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108-416: The information given for each journal includes: There are separate editions for the sciences and the social sciences; the 2013 science edition includes 8,411 journals, and the 2012 social science edition contains 3,016 titles. The issue for each year is published the following year after the citations for the year have been published and the information processed. The publication is available online ( JCR on

216-481: A dissolve in modern filmmaking, became the basis of a popular type of magic lantern show in England in the 19th century. Typical dissolving views showed landscapes dissolving from day to night or from summer to winter. This was achieved by aligning the projection of two matching images and slowly diminishing the first image while introducing the second image. The subject and the effect of magic lantern dissolving views

324-578: A background to block superfluous light, so the figures could be projected without distracting borders or frames. Many slides were finished with a layer of transparent lacquer, but in a later period cover glasses were also used to protect the painted layer. Most handmade slides were mounted in wood frames with a round or square opening for the picture. After 1820 the manufacturing of hand colored printed slides started, often making use of decalcomania transfers. Many manufactured slides were produced on strips of glass with several pictures on them and rimmed with

432-415: A camera obscura device that he got from Drebbel in 1622. The oldest known document concerning the magic lantern is a page on which Christiaan Huygens made ten small sketches of a skeleton taking off its skull, above which he wrote "for representations by means of convex glasses with the lamp" (translated from French). As this page was found between documents dated in 1659, it is believed to have been made in

540-426: A carriage with rotating wheels, a cupid with a spinning wheel, a shooting gun, and falling bombs. Wheels were cut from the glass plate with a diamond and rotated by a thread that was spun around small brass wheels attached to the glass wheels. A paper slip mask would be quickly pulled away to reveal the red fiery discharge and the bullet from a shooting gun. Zacharias Conrad von Uffenbach visited Themme's shop and liked

648-503: A chalkboard, but could easily be copied onto glass or mica. By the 1730s the use of magic lanterns started to become more widespread when travelling showmen, conjurers and storytellers added them to their repertoire. The travelling lanternists were often called Savoyards (they supposedly came from the Savoy region in France) and became a common sight in many European cities. In France in

756-500: A computer to settle the returns for each bet once the details of the wager have been 'translated' into the system by an employee. The added efficiency of this digital system has ensured that there are now very few, if indeed any, betting offices continuing to use microfilm cameras in the UK. Visa and National City use microfilm (roll microfilm and fiche) to store financial, personal, and legal records. Source code for computer programs

864-483: A description of his invention, the "Steganographic Mirror": a primitive projection system with a focusing lens and text or pictures painted on a concave mirror reflecting sunlight, mostly intended for long-distance communication. He saw limitations in the increase of size and diminished clarity over a long distance and expressed his hope that someone would find a method to improve on this. In 1654, Belgian Jesuit mathematician André Tacquet used Kircher's technique to show

972-595: A drawing that is 2.00 × 2.80 metres, that is 79 × 110 in. These films are stored as microfiche. 16 mm or 35 mm film to motion picture standard is used, usually unperforated. Roll microfilm is stored on open reels or put into cassettes. The standard lengths for using roll film is 30.48 m (100 ft) for 35 mm rolls, and 100 ft, 130 ft and 215 feet for 16 mm rolls. One roll of 35 mm film may carry 600 images of large engineering drawings or 800 images of broadsheet newspaper pages. 16 mm film may carry 2,400 images of letter-sized images as

1080-399: A format no longer produced, were similar to microfiche, but printed on cardboard rather than photographic film. Equipment is available that accepts a data stream from a computer; this exposes film to produce images as if the stream had been sent to a line printer and the listing had been microfilmed. The process is known as computer output microfilm or computer output microfiche (COM). Using

1188-482: A kind of world exhibition that would show all types of new inventions and spectacles. In a handwritten document he supposed it should open and close with magic lantern shows, including subjects "which can be dismembered, to represent quite extraordinary and grotesque movements, which men would not be capable of making" (translated from French). Several reports of early magic lantern screenings possibly described moving pictures, but are not clear enough to conclude whether

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1296-609: A lens in the hole has been traced back to c.  1550 . The portable camera obscura box with a lens was developed in the 17th century. Dutch inventor Cornelis Drebbel is thought to have sold one to Dutch poet, composer and diplomat Constantijn Huygens in 1622, while the oldest known clear description of a box-type camera is in German Jesuit scientist Gaspar Schott 's 1657 book Magia universalis naturæ et artis . The 1645 first edition of German Jesuit scholar Athanasius Kircher 's book Ars Magna Lucis et Umbrae included

1404-414: A light source. Because a single lens inverts an image projected through it (as in the phenomenon which inverts the image of a camera obscura ), slides were inserted upside down in the magic lantern, rendering the projected image correctly oriented. It was mostly developed in the 17th century and commonly used for entertainment purposes. It was increasingly used for education during the 19th century. Since

1512-483: A light source; this is the negative of text on paper. COM is sometimes processed normally. Other applications require that image appears as a conventional negative; the film is then reversal processed. This outputs either 16 mm film or fiche pages on a 105 mm roll. Because listing characters are a simple design, a reduction ratio of 50 gives good quality and puts about 300 pages on a microfiche. A microfilm plotter, sometimes called an aperture card plotter, accepts

