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The daguerreotype /dəˈɡɛrɵtaɪp/ process (French: daguerréotype) - also called daguerreotypy (French: daguerréotypie) was not the first photographic process to be invented; however, it was the first to come into widespread use during the early 1840s having been invented sometime around 1835. Later processes which were less expensive and produced more easily viewed images had almost entirely replaced it by the early 1860s. A small-scale revival of daguerreotype among photographers interested in historical processes was increasingly apparent during the 1980s and 1990s and has persisted into the 2010s.
The distinguishing visual characteristics of a daguerreotype are that the image is on a bright (ignoring any areas of tarnish) mirror-like surface of metallic silver and it will appear either positive or negative depending on the lighting conditions and whether a light or dark background is being reflected in the metal. From certain angles the image cannot be seen at all.
Several types of antique images, particularly ambrotypes and tintypes but sometimes even old prints on paper, are commonly misidentified as daguerreotypes, especially if they are in the small, ornamented cases in which daguerreotypes were usually housed. The name "daguerreotype" refers correctly to only one very distinctive image type and medium, produced by a specific photographic process that was in wide use only from the early 1840s to the late 1850s.
- 1 Invention reported 1835
- 2 Camera obscura
- 3 Wolcott mirror camera
- 4 Daylight studios
- 5 Plate manufacture
- 6 The Process
- 7 Unusual characteristics
- 8 Copies and reproductions by lithography
- 9 Beginnings of the age of photomechanical reproduction
- 10 Astronomical application in the 1870s
- 11 Photographing people
- 12 Reduction of exposure time
- 13 Proliferation
- 14 Late and modern use
- 15 Gallery
- 16 See also
- 17 Footnotes
- 18 Further reading
- 19 External links
Invention reported 1835[edit]
At the end of a rapturous review of a Diorama spectacle entitled La Vallée de Goldau in the Journal des artistes dated 27 September 1835, the following news item appeared:
"It is said that Daguerre has found a way to collect, the image produced by the camera obscura on plates that he specially prepares; so that a portrait, a landscape or any view, projected on to this plate by the ordinary camera obscura leaves its imprint in light and shade, as well as the most perfect of all drawings ... a contraption placed over this image will preserve it for an indefinite time ... in all likelihood, never before have the physical sciences presented a miracle to match this one." [1][2]
(In fact, at this time Daguerre had not perfected a method to fix the image satisfactorily, and portraits required further developments to reduce exposure times).
When the Paris correspondent of the London periodical The Athenaeum reported the public announcement of the daguerreotype in 1839, he mentioned that the daguerreotypes now being produced were considerably better than the ones he had seen "four years earlier".[3]
Since the late Renaissance, artists and inventors had searched for a mechanical method of capturing visual scenes.[4] Previously, using the camera obscura, artists would manually trace what they saw, or use the optical image in the camera as a basis for solving the problems of perspective and parallax, and deciding color values. The camera obscura's optical reduction of a real scene in three-dimensional space to a flat rendition in two dimensions influenced western art, so that at one point, it was thought that images based on optical geometry (perspective) belonged to a more advanced civilization. Later, with the advent of Modernism, the absence of perspective in oriental art from China, Japan and in Persian miniatures was revalued.
In the early seventeenth century, the Italian physician and chemist Angelo Sala wrote that powdered silver nitrate was blackened by the sun, but did not find any practical application of the phenomenon.
Previous discoveries of photosensitive methods and substances—including silver nitrate by Albertus Magnus in the 13th century,[5] a silver and chalk mixture by Johann Heinrich Schulze in 1724,[6][7] and Joseph Niépce's bitumen-based heliography[4] in 1822[8]—contributed to development of the daguerreotype.
The first reliably documented attempt to capture the image formed in a camera obscura was made by Thomas Wedgwood as early as the 1790s, but according to an 1802 account of his work by Sir Humphry Davy:
"The images formed by means of a camera obscura have been found too faint to produce, in any moderate time, an effect upon the nitrate of silver. To copy these images was the first object of Mr. Wedgwood in his researches on the subject, and for this purpose he first used the nitrate of silver, which was mentioned to him by a friend, as a substance very sensible to the influence of light; but all his numerous experiments as to their primary end proved unsuccessful."[9]
In 1829 French artist and chemist Louis Jacques-Mandé Daguerre, contributing a cutting edge camera design, partnered with Niépce, a leader in photochemistry, to further develop their technologies.[4] The two men came into contact through their optician, Chevalier, who supplied lenses for their camerae obscurae.
Niépce's aim originally had been to find a method to reproduce prints and drawings for lithography. He had started out experimenting with light sensitive materials and had made a contact print from a drawing and then went on to successfully make the first photomechanical record of an image in a camera obscura—the world's first photograph. Niépce's method was to coat a pewter plate with bitumen of Judea (asphalt) and the action of the light differentially hardened the bitumen. The plate was washed with a mixture of oil of lavender and turpentine leaving a relief image. Niépce called his process heliography and the exposure for the first successful photograph was eight hours.
After Niépce's 1833 death, Daguerre continued to research the chemistry and mechanics of recording images by coating copper plates with iodized silver.[4] Early experiments required hours of exposure in the camera to produce visible results. Modern photo-historians consider the stories of Daguerre discovering mercury development by accident because of a bowl of mercury left in a cupboard, or, alternatively, a broken thermometer to be spurious.[10]
However, there is another story of a fortunate accident, related by Louis Figuier[11] of a silver spoon lying on an iodized silver plate which left its design on the plate by light perfectly. Noticing this, Daguerre wrote to Niépce on 21 May 1831 suggesting the use of iodized silver plates as a means of obtaining light images in the camera. Letters from Niépce to Daguerre dated 24 June and 8 November 1831, show that Niépce was unsuccessful in obtaining satisfactory results following Daguerre's suggestion, although he had produced a negative on an iodized silver plate in the camera. Niépce's letters to Daguerre dated 29 January and 3 March 1832, according to Eder, show that the use of iodized silver plates was due to Daguerre and not Niépce.[12]
Jean-Baptiste Dumas, who was president of the National Society for the Encouragement of Science[13] and a chemist, put his laboratory at Daguerre's disposal, which was fortunate, according to Eder, who says Daguerre was not versed in chemistry; and it was Dumas who suggested Daguerre use sodium hyposulfite, discovered by Herschel in 1819, as a fixer to dissolve the unexposed silver salts.[14][15]
Much of Daguerre's early work was destroyed in a fire: "Until 1839 Daguerre resided in Paris, living at 15 Rue de Marais, the premises of the Diorama from which he derived his income. On 8 March 1839 the house was burned to the ground, and with it the bulk of his early experimental works including the experimental picture which Daguerre made with Arago in order to instruct him in the method and importance of his invention."[16] Malcom Daniel points out that "fewer than twenty-five securely attributed photographs by Daguerre survive—a mere handful of still lifes, Parisian views, and portraits from the dawn of photography."[17]
François Arago announced the daguerreotype process at a joint meeting of the French Academy of Sciences and the Académie des Beaux-Arts on January 9, 1839. Daguerre was present, but complained of a sore throat. Later that year William Fox Talbot announced his silver chloride "sensitive paper" process.[18] Together, these announcements mark 1839 as the year photography was born.[19] although Daguerre had been producing daguerreotypes and showing them to people since 1835 (!)
For other, earlier practitioners of photography, see Hippolyte Bayard and Hércules Florence who produced photographs in 1833—earlier than Daguerre, although later than Niépce's bitumen heliography. Also, Hércules Florence called his invention photographie whereas in the early days of photography it was called daguerreotypy and the daguerreotype. No one mentioned the word "photography".
Daguerre did not patent and profit from his invention in the usual way. Instead, it was arranged that the French government would acquire the rights in exchange for a lifetime pension. The government would then present the daguerreotype process "free to the world" as a gift, which it did on August 19, 1839. However, on August 14, 1839, five days previously, Miles Berry, a patent agent acting on Daguerre's behalf filed for patent No. 8194 of 1839: A New or Improved Method of Obtaining the Spontaneous Reproduction of all the Images Received in the Focus of the Camera Obscura. The patent applied to England, Wales, and the town of Berwick-upon-Tweed, and in all her Majesty's Colonies and Plantations abroad.[20][21]This was the usual wording of English patent specifications before 1852. It was only after the 1852 Act, which unified the patent systems of England, Ireland and Scotland, that a single patent protection was automatically extended to the whole of the British Isles, including the Channel Isles and the Isle of Man.[22]
For some reason the patent in Scotland was not enforced. Consequently, England became the only country in which the purchase of a license was legally required to make and sell daguerreotypes.[23]
François Arago noted that early attempts at photography, which required very long exposures, could not capture detail properly because of the movement of the sun, so that shadows came from different directions during the course of these long exposures.
