A photograph is an image created by light falling on a photosensitive surface photographic film or an electronic image sensor, such as a CCD or a CMOS chip. Most photographs are created using a camera, which uses a lens to focus the scene's visible wavelengths of light into a reproduction of what the human eye would see; the process and practice of creating such images is called photography. The word photograph was coined in 1839 by Sir John Herschel and is based on the Greek φῶς, meaning "light," and γραφή, meaning "drawing, writing," together meaning "drawing with light." The first permanent photograph, a contact-exposed copy of an engraving, was made in 1822 using the bitumen-based "heliography" process developed by Nicéphore Niépce. The first photographs of a real-world scene, made using a camera obscura, followed a few years but Niépce's process was not sensitive enough to be practical for that application: a camera exposure lasting for hours or days was required. In 1829 Niépce entered into a partnership with Louis Daguerre and the two collaborated to work out a similar but more sensitive and otherwise improved process.
After Niépce's death in 1833 Daguerre concentrated on silver halide-based alternatives. He exposed a silver-plated copper sheet to iodine vapor, creating a layer of light-sensitive silver iodide, he named this first practical process for making photographs with a camera the daguerreotype, after himself. Its existence was announced to the world on 7 January 1839 but working details were not made public until 19 August. Other inventors soon made improvements which reduced the required exposure time from a few minutes to a few seconds, making portrait photography practical and popular; the daguerreotype had shortcomings, notably the fragility of the mirror-like image surface and the particular viewing conditions required to see the image properly. Each was a unique opaque positive. Inventors set about working out improved processes. By the end of the 1850s the daguerreotype had been replaced by the less expensive and more viewed ambrotype and tintype, which made use of the introduced collodion process.
Glass plate collodion negatives used to make prints on albumen paper soon became the preferred photographic method and held that position for many years after the introduction of the more convenient gelatin process in 1871. Refinements of the gelatin process have remained the primary black-and-white photographic process to this day, differing in the sensitivity of the emulsion and the support material used, glass a variety of flexible plastic films, along with various types of paper for the final prints. Color photography is as old as black-and-white, with early experiments including John Herschel's Anthotype prints in 1842, the pioneering work of Louis Ducos du Hauron in the 1860s, the Lippmann process unveiled in 1891, but for many years color photography remained little more than a laboratory curiosity, it first became a widespread commercial reality with the introduction of Autochrome plates in 1907, but the plates were expensive and not suitable for casual snapshot-taking with hand-held cameras.
The mid-1930s saw the introduction of Kodachrome and Agfacolor Neu, the first easy-to-use color films of the modern multi-layer chromogenic type. These early processes produced transparencies for use in slide projectors and viewing devices, but color prints became popular after the introduction of chromogenic color print paper in the 1940s; the needs of the motion picture industry generated a number of special processes and systems the best-known being the now-obsolete three-strip Technicolor process. Non-digital photographs are produced with a two-step chemical process. In the two-step process the light-sensitive film captures a negative image. To produce a positive image, the negative is most transferred onto photographic paper. Printing the negative onto transparent film stock is used to manufacture motion picture films. Alternatively, the film is processed to invert the negative image; such positive images are mounted in frames, called slides. Before recent advances in digital photography, transparencies were used by professionals because of their sharpness and accuracy of color rendition.
Most photographs published in magazines were taken on color transparency film. All photographs were monochromatic or hand-painted in color. Although methods for developing color photos were available as early as 1861, they did not become available until the 1940s or 1950s, so, until the 1960s most photographs were taken in black and white. Since color photography has dominated popular photography, although black and white is still used, being easier to develop than color. Panoramic format images can be taken with cameras like the Hasselblad Xpan on standard film. Since the 1990s, panoramic photos have been available on the Advanced Photo System film. APS was developed by several of the major film manufacturers to provide a film with different formats and computerized options available, though APS panoramas were created using a mask in panorama-capable cameras, far less desirable than a true panoramic camera, which achieves its effect through a wider film format. APS has been discontinued; the advent of the microcomputer and d
Collier's was an American magazine, founded in 1888 by Peter Fenelon Collier. It was launched as Collier's Once a Week changed in 1895 to Collier's Weekly: An Illustrated Journal, shortened in 1905 to Collier's; the magazine ceased publication with the issue dated for the week ending January 4, 1957, though a brief, failed attempt was made to revive the Collier's name with a new magazine in 2012. As a result of Peter Collier's pioneering investigative journalism, Collier's established a reputation as a proponent of social reform; when attempts by various companies to sue Collier ended in failure, other magazines became involved in what Theodore Roosevelt described as "muckraking journalism." Peter F. Collier left Ireland for the U. S. at age 17. Although he went to a seminary to become a priest, he instead started work as a salesman for P. J. Kenedy, publisher of books for the Roman Catholic market; when Collier wanted to boost sales by offering books on a subscription plan, it led to a disagreement with Kenedy, so Collier left to start his own subscription service.