1620-482: A magic lantern, but in 1674, his successor offered a variety of magic lanterns from the same workshop. This successor is thought to have only continued producing Wiesel's designs after his death in 1662, without adding anything new. Before 1671, only a small circle of people seemed to have knowledge of the magic lantern, and almost every known report of the device from this period had to do with people that were more or less directly connected to Christiaan Huygens. Despite

1728-733: A mathematician from Gotland , studied at the university of Leiden in 1657–58. He possibly met Christiaan Huygens during this time (and/or on several other occasions) and may have learned about the magic lantern from him. Correspondence between them is known from 1667. At least from 1664 until 1670, Walgensten demonstrated the magic lantern in Paris (1664), Lyon (1665), Rome (1665–1666), and Copenhagen (1670). He "sold such lanterns to different Italian princes in such an amount that they now are almost everyday items in Rome", according to Athanasius Kircher in 1671. In 1670, Walgensten projected an image of Death at

1836-584: A matrix of microimages. All microfiche are read with their text parallel to the long side of the fiche . Frames may be landscape or portrait in orientation . Along the top of the fiche a title may be recorded for visual identification. The most commonly used format is a portrait image of about 10 × 14 mm. Office-size papers or magazine pages require a reduction of 24 or 25 in size. Microfiche are stored in open-top envelopes, which are put in drawers or boxes as file cards or fitted into pockets in purpose-made books. Ultrafiche (also "ultramicrofiche" )

1944-452: A means of keeping compact records of bets taken. Betting shop customers would sometimes attempt to amend their betting slip receipt to attempt fraud, and so the microphotography camera (which also generally contained its own independent time-piece) found use as a definitive means of recording the exact details of each and every bet taken. The use of microphotography has now largely been replaced by digital 'bet capture' systems, which also allow

2052-561: A method to microformat dissertations, and in 1934 the United States National Agriculture Library implemented the first microform print-on-demand service, which was quickly followed by a similar commercial concern, Science Service. In 1935, Kodak's Recordak division began filming and publishing The New York Times on reels of 35 millimeter microfilm, ushering in the era of newspaper preservation on film. This method of information storage received

2160-482: A mist in his representation of the Witch of Endor . While working out the desired effect, he got the idea of using the technique with landscapes. An 1812 newspaper about a London performance indicates that De Philipsthal presented what was possibly a relatively early incarnation of a dissolving views show, describing it as "a series of landscapes (in imitation of moonlight), which insensibly change to various scenes producing

2268-498: A natural successor. The magic lantern can be seen as a further development of camera obscura . This is a natural phenomenon that occurs when an image of a scene at the other side of a screen (for instance a wall) is projected through a small hole in that screen as an inverted image (left to right and upside down) on a surface opposite to the opening. It was known at least since the 5th century BC and experimented with in darkened rooms at least since c.  1000 AD . The use of

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2376-637: A novelty was an opinion shared in the 1858 Dictionary of Photography , which called the process "somewhat trifling and childish". Microphotography was first suggested as a document preservation method in 1851 by the astronomer James Glaisher , and in 1853 by John Herschel , another astronomer. Both men attended the 1851 Great Exhibition in London, where the exhibit on photography greatly influenced Glaisher. He called it "the most remarkable discovery of modern times", and argued in his official report for using microphotography to preserve documents. A pigeon post

2484-401: A reduced size. The prints were on photographic paper and did not exceed 40 mm, to permit insertion in a goose-quill or thin metal tube, which protected against the elements. The pigeons each carried a dispatch that was tightly rolled and tied with a thread, and then attached to a tail feather of the pigeon. The dispatch was protected by being inserted in the quill, which was then attached to

2592-409: A seesaw. Movements could be repeated over and over and could be performed at different speeds. A common technique that is comparable to the effect of a panning camera makes use of a long slide that is simply pulled slowly through the lantern and usually shows a landscape, sometimes with several phases of a story within the continuous backdrop. Movement of projected images was also possible by moving

2700-412: A simple, inexpensive ($ 2.00 in 1950), monocular microfilm viewing device, known as the "Seidell viewer", that was sold during the 1940s and 1950s. A microfilm printer contains a xerographic copying process, like a photocopier . The image to be printed is projected with synchronised movement on to the drum. These devices offer either small image preview for the operator or full size image preview, when it

2808-414: A single film may be inserted into a dark slide or the camera may be fitted with a roll film holder which after an exposure advances the film into a box and cuts the frame off the roll for processing as a single film. For engineering drawings, a freestanding open steel structure is often provided. A camera may be moved vertically on a track. Drawings are placed on a large table for filming, with centres under

2916-406: A single stream of microimages along the film set so that lines of text are parallel to the sides of the film or 10,000 small documents, perhaps cheques or betting slips, with both sides of the originals set side by side on the film. Aperture cards are Hollerith cards into which a hole has been cut. A 35 mm microfilm chip is mounted in the hole inside of a clear plastic sleeve or secured over

