A micrograph or photomicrograph is a photograph or digital image taken through a microscope or similar device to show a magnified image of an object. This is opposed to a macrograph or photomacrograph, an image, taken on a microscope but is only magnified less than 10 times. Micrography is the art of using microscopes to make photographs. A micrograph contains extensive details of microstructure. A wealth of information can be obtained from a simple micrograph like behavior of the material under different conditions, the phases found in the system, failure analysis, grain size estimation, elemental analysis and so on. Micrographs are used in all fields of microscopy. A light micrograph or photomicrograph is a micrograph prepared using an optical microscope, a process referred to as photomicroscopy. At a basic level, photomicroscopy may be performed by connecting a camera to a microscope, thereby enabling the user to take photographs at reasonably high magnification. Scientific use began in England in 1850 by Prof Richard Hill Norris FRSE for his studies of blood cells.

Roman Vishniac was a pioneer in the field of photomicroscopy, specializing in the photography of living creatures in full motion. He made major developments in light-interruption photography and color photomicroscopy. Photomicrographs may be obtained using a USB microscope attached directly to a home computer or laptop. An electron micrograph is a micrograph prepared using an electron microscope. Micrographs have micron bars, or magnification ratios, or both. Magnification is a ratio between the size of an object on its real size. Magnification can be a misleading parameter as it depends on the final size of a printed picture and therefore varies with picture size. A scale bar, or micron bar, is a line of known length displayed on a picture; the bar can be used for measurements on a picture. When the picture is resized the bar is resized making it possible to recalculate the magnification. Ideally, all pictures destined for publication/presentation should be supplied with a scale bar. All but one of the micrographs presented on this page do not have a micron bar.

The microscope has been used for scientific discovery. It has been linked to the arts since its invention in the 17th century. Early adopters of the microscope, such as Robert Hooke and Antonie van Leeuwenhoek, were excellent illustrators. Cornelius Varley's graphic microscope made sketching from a microscope easier with a camera-lucida-like mechanism. After the invention of photography in the 1820s the microscope was combined with the camera to take pictures instead of relying on an artistic rendering. Since the early 1970s individuals have been using the microscope as an artistic instrument. Websites and traveling art exhibits such as the Nikon Small World and Olympus Bioscapes have featured a range of images for the sole purpose of artistic enjoyment; some collaborative groups, such as the Paper Project have incorporated microscopic imagery into tactile art pieces as well as 3D immersive rooms and dance performances. Artist/photographer, Danny J. Sanchez has gained popularity exploring mineral and gemstone interiors and presenting his work as "other-worldly" landscape photography.

His work has been featured in Wired, Smithosnian Magazine, Vice Close-up Digital microscope Macro photography Microphotograph Microscopy USB microscope Make a Micrograph – This presentation by the research department of Children's Hospital Boston shows how researchers create a three-color micrograph. Shots with a Microscope – a basic, comprehensive guide to photomicrography Scientific photomicrographs – free scientific quality photomicrographs by Doc. RNDr. Josef Reischig, CSc. Micrographs of 18 natural fibres by the International Year of Natural Fibres 2009 Seeing Beyond the Human Eye Video produced by Off Book - Solomon C. Fuller bio Charles Krebs Microscopic Images Photomicrography by Danny J. Sanchez Dennis Kunkel Microscopy Andrew Paul Leonard, APL Microscopic Cell Centered Database - Montage Nikon Small World Olympus Bioscapes Other examples

L. Bradford Prince

LeBaron Bradford Prince was the 14th Governor of New Mexico Territory from 1889 to 1893. Prince was born on July 3, 1840, in Flushing, New York, his parents were his wife, Charlotte Goodwin Prince. Young Prince started his career working in nurseries run by his brother; the nurseries were sold at the end of the Civil War, he studied law at Columbia University, where he received an LL. B. in 1866. He was a delegate to Republican National Convention from New York in 1868, he was a member of the New York State Assembly in 1871, 1872, 1873, 1874 and 1875. He was a member of the New York State Senate in 1876 and 1877. In the Republican National Convention of 1876, he was among those who supported Rutherford B. Hayes over Roscoe Conkling; that resulted him being given the opportunity to be governor of the Territory of Idaho. He passed on that option but became a chief justice of the New Mexico Territorial Supreme Court from 1878 to 1882. In 1883, he became president of the New Mexico Historical Society.

President Benjamin Harrison appointed Prince to Governor of New Mexico Territory from 1889 to 1893. Prince and his wife, resided in the Palace of the Governors and held social functions there. Prince led the movement to create the Spanish American Normal School and served as President of its governing board from 1909-1912, he was a member of New Mexico Territorial Council in 1909 and a delegate to the New Mexico State Constitutional Convention of 1911. He was a member of the New Mexico Horticultural Society, the Society for the Preservation of Spanish Antiquities, the New Mexico Archaeological Society, the Society of the Cincinnati, Sons of the Revolution, the Society of Colonial Wars and the Protestant Episcopal Church. In 1879, he married Hattie E. Childs, who died in 1880. In 1881, he married Mary C. Beardsley, they had one child. Prince died on December 1922, in Queens, New York. E Pluribus Unum: The Articles of Confederation vs. the Constitution The General Laws of New Mexico A Nation or a League Historical Sketches of New Mexico The American Church and Its Name The Money Problem The Stone Lions of Cochiti Old Fort Marcy A Concise History of New Mexico The Student's History of New Mexico Spanish Mission Churches of New Mexico Abraham Lincoln, the Man "Index to Politicians: Prince".

The Political Graveyard. Retrieved 2008-08-01. Works by or about L. Bradford Prince at Internet Archive

Harijadi Sumodidjojo

Harijadi Sumodidjojo was an Indonesian realist artist who lived during the revolutionary era. He was able to portray the physical form and thoughts of people in a way that could be enjoyed by the general public. Among his works are the paintings Awan Berarak Jalan Bersimpang and Biografi II di Malioboro, Anak Tetangga Kita, a stone relief entitled Pesta Pura di Bali, mural painted on the wall of the Jakarta History Museum; this 200 m² unfinished mural, which portrays life in Batavia from 1880 to 1920. was hidden away in an ethnography room from 1974 until 2010 when a group of British and Indonesian historians came across it. Harijadi Sumodidjojo was born on July 1919 in the village of, Purworejo Regency, Central Java. According to sources, his birth year was recorded as 1921 to allow him to join the students' army, his father was an assistant teacher and headmaster of Ongko Loro School in Ketawangrejo. Samadi was well known as a lover of literature and traditional karawitan music, while his mother was Ngadikem binti Mansur, the daughter of a tobacco landlord in Jember, East Java.

Before becoming a self-taught artist, Harijadi studied business. He started painting. In 1940–1941, he worked as a commercial artist for a firm in Jakarta, was well known as one of artists nurtured by the Young Indonesian Artists organisation led by Sindoesoedarsono Soedjojono. To provide for his family, Harijadi worked as a teacher in girls school. During World War II, Harijadi worked for the Allies as a meteorologist and saw combat in Malaya and Sumatera. In 1949, he joined Brigade 17 of the in the battle for Yogyakarta, he joined the Army as a Lieutenant 2nd class, but was soon promoted to Detachment Commander Engineer Brigade 17 for the South Kedu region. Harijadi was one of the painters, invited by President Sukarno to discuss art. In 1965, Sukarno sent Harijadi and another artist, Puranto Yapung, along with historians Drs Soemardjo and Drs Buchori to learn about museums in Mexico, they learned how to make dioramas from Mario Vasces, an expert in anthropology and museums who worked for the Mexican government.

The purpose of this trip was so that the National Museum of Indonesia under construction, could be filled with dioramas about Indonesian history. However, work was halted in 1965 by the coup attempt by the 30 September Movement after only five out of 30 planned dioramas had been completed done. In Mexico, Harijado met Jose David Alvaro Siquiros, a mural artist and realist painter, he became a member of the Organisacion International de Muralistos del Mundo in South America. His belief in Sukarno's nationalist ideology led to restrictions on his artistic freedom during the Indonesia New Order regime in power from 1968 to 1998 because during that era, people feared concepts associated with Sukarno; until his end of life, he held firm to his principle of using his art for people and refusing to serve those in power. Besides painting, Harijadi had an interest in automotives and racing, he participated in the Yogyakarta Motor Sport Association. In 1956, he came second in the Permi TT Races class of 350 cc in Surabaya with his BSA Gold type Star.

Until, the 1970s, he was active in the Indonesian Motor Association and worked as checker of machine authenticity every time a race was held at the Ancol circuit. His other hobbies were writing poetry. In 1959, he acted in the Hartati theater directed by Subagio Sastrowardoyo, he acted in the movies Badai Selatan and Nyoman Cinta Merah Putih