P. F. Collier & Son began in 1875, expanding into the largest subscription house in America with sales of 30 million books during the 1900–1910 decade. With the issued dated April 28, 1888, Collier's Once a Week was launched as a magazine of "fiction, sensation, humor, news", it was sold with the biweekly Collier's Library of novels and popular books at bargain rates and as a stand-alone priced at seven cents. By 1892, with a circulation climbing past the 250,000 mark, Collier's Once a Week was one of the largest selling magazines in the United States; the name was changed to Collier's Weekly: An Illustrated Journal in 1895. With an emphasis on news, the magazine became a leading exponent of the halftone news picture. To exploit the new technology, Collier recruited James H. Hare, one of the pioneers of photojournalism. Collier's only son, Robert J. Collier, became a full partner in 1898. By 1904, the magazine was known as Collier's: The National Weekly. Peter Collier died in 1909; when Robert Collier died in 1918, he left a will that turned the magazine over to three of his friends, Samuel Dunn, Harry Payne Whitney and Francis Patrick Garvan.
Robert J. Collier won a lawsuit against Postum Cereal Company and awarded a $50,000 in damages, but in 1912 an appeals court handed down a majority decision that Postum deserved a new trial; the Postum Company believed that Collier's weekly used magazine coverage to attack their company's products in retaliation for not advertising in Collier's after Collier's wrote against a Grape-Nuts's claim that it was an "A Food for Brain and Nerves." Postum bought advertising pages in major newspapers in retaliation. The magazine was sold in 1919 to the Crowell Publishing Company, which in 1939 was renamed as Crowell-Collier Publishing Company. In 1924 Crowell moved the printing operations from New York to Springfield, Ohio but kept the editorial and business departments in New York. Reasons given for moving print operations included conditions imposed by unions in the printing trade, expansion of the Gansevoort Market into the property occupied by the Collier plant and "excessive postage involved in mailing from a seaboard city under wartime postal rates.
After 1924, printing of the magazine was done at the Crowell-Collier printing plant on West Main Street in Springfield, Ohio. The factory complex, much of, no longer standing, was built between 1899 and 1946, incorporates seven buildings that together have more than 846,000 square feet —20 acres —of floor space. Collier's popularized the short-short story, planned to fit on a single page. Knox Burger was Collier's fiction editor from 1948 to 1951 when he left to edit books for Dell and Fawcett Publications; the numerous authors who contributed fiction to Collier's included Ray Bradbury, Eleanor Hoyt Brainerd, Willa Cather, Roald Dahl, Jack Finney, Erle Stanley Gardner, Zane Grey, Ring Lardner, Sinclair Lewis, E. Phillips Oppenheim, J. D. Salinger, Kurt Vonnegut, Albert Payson Terhune and Walter Tevis. Humor writers included H. Allen Smith. Serializing novels during the late 1920s, Collier's sometimes ran two ten-part novels, non-fiction was serialized. Between 1913 and 1949, Sax Rohmer's Fu Manchu serials, illustrated by Joseph Clement Coll and others, were hugely popular.