3024-401: A square inch, and that a one-foot cube could contain 1.5 million volumes. In 1906, Paul Otlet and Robert Goldschmidt proposed the livre microphotographique as a way to alleviate the cost and space limitations imposed by the codex format. Otlet's overarching goal was to create a World Center Library of Juridical, Social and Cultural Documentation, and he saw microfiche as a way to offer

3132-554: A stable and durable format that was inexpensive, easy to use, easy to reproduce, and extremely compact. In 1925, the team spoke of a massive library where each volume existed as master negatives and positives, and where items were printed on demand for interested patrons. In the 1920s, microfilm began to be used in a commercial setting. New York City banker George McCarthy was issued a patent in 1925 for his "Checkograph" machine, designed to make micrographic copies of cancelled checks for permanent storage by financial institutions. In 1928,

3240-470: A step and repeat mechanism to advance the film after each exposure. The simpler versions use a dark slide loaded by the operator in a dark room; after exposure the film is individually processed, which may be by hand or using a dental X-ray processor. Cameras for high output are loaded with a roll of 105 mm film. The exposed film is developed as a roll; this is sometimes cut to individual fiche after processing or kept in roll form for duplication. Equipment

3348-689: A storage medium than earlier methods of film information storage, such as the Photoscope, the Film-O-Graph, the Fiske-O-Scope, and filmslides. The year 1938 also saw another major event in the history of microfilm when University Microfilms International (UMI) was established by Eugene Power . For the next half century, UMI would dominate the field, filming and distributing microfilm editions of current and past publications and academic dissertations. After another short-lived name change, UMI

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3456-411: A stream that might be sent to a computer pen plotter. It produces corresponding frames of microfilm. These produce microfilm as 35 or 16 mm film or aperture cards. Computer Output Microfiche was used to distribute massive amounts of frequently changed data to institutions or companies which could not afford computer terminals but already used microfiche readers for a variety of reasons. In some cases

3564-576: A strip of glued paper. The first photographic lantern slides, called hyalotypes , were invented by the German-born brothers Ernst Wilhelm (William) and Friedrich (Frederick) Langenheim in 1848 in Philadelphia and patented in 1850. Apart from sunlight, the only light sources available at the time of invention in the 17th century were candles and oil lamps, which were very inefficient and produced very dim projected images. The invention of

3672-635: A sturdy but lightweight and transportable "Phantasmagoria lantern" with an Argand style lamp. It produced high quality projections and was suitable for classrooms. Carpenter also developed a "secret" copper plate printing/burning process to mass-produce glass lantern slides with printed outlines, which were then easily and quickly hand painted ready for sale. These "copper-plate sliders" contained three or four very detailed 4" circular images mounted in thin hardwood frames. The first known set The Elements of Zoology became available in 1823, with over 200 images in 56 frames of zoological figures, classified according to

3780-473: A very magical effect." Another possible inventor is Henry Langdon Childe , who purportedly once worked for De Philipsthal. He is said to have invented the dissolving views in 1807, and to have improved and completed the technique in 1818. The oldest known use of the term "dissolving views" occurs on playbills for Childe's shows at the Adelphi Theatre in London in 1837. Childe further popularized

3888-463: Is a scaled-down reproduction of a document, typically either photographic film or paper, made for the purposes of transmission, storage, reading, and printing. Microform images are commonly reduced to about 4% or 1 ⁄ 25 of the original document size. For special purposes, greater optical reductions may be used. Three formats are common: microfilm (reels), microfiche (flat sheets), and aperture cards . Microcards, also known as "micro-opaques",

3996-482: Is an exceptionally compact version of a microfiche or microfilm, storing analog data at much higher densities. Ultrafiche can be created directly from computers using appropriate peripherals. They are typically used for storing data gathered from extremely data-intensive operations such as remote sensing. Microcards are an opaque, non-reversed format, sometimes known as microopaques. They were invented in 1948 by Fremont Rider and described in his book, The Scholar and

4104-402: Is available that accepts a data stream from a mainframe computer. This exposes film to produce images as if the stream had been sent to a line printer and the listing had been microfilmed. Because of the source one run may represent many thousands of pages. The process is known as computer output microfilm or computer output microfiche (COM). Within the equipment character images are made by

4212-581: Is built into a box. In some versions this is for bench top use, other versions are portable. The operator maintains a stack of material to be filmed in a tray, the camera automatically takes one document after another for advancement through the machine. The camera lens sees the documents as they pass a slot. Film behind the lens advances exactly with the image. Special purpose flow cameras film both sides of documents, putting both images side by side on 16 mm film. These cameras are used to record cheques and betting slips. All microfiche cameras are planetary with

4320-411: Is called a reader printer. Microform printers can accept positive or negative films and positive or negative images on paper. New machines allow the user to scan a microform image and save it as a digital file. 105 × 148 mm flat film is used for microimages of very large engineering drawings. These may carry a title photographed or written along one edge. Typical reduction is about 20, representing