Camera obscura[edit]
The camera obscura (Latin for "dark chamber") is a naturally occurring phenomenon.[26] When a hole in the wall of a dark room faces onto a brightly lit scene—for example a dark cave on the edge of a sunlit valley—a picture of the scene outside can be projected upside-down onto a sheet of paper or parchment held at a suitable distance from the hole inside the dark room. Early camerae obscurae were large dark rooms of this type.[27][28] Gernsheim gives the example of countries where rooms are kept cool using wooden window shutters, and a hole in a shutter will project an image of the scene outside the window onto the opposite wall, or onto a piece of paper held at a suitable distance. The scene will be upside down and laterally reversed. If, instead a thin, translucent piece of paper is used and viewed from the back, writing will appear the right way round.
The Italian, Daniele Barbaro (1513–70), suggested replacing the simple hole with an old man's spectacle lens (a biconvex lens prescribed for correcting long-sightedness), in order to give a brighter and sharper image.[29]
The invention of photography, or daguerreotypy was in two stages: First, the camera (called originally a camera obscura) that was fitted with a lens was in use by artists and for amusement and curiosity and some two-hundred-and-seventy years later Hippolyte Bayard, Hércules Florence, Niépce and Daguerre all used it as a starting point to chemically fix the image in order to make photographs.
Daguerre would have been familiar with the camera obscura as a tool in his work as a theatrical scene painter and had developed a visual public entertainment called the Diorama. By painting on both sides of a piece of white cloth and illuminating the painting first from the front, then from the back, an illusion of movement could be obtained to depict a train crash, or the erupting of a volcano. Dioramas were opened in towns in several countries.
Wolcott mirror camera[edit]
The first US patent for photographic apparatus was Alexander Wolcott's daguerreotype camera that had a concave mirror instead of a lens on the principle of a reflecting telescope.[30][31] The concave mirror was fitted at one end of the camera, and focusing was done by adjusting the position of the plate in a holder that slides along a rail. This arrangement enabled more light to reach the plate than with the lenses of the time and the Woolcott camera became popular in the US.
Daylight studios[edit]
Establishments producing daguerreotype portraits generally had a daylight studio built on the roof, much like a greenhouse. Whereas artificial electric lighting later in the development of photography was done in a dark room building up the light with hard spotlights and softer floodlights, the daylight studio was equipped with screens and blinds to control the light to reduce it and make it unidirectional or diffusers to soften harsh direct sunlight. Blue filtration was sometimes used to make it easier for the sitter to withstand strong light and the daguerreotype plate is more sensitive to light at the blue end of the spectrum.
Plate manufacture[edit]
The daguerreotype image is formed on a highly polished silver surface. Usually the silver is a thin layer on a copper substrate, but other metals such as brass can be used for the substrate and daguerreotypes can also be made on solid silver sheets. A surface of very pure silver is preferable, but sterling (92.5 percent pure) or US coin (90 percent pure) or even lower grades of silver are functional. In 19th century practice, the usual stock material, Sheffield plate, was produced by a process sometimes called plating by fusion. A sheet of sterling silver was heat-fused onto the top of a thick copper ingot. When the ingot was repeatedly rolled under pressure to produce thin sheets, the relative thicknesses of the two layers of metal remained constant. The alternative was to electroplate a layer of pure silver onto a bare copper sheet. The two technologies were sometimes combined, the Sheffield plate being given a finishing coat of pure silver by electroplating.
The Process[edit]
Clipping the corners and bending the edges of the plate[edit]
In order that the corners of the plate would not tear the buffing material, in the US they were clipped, while in France, they were bent back.[32] A number of devices were patented to do this, some of them also bending the edges of the plate as well as acting as plate holders to avoid touching the surface of the plate during processing.[33][34]
Because the silver surface of the plate had to be completely free of tarnish or other contamination when it was sensitized, the daguerreotypist had to perform the final polishing and cleaning operation not too long before use. In the 19th century method of polishing, it was done with a buff covered with hide or velvet, first using rotten stone, then jeweler's rouge, then lampblack. Finally, the surface was swabbed with nitric acid to burn off any residual organic matter.
In darkness or by the light of a safelight, the silver surface was exposed to halogen fumes. Originally, only iodine fumes (from iodine crystals at room temperature) were used, producing a surface coating of silver iodide, but it was soon found that a subsequent exposure to bromine fumes greatly increased the sensitivity of the silver halide coating. Exposure to chlorine fumes, or a combination of bromine and chlorine fumes, could also be used. A final re-fuming with iodine was typical.
The plate was then carried to the camera in a light-tight plate holder. Withdrawing a protective dark slide or opening a pair of doors in the holder exposed the sensitized surface within the dark camera and removing a cap from the camera lens began the exposure, creating an invisible latent image on the plate. Depending on the sensitization chemistry used, the brightness of the lighting, and the light-concentrating power of the lens, the required exposure time ranged from a few seconds to many minutes.[35][36] After the exposure was judged to be complete, the lens was capped and the holder was again made light-tight and removed from the camera.
The latent image was developed to visibility by several minutes of exposure to the fumes given off by heated mercury in a purpose-made developing box. The toxicity of mercury was well known in the 19th century, but precautionary measures were rarely taken.[37] Today, however, the hazards of contact with mercury and other chemicals traditionally used in the daguerreotype process are taken more seriously, as is the risk of release of those chemicals into the environment.[38][39][40]
In the Becquerel variation of the process, published in 1840 but very seldom used in the 19th century, the plate, sensitized by fuming with iodine alone, was developed by overall exposure to sunlight passing through yellow or red glass. The silver iodide in its unexposed condition was insensitive to the red end of the visible spectrum of light and was unaffected, but the latent image created in the camera by the blue, violet and ultraviolet rays color-sensitized each point on the plate proportionally, so that this color-filtered "sunbath" intensified it to full visibility, as if the plate had been exposed in the camera for hours or days to produce a visible image without development.
After development, the light sensitivity of the plate was arrested by removing the remaining silver halide with a mild solution of sodium thiosulfate; Daguerre's initial method was to use a hot saturated solution of common salt.
Also called gold toning, this addition to Daguerre's original process was introduced by Hippolyte Fizeau in 1840 and soon became part of the standard procedure. To give the steely gray image a slightly warmer tone and physically reinforce the powder-like silver particles of which it was composed, a gold chloride solution was pooled onto the surface and the plate was briefly heated over a flame, then drained, rinsed and dried. Without this treatment the image was as delicate as the "dust" on a butterfly's wing.
Even if strengthened by gilding, the image surface was still very easily marred and the silver was subject to tarnishing from exposure to the air, so the finished plate was bound up with a protective cover glass and sealed with strips of paper soaked in gum arabic. In the US and UK, a gilt brass mat was normally used to separate the image surface from the glass. In continental Europe, a thin cardboard mat or passepartout usually served that purpose and the border area of the cover glass was often reverse-painted black with concentric gold stripes around the image.
Casing and other display options[edit]
There were two main methods of finishing daguerreotypes for protection and display:
In the US and Britain, the tradition of preserving miniature paintings in a wooden case covered with leather or paper stamped with a relief pattern continued through to the daguerreotype. Some daguerreotypists were portrait artists who also offered miniature portraits. Black-lacquered cases ornamented with inset mother of pearl were sometimes used. The more substantial Union case was made from a mixture of colored sawdust and shellac (the main component of wood varnish) formed in a heated mold to produce a decorative sculptural relief. The word "Union" referred to the sawdust and varnish mixture — the manufacture of Union cases began in 1856.[41] In all types of cases, the inside of the cover was lined with velvet or plush or satin to provide a dark surface to reflect into the plate for viewing and to protect the cover glass.[42] Some cases, however, held two daguerreotypes opposite each other. The cased images could be set out on a table or displayed on a mantelpiece. Most cases were small and lightweight enough to easily carry in a pocket, although that was not normally done.
The other approach, common in France and the rest of continental Europe, was to hang the daguerreotype on the wall in a frame, either simple or elaborate.[43] [44] Conservators were able to determine that a daguerreotype[45] of Walt Whitman was made in New Orleans with the main clue being the type of frame, which was made for wall hanging in the French and continental style. Supporting evidence of the New Orleans origin was a scrap of paper from Le Mesager, a New Orleans bilingual newspaper of the time, which had been used to glue the plate into the frame.[46] Other clues used by historians to identify daguerreotypes are hallmarks in the silver plate and even the distinctive patterns left by different photographers when polishing the plate with a leather buff, which leaves extremely fine parallel lines discernible on the surface.[47]
As the daguerreotype itself is on a relatively thin sheet of soft metal, it was easily sheared down to sizes and shapes suited for mounting into lockets, as was done with miniature paintings.[48][49][50] Other imaginative uses of daguerreotype portraits were to mount them in watch fobs and watch cases, jewel caskets and other ornate silver or gold boxes, the handles of walking sticks, and in brooches, bracelets and other jewelry now referred to by collectors as daguerreian jewelry.[51] The cover glass or crystal was sealed either directly to the edges of the daguerreotype or to the opening of its receptacle and a protective hinged cover was usually provided.