The first three Fu Manchu novels by Rohmer were compilations of 29 short stories that Rohmer wrote for Collier’s. The Mask of Fu Manchu, adapted into a 1932 film and a 1951 Wally Wood comic book, was first published as a 12-part Collier's serial, running from May 7 to July 23, 1932; the May 7 issue displayed a memorable cover illustration by famed maskmaker Władysław T. Benda, his mask design for that cover was repeated by many other illustrators in subsequent adaptations and reprints. A 1951 condensed version of the book Day of the Triffids by John Wyndham appeared. Leading illustrators contributed to the covers of Collier's, they included C. C. Beall, W. T. Benda, Chesley Bonestell, Charles R. Chickering, Howard Chandler Christy, Arthur Crouch, Harrison Fisher, James Montgomery Flagg, Alan Foster, Charles Dana Gibson, Vernon Grant, Earl Oliver Hurst, Percy Leason, Frank X. Leyendecker, J. C. Leyendecker, Paul Martin, John Alan Maxwell, Ronald McLeod, John Cullen Murphy, Maxfield Parrish, Edward Penfield, Robert O. Reed, Frederic Remington, Anthony Saris, John Sloan, Jessie Willcox Smith, Frederic Dorr Steele, Jon Whitcomb and Lawson Wood.
Other top illustrators contributed prolifically to their short stories. They included Harold Mathews Brett, Richard V. Culter, Robert Fawcett, Denver Gillen and Quentin Reynolds. In 1903, Gibson signed a $100,00
International Standard Serial Number
An International Standard Serial Number is an eight-digit serial number used to uniquely identify a serial publication, such as a magazine. The ISSN is helpful in distinguishing between serials with the same title. ISSN are used in ordering, interlibrary loans, other practices in connection with serial literature; the ISSN system was first drafted as an International Organization for Standardization international standard in 1971 and published as ISO 3297 in 1975. ISO subcommittee TC 46/SC 9 is responsible for maintaining the standard; when a serial with the same content is published in more than one media type, a different ISSN is assigned to each media type. For example, many serials are published both in electronic media; the ISSN system refers to these types as electronic ISSN, respectively. Conversely, as defined in ISO 3297:2007, every serial in the ISSN system is assigned a linking ISSN the same as the ISSN assigned to the serial in its first published medium, which links together all ISSNs assigned to the serial in every medium.
The format of the ISSN is an eight digit code, divided by a hyphen into two four-digit numbers. As an integer number, it can be represented by the first seven digits; the last code digit, which may be 0-9 or an X, is a check digit. Formally, the general form of the ISSN code can be expressed as follows: NNNN-NNNC where N is in the set, a digit character, C is in; the ISSN of the journal Hearing Research, for example, is 0378-5955, where the final 5 is the check digit, C=5. To calculate the check digit, the following algorithm may be used: Calculate the sum of the first seven digits of the ISSN multiplied by its position in the number, counting from the right—that is, 8, 7, 6, 5, 4, 3, 2, respectively: 0 ⋅ 8 + 3 ⋅ 7 + 7 ⋅ 6 + 8 ⋅ 5 + 5 ⋅ 4 + 9 ⋅ 3 + 5 ⋅ 2 = 0 + 21 + 42 + 40 + 20 + 27 + 10 = 160 The modulus 11 of this sum is calculated. For calculations, an upper case X in the check digit position indicates a check digit of 10. To confirm the check digit, calculate the sum of all eight digits of the ISSN multiplied by its position in the number, counting from the right.
The modulus 11 of the sum must be 0. There is an online ISSN checker. ISSN codes are assigned by a network of ISSN National Centres located at national libraries and coordinated by the ISSN International Centre based in Paris; the International Centre is an intergovernmental organization created in 1974 through an agreement between UNESCO and the French government. The International Centre maintains a database of all ISSNs assigned worldwide, the ISDS Register otherwise known as the ISSN Register. At the end of 2016, the ISSN Register contained records for 1,943,572 items. ISSN and ISBN codes are similar in concept. An ISBN might be assigned for particular issues of a serial, in addition to the ISSN code for the serial as a whole. An ISSN, unlike the ISBN code, is an anonymous identifier associated with a serial title, containing no information as to the publisher or its location. For this reason a new ISSN is assigned to a serial each time it undergoes a major title change. Since the ISSN applies to an entire serial a new identifier, the Serial Item and Contribution Identifier, was built on top of it to allow references to specific volumes, articles, or other identifiable components.
Separate ISSNs are needed for serials in different media. Thus, the print and electronic media versions of a serial need separate ISSNs. A CD-ROM version and a web version of a serial require different ISSNs since two different media are involved. However, the same ISSN can be used for different file formats of the same online serial; this "media-oriented identification" of serials made sense in the 1970s. In the 1990s and onward, with personal computers, better screens, the Web, it makes sense to consider only content, independent of media; this "content-oriented identification" of serials was a repressed demand during a decade, but no ISSN update or initiative occurred. A natural extension for ISSN, the unique-identification of the articles in the serials, was the main demand application. An alternative serials' contents model arrived with the indecs Content Model and its application, the digital object identifier, as ISSN-independent initiative, consolidated in the 2000s. Only in 2007, ISSN-L was defined in the
Library of Congress
The Library of Congress is the research library that serves the United States Congress and is the de facto national library of the United States. It is the oldest federal cultural institution in the United States; the Library is housed in three buildings on Capitol Hill in Washington, D. C.. The Library's functions are overseen by the Librarian of Congress, its buildings are maintained by the Architect of the Capitol; the Library of Congress has claimed to be the largest library in the world. Its "collections are universal, not limited by subject, format, or national boundary, include research materials from all parts of the world and in more than 450 languages."The Library of Congress moved to Washington in 1800 after sitting for 11 years in the temporary national capitals in New York City and Philadelphia. The small Congressional Library was housed in the United States Capitol for most of the 19th century until the early 1890s. Most of the original collection had been destroyed by the British in 1814 during the War of 1812, the library sought to restore its collection in 1815.
They bought Thomas Jefferson's entire personal collection of 6,487 books. After a period of slow growth, another fire struck the Library in its Capitol chambers in 1851, again destroying a large amount of the collection, including many of Jefferson's books. After the American Civil War, the Library of Congress grew in both size and importance, which sparked a campaign to purchase replacement copies for volumes, burned; the Library received the right of transference of all copyrighted works to deposit two copies of books, maps and diagrams printed in the United States. It began to build its collections, its development culminated between 1888 and 1894 with the construction of a separate, extensive library building across the street from the Capitol; the Library's primary mission is to research inquiries made by members of Congress, carried out through the Congressional Research Service. The Library is open to the public, although only high-ranking government officials and Library employees may check out books and materials.
James Madison is credited with the idea of creating a congressional library, first making such a proposition in 1783. The Library of Congress was subsequently established April 24, 1800 when President John Adams signed an act of Congress providing for the transfer of the seat of government from Philadelphia to the new capital city of Washington. Part of the legislation appropriated $5,000 "for the purchase of such books as may be necessary for the use of Congress... and for fitting up a suitable apartment for containing them." Books were ordered from London, the collection consisted of 740 books and three maps which were housed in the new United States Capitol. President Thomas Jefferson played an important role in establishing the structure of the Library of Congress. On January 26, 1802, he signed a bill that allowed the president to appoint the Librarian of Congress and establishing a Joint Committee on the Library to regulate and oversee it; the new law extended borrowing privileges to the President and Vice President.
The invading British army burned Washington in August 1814 during the War of 1812 and destroyed the Library of Congress and its collection of 3,000 volumes. These volumes had been left in the Senate wing of the Capitol. One of the few congressional volumes to survive was a government account book of receipts and expenditures for 1810, it was taken as a souvenir by British Admiral George Cockburn, whose family returned it to the United States government in 1940. Within a month, Thomas Jefferson offered to sell his personal library as a replacement. Congress accepted his offer in January 1815; some members of the House of Representatives opposed the outright purchase, including New Hampshire Representative Daniel Webster who wanted to return "all books of an atheistical and immoral tendency." Jefferson had spent 50 years accumulating a wide variety of books in several languages and on subjects such as philosophy, law, architecture, natural sciences, studies of classical Greece and Rome, modern inventions, hot air balloons, submarines, fossils and meteorology.
He had collected books on topics not viewed as part of a legislative library, such as cookbooks. However, he believed, he remarked: I do not know that it contains any branch of science which Congress would wish to exclude from their collection. Jefferson's collection was unique in that it was the working collection of a scholar, not a gentleman's collection for display. With the addition of his collection, the Library of Congress was transformed from a specialist's library to a more general one, his original collection was organized into a scheme based on Francis Bacon's organization of knowledge. He grouped his books into Memory and Imagination, which broke down into 44 more subdivisions; the Library followed Jefferson's organization scheme until the late 19th century, when librarian Herbert Putnam began work on a more flexible Library of Congress Classification structure that now applies to more than 138 million items. In 1851, a fire destroyed two thirds of the Jefferson collection, with only 2,000 books remaining.
By 2008, the Librarians of Congress had found replacements for all but 300 of the works that were in Jefferson's original collection. On December 22, 1851 the largest fire in the Library's history destroyed 35,000 books, about two–thi
Norman Percevel Rockwell was an American author and illustrator. His works have a broad popular appeal in the United States for their reflection of American culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine over nearly five decades. Among the best-known of Rockwell's works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, the Four Freedoms series, he is noted for his 64-year relationship with the Boy Scouts of America, during which he produced covers for their publication Boys' Life and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout is Reverent and A Guiding Hand, among many others. Norman Rockwell was a prolific artist. Most of his works are either in public collections, or have been destroyed in fire or other misfortunes. Rockwell was commissioned to illustrate more than 40 books, including Tom Sawyer and Huckleberry Finn as well as painting the portraits for Presidents Eisenhower, Kennedy and Nixon, as well as those of foreign figures, including Gamal Abdel Nasser and Jawaharlal Nehru.
His portrait subjects included Judy Garland. One of his last portraits was of Colonel Sanders in 1973, his annual contributions for the Boy Scouts calendars between 1925 and 1976, were only overshadowed by his most popular of calendar works: the "Four Seasons" illustrations for Brown & Bigelow that were published for 17 years beginning in 1947 and reproduced in various styles and sizes since 1964. He painted six images for Coca-Cola advertising. Illustrations for booklets, posters, sheet music, playing cards, murals rounded out Rockwell's œuvre as an illustrator. Rockwell's work was dismissed by serious art critics in his lifetime. Many of his works appear overly sweet in the opinion of modern critics the Saturday Evening Post covers, which tend toward idealistic or sentimentalized portrayals of American life; this has led to the often-deprecatory adjective, "Rockwellesque". Rockwell is not considered a "serious painter" by some contemporary artists, who regard his work as bourgeois and kitsch.
Writer Vladimir Nabokov stated that Rockwell's brilliant technique was put to "banal" use, wrote in his book Pnin: "That Dalí is Norman Rockwell's twin brother kidnapped by Gypsies in babyhood". He is called an "illustrator" instead of an artist by some critics, a designation he did not mind, as, what he called himself. In his years, Rockwell began receiving more attention as a painter when he chose more serious subjects such as the series on racism for Look magazine. One example of this more serious work is The Problem We All Live With, which dealt with the issue of school racial integration; the painting depicts a young black girl, Ruby Bridges, flanked by white federal marshals, walking to school past a wall defaced by racist graffiti. This painting was displayed in the White House when Bridges met with President Obama in 2011. Norman Rockwell was born on February 3, 1894, in New York City, to Jarvis Waring Rockwell and Anne Mary "Nancy" Rockwell, born Hill, his earliest American ancestor was John Rockwell, from Somerset, who immigrated to colonial North America in 1635, aboard the ship Hopewell and became one of the first settlers of Windsor, Connecticut.
He had Jarvis Waring Rockwell, Jr. older by a year and a half. Jarvis Waring, Sr. was the manager of the New York office of a Philadelphia textile firm, George Wood, Sons & Company, where he spent his entire career. Rockwell transferred from high school to the Chase Art School at the age of 14, he went on to the National Academy of Design and to the Art Students League. There, he was taught by Thomas Fogarty, George Bridgman, Frank Vincent DuMond; as a student, Rockwell was given small jobs of minor importance. His first major breakthrough came at age 18 with his first book illustration for Carl H. Claudy's Tell Me Why: Stories about Mother Nature. After that, Rockwell was hired as a staff artist for Boys' Life magazine. In this role, he received 50 dollars' compensation each month for one completed cover and a set of story illustrations, it is said to have been his first paying job as an artist. At 19, he became the art editor for Boys' Life, published by the Boy Scouts of America, he held the job for three years, during which he painted several covers, beginning with his first published magazine cover, Scout at Ship's Wheel, which appeared on the Boys' Life September edition.
Rockwell's family moved to New York, when Norman was 21 years old. They shared a studio with the cartoonist Clyde Forsythe. With Forsythe's help, Rockwell submitted his first successful cover painting to the Post in 1916, Mother's Day Off, he followed that success with Circus Barker and Strongman, Gramps at the Plate, Redhead Loves Hatty Perkins, People in a Theatre Balcony, Man Playing Santa. Rockwell was published eight times on the Post cover within the first year. Rockwell published 323 original cover
Civil rights movement
The civil rights movement in the United States was a decades-long struggle with the goal of enforcing constitutional and legal rights for African Americans that other Americans enjoyed. With roots that dated back to the Reconstruction era during the late 19th century, the movement achieved its largest legislative gains in the mid-1960s, after years of direct actions and grassroots protests that were organized from the mid-1950s until 1968. Encompassing strategies, various groups, organized social movements to accomplish the goals of ending legalized racial segregation, disenfranchisement, discrimination in the United States, the movement, using major nonviolent campaigns secured new recognition in federal law and federal protection for all Americans. After the American Civil War and the abolition of slavery in the 1860s, the Reconstruction Amendments to the United States Constitution granted emancipation and constitutional rights of citizenship to all African Americans, most of whom had been enslaved.
For a period, African Americans voted and held political office, but they were deprived of civil rights under Jim Crow laws, subjected to discrimination and sustained violence by whites in the South. Over the following century, various efforts were made by African Americans to secure their legal rights. Between 1955 and 1968, acts of nonviolent protest and civil disobedience produced crisis situations and productive dialogues between activists and government authorities. Federal and local governments and communities had to respond to these situations, which highlighted the inequities faced by African Americans across the country; the lynching of Chicago teenager Emmett Till in Mississippi, the outrage generated by seeing how he had been abused, when his mother decided to have an open-casket funeral, mobilized the African-American community nationwide. Forms of protest and/or civil disobedience included boycotts, such as the successful Montgomery Bus Boycott in Alabama. Moderates in the movement worked with Congress to achieve the passage of several significant pieces of federal legislation that overturned discriminatory practices and authorized oversight and enforcement by the federal government.
The Civil Rights Act of 1964 expressly banned discrimination based on race, religion, sex, or national origin in employment practices. The Voting Rights Act of 1965 restored and protected voting rights for minorities by authorizing federal oversight of registration and elections in areas with historic under-representation of minorities as voters; the Fair Housing Act of 1968 banned discrimination in the rental of housing. African Americans re-entered politics in the South, across the country young people were inspired to take action. From 1964 through 1970, a wave of inner-city riots in black communities undercut support from the white middle class, but increased support from private foundations; the emergence of the Black Power movement, which lasted from about 1965 to 1975, challenged the established black leadership for its cooperative attitude and its practice of nonviolence. Instead, its leaders demanded that, in addition to the new laws gained through the nonviolent movement and economic self-sufficiency had to be developed in the black community.
Many popular representations of the movement are centered on the charismatic leadership and philosophy of the Rev. Martin Luther King Jr. who won the 1964 Nobel Peace Prize for his role in non-violent, moral leadership. However, some scholars note that the movement was too diverse to be credited to any one person, organization, or strategy. Before the American Civil War four million blacks were enslaved in the South, only white men of property could vote, the Naturalization Act of 1790 limited U. S. citizenship to whites only. But some free states of the North extended the franchise and other rights of citizenship to African Americans. Following the Civil War, three constitutional amendments were passed, including the 13th Amendment that ended slavery. From 1865 to 1877, the United States underwent a turbulent Reconstruction Era trying to establish free labor and civil rights of freedmen in the South after the end of slavery. Many whites resisted the social changes, leading to insurgent movements such as the Ku Klux Klan, whose members attacked black and white Republicans to maintain white supremacy.
In 1871, President Ulysses S. Grant, the U. S. Army, U. S. Attorney General Amos T. Akerman, initiated a campaign to repress the KKK under the Enforcement Acts; some states were reluctant to enforce the federal measures of the act. In addition, by the early 1870s, other white supremacist and insurgent paramilitary groups arose that violently opposed African-American legal equality and suffrage and suppressing black voters, assassinating Republican officeholders. However, if the states failed to implement the acts, the laws allowed the Federal Government to ge