4428-423: Is in use. They may offer a choice of magnifications. They usually have motors to advance and rewind film. When coding blips are recorded on the film a reader is used that can read the blips to find any required image. Portable readers are plastic devices that fold for carrying; when open they project an image from microfiche on to a reflective screen. For example, with M. de Saint Rat , Atherton Seidell developed

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4536-425: Is known to have studied samples of Wiesel's lens-making and instruments since 1653. Wiesel did make a ship's lantern around 1640 that has much in common with the magic lantern design that Griendel would later apply: a horizontal cylindrical body with a rosette chimney on top, a concave mirror behind a fixture for a candle or lamp inside and a biconvex lens at the front. There is no evidence that Wiesel actually ever made

4644-501: Is provided 16, 35 and 105 mm wide in lengths of 30 metres (100 ft) and longer, and is usually unperforated. Roll film is developed, fixed and washed by continuous processors. Sheet film is supplied in ISO A6 size. This is either processed by hand or using a dental X-ray processor. Camera film is supplied ready mounted in aperture cards. Aperture cards are developed, fixed and washed immediately after exposure by equipment fitted to

4752-470: Is similar to the popular Diorama theatre paintings that originated in Paris in 1822. 19th century magic lantern broadsides often used the terms dissolving view , dioramic view , or simply diorama interchangeably. The effect was reportedly invented by phantasmagoria pioneer Paul de Philipsthal while in Ireland in 1803 or 1804. He thought of using two lanterns to make the spirit of Samuel appear out of

4860-524: The Argand lamp in the 1790s helped to make the images brighter. The invention of limelight in the 1820s made them even brighter, emitting about 6000-8000 lumens . The invention of the intensely bright electric arc lamp in the 1860s eliminated the need for combustible gases or hazardous chemicals, and eventually the incandescent electric lamp further improved safety and convenience, although not brightness. Several types of projection systems existed before

4968-980: The Eastman Kodak Company bought McCarthy's invention and began marketing check microfilming devices under its "Recordak" division. Between 1927 and 1935, the Library of Congress microfilmed more than three million pages of books and manuscripts in the British Library ; in 1929 the Social Science Research Council and the American Council of Learned Societies joined to create a Joint Committee on Materials for Research, chaired for most of its existence by Robert C. Binkley , which looked closely at microform's potential to serve small print runs of academic or technical materials. In 1933, Charles C. Peters developed

5076-494: The daguerreotype process, John Benjamin Dancer was one of the first to produce microphotographs , in 1839. He achieved a reduction ratio of 160:1. Dancer refined his reduction procedures with Frederick Scott Archer 's wet collodion process , developed in 1850–51, but he dismissed his decades-long work on microphotographs as a personal hobby and did not document his procedures. The idea that microphotography could be no more than

5184-430: The 1770s François Dominique Séraphin used magic lanterns to perform his "Ombres Chinoises" (Chinese shadows), a form of shadow play . Magic lanterns had also become a staple of science lecturing and museum events since Scottish lecturer Henry Moyes 's tour of America in 1785–86, when he recommended that all college laboratories procure one. French writer and educator Stéphanie Félicité, comtesse de Genlis popularized

5292-406: The 1950s. The magic lantern was not only a direct ancestor of the motion picture projector as a means for visual storytelling, but it could itself be used to project moving images. Some suggestion of movement could be achieved by alternating between pictures of different phases of a motion, but most magic lantern "animations" used two glass slides projected together — one with the stationary part of

5400-403: The 19th century and enabled a smooth and easy change of pictures. Stereopticons added more powerful light sources to optimize the projection of photographic slides. Originally the pictures were hand painted on glass slides. Initially, figures were rendered with black paint but soon transparent colors were also used. Sometimes the painting was done on oiled paper. Usually black paint was used as

5508-701: The Future of the Research Library . To create microform media, a planetary camera is mounted with the vertical axis above a copy that is stationary during exposure. High volume output is possible with a rotary camera which moves the copy smoothly through the camera to expose film which moves with the reduced image. Alternatively, it may be produced by computers, i.e. COM (computer output microfilm). Normally microfilming uses high resolution panchromatic monochrome stock. Positive color film giving good reproduction and high resolution can also be used. Roll film

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5616-542: The Sun. In 1795, one M. Dicas offered an early magic lantern system, the Lucernal or Portable Eidouranian, that showed the orbiting planets. From around the 1820s mechanical astronomical slides became quite common. Various types of mechanisms were commonly used to add movement to the projected image: Mechanical slides with abstract special effects include: The effect of a gradual transition from one image to another, known as

5724-641: The Web ), or in CD format ( JCR on CD-ROM ); it was originally published in print, with the detailed tables on microfiche . In general, various universities, administrative centers and ministries in charge of higher education make their evaluations of university professors and other researchers on the number and quality of articles published in journals indexed in the JCR. In recent years, it has often been released in mid-June. The 2017 Journal Citation Reports , based on 2016 data,

5832-405: The aperture with adhesive tape. They are used for engineering drawings in all engineering disciplines. There are libraries of these containing over 3 million cards. Aperture cards may be stored in drawers or in freestanding rotary units. A microfiche is a sheet of flat film, 105 × 148 mm in size, the same size as the international standard for paper size ISO A6 . It carries

5940-504: The arrival of instrument maker Johann Franz Griendel in the city of Nürnberg , which Johann Zahn identified as one of the centers of magic lantern production in 1686. Griendel was indicated as the inventor of the magic lantern by Johann Christoph Kohlhans in a 1677 publication. It has been suggested that this tradition is older and that instrument maker Johann Wiesel (1583–1662) from Augsburg may have been making magic lanterns earlier on and possibly inspired Griendel and even Huygens. Huygens

6048-608: The camera. Early cut sheet microforms and microfilms (to the 1930s) were printed on nitrate film , which poses high risks to their holding institutions, as nitrate film is chemically unstable and a fire hazard. From the late 1930s to the 1980s, microfilms were usually printed on a cellulose acetate base, which is prone to tears, vinegar syndrome , and redox blemishes. Vinegar syndrome is the result of chemical decay and produces "buckling and shrinking, embrittlement, and bubbling". Redox blemishes are yellow, orange or red spots 15–150 micrometres in diameter created by oxidative attacks on

6156-499: The card. This permits automated reproduction, as well as permitting mechanical card-sorting equipment to sort and select microfilm drawings. Aperture card mounted microfilm is roughly 3% of the size and space of conventional paper or vellum engineering drawings. Some military contracts around 1980 began to specify digital storage of engineering and maintenance data because the expenses were even lower than microfilm, but these programs are now finding it difficult to purchase new readers for

6264-534: The category "Humorous" provided some entertainment, but the focus on education was obvious and very successful. Through the mid-19th century, the market for magic lanterns was concentrated in Europe with production focused primarily on Italy, France, and England. In 1848, a New York optician began advertising imported slides and locally produced magic lanterns. By 1860, however, mass production began to make magic lanterns more widely available and affordable, with much of

6372-566: The court of King Frederick III of Denmark . This scared some courtiers, but the king dismissed their cowardice and requested to repeat the figure three times. The king died a few days later. After Walgensten died, his widow sold his lanterns to the Royal Danish Collection  [ da ] , but they have not been preserved. Walgensten is credited with coining the term Laterna Magica , assuming he communicated this name to Claude Dechales who, in 1674, published about seeing

6480-580: The dispatches onto paper. Additionally, the US Victory Mail , and the British "Airgraph" system it was based on, were used for delivering mail between those at home and troops serving overseas during World War II . The systems worked by photographing large amounts of censored mail reduced to thumb-nail size onto reels of microfilm, which weighed much less than the originals would have. The film reels were shipped by priority air freight to and from

6588-745: The dissolving views at the Royal Polytechnic Institution in the early 1840s. Despite later reports about the early invention, and apart from De Philipsthal's 1812 performance, no reports of dissolving view shows before the 1820s are known. Some cases may involve confusion with the Diorama or similar media. In 1826, Scottish magician and ventriloquist M. Henry introduced what he described as "beautiful dissolvent scenes", "imperceptibly changing views", "dissolvent views", and "Magic Views"—created "by Machinery invented by M. Henry." In 1827, Henry Langdon Childe presented "Scenic Views, showing

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6696-520: The effects, but was disappointed about the very simple mechanisms. Nonetheless, he bought seven moving slides, as well as twelve slides with four pictures each, which he thought were delicately painted. Several types of mechanical slides were described and illustrated in Dutch professor of mathematics, physics, philosophy, medicine, and astronomy Pieter van Musschenbroek 's second edition (1739) of Beginsels Der Natuurkunde (see illustration below). Pieter

6804-409: The film, and are largely due to poor storage conditions. The simplest microfilm camera that is still in use is a rail mounted structure at the top of which is a bellows camera for 105 x 148 mm film. A frame or copy board holds the original drawing vertical. The camera has a horizontal axis which passes through the center of the copy. The structure may be moved horizontally on rails. In a darkroom

6912-556: The first horizontal biunial lantern, dubbed the "Biscenascope" was made by the optician Mr. Clarke and presented at the Royal Adelaide Gallery in London on 5 December 1840. The earliest known illustration of a vertical biunial lantern, probably provided by E.G. Wood, appeared in the Horne & Thornthwaite catalogue in 1857. Later on triple lanterns enabled additional effects, for instance the effect of snow falling while

7020-431: The home fronts, sent to their prescribed destinations for enlarging at receiving stations near the recipients, and printed out on lightweight photo paper. These facsimiles of the letter-sheets were reproduced about one-quarter the original size and the miniature mails were then delivered to the addressee. Use of these microfilm systems saved significant volumes of cargo capacity needed for war supplies. An additional benefit

7128-447: The image—and onward into a lens at the front of the apparatus. The lens adjusted to focus the plane of the slide at the distance of the projection screen, which could be simply a white wall, and it therefore formed an enlarged image of the slide on the screen. Some lanterns, including those of Christiaan Huygens and Jan van Musschenbroek, used three lenses for the objective . Biunial lanterns, with two objectives, became common during

7236-468: The invention of the magic lantern. Giovanni Fontana , Leonardo da Vinci and Cornelis Drebbel described or drew image projectors that had similarities to the magic lantern. In the 17th century, there was an immense interest in optics. The telescope and microscope were invented and apart from being useful to some scientists, such instruments were especially popular as entertaining curiosities to people who could afford them. The magic lantern would prove

7344-399: The journey from China to Belgium of Italian Jesuit missionary Martino Martini . Some reports say that Martini lectured throughout Europe with a magic lantern, which he might have imported from China, but there's no evidence that it used anything other than Kircher's technique. However, Tacquet was a correspondent and friend of Christiaan Huygens and may thus have been a very early adapter of

7452-508: The lantern to the court of King Louis XIV of France at the Louvre, Christiaan asked Lodewijk to sabotage the lantern. Christiaan initially referred to the magic lantern as "la lampe" and "la lanterne", but in the last years of his life he used the then common term "laterna magica" in some notes. In 1694, he drew the principle of a "laterna magica" with two lenses. Thomas Rasmussen Walgensten  [ da ] ( c.  1627 –1681),

7560-412: The last two years in a given journal, as indexed by Clarivate's Web of Science . As a journal-level metric , it is frequently used as a proxy for the relative importance of a journal within its field; journals with higher impact factor values are given the status of being more important, or carry more prestige in their respective fields, than those with lower values. Microfiche A microform

7668-430: The late 19th century, smaller versions were also mass-produced as toys. The magic lantern was in wide use from the 18th century until the mid-20th century when it was superseded by a compact version that could hold many 35 mm photographic slides: the slide projector . The magic lantern used a concave mirror behind a light source to direct the light through a small rectangular sheet of glass—a "lantern slide" that bore

7776-635: The lens, resulting in a brighter projection, and it would become a standard part of most of the lanterns that were made later. Petit may have copied it from Walgensten, but he expressed that he made a lamp stronger than any he had ever seen. Starting in 1661, Huygens corresponded with London optical instrument-maker Richard Reeve . Reeve was soon selling magic lanterns, demonstrated one in his shop on 17 May 1663 to Balthasar de Monconys , and sold one to Samuel Pepys in August 1666. One of Christiaan Huygens' contacts imagined how Athanasius Kircher would use

7884-414: The lens. Fixed lights illuminate the copy. These cameras are often over 4 metres (13 ft) high. These cameras accept roll film stock of 35 or 16 mm. For office documents a similar design may be used but bench standing. This is a smaller version of the camera described above. These are provided either with the choice of 16 or 35 mm film or accepting 16 mm film only. Non adjustable versions of

7992-450: The machine of the "erudite Dane" in 1665 in Lyon. There are many gaps and uncertainties in the magic lantern's recorded history. A separate early magic lantern tradition seems to have been developed in southern Germany and includes lanterns with horizontal cylindrical bodies, while Walgensten's lantern and probably Huygens' both had vertical bodies. This tradition dates at least to 1671, with

8100-490: The magic lantern in his plan for a kind of world exhibition with projections of "attempts at flight, artistic meteors, optical effects, representations of the sky with the star and comets, and a model of the earth (...), fireworks, water fountains, and ships in rare forms; then mandrakes and other rare plants and exotic animals." In 1685–1686, Johannes Zahn was an early advocate for use of the device for educational purposes: detailed anatomical illustrations were difficult to draw on

8208-500: The magic lantern itself. This became a staple technique in phantasmagoria shows in the late 18th century, often with the lantern sliding on rails or riding on small wheels and hidden from the view of the audience behind the projection screen. In 1645, Kircher had already suggested projecting live insects and shadow puppets from the surface of the mirror in his Steganographic system to perform dramatic scenes. Christiaan Huygens' 1659 sketches (see above) suggest he intended to animate

8316-617: The magic lantern technique that Huygens developed around this period. Dutch scientist Christiaan Huygens is considered as one of the possible inventors of the magic lantern. He knew Athanasius Kircher 's 1645 edition of Ars Magna Lucis et Umbrae which described a primitive projection system with a focusing lens and text or pictures painted on a concave mirror reflecting sunlight. Christiaan's father Constantijn had been acquainted with Cornelis Drebbel who used some unidentified optical techniques to transform himself and to summon appearances in magical performances. Constantijn Huygens wrote about

8424-457: The magic lantern: "If he would know about the invention of the Lantern he would surely frighten the cardinals with specters." Kircher would eventually learn about the existence of the magic lantern via Thomas Walgensten and introduced it as "Lucerna Magica" in the widespread 1671 second edition of his book Ars Magna Lucis et Umbrae . Kircher claimed that Thomas Walgensten reworked his ideas from

8532-499: The microphotograph was reattached to a glass frame and was then projected by magic lantern on the wall. The message contained in the microfilm could then be transcribed or copied. By 28 January 1871, when Paris and the Government of National Defense surrendered, Dagron had delivered 115,000 messages to Paris by carrier pigeon. The chemist Charles-Louis Barreswil proposed the application of photographic methods with prints of

8640-405: The motions, changes and actions that may this way be represented, would readily believe them to be supernatural and miraculous." In the same year, Francesco Eschinardi published Centuriae opticae pars altera seu dialogi optici pars tertia , which included a detailed description of the construction of the magic lantern. In 1675, German polymath and philosopher Gottfried Wilhelm Leibniz proposed

8748-511: The next decades prove that the new medium was not just used for horror shows, but that many kinds of subjects were projected. Griendel didn't mention scary pictures when he described the magic lantern to Gottfried Wilhelm Leibniz in December 1671: "An optical lantern which presents everything that one desires, figures, paintings, portraits, faces, hunts, even an entire comedy with all its lively colours." In 1675, Leibniz saw an important role for

8856-400: The office camera are provided. These have a rigid frame or an enveloping box that holds a camera at a fixed position over a copy board. If this is to work at more than one reduction ratio there are a choice of lenses. Some cameras expose a pattern of light, referred to as blips, to digitally identify each adjacent frame. This pattern is copied whenever the film is copied for searching. A camera

8964-796: The old formats. Microfilm first saw military use during the Franco-Prussian War of 1870–71. During the Siege of Paris , the only way for the provisional government in Tours to communicate with Paris was by pigeon post . As the pigeons could not carry paper dispatches, the Tours government turned to microfilm. Using a microphotography unit evacuated from Paris before the siege, clerks in Tours photographed paper dispatches and compressed them to microfilm, which were carried by homing pigeons into Paris and projected by magic lantern while clerks copied

9072-411: The picture and the other with the part that could be set in motion by hand or by a simple mechanism. Motion in animated slides was mostly limited to either two phases of a movement or transformation, or a more gradual singular movement (e.g., a train passing through a landscape). These limitations made subjects with repetitive movements popular, like the sails on a windmill turning around or children on

9180-402: The previous edition of this book into a better lantern. Kircher described this improved lantern, but it was illustrated in a confusing manner: the pictures seem technically incorrect—with both the projected image and the transparencies (H) shown upright (while the text states that they should be inverted), the hollow mirror is too high in one picture and absent in the other, and the lens (I) is at

9288-499: The production in the latter half of the 19th century concentrated in Germany. These smaller lanterns had smaller glass sliders, which instead of wooden frames usually had colorful strips of paper glued around their edges with the images printed directly on the glass. The popularity of magic lanterns waned after the introduction of movies in the 1890s, but they remained a common medium until slide projectors became widespread during

9396-421: The quantities involved justified getting a microfiche reader just to read COM fiche. The first COM devices date back to around 1955 and were used in scientific programming as substitutes for paper-based plotters . Then during the 1960s, business applications sought to use COM. This was part of the effort to find alternatives to paper-based reports in dealing with the information explosion . By 1969, some of

9504-439: The rejection expressed in his letters to his brother, Huygens must have familiarized several people with the lantern. In 1664 Parisian engineer Pierre Petit wrote to Huygens to ask for some specifications of the lantern, because he was trying to construct one after seeing the lantern of "the dane" (probably Walgensten). The lantern that Petit was constructing had a concave mirror behind the lamp. This directed more light through

9612-417: The same year. Huygens soon seemed to regret this invention, as he thought it was too frivolous. In a 1662 letter to his brother Lodewijk he claimed he thought of it as some old "bagatelle" and seemed convinced that it would harm the family's reputation if people found out the lantern came from him. Christiaan had reluctantly sent a lantern to their father, but when he realized that Constantijn intended to show

9720-776: The sanction of the American Library Association at its annual meeting in 1936, when it officially endorsed microforms. In 1937 Herman H. Fussler of the University of Chicago set up an exhibition of microform at the World Congress of Universal Documentation . Harvard University Library was the first major institution to realize the potential of microfilm to preserve broadsheets printed on high-acid newsprint and it launched its "Foreign Newspaper Project" to preserve such ephemeral publications in 1938. Roll microfilm proved far more satisfactory as

9828-693: The scientific users of COM included Bell Telephone Laboratories , the MIT Lincoln Laboratory , and NASA , while some of the business users included The Equitable Life Assurance Society , Sears Roebuck & Company , and the Social Security Administration . Magic lantern The magic lantern , also known by its Latin name lanterna magica , was an early type of image projector that used pictures—paintings, prints, or photographs —on transparent plates (usually made of glass), one or more lenses , and

9936-417: The ships around by increasing the movement of the separate slides. Guyot also detailed how projection on smoke could be used to create the illusion of ghosts hovering in the air, which would become a technique commonly used in phantasmagoria . An especially intricate multiple rackwork mechanism was developed to show the movements of the planets (sometimes accompanied by revolving satellites) revolving around

10044-407: The skeleton to have it take off its head and place it back on its neck. This can be seen as an indication that the very first magic lantern demonstrations may already have included projections of simple animations. In 1668, Robert Hooke wrote about the effects of a type of magic lantern installation: "Spectators not well versed in optics, that should see the various apparitions and disappearances,

10152-424: The sudden appearance of images if the lantern would be hidden in a separate room, so the audience would be ignorant of the cause of their appearance. The earliest reports and illustrations of lantern projections suggest that they were all intended to scare the audience. Pierre Petit called the apparatus "lanterne de peur" (lantern of fear) in his 1664 letter to Huygens. Surviving lantern plates and descriptions from

10260-477: The system of the Swedish scientist Carl Linnaeus . The same year many other slides appeared in the company's catalogue: "The Kings and Queens of England" (9 sliders taken from David Hume's History of England), "Astronomical Diagrams and Constellations" (9 sliders taken from Friedrich Wilhelm Herschel's textbooks), "Views and Buildings", Ancient and Modern Costume (62 sliders from various sources). Fifteen sliders of

10368-423: The tail feather. The developments in microphotography continued through the next decades, but it was not until the turn of the century that its potential for practical usage was applied more broadly. In 1896, Canadian engineer Reginald A. Fessenden suggested microforms were a compact solution to engineers' unwieldy but frequently consulted materials. He proposed that up to 150,000,000 words could be made to fit in

10476-577: The use of magic lanterns as an educational tool in the late 18th century when using projected images of plants to teach botany. Her educational methods were published in America in English translation during the early 1820s. A type of lantern was constructed by Moses Holden between 1814 and 1815 for illustrating his astronomical lectures. In 1821, Philip Carpenter's London company, which became Carpenter and Westley after his death, started manufacturing

10584-440: The various effects of light and shade," with a series of subjects that became classics for the dissolving views. In December 1827, De Philipsthal returned with a show that included "various splendid views (...) transforming themselves imperceptibly (as if it were by Magic) from one form into another." Biunial lanterns, with two projecting optical sets in one apparatus, were produced to more easily project dissolving views. Possibly

10692-436: The viewers saw animated slides or motion depicted in still images. In 1698, German engraver and publisher Johann Christoph Weigel described several lantern slides with mechanisms that made glass parts move over one fixed glass slide, for instance by the means of a silk thread, or grooves in which the mobile part slides. By 1709 a German optician and glass grinder named Themme (or Temme) made moving lantern slides, including

10800-602: The wrong side of the slide. However, experiments with a construction as illustrated in Kircher's book proved that it could work as a point light-source projection system. The projected image in one of the illustrations shows a person in purgatory or hellfire and the other depicts Death with a scythe and an hourglass. According to legend Kircher secretly used the lantern at night to project the image of Death on windows of apostates to scare them back into church. Kircher did suggest in his book that an audience would be more astonished by

10908-459: Was also a space-saving measure. In his 1945 book, The Scholar and the Future of the Research Library , Fremont Rider calculated that research libraries were doubling in space every sixteen years. His suggested solution was microfilming, specifically with his invention, the microcard. Once items were put onto film, they could be removed from circulation and additional shelf space would be made available for rapidly expanding collections. The microcard

11016-411: Was in operation during the Siege of Paris (1870-1871). René Dagron photographed pages of newspapers in their entirety which he then converted into miniature photographs. He subsequently removed the collodion film from the glass base and rolled it tightly into a cylindrical shape which he then inserted into miniature tubes that were transported fastened to the tail feathers of the pigeons. Upon receipt

11124-452: Was made a part of ProQuest Information and Learning in 2001. Systems that mount microfilm images in punched cards have been widely used for archival storage of engineering information. For example, when airlines demand archival engineering drawings to support purchased equipment (in case the vendor goes out of business, for example), they normally specify punch-card-mounted microfilm with an industry-standard indexing system punched into

11232-413: Was printed to microfiche during the 1970s and distributed to customers in this form. Additionally, microfiche was used to write out long casework for some proofs such as the four color theorem . The medium has numerous characteristics: Desktop readers are boxes with a translucent screen at the front on to which is projected an image from a microform. They have suitable fittings for whatever microform

11340-488: Was released on June 14, 2017. In April 2020, Journal Citation Reports included a beta for open access data, which uses Unpaywall data. It officially left the beta phase with the release of the 2020 JCR in June 2020. The impact factor (IF) or journal impact factor (JIF) of an academic journal is a scientometric index calculated by Clarivate that reflects the yearly mean number of citations of articles published in

11448-631: Was superseded by microfiche. By the 1960s, microfilming had become standard policy. In 1948, the Australian Joint Copying Project started; the intention to film records and archives from the United Kingdom relating to Australia and the Pacific. Over 10,000 reels were produced, making it one of the largest projects of its kind. Around the same time, Licensed Betting Offices in the UK began using microphotography as

11556-455: Was that the small, lightweight reels of microfilm were almost always transported by air, and as such were delivered much more quickly than any surface mail service could have managed. Libraries began using microfilm in the mid-20th century as a preservation strategy for deteriorating newspaper collections. Books and newspapers that were deemed in danger of decay could be preserved on film and thus access and use could be increased. Microfilming

11664-404: Was the brother of Jan van Musschenbroek, the maker of an outstanding magic lantern with excellent lenses and a diaphragm (see illustration above). In 1770, Edmé-Gilles Guyot described a method of using two slides for the depiction of a storm at sea, with waves on one slide and ships and a few clouds on another. Lanternists could project the illusion of mild waves turning into a wild sea tossing

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