Unusual characteristics[edit]
Daguerreotypes are normally laterally reversed — mirror images — because they are necessarily viewed from the side that originally faced the camera lens. Although a daguerreotypist could attach a mirror or reflective prism in front of the lens to obtain a right-reading result, in practice this was rarely done.[52][53]
The use of either type of attachment caused some light loss, somewhat increasing the required exposure time, and unless they were of very high optical quality they could degrade the quality of the image. Right-reading text or right-handed buttons on men's clothing in a daguerreotype may only be evidence that it is a copy of a typical wrong-reading original.
Copies and reproductions by lithography[edit]
Although daguerreotypes are unique images, they could be copied by re-daguerreotyping the original. Copies were also produced by lithography or engraving.[54] Today, they can be digitally scanned.
Beginnings of the age of photomechanical reproduction[edit]
Seen from the perspective of today, when developments in photography have been to increase image quality while reducing the skill and knowledge required by the camera operator, daguerreotypes are expensive and time consuming to produce. They are cumbersome and heavy if many images are to be stored in large quantities and they require a skilled operator. Long exposures that necessitated headrests resulted in a proliferation of stiff, rigid poses in most of the surviving daguerreotypes, with some notable exceptions.
However, when the process was introduced, it offered advantages over existing technologies. Illustrations in magazines up to then had been made by woodcuts or by etching or engraving on copper plates, by mezzotint or by lithography. Portraits were made by amateur and professional artists, but capturing a likeness was revolutionized with the advent of photography.
Astronomical application in the 1870s[edit]
Commercial portraiture was only one aspect of the opening up of the age of mechanical reproduction. Arago had in his address to the House of Deputies outlined a wealth of possible applications including astronomy and the daguerreotype was used as the cutting edge technique in astronomical photography in the 1870s. Although the collodion wet plate process offered a cheaper and more convenient alternative for commercial portraiture and for other applications with shorter exposure times, when the transit of Venus was about to occur and observations were to be made from several sites on the earth's surface in order to calculate astronomical distances, daguerreotypy proved a more accurate method of making visual recordings through telescopes because it was a dry process with greater dimensional stability, whereas collodion glass plates were exposed wet and the image would move as the plate dried.
The invention of photography (photography and daguerreotypy were one and the same) made cataclysmic changes throughout society regarding what was illusion and what was reality. It is particularly significant that the first process to emerge and to be practiced widely was able to faithfully record fine detail at a resolution that most of today's digital cameras are not able to match (when compared with a well exposed and sharp large format daguerreotype). The process is unsurpassed for reproducing fine detail over a long tonal range and gives an illusion of reality unlike any other process.[55]
The surface of a daguerreotype is like a mirror, with the image made directly on the silver surface. It is very fragile and can be rubbed off with a finger. The finished plate also must be angled so as to reflect some dark surface for the image to be visible. Depending on the angle viewed and the color of the surface reflected into it, the image can change from a positive to a negative.[56] The viewer's own reflection will be seen at the same time.
The fragility of the image is a disadvantage because the daguerreotypist needs to buy in a stock of glass cassettes to house the daguerreotypes produced for clients but as the astronomer Arago pointed out in his presentation of the process to the French house of Deputies, the expense of the silver is offset by being able to wipe a plate clean and produce images again and again on the same plate.
Photographing people[edit]
At the time the process was introduced, daguerreotyping a brightly sunlit subject typically required about ten minutes of exposure, so the earliest daguerreotypes were of still lifes and landscapes. The daguerrotype shown of Daguerre is related to 1844. Many of the first portraits were of the family of the artist.[57] With the shortening of time exposure, portraiture became a more popular application.
Reduction of exposure time[edit]
The very first daguerreotypes used Chevalier lenses that were "slow", and the light sensitive material was silver iodide made by fuming the silver plate with iodine vapor. This meant that the exposure in the camera was too long to conveniently take portraits commercially and so the first subjects taken were immobile subjects such as street scenes, still life[58] architectural studies, etc.
Two changes were introduced that shortened the exposure times: one was fitting lenses of a larger diameter to the camera and the other was a modification to the chemistry used.[59]
When Petzval lenses[60] were introduced in 1841, with a larger effective aperture and the plate was sensitized not only with iodine but also with bromine and chlorine and forming light sensitive crystals of silver iodide, silver bromide and/or silver chloride that are more light-sensitive than silver iodide alone,[61] the exposures were reduced (the lens remaining uncapped for a shorter time), making commercial portraits viable. Increased speed was achieved using the same chemistry in the later silver processes that followed.[62] Usually, it was arranged so that the sitters leaned their elbows on a support such as a posing table whose height could be adjusted or else head rests were used that did not show in the picture and this led to most daguerreotype portraits having stiff, lifeless poses. Some exceptions exist with lively expressions full of character as photographers saw the potential of the new medium. These are represented in museum collections and are the most sought after by private collectors today.[63] Daguerreotypes were mounted in cases under glass with a cover, or in a frame that could be hung on a wall.[64] They were usually sealed with tape to reduce oxidization and tarnishing of the plate as well as mechanical damage from being touched.
The process was developed by Louis Daguerre together with Joseph Nicéphore Niépce. Niépce had produced the first photographic image in the camera obscura with an eight-hour exposure using bitumen of Judea on a pewter plate developing it in lavender oil, a process he called heliography.[65] The bitumen hardened where light had affected it, while the non-exposed portions were washed away.
The image in a daguerreotype is often described as being formed by the amalgam, or alloy, of mercury and silver because mercury vapor from a pool of heated mercury is used to develop the plate; but using the Becquerel process (using a red filter and two-and-a-half stops extra exposure) daguerreotypes can be produced without mercury, and chemical analysis shows that there is no mercury in the final image with the Becquerel process. This brings into question the theory that the image is formed of amalgam with mercury development.[66]
Exposure times were reduced by sensitizing the plate with bromine and chlorine in addition to iodine, and by replacing the original Chevalier lens, which was best for photographing landscapes, with the larger-diameter "fast" portrait lens designed by Joseph Petzval. Voigtländer's small, all-metal Daguerrotype camera made possible an exposure time of as little as two seconds in bright sunlight, if the shadows were underexposed,[67][68] but his unusual design did not catch on and was not a commercial success.
Although the daguerreotype process could only produce a single image at a time, copies could be created by re-daguerreotyping the original,[69] although this proved difficult according to Joseph Maria Eder.[70] says that copying daguerreotypes in the camera was difficult, but good copies are to be found. As with any original photograph that is copied, the contrast increases. With a daguerreotype, any writing will appear back to front. Recopying a daguerreotype will make the writing appear normal and rings worn on the fingers will appear on the correct hand etc. Another device to make a daguerreotype the right way round would be to use a mirror when taking the photograph.
The daguerreotypes of the 1852 Omaha Indian (Native American) Delegation in the Smithsonian include a daguerrotype copied in the camera (figs 3 and 4 in the link) recognizable by the contrast being high and a black line down the side of the platel[71]
André-Adolphe-Eugène Disdéri[72] and Jules Itier[73] in France, and Johann Baptist Isenring in Switzerland, became prominent daguerreotypists. In Britain, however, Richard Beard bought the British daguerreotype patent from Miles Berry in 1841 and closely controlled his investment, selling licenses throughout the country and prosecuting infringers.[74] Among others, Antoine Claudet[75] and Thomas Richard Williams[76] produced daguerreotypes in the UK.
Early photography: making daguerreotypes, J. Paul Getty Museum with Khan Academy[77] |
Daguerreotype photography spread rapidly across the United States after the discovery first appeared in US newspapers in February 1839.[78][79] In the early 1840s, the invention was introduced in a period of months to practitioners in the United States by Samuel Morse,[80] inventor of the telegraph code. By 1853 an estimated three million daguerreotypes per year were being produced in the United States alone.[81] One of these original Morse Daguerreotype cameras is currently on display at the National Museum of American History, a branch of the Smithsonian Institution, in Washington, DC.[19] A flourishing market in portraiture sprang up, predominantly the work of itinerant practitioners who traveled from town to town. For the first time in history, people could obtain an exact likeness of themselves or their loved ones for a modest cost, making portrait photographs extremely popular with those of modest means. Celebrities and everyday people sought portraits and workers would save an entire day's income to have a daguerreotype taken of them, including occupational portraits.[82] Notable U.S. daguerreotypists of the mid-19th century included James Presley Ball,[83] Samuel Bemis,[84] Abraham Bogardus,[84] Mathew Brady,[85] Thomas Martin Easterly,[86] François Fleischbein, Jeremiah Gurney,[87] John Plumbe, Jr.,[88] Albert Southworth,[89] Augustus Washington,[90] Ezra Greenleaf Weld,[91] and John Adams Whipple.[84]
This method spread to other parts of the world as well. The first daguerreotype in Australia was taken in 1841, but no longer survives. The oldest surviving Australian daguerreotype is a portrait of Dr. William Bland taken in 1845.[92] In 1857, Ichiki Shirō created the first known Japanese photograph, a portrait of his daimyo Shimazu Nariakira. This photograph was designated an Important Cultural Property by the government of Japan.[citation needed]
Late and modern use[edit]
Although the daguerreotype process is usually said to have died out completely in the early 1860s, documentary evidence indicates that some very slight use of it persisted more or less continuously throughout the following 150 years of its supposed extinction.[93] A few first-generation daguerreotypists refused to entirely abandon their beautiful old medium when they started making the new, cheaper, easier to view but comparatively drab ambrotypes and tintypes.[94] Historically-minded photographers of subsequent generations, often fascinated by daguerreotypes, sometimes experimented with making their own or even revived the process commercially as a "retro" portraiture option for their clients.[95][96] These eccentric late uses were extremely unusual and surviving examples reliably dated to between the 1860s and the 1960s are now exceedingly rare.[97]
The daguerreotype experienced a minor renaissance in the late 20th century and the process is currently practiced by a handful of enthusiastic devotees; there are thought to be fewer than 100 worldwide (see list of artists on cdags.org in links below). In recent years artists like Jerry Spagnoli, Adam Fuss, Patrick Bailly-Maître-Grand and Chuck Close have reintroduced the medium to the broader art world. The use of electronic flash in modern daguerreotypy has solved many of the problems connected with the slow speed of the process when using daylight.
International group exhibitions of contemporary daguerreotypists' works have been held, notably the 2009 exhibition in Bry Sur Marne, France, with 182 daguerreotypes by 44 artists, and the 2013 ImageObject exhibition in New York City, showcasing 75 works by 33 artists. The appeal of the medium lies in the "magic mirror" effect of light striking the polished silver plate and revealing a silvery image which can seem ghostly and ethereal even while being perfectly sharp, and in the dedication and handcrafting required to make a daguerreotype.
Daguerreotype camera built by La Maison Susse Frères in 1839, with a lens by Charles Chevalier
The first authenticated image of Abraham Lincoln was this daguerreotype of him as U.S. Congressman-elect in 1846, attributed to Nicholas H. Shepard of Springfield, Illinois
Daguerreotype of Andrew Jackson at age 77 or 78 (1844 or 1845).
Daguerreotype of the Arthur Wellesley, the Duke of Wellington aged 74 or 75, made by Antoine Claudet in 1844.
Ichiki Shirō's 1857 daguerreotype of Shimazu Nariakira, the earliest surviving Japanese photograph
The solar eclipse of July 28, 1851 is the first correctly exposed photograph of a solar eclipse, using the daguerreotype process.
See also[edit]
- Albumen print
- Ambrotype
- Hippolyte Bayard
- Hércules Florence
- Richard Beard (photographer)
- Abraham Bogardus
- Calotype
- Daguerreobase
- Joseph-Philibert Girault de Prangey
- Tintype
Constructs such as ibid., loc. cit. and idem are discouraged by Wikipedia's style guide for footnotes, as they are easily broken. Please improve this article by replacing them with named references (quick guide), or an abbreviated title. (July 2014) |
- ^ « [Daguerre] a trouvé dit-on, le moyen de recueillir, sur une planche préparée par lui, l'image produite par la chambre noire, de manière qu'un portrait, un paysage, une vue quelconque, projetée sur ce plateau par la chambre noire ordinaire, y laisse une empreinte en clair et en ombre, et présente ainsi le plus parfait de tous les dessins… Une préparation mise par dessus cette image, la conserve pendant un temps indéfini… Les sciences physiques n'ont peut-être jamais présenté une merveille comparable à celle-ci. »
- ^ Quoted by Paul-Louis Roubert in Hubert, ou l'honneur de Daguerre' ' Études photographiques No 16 mai 2005
- ^ Bates Lowry, Elizabeth Barret Lowry The Silver Canvas p. 12
- ^ a b c d Stokstad, Marilyn; David Cateforis; Stephen Addiss (2005). Art History (Second ed.). Upper Saddle River, New Jersey: Pearson Education. pp. 964–967. ISBN 0-13-145527-3.
- ^ Szabadváry, Ferenc (1992). History of analytical chemistry. Taylor & Francis. p. 17. ISBN 2-88124-569-2.
- ^ Susan Watt (2003). Silver. Marshall Cavendish. pp. 21–. ISBN 978-0-7614-1464-3. Retrieved 28 July 2013.
... But the first person to use this property to produce a photographic image was German physicist Johann Heinrich Schulze. In 1727, Schulze made a paste of silver nitrate and chalk, placed the mixture in a glass bottle and wrapped the bottle in ...
- ^ See discussion where Pierre G. Harmant discounts Schultze's blackening of chalk and silver nitrate mixture as a demonstration of photochemistry, but not photography. Schulze had copied the outlines of letters pasted onto a bottle filled with chalk and nitric acid containing nitrate of silver that blackened with the action of light.
- ^ "The First Photograph - Heliography". Retrieved 2009-09-29.
from Helmut Gernsheim's article, "The 150th Anniversary of Photography," in History of Photography, Vol. I, No. 1, January 1977: ... In 1822, Niépce coated a glass plate ... The sunlight passing through ... This first permanent example ... was destroyed ... some years later.
- ^ Fragment > An Account of a method of copying Paintings upon glass, and of making Profiles, by the agency of Light upon Nitrate of Silver. Invented by T. WEDGWOOD, ESQ. With Observations by H. DAVY. (1802)
- ^ Scientific American See Gary W. Ewer's note at bottom of page
- ^ Exposition et histoire des principal découvertes scientifiques modernes 1, 15 quoted in Josef Maria Eder History of Photography p 223
- ^ Eder History of Photography p 224
- ^ fr:Société d'encouragement pour l'industrie nationale
- ^ Eder History of Photography p. 224
- ^ Pierre G. Harmant Article published in Camera, Luzern - May 1960 pp. 24–31 Anno Lucis 1839 (1/3) Eighteen-hundred-and-thirty-nine. Anecdotal history of photography by Pierre G. Harmant. Keeper of records of the Société Française de Photographie
- ^ Josef Maria Eder History of Photography translated by Edward Epstean Copyright Columbia University Press
- ^ Malcolm Daniel Department of Photographs, The Metropolitan Museum of Art
- ^ Note: Talbot's early "sensitive paper" or "photogenic drawing" process, which required very long camera exposures, should not be confused with the much more practical Calotype or Talbotype process, invented in 1840 and introduced in 1841.
- ^ a b "A Daguerreotype of Daguerre". National Museum of American History, Smithsonian Institution. Retrieved 2008-07-17.
- '^ Pauline F. Heathcote The Photographic Studio p, 102
- ^ Information from Professor Hannavy via e-mail
- ^ The beginnings of photography in Jersey
- ^ Articles by R. Derek Wood on the history of the daguerreotype at "Midley History of early Photography".
- ^ The Silver Canvas: Daguerreotype Masterpieces from the J. Paul Getty Museum Bates Lowry, Isabel Barrett Lowry 1998. Chapter One Note 31.
- ^ Sylvia Balhause The Munich Daguerre-Triptych
- ^ Liz Rideal Transitions / Connections The Developing Portrait: Painting Towards Photography National Portrait Gallery
- ^ The Magic Mirror of Life - An appreciation of the camera obscura Jack and Beverly Wilgus
- ^ Article by Philip Steadman about his book Vermeer's Camera Oxford University Press 2001
- ^ La Practtica della Perspecttiv, Venice, Italy. 1569.Ch.5.p.19 Quoted in Liz ReadalThe developing Portrait: Painting towards photography[1]
- ^ The Mirror of Literature, Amusement and Instruction Original Papers on Science. No.11. - Photographic Portraits
- ^ Original Woolcott mirror camera in the Saco museum, Maine
- ^ Janet E. Buerger French Daguerreotypes
- ^ http://www.daguerre.org/resource/exhibit/brochure.htm
- ^ Improved daguerreotype plate-holder. US patent 10508
- ^ Writing on the 8th September 1841, Claudet gave his exposures as in June 10 to 20 seconds; in July, 20 to 40 seconds and in September, 60 to 90 seconds.
- ^ On a cloudy day, the exposure was given as three or four minutes.
- ^ S.D. Hummphrey, in The Daguerrian Journal vol IV (1852) p. 288 cited in Beaumont Newhall The Daguerreotype in America 3rd Revised Edition (New York: Dover Publications 1976) p. 126 cited in Kenneth E. Nelson The Cutting Edge of Yesterday
- ^ Andrew R. Barron The Myth, Reality and History of Mercury Toxicity
- ^ David A. Olson Mercury Toxicity
- ^ The proverbial phrase "mad as a hatter" refers to the strange behavior of poisoned hat makers who used mercury nitrate, a chemical which is readily absorbed through the skin, to soften and shape animal furs. Similar problems were met by the early photographers, who used vaporized mercury to create daguerreotypes. Biochemistry. 5th edition Berg JM, Tymoczko JL, Stryer L. New York: W H Freeman; 2002.
- ^ A Tour of E. Anthony's Daguerreian Manufactory
- ^ Daguerreotypecases
- ^ Antwerp Photography Museum
- ^ Wall preserver for daguerreotype. Princeton University
- ^ http://www.whitmanarchive.org/multimedia/image001.html
- ^ Recommended Citation Bethel, Denise B.. "Notes on an Early Daguerreotype of Walt Whitman."Walt Whitman Quarterly Review 9 (Winter 1992), 148-153. Available at: http://ir.uiowa.edu/wwqr/vol9/iss3/5
- ^ Daguerreobase
- ^ Daguerreotype locket
- ^ John Hannavy The Victorian Photographer at Work
- ^ Sixth-plate daguerreotype portrait of a man inserting daguerreotypes into lockets. On the table is an open locket awaiting its image.
- ^ The collection of Matthew R. Isenberg The Daguerreian Society
- ^ An advertisement for Mr Claudet's Daguerreotype Portrait Rooms, which was published in the Journal of the Society of Arts in December 1852, states that "Mr. Claudet's portraits are taken non-inverted (viz. the right and left side, as in nature), for which, and his other improvements in Photography, the Great Exhibition Council Medal has been awarded to him."Fig. 23 under heading 1850 - 1851 Charles Dickens Portraits
- ^ Claudet writes a letter to The Spectator explaining, among other things. that he has a mirror available, but does not use it normally as it requires an increase in exposure time, but he employs it when a face is asymmetrical, to reproduce the irregularity on the correct side
- ^ Paris et ses environs: reproduits par le daguerréotype sous la direction de M. Ch. Philipon
- ^ Julie Rehmeyer 1848 Daguerreotypes Bring Middle America's Past to Life Wired Magazine July 9, 2010
- ^ Includes a daguerreotype plate angled so as to appear as a negative
- ^ A History of Photography/The George Eastman House Collection
- ^ http://www.telegraph.co.uk/culture/culturepicturegalleries/8898962/Louis-Daguerre-and-the-pioneers-of-photography.html
- ^ op.cit.
- ^ [2]
The Petzval Portrait Lens 1841 Department of Imaging and Printing Technology, Chulalongkorn University, Bankok, Thailand - ^ Op. cit.
- ^ [Eder History of Photography]
- ^ The Chess Players Daguerreotype Musée d'Orsay
- ^ Daguerreotype at Princeton University with nail holes in the brass preserver from being nailed to a wall
- ^ http://www.hrc.utexas.edu/exhibitions/permanent/wfp/heliography.html
- ^ The Daguerreotype: nineteenth-century technology and modern science By M. Susan Barger, William Blaine White
- ^ Eder, Josef Maria History of Photography
- ^ Voigtländer Daguerreotype Camera. National Media Museum. UK.
- ^ Memory.loc.gov
- ^ Joseph Maria Eder History of Photography
- ^ A Preponderance of Evidence:The 1852 Omaha Indian Delegation Daguerreotypes Recovered The evidence for determining that figure 3 was a copy daguerreotype is the black line (edge of the copper plate) that appears very clearly in figure 4— directly above and to the right of the SCOVILL MFG CO. marking and that this daguerreotype was much higher in contrast than the other.
- ^ J. Paul Getty Museum. André Adolphe-Eugène Disdéri. Retrieved 2009-08-09.
- ^ J. Paul Getty Museum. Jules Itier. Retrieved 2009-08-09.
- ^ Wood, R. Derek. "The Daguerreotype in England: Some Primary Material Relating to Beard's Lawsuits." History of Photography, October 1979, Vol. 3, No. 4, pp. 305–09.
- ^ J. Paul Getty Museum. Antoine Claudet. Retrieved 2009-08-09.
- ^ J. Paul Getty Museum. Thomas Richard Williams. Retrieved 2009-08-09.
- ^ "Early photography: making daguerreotypes". J. Paul Getty Museum with Khan Academy. Retrieved December 4, 2013.
- ^ "Chemical and Optical Discovery". The Pittsburgh Gazette. 28 February 1839. p. 2 – via Newspapers.com.
- ^ Ewer, Gary W. (2011). "Texts from 1839". Archived from the original on 15 September 2014. Retrieved 16 September 2014.
- ^ "Collections | National Museum of American History". Americanhistory.si.edu. 2012-12-17. Retrieved 2013-07-27.
- ^ London, Barbara, Jim Stone, and John Upton. Photography. Upper Saddle River, NJ: Pearson Education, 2008.
- ^ "Occupational Portrait of Three Railroad Workers Standing on Crank Handcar". World Digital Library. 1850–1860. Retrieved 2013-07-16.
- ^ Cincinnati Historical Society Library. J. P. Ball, African American Photographer. Retrieved 2009-08-08.
- ^ a b c Newhall, Beaumont. The daguerreotype in America. 3rd rev. ed. New York: Dover Publications, 1976. ISBN 0-486-23322-7.
- ^ Leggat, Robert. A History of Photography from its Beginnings till the 1920s. Brady, Mathew. 1999. Retrieved 2009-08-09.
- ^ J. Paul Getty Museum. Thomas Martin Easterly. Retrieved 2009-08-08.
- ^ J. Paul Getty Museum. Jeremiah Gurney. Retrieved 2009-08-08.
- ^ J. Paul Getty Museum. John Plumbe, Jr. Retrieved 2009-08-08.
- ^ Young America: The Daguerreotypes of Southworth & Hawes. Biographies. Albert S. Southworth. International Center of Photography and George Eastman House, 2005–2006. Retrieved 2009-08-09.
- ^ National Portrait Gallery. A Durable Memento. Portraits by Augustus Washington, African American Daguerreotypist. Retrieved 2009-08-08.
- ^ J. Paul Getty Museum. Ezra Greenleaf Weld. Retrieved 2009-08-08.
- ^ Davies, Allan; State Library of New South Wales. "Photography in Australia". Celebrating 100 years of the Mitchell Library. Focus Publishing. p. 76. ISBN 978-1-875359-66-0.
- ^ Nelson, Kenneth E. (1996). "A Thumbnail History of the Daguerreotype"
- ^ Davis, D.T. (November 1896). "The Daguerreotype in America" McClure's Magazine 8(1):4-16. Near the end of the article, the author notes that the venerable Mr. Hawes, of Southworth and Hawes, has "a number of daguerreotypes made recently, for he is one of the few operators who remain loyal to the old process". Available online from the Daguerreian society
- ^ Tennant, John A. (August 1902). "Copying methods" The Photo-Miniature 4(41):201 et seq. See page 202 for mention of new daguerreotypes being made circa the 1890s by recycling old plates. (Selected text available online from The Daguerreian Society)
- ^ Cannon, Poppy. (June 1929). "An Old Art Revived" The Mentor 17(5):36–37 Available online from The Daguerreian Society
- ^ Romer, Grant B. (July 1977). "The Daguerreotype in America and England after 1860". History of Photography, 1(3):201 et seq.
Further reading[edit]
- Newhall, Beaumont The Daguerreotype in America ISBN 0486233227 ISBN 978-0486233222 Dover Publications.
- Gernsheim, Helmut, and Alison Gernsheim. L.J.M. Daguerre: the history of the diorama and the daguerreotype. New York: Dover Publications, 1968. ISBN 0-486-22290-X
- Barger, Susan M and White, William B. The Daguerreotype: Nineteenth-Century Technology and Modern Science Washington, D.C.: Smithsonian Institution Press, 1991
- Rudisill, Richard. Mirror image: the influence of the daguerreotype on American society. Albuquerque: University of New Mexico Press, 1971.
- Coe, Brian. The birth of photography: the story of the formative years, 1800–1900. London: Ash & Grant, 1976. ISBN 0-904069-06-0.
- Sobieszek, Robert A., Odette M. Appel-Heyne, and Charles R Moore. The spirit of fact: the daguerreotypes of Southworth & Hawes, 1843–1862. Boston: D.R. Godine, 1976. ISBN 0-87923-179-3
- Pfister, Harold Francis. Facing the light: historic American portrait daguerreotypes: an exhibition at the National Portrait Gallery, September 22, 1978 – January 15, 1979. Washington, D.C.: Published for the National Portrait Gallery by the Smithsonian Institution Press, 1978.
- Richter, Stefan. The art of the daguerreotype. London: Viking, 1989. ISBN 0-670-82688-X.
- Barger, M Susan, and William B White. The daguerreotype: nineteenth-century technology and modern science. Washington: Smithsonian Institution Press, 1991. ISBN 0-87474-348-6
- Wood, John. America and the daguerreotype. Iowa City: University of Iowa Press, 1991. ISBN 0-87745-334-9.
- Wood, John. The scenic daguerreotype: Romanticism and early photography. Iowa City: University of Iowa Press, 1995. ISBN 0-87745-511-2.
- Lowry, Bates, and Isabel Lowry. The silver canvas: daguerreotype masterpieces from the J. Paul Getty Museum. Los Angeles: The Museum, 1998. ISBN 0-89236-368-1.
- Davis, Keith F., Jane Lee Aspinwall, and Marc F. Wilson. The origins of American photography: from daguerreotype to dry-plate, 1839–1885. Kansas City, MO: Hall Family Foundation, 2007. ISBN 978-0-300-12286-2.
- Kenney, Adele. Photographic Cases Victorian Design Sources 1840–1870, 2001 ISBN 0-7643-1267-7.
- Hannavy, John. Case Histories: The Packaging and Presentation of the Photographic Portrait in Victorian Britain 1840-1875, 2005. ISBN 1-85149-481-2.
External links[edit]
Look up daguerreotype in Wiktionary, the free dictionary. |
Wikimedia Commons has media related to Daguerreotype. |
This article's use of external links may not follow Wikipedia's policies or guidelines. (October 2014) |
- The Silver Canvas: Daguerreotype Masterpieces from the J. Paul Getty Museum Bates Lowry, Isabel Barrett Lowry 1998
- Historique et description des procédés du daguerréotype rédigés par Daguérre, ornés du portrait de l'auteur, et augmentés de notes et d'observations par MM Lerebours et Susse Frères, Lerebours, Opticien de L'Observatoire; Susse Frères, Éditeurs. Paris 1839 (French)
- R. Derek WOOD, A State Pension for L. J. M. Daguerre for the secret of his daguerreotype technique Published in the quarterly journal Annals of Science September 1997 (Vol 54, No.5, pp. 489–506) © copyright R. D. Wood and Taylor & Francis 1997.
- Musée Orsay Daguerreotype Collection - under heading Overview click on Index of Works and search DAGUERREOTYPE
- Hill, Levi L. A Treatise on the Daguerreotype. The Whole Art Made Easy. 1850
- The Daguerreotype Process. Sussex PhotoHistory.
- Geo. M. Hopkins Reminiscences of Daguerreotypy The Daguerreian Process: A Description Scientific American Vol. 56, No. 4, (22 January 1887) pp. 47, 52 This text also appeared with its illustrations in the St. Louis and Canadian Photographer 14:5 (May 1896) 218-221 It is one of the best brief descriptions of the daguerreian process.
- Daguerre (1787–1851) and the Invention of Photography. Malcolm Daniel, Department of Photographs, The Metropolitan Museum of Art
- The Daguerreian Age in France 1839–1855. Malcolm Daniel. Department of Photographs, The Metropolitan Museum of Art
- *Xiaoqing Tang, Paul A. Ardis, Ross Messing, Christopher M. Brown, Randal C. Nelson, Patrick Ravines, and Ralph Wiegandt. University of Rochester, Rochester Digital analysis and restoration of daguerreotypes University of Rochester
- The Nanotechnology of the Daguerreotype University of Rochester on YouTube
- Cincinnati Waterfront Panorama Daguerreotype University of Rochester
- International Contemporary Daguerreotypes community (non profit org)
- The Daguerreian Society: History, and predominantly US oriented database & galleries
- The Daguerreotype: an Archive of Source Texts, Graphics, and Ephemera
- Daguerreobase
- Daguerreotype Portraits and Views, 1836–1864: US Library of Congress
- The American Handbook of the Daguerreotype from Project Gutenberg
- The Social Construction of the American Daguerreotype Portrait
- 19th Century New Orleans Photography
- Photography, Old & New Again by John Fleischman and Robert Kunzig from Discover Magazine Article on Daguerreotypes and Holograms
- A University of Utah Podcast on Daguerreotype Theories
- Daguerreotype Plate Sizes
- Library of Congress Collection
- Daguerreotype collection at the Canadian Centre for Architecture
- First mention of the use of bromine in daguerreotypy
- Auction of daguerreotype camera made by Daguerre's brother-in-law, Alphonse Giroux, Sociedad Ibero-Americana de la Historia de la Fotografia Museo Fotográfico y Archivo Historico "Adolfo Alexander"


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Document Type Master's Dissertation Author Chimfwembe, Richard email@example.com URN etd-09182007-123736 Document Title The Roman Catholic Church and the United Church of Zambia challenged by HIV and AIDS, which results in creating poverty among Zambian people Degree MA (Practical Theology) Department Practical Theology Supervisor
Advisor Name Title Prof M J Masango Keywords
- poverty
Date 2006-09-09 Availability unrestricted Abstract The writing of this thesis is to investigate the role that the church play for the people living with HIV and AIDS and are poverty stricken. This investigation takes us both into the role of the Roman Catholic Church of Ndola Diocese and the Copperbelt Presbytery of the United Church of Zambia are doing in the fight against HIV and AIDS and poverty.The problem of HIV and AIDS in Zambia, as well as Africa in general, represents an economic, social, moral, and spiritual problem of great magnitude. Never before in the history of the world have we faced such a pandemic which results in creating poverty among Zambian people. It knows no boundaries, leaving a path of death and destruction to all that treat it lightly. HIV and AIDS have touched every community within the global village. There is not a person that has not pondered on this terrible disease. The researcher's question through this thesis is to find out the role of the church as it seeks to care for those infected and affected by the HIV and AIDS pandemic. Can the church rise to embrace the enormous economic and social need that HIV and AIDS and poverty presents, can it make a difference in an environment of suffering as it seeks to become a healing community?
This thesis is to enhance the response of churches in Zambia to the fight against HIV and AIDS and Poverty. Pastorally, churches have the duty and task to address issues of stigma, discrimination, judgmental tendencies and give pastoral care to people living with HIV and AIDS. This thesis has attempted to explore new theological perspectives and utilise the available ones, which have already been dealing with issues that address HIV and AIDS prevention and care. The study also seeks to encourage church ministers, pastors and lay leaders to provide the much needed leadership in the fight against HIV and AIDS and its accompanying social problems of poverty, injustices, culture and gender inequality.
The church has a central role to play in the fight against poverty and impoverishment. As part of the civil society, it has the pastoral responsibility for ensuring that all citizens in Zambia enjoy their full rights. Far from being powerless victims of HIV and AIDS and poverty, the poor in Zambia must be treated with respect and dignity. Nevertheless effective therapy and pastoral care normally transcends all stigma and cultural barriers as it seeks to address the problems of people living with HIV and AIDS. Human beings respond to love, care and shelter, as basic needs. Ross reminds us that "It is only when the church becomes the leading symbol of healing in a situation of HIV and AIDS and poverty then it will be a blessing to all those who are living HIV negative lives and those who struggle to bring care, support, love and comfort to the orphans and widows and more especially to all those living with HIV and AIDS" (Ross 2002:vi). The church should not lag behind, but it should set the pace of showing the love and care for all people with HIV and AIDS and are living in poverty.
© University of Pretoria
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subset: commoncrawl


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Terrorism 2013-02-13
Tripoli gang kidnaps businessman
Tripoli gunmen kidnapped Arab Contracting Union head Abdulrahman Abdullah Husseini and his Sudanese driver on Tuesday (February 12th), Libya Herald reported.
In another high-profile kidnapping, Colonel Mahmoud Al-Jaaber of the national fire service was snatched from his Tripoli office on Sunday. He has not been found.
Subscribe to our newsletter and get Magharebia's latest articles delivered to your inbox.
عبد الصادق ابولقاسم
Libya has security problems which can be solved in the following way: 1- Recognizing only legitimate institutions and speeding up building state institutions 2- Stressing the independence of the three powers: legislative, executive and judiciary. 3- No one is above law, neither from the national congress nor the rebels. 4- Dissolution or integration of rebel battalions, brigades, security committees or any other sides which are not under the control and orders of the ministry of the interior and defence. 5- Creating job opportunities to absorb unemployed people and not be limited to integrating them in the security and defence as these two shouldn't be inflated. 6- Pursuing a wise internal policy focused on development, a balanced foreign policy with all countries especially the one that helped Libya during revolution and not intervene in internal affairs. 7- Start with the plan for national reconciliation and address the issue of the displaced people internally and abroad. 8- Everyone must support the new administration and adopt democracy which means accepting others regardless of their political affiliation. 9-The law of political isolation shouldn't be extended and limited to senior leaders in the former regime, prime ministers, ministers, members of the general popular congress and some ambassadors convicted of financial corruption. 10- Keeping other officials in state administrations, universities, the army and security as they are the real wealth of Libya.


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The Ukulele Place To Meet And Greet! Welcome Tenor Guitar Players!
This network is a good way for members of UOGW, DC to announce rehearsals and gigs.
Location: Washington, DC, Maryland, Virginia and people who don't mind driving.
Members: 48
Latest Activity: Apr 2, 2013
Started by Marcy Marxer. Last reply by Marcy Marxer Feb 16, 2011. 4 Replies 0 Likes
Started by SoundofPi. Last reply by Boz Feb 19, 2009. 3 Replies 0 Likes
Started by Judy Titterton. Last reply by Boz Feb 17, 2009. 1 Reply 0 Likes
Does this group still meet? I have just moved to the area and am looking for fellow Uke players to jam with.
© 2015 Created by Marcy Marxer. Powered by


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Air Cargo World Magazine
10/30/2013 - 11:26
As the recent trickle of reports of improved results from Asian airports and carriers gained momentum and converged with word of charter inquiries from the likes of Apple and... Read more
10/30/2013 - 11:24
"Cautious optimism" has become an oft-used term in the air cargo industry, and that figures to continue in 2014. Several of our articles in this issue bear this out.... Read more
10/30/2013 - 11:22
There is nothing the British like more than good old-fashioned gossip over the afternoon teacups.
Right now, they are getting all fussed up over where London's future hub airport... Read more
10/30/2013 - 10:54
The Montreal Convention is a U.S. treaty governing international movement of cargo. Therefore, it is the supreme law of the land. By its own terms, the Montreal Convention... Read more
10/30/2013 - 10:48
By David Ambridge
When I was asked to speak about quality, I struggled to find something to say. I looked back over the last year and tried to see what had changed, and if or how... Read more
10/30/2013 - 10:44
Shippers of air cargo are hopeful but realistic about the prospects for an industry rebound in 2014. That's the gist of opinions offered by readers responding to an Air Cargo... Read more
09/30/2013 - 12:29
Are airports catalysts for growth or does economic development drive airport growth? Both come into play, and usually it's a case of available land.
Air cargo consultant Michael... Read more
09/30/2013 - 12:24
The overriding aim of private international air law has been to unify laws relating to the carriage of persons and cargo.
This unification started with the Warsaw Convention of... Read more
09/30/2013 - 12:00
Cathay Pacific Airways announced that Chief Executive John Slosar will succeed Christopher Pratt as chairman of the airline in March 2014. Slosar will also take over as... Read more
09/30/2013 - 11:54
The impending arrival of its first B777F heralds a new freighter era for Lufthansa Cargo. But it also confronts the German carrier with something of a dilemma.
The first aircraft... Read more


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CM Storm QuickFire Rapid review
CM Storm, Cooler Master's gaming division, has produced some excellent headsets in the past, but this is the first time we've put one of its keyboards through its paces. The Quickfire Rapid is a compact mechanical keyboard aimed at gamers with limited desk space.
You gain about 3in of desk space over a regular keyboard, as CM Storm has removed the numeric keypad. This frees up room for a larger mouse mat, making it easier to use lower-sensitivity mouse settings without bashing into the keyboard.
The removable braided USB cable is a nice touch, as is the row of multimedia controls assigned as secondary functions to the F keys, but otherwise the keyboard is refreshingly devoid of superfluous features usually thrown into gaming peripherals.
It's incredibly well built, with responsive mechanical keys that have precise actions and satisfyingly loud click noises. Because it uses fewer keys than other mechanical keyboards, it's also one of the cheaper models we've seen – at £65, it's great value for such a well-made mechanical keyboard.


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Simian Mobile Disco, Tiga, South London Ordnance and more added to Snowbombing 2013
29 Nov 2012 -
photographed by
Ashley Bird -
event date
1 Apr 2013 -
Austria's Snowbombing festival has announced a handful of new names for 2013.
Radio 1′s jack-happy Heidi, Simian Mobile Disco (DJ set, rather than the duo's live show), Tiga and recent Dubstep Allstars mixer Plastician join a line-up that already includes the likes of Katy B, Disclosure and Carl Cox. More underground additions come in the form of recent FACT New Talent pick South London Ordnance and Maribou State, while the reliable Catz 'n' Dogz rep for the slinkier end of the European house spectrum. Above & Beyond, Krankbrothers and the Dub Pistols are also on board.
As well as the above, the full Snowbombing line-up features Seth Troxler, Skream, David Rodigan, Kerri Chandler, Toddla T and more. For tickets and more information, head to the festival's website.


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I have several varieties of garlic bulbs and bulbils for trade, I am looking for the following heirloom varities of seeds for them:
Butter Lettuce
Since it will cost me so much to ship the garlic bulbs I would prefer to do larger trades for them....but I am willing to do some smaller trades for the bulbils. Thanks
Follow-Up Postings:
- Posted by soilent_green 4b MN (My Page) on Mon, Aug 1, 11 at 11:11
I am interested in a possible trade with you. I have many items on your list that you might be interested in. I will be sending you an email. Thanks, -Tom |
- Posted by victoria_cpcrazy 5 North central Kans (My Page) on Sat, Aug 6, 11 at 0:10
Thanks Tom, I sent an email back. Anyone else interested in trading for garlic? I have several pounds worth so there is plenty for several trades. Thanks |
- Posted by trovesoftrilliums 5 (My Page) on Sat, Aug 6, 11 at 20:47
Any interest in trading for mammoth raspberry? Happy gardening |
- Posted by victoria_cpcrazy 5 North central Kans (My Page) on Sun, Aug 7, 11 at 11:26
Sorry, not interested in any raspberries at this time, thanks for the offer though. Happy growing; |
I would love some garlic! I have Fordhook 242 Lima Beans, Speckled Calico Lima Beans, Topcrop Bush Bean, Kentucky Wonder pole bean, and contender bush bean. I also have a lot of heirloom tomato seeds. Let me know if you think we can work something out! Thanks |
- Posted by apoppyfield 8 (My Page) on Sun, Aug 7, 11 at 14:11
I'm sending an email. |
- Posted by bluespiritartist 5 (firstname.lastname@example.com) on Mon, Aug 8, 11 at 12:53
Would you be at all interested in any of these?:Heirloom Boltardy Beets, Heirloom American Purple Top Rutabaga, I do not have alot of them but maybe 40 seeds aprox. I also have Heirloom Chantenay Royal carrot, Heirloom Broad Leaf Escarole and carrot seeds that are marked as open pollinated...not sure if that means they are Heirloom but am thinking they are. They are: Cosmic purple, Kaleidoscope. Have aprox.30-50 seeds of Mervielle des Quatre Saisons lettuce but does not say it is Heirloom, it was from a trade. I would LOVE to trade for any named garlic. Thank you for any consideration on this. If you are not interested, that's ok to...I perfectly understand. :) Also, I have not been able to successfully change my e-mail address in here it is: firstname.lastname@example.com I'm going to try again to change it, then will have to get ahold of someone in here that can help me out. |
- Posted by PunkRotten 9b (My Page) on Sun, Sep 11, 11 at 16:08
I have kale and collards. Email me at punkrotten (at) hotmail.com Let me know what garlic you have. I may have some carrots to trade too. |
- Posted by ricjo22 5 (firstname.lastname@example.com) on Sat, Sep 17, 11 at 1:38
hi i have 5 varieties of garlic in my lists. i would love to trade for varieties i dont have . please check my list for things you'ld like if your interested in a trade. i will be planting the garlic very soon but i keep about half to eat. i planted 450 toes last year but i think i'll try to double that this year. |
Here is a link that might be useful: ricjo22's exchange list
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text:
Hi everyone,
I always have been able to count on your expertise to help me learn. Please take a look at my first (of what I expect will be many) questions of the season. I am located in the east metro. I've noticed a lot of bulb attrition this spring. Not a lot of squirrels or other animals in the neighorhood at all, but I did see signs of a bunny nearby. Nothing looked to be dug up or bothered though.
4. I also had a lot of winterburn this winter as another poster mentioned. It was on boxwood. It faces east-southeast, with the most severe burn on the southern exposure side. I don't really want to cover them since the whole reason I purchased them for that location was for winter color. I have some others on the northeast side of the house that are doing very well.
Thanks in advance! |
Follow-Up Postings:
I'm not a bulb expert so I'll leave that for others. As for the Boxwood, if you are not willing to cover or screen them for the winter, you could try an anti-dessicant spray. I don't know if they really work or not, have heard conflicting info including that it could do more harm than good. There is a house I walk by in my neighborhood where the owner put of a burlap screen all along the west and south sides of the boxwood. They were still all burned. Another thought, this winter was the worst I can remember for a while regarding evergreens and winterburn. A lot of the especially sensitive variaties (boxwood, yews, etc) look bad. Perhaps you accept that every once in a while they are going to have a rough winter. |
- Posted by heleninramsey 4 (My Page) on Sat, May 2, 09 at 9:11
I believe that much of the hardiness has been bred out of tulips and other spring bulbs in the pursuit of fancier varieties. There can be other reasons as well, heavy wet soil for example and yes, animals too. As for the new bulbs, I have found that you need to be dilligent in checking the quality of new bulbs, and good ones seem to be hard to come by, even with reputable nurseries. Boxwood is one of my pet peeves. They just are not all that hardy here, I am taking pictures of all the dead boxwood in the area to show my clients who insist on buying this plant. As a gardener I understand taking risks on plants that I know may or may not survive the winter, but they are sold in abundance to well meaning people who do not understand this risk. They assume that because they are readily available, they must be a good plant for the area. Okay...I appologize for the rant. But that is my two cents for what it is worth. Good luck with the bulbs and the boxwood too. Helen. |
- Posted by leaveswave (My Page) on Sat, May 2, 09 at 9:31
Species tulips will increase, hybrids tend to peter out over time. Not sure if daffs are the same. Another factor or two...excessive wetness will rot bulbs, planting too deep/in really heavy or clay soil may also lead to decrease over time. Nutrients is another aspect to consider. Check out the U of MN Extension's online publications about bulbs. I agree with the comments about boxwood. |
- Posted by zenpotter z4 MN (firstname.lastname@example.com) on Sat, May 2, 09 at 12:00
Some suppliers are more reliable than others. One of the things I do before I order from anyone is to check the garden watchdog to see the reliability of the company. |
Here is a link that might be useful: garden watchdog
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England expects that every man will do his duty
"England expects that every man will do his duty" was a signal sent by Admiral Horatio Nelson, 1st Viscount Nelson, from his flagship HMS Victory as the Battle of Trafalgar was about to commence on 21 October 1805. Trafalgar was the decisive naval engagement of the Napoleonic Wars. It gave the United Kingdom control of the seas, removing all possibility of a French invasion and conquest of Britain. Although there was much confusion surrounding the wording of the signal in the aftermath of the battle, the significance of the victory and Nelson's death during the battle led to the phrase becoming embedded in the English psyche, and it has been regularly quoted, paraphrased and referenced up to the modern day.[1]
Signals during the battle[edit]
As the British fleet closed with the opposing combined fleets of France and Spain, Lord Nelson signalled all the necessary battle instructions to his ships. Aware of the momentousness of events to come, Lord Nelson felt that something extra was required. He instructed his signal officer, Lieutenant John Pasco, to signal to the fleet, as quickly as possible, the message "England confides [i.e. is confident] that every man will do his duty." Pasco suggested to Nelson that expects be substituted for confides, since the former word was in the signal book, whereas confides would have to be spelt out letter-by-letter. Nelson agreed to the change (even though it produced a less trusting impression):[2][3]
His Lordship came to me on the poop, and after ordering certain signals to be made, about a quarter to noon, he said, 'Mr. Pasco, I wish to say to the fleet, ENGLAND CONFIDES THAT EVERY MAN WILL DO HIS DUTY' and he added 'You must be quick, for I have one more to make which is for close action.' I replied, 'If your Lordship will permit me to substitute the confides for expects the signal will soon be completed, because the word expects is in the vocabulary, and confides must be spelt,' His Lordship replied, in haste, and with seeming satisfaction, 'That will do, Pasco, make it directly.'
—John Pasco
Thus, at around 11:45 a.m. on 21 October 1805, the most famous naval signal in British history was sent.[4][5] The exact time the signal was sent is not known (one account puts it as early as 10:30),[6] as the message was repeated throughout the fleet and logs would have been written up after the battle, but Pasco puts it at "about a quarter to noon" and logs from other ships of the line also put it close to this time.[3]
The signal was relayed using the numeric flag code known as the "Telegraphic Signals of Marine Vocabulary", devised in 1800 by Rear Admiral Sir Home Popham, and based on the signal books created earlier by Admiral Lord Howe.[8] This code assigned the digits 0 to 9 to ten signal flags, which were used in combination. Code numbers 1–25 represented letters of the alphabet (omitting J and with V=20 before U=21);[7] higher numbers were assigned meanings by a code book.[9] The code numbers are believed to have been hoisted on the mizzenmast, one after another, with the "telegraphic flag" also being flown to show that the signals employed Popham's code.[10] As well as digit flags, the code used "repeat" flags so that only one set of digits was needed; thus the word "do", coded as "220", used a "2" flag, a "first repeat" flag here serving as a second 2, and a "0" flag. The word "duty" was not in the codebook (and was not replaced as "confides" had been), so had to be spelt out, and the whole message required twelve "lifts".[11] It is believed that it would have taken about four minutes.[11] A team of four to six men, led by Lt. Pasco, would have prepared and hoisted the flags onboard Lord Nelson's flagship HMS Victory. The message shows one of the shortcomings of Popham's code—even the two-letter "do" required three flags hoisted for the signal. It is reported that a great cheer went up as the signal was hoisted and repeated throughout the fleet.[12]
The message "engage the enemy more closely" was Nelson's final signal to the fleet, sent at 12:15 p.m.,[5] before a single British cannon had been fired at the enemy.[13] This message was signalled using the telegraphic flag and flags 1 and 6. Nelson ordered this signal hauled up and kept aloft.[5] It remained up until shot away during the battle.[3]
After the battle[edit]
Almost immediately, the signal began to be misquoted. A number of ships in the fleet recorded the signal as "England expects every man to do his duty" (omitting that and replacing will with to). This version became so prevalent that it is recorded on his tomb in St. Paul's Cathedral.[2] The word that is also omitted on the version around the base of Nelson's Column, as seen in the photo above. However, the Victory's log and the accounts of signal officer John Pasco and Henry Blackwood (captain of the frigate Euryalus), both present at the preparation of the signal, agree on the form given here.[2] In 1811, the tenor John Braham composed a song, "The Death of Nelson", including the words of the signal. The song became popular almost immediately and was performed throughout the British Empire during the 19th century. To make the words fit the metre, they were altered to "England expects that every man this day will do his duty". This version of the wording is also persistent.[14]
Between 1885 and 1908 it was believed that the signal had been sent using the 1799 code book, as in 1885 it was pointed out that this had not been replaced until 1808. In 1908 it was discovered, the Admiralty had, in fact, changed the signal code in November 1803, after the 1799 version had been captured by the French,[15] and new code books had been issued to Nelson's fleet at Cadiz in September, 1805. As a result, books published between these two dates show the signal using the wrong flags.
The signal is still hoisted on the Victory at her dry dock in Portsmouth on Trafalgar Day (21 October) every year,[16] although the signal flags are displayed all at once, running from fore to aft, rather than hoisted sequentially from the mizzenmast.
Similar signals[edit]
Nelson's famous signal has been imitated in other navies of the world. Napoleon ordered the French equivalent, "La France compte que chacun fera son devoir", to be displayed on French vessels.[14] At the opening of the Battle of Plattsburgh in September 1814, Commodore Thomas MacDonough of the U.S. Navy flew the signal "Impressed seamen call on every man to do his duty", referring to the fact that impressment of U.S. mariners had been a popular cause of the War of 1812. Before the Battle of Tsushima, Japanese Admiral Togo (who had studied naval science in England from 1871 to 1878) signalled to his fleet: "The fate of the Empire depends upon today's battle: let every man do his utmost".[17]
Later uses[edit]
Charles Dickens quotes it in Chapter 43 of Martin Chuzzlewit:
- "...as the poet informs us, England expects Every man to do his duty, England is the most sanguine country on the face of the earth, and will find itself continually disappointed."[18]
In Lewis Carroll's The Hunting of the Snark, the Bellman says:
- "For England Expects — I forbear to proceed. Tis a maxim tremendous, but trite."[19]
In Ogden Nash's collection of poems I'm a Stranger Here Myself (1938) there is a short poem "England Expects".[20]
It was also referenced by Margaret Thatcher during her crucial speech to the cabinet which finally persuaded them to rally behind her over the divisive issue of the poll tax.[21] Further afield, it has been adapted by James Joyce in his novel, Ulysses, such as "Ireland expects that every man this day will do his duty".
In the United States, former Secretary of the Navy of the United States of America Gordon R. England wore a tie with the flags representing the famous quote when he visited naval vessels.[22]
Today "England expects..." is often adapted for use in the media, especially in relation to the expectations for the victory of English sporting teams.[23][24] Such is the sentence's connotation with sport that a recent book on the history of the England national football team by James Corbett was entitled England Expects. A BBC Scotland television drama also bears its name.[25]
- ^ Daniel Mandel (December 2005). "The 'secret' history of the Anglosphere". IPA Review. Archived from the original on 2007-12-03. Retrieved 17 September 2006.
- ^ a b c "Nelson and His Navy — England or Nelson?". Historical Maritime Society. Archived from the original on 2006-09-28. Retrieved 2006-09-12.; reprinted and abridged from White, Colin (1998). "Nelson and His Navy — England or Nelson?". In Harris, David J. The Trafalgar Chronicle 1998: Year Book of the 1805 Club. ISBN 978-1-902392-01-1.
- ^ a b c "England Expects". The Nelson Society. Archived from the original on 2005-03-24. Retrieved 16 September 2006.
- ^ "England Expects". aboutnelson.co.uk. Retrieved 16 September 2006.
- ^ a b c "Trafalgar signals". Broadside. Retrieved 16 September 2006.
- ^ Lieutenant Paul Harris Nicholas, Royal Marines, HMS Belleisle (1805-10-12). "Battle of Trafalgar". Retrieved 7 August 2009.
- ^ a b "England expects that every man will do his duty". Archives & Collections Society. Retrieved September 14, 2011.
- ^ "Popham's Signal flags". Flags of the World. 2006-04-29. Retrieved 16 September 2006.
- ^ D.Bolton (2002-06-14). "Signals". Archived from the original on 2006-04-27. Retrieved 16 September 2006.
- ^ Gordon, W.J. (1930). Flags of the World. Past and Present: Their Story and Associations. Frederick Warne and Co.: London and New York. p. 147.
- ^ a b Barrie, Kent (1993). Signal! A History of Signalling in the Royal Navy. Hyden House Ltd. pