly predicated that revolution would end in "Asiatic savagery".[19] Initially a supporter of the Socialist-Revolutionary Alexander Kerensky, Gorky switched over to the Bolsheviks after the Kornilov affair.[20] In July 1917, Gorky wrote his own experiences of the Russian working class had been sufficient to dispel any "notions that Russian workers are the incarnation of spiritual beauty and kindness".[21] Gorky admitted to feeling attracted to Bolshevism, but admitted to concerns about a creed that made the entire working class "sweet and reasonable-I had never known people who were really like this".[22] Gorky wrote that he knew the poor, the "carpenters, stevedores, bricklayers", in a way that the intellectual Lenin never did, and he frankly distrusted them.[22]
During World War I, his apartment in Petrograd was turned into a Bolshevik staff room, and his politics remained close to the Bolsheviks throughout the revolutionary period of 1917. On the day after the Bolshevik coup of 7 November 1917, Gorky observed a gardener working the Alexander Park who had cleared snow during the February Revolution while ignoring the shots in the background, asked people during the July Days not to trample the grass and was now chopping off branches, leading Gorky to write that he was "stubborn as a mole, and apparently as blind as one too".[23] Gorky's relations with the Bolsheviks became strained, however, after the October Revolution. One contemporary remembered at how Gorky would turn "dark and black and grim" at the mere mention of Lenin.[24] Gorky wrote that Lenin together with Trotsky "have become poisoned with the filthy venom of power", crushing the rights of the individual to achieve their revolutionary dreams.[24] Gorky wrote that Lenin was a "cold-blooded trickster who spares neither the honor nor the life of the proletariat. ... He does not know the popular masses, he has not lived with them".[24] Gorky went on to compare Lenin to a chemist experimenting in a laboratory with the only difference being the chemist experimented with inanimate matter to improve life while Lenin was experimenting on the "living flesh of Russia".[24] A further strain on Gorky's relations with the Bolsheviks occurred when his newspaper Novaya Zhizn (Новая Жизнь, "New Life") fell prey to Bolshevik censorship during the ensuing civil war, around which time Gorky published a collection of essays critical of the Bolsheviks called Untimely Thoughts in 1918. (It would not be re-published in Russia until after the collapse of the Soviet Union.) The essays call Lenin a tyrant for his senseless arrests and repression of free discourse, and an anarchist for his conspiratorial tactics; Gorky compares Lenin to both the Tsar and Nechayev.[citation needed]
"Lenin and his associates," Gorky wrote, "consider it possible to commit all kinds of crimes ... the abolition of free speech and senseless arrests."[25]
In 1921, he hired a secretary, Moura Budberg, who later became his unofficial wife. In August 1921, the poet Nikolay Gumilev was arrested by the Petrograd Cheka for his monarchist views. There is a story that Gorky hurried to Moscow, obtained an order to release Gumilev from Lenin personally, but upon his return to Petrograd he found out that Gumilev had already been shot – but Nadezhda Mandelstam, a close friend of Gumilev's widow, Anna Akhmatova wrote that: "It is true that people asked him to intervene. ... Gorky had a strong dislike of Gumilev, but he nevertheless promised to do something. He could not keep his promise because the sentence of death was announced and carried out with unexpected haste, before Gorky had got round to doing anything."[26] In October, Gorky returned to Italy on health grounds: he had tuberculosis.
Povolzhye famine
In July 1921, Gorky published an appeal to the outside world, saying that millions of lives were menaced by crop failure. The Russian famine of 1921–22, also known as Povolzhye famine, killed an estimated 5 million, primarily affecting the Volga and Ural River regions.[27]
Second exile
Gorky left Russia in September 1921, for Berlin. There he heard about the impending Moscow Trial of 12 Socialist Revolutionaries, which hardened his opposition to the Bolshevik regime. He wrote to Anatole France denouncing the trial as a "cynical and public preparation for the murder" of people who had fought for the freedom of the Russian people. He also wrote to the Soviet vice-premier, Alexei Rykov asking him to tell Leon Trotsky that any death sentences carried out on the defendants would be "premeditated and foul murder."[28] This provoked a contemptuous reaction from Lenin, who described Gorky as "always supremely spineless in politics", and Trotsky, who dismissed Gorky as an "artist whom no-one takes seriously."[29] He was denied permission by Italy's fascist government to return to Capri, but was permitted to settle in Sorrento, where he lived from 1922 to 1932, with an extended household that included Moura Budberg, his ex-wife Andreyeva, her lover, Pyotr Kryuchkov, who acted as Gorky's secretary for the remainder of his life, Gorky's son Max Peshkov, Max's wife, Timosha, and their two young daughters.
He wrote several successful books while there,[30] but by 1928 he was having difficulty earning enough to keep his large household, and began to seek an accommodation with the communist regime. The Soviet dictator Joseph Stalin was equally keen to entice Gorky back to the USSR. He paid his first visit in May 1928 – at the very time when the regime was staging its first show trial since 1922, the so-called Shakhty Trial of 53 engineers employed in the coal industry, one of whom, Pyotr Osadchy, had visited Gorky in Sorrento. In contrast to his attitude to the trial of the Socialist Revolutionaries, Gorky accepted without question that the engineers were guilty, and expressed regret that in the past he had intervened on behalf of professionals who were being persecuted by the regime. During the visit, he struck up friendships with Genrikh Yagoda, the corrupt and murderous head of the Ogpu and two other Ogpu officers, Semyon Firin and Matvei Pogrebinsky, who held high office in the Gulag. Pogrebinsky was Gorky's guest in Sorrento for four weeks in 1930. The following year, Yagoda sent his brother-in-law, Leopold Averbakh to Sorrento, with instructions to induce Gorky to return to Russia permanently.[31]
Death of Lenin
After the death of Lenin in 1924, Gorky wrote the following:
Vladimir Lenin, a big, real man of this world, has passed away. His death is a painful blow to all who knew him, a very painful blow! But the black line of death shall only underscore his importance in the eyes of all the world - the importance of the leader of the world’s working people. If the clouds of hatred for him, the clouds of lies and slander woven round him were even denser, it would not matter, for there is no such force as could dim the torch he has raised in the stifling darkness of the world gone mad. Never has there been a man who deserves more to be remembered forever by the whole world. Vladimir Lenin is dead. But those to whom he bequeathed his wisdom and his will are living. They are alive and working more successfully than anyone on Earth has ever worked before.[32]
Return to Russia: last years
Avel Enukidze, Joseph Stalin and Maxim Gorky celebrate 10th anniversary of Sportintern. Red Square, Moscow USSR. Aug 1931
Gorky's return from Fascist Italy was a major propaganda victory for the Soviets. He was decorated with the Order of Lenin and given a mansion (formerly belonging to the millionaire Pavel Ryabushinsky, which was for many years the Gorky Museum) in Moscow and a dacha in the suburbs. The city of Nizhni Novgorod, and the surrounding province were renamed Gorky. Moscow's main park, and one of the central Moscow streets, Tverskaya, were renamed in his honour, as was the Moscow Art Theatre. The largest fixed-wing aircraft in the world in the mid-1930s, the Tupolev ANT-20 was named Maxim Gorky in his honour.
He was also appointed President of the Union of Soviet Writers, founded in 1932, to coincide with his return to the USSR. On 11 October 1931 Gorky read his fairy tale "A Girl and Death" to his visitors Joseph Stalin, Kliment Voroshilov and Vyacheslav Molotov, an event that was later depicted by Viktor Govorov in his painting. On that same day Stalin left his autograph on the last page of this work by Gorky: "Эта штука сильнее чем "Фауст" Гёте (любовь побеждает смерть)"[33] ["This piece is stronger than Goethe's Faust (love defeats death)]".
Apologist for the gulag
In 1933, Gorky co-edited, with Averbakh and Firin, an infamous book about the White Sea-Baltic Canal, presented as an example of "successful rehabilitation of the former enemies of proletariat". For other writers, he urged that one obtained realism by extracting the basic idea from reality, but by adding the potential and desirable to it, one added romanticism with deep revolutionary potential.[34] For himself, Gorky avoided realism. His denials that even a single prisoner died during the construction of the aforementioned canal were refuted by multiple accounts of thousands of prisoners who froze to death not only in the evenings from the lack of adequate shelter and food, but even in the middle of the day.[35]
On his definitive return to the Soviet Union in 1932, Maxim Gorky received the Ryabushinsky Mansion, designed in 1900 by Fyodor Schechtel for the Ryabushinsky family. The mansion today houses a museum about Gorky.
Hostility to gays
Gorky strongly supported efforts in getting a law passed in 1934, making homosexuality a criminal offense. His attitude was coloured by the fact that several leading members of the Nazi Sturmabteilung, or Brownshirts, were overtly homosexual. Writing in Pravda on 23 May 1934, Gorky claimed "exterminate all homosexuals and fascism will vanish."[36]
Conflicts[citation needed] with Stalinists
By the summer of 1934, Gorky was increasingly in conflict with the Soviet authorities. He was angry that Leopold Averbakh, whom he regarded as a protege, was denied a role in the newly created Writers Union, and objected to interference by the Central Committee staff in the affairs of the union. This conflict, which may have been exacerbated by Gorky's despair over the early death of his son, Max, came to a head just before the first Soviet Writers Congress, in August 1934. On 11 August, he submitted an article for publication in Pravda which attacked the deputy head of the press department, Pavel Yudin with such intemperate language that Stalin's deputy, Lazar Kaganovich ordered its suppression, but was forced to relent after hundreds of copies of the article circulated by hand. Gorky's draft of the keynote speech he was due to give at the congress caused such consternation when he submitted it to the Politburo that four of its leading members – Kaganovich, Vyacheslav Molotov, Kliment Voroshilov, and Andrei Zhdanov – were sent to persuade him to make changes.[37] Even in its toned-down version – very unusually for the Stalin era – he did not praise Stalin, did not mention any of the approved writers turning out 'socialist realist' novels, but singled out Fyodor Dostoevsky for "having painted with the most vivid perfection of word portraiture a type of egocentrist, a type of social degenerate in the person of the hero of his Memoirs from Underground. ... Dostoyevsky in the figure of his hero has shown the depths of whining despair that are reached by the individualist from among the young men of the nineteenth and twentieth centuries who are cut off from real life."[38]
Death
With the increase of Stalinist repression and especially after the assassination of Sergei Kirov in December 1934, Gorky was placed under unannounced house arrest in his house near Moscow. His long-serving secretary Pyotr Kryuchkov had been recruited by Yagoda as a paid informer.[39] Before his death from a lingering illness in June 1936, he was visited at home by Stalin, Yagoda, and other leading communists, and by Moura Budberg, who had chosen not to return to the USSR with him but was permitted to stay for his funeral.
The sudden death of Gorky's son Maxim Peshkov in May 1934 was followed by the death of Maxim Gorky himself in June 1936 from pneumonia. Speculation has long surrounded the circumstances of his death. Stalin and Molotov were among those who carried Gorky's coffin during the funeral. During the Bukharin trial in 1938 (one of the three Moscow Trials), one of the charges was that Gorky was killed by Yagoda's NKVD agents.[40]
In Soviet times, before and after his death, the complexities in Gorky's life and outlook were reduced to an iconic image (echoed in heroic pictures and statues dotting the countryside): Gorky as a great Soviet writer who emerged from the common people, a loyal friend of the Bolsheviks, and the founder of the increasingly canonical "socialist realism".
Depictions and adaptations
The Gorky Trilogy is a series of three films based on the three autobiographical books: The Childhood of Maxim Gorky, My Apprenticeship, and My Universities, directed by Mark Donskoy, filmed in the Soviet Union, released 1938–1940. The trilogy was adapted from Gorky's autobiography.[41]
The German modernist Bertolt Brecht based his epic play The Mother (1932) on Gorky's novel of the same name.
Gorky's novel was also adapted for an opera by Valery Zhelobinsky in 1938. In 1912, the Italian composer Giacomo Orefice based his opera Radda on the character of Radda from Makar Chudra. Our Father is the title given to Gorky's The Last Ones in its English translation by William Stancil.
The play[clarification needed] made its New York debut in 1975 at the Manhattan Theater Club, directed by Keith Fowler.
In 1985 Enemies was performed in London with a multi-national cast directed by Ann Pennington in association with Internationalist Theatre. The cast included South African Greek actress Angelique Rockas and Bulgarian Madlena Nedeva playing the parts of Tatiana, and Kleopatra respectively.[42] Tom Vaughan of The Morning Star affirmed "this is a great revolutionary play, by a great revolutionary writer, performed with elegance and style, great passion and commitment".[43] BBC Russian Service was no less complimentary.[44]
Selected works
Main article: Maxim Gorky bibliography
Source: Turner, Lily; Strever, Mark (1946). Orphan Paul; A Bibliography and Chronology of Maxim Gorky. New York: Boni and Gaer. pp. 261–270.
Novels
Goremyka Pavel, 1894. Published in English as Orphan Paul[45]
Foma Gordeyev (Фома Гордеев), 1899. Also translated as The Man Who Was Afraid
Three of Them (Трое), 1900. Also translated as Three Men
The Mother (Мать), 1907. First published in English, in 1906
The Life of a Useless Man (Жизнь ненужного человека), 1908
A Confession (Исповедь), 1908
Okurov City (Городок Окуров), 1908
The Life of Matvei Kozhemyakin (Жизнь Матвея Кожемякина), 1910
The Artamonov Business (Дело Артамоновых), 1927
Life of Klim Samgin (Жизнь Клима Самгина), unfinished:[46]
The Bystander, 1927
The Magnet, 1928
Other Fires, 1930
The Specter, 1936
Novellas
The Orlovs (Супруги Орловы), 1897
Creatures That Once Were Men (Бывшие люди), 1897
Varenka Olesova (Варенька Олесова), 1898
Summer (Лето), 1909
Great Love (Большая любовь), 1911
Short stories
"Makar Chudra" (Макар Чудра), 1892
"Old Izergil" (Старуха Изергиль), 1895
"Chelkash" (Челкаш), 1895
"Konovalov" (Коновалов), 1897
"Malva" (Мальва), 1897
"Twenty-six Men and a Girl" (Двадцать шесть и одна), 1899
"Song of a Falcon" (Песня о Соколе), 1902. Also referred to as a poem in prose
Drama
The Philistines (Мещане), translated also as The Smug Citizens and The Petty Bourgeois (Мещане), 1901
The Lower Depths (На дне), 1902
Summerfolk (Дачники), 1904
Children of the Sun (Дети солнца), 1905
Barbarians (Варвары), 1905
Enemies, 1906.
The Last Ones (Последние), 1908. Translated also as Our Father[47]
Children (Дети), 1910. Translated also as The Reception (and called originally "Встреча")
Queer People (Чудаки), 1910. Translated also as Eccentrics
Vassa Zheleznova (Васса Железнова), 1910, 1935 (revised version)
The Zykovs (Зыковы), 1913
Counterfeit Money (Фальшивая монета), 1913
The Old Man (Старик), 1915, Revised 1922, 1924. Translated also as The Judge
Workaholic Slovotekov (Работяга Словотеков), 1920
Somov and Others (Cомов и другие), 1930
Yegor Bulychov and Others (Егор Булычов и другие), 1932
Dostigayev and Others (Достигаев и другие), 1933
Non-fiction
Chaliapin, articles in Letopis, 1917[48]
Untimely Thoughts, articles, 1918
My Recollections of Tolstoy, 1919
Reminiscences of Tolstoy, Chekhov, and Andreyev, 1920–1928
V.I. Lenin (В.И. Ленин), reminiscence, 1924–1931
The I.V. Stalin White Sea – Baltic Sea Canal, 1934 (editor-in-chief)
Literary Portraits [c.1935].[49]
Poems
"The Song of the Stormy Petrel" (Песня о Буревестнике), 1901
Autobiography
My Childhood (Детство), Part I, 1913–1914
In the World (В людях), Part II, 1916
My Universities (Мои университеты), Part III, 1923
Collections
Sketches and Stories, three volumes, 1898–1899
Creatures That Once Were Men, stories in English translation (1905). This contained an introduction by G. K. Chesterton[50] The Russian title, Бывшие люди (literally "Former people") gained popularity as an expression in reference to people who severely dropped in their social status
Tales of Italy (Сказки об Италии), 1911–1913
Through Russia (По Руси), 1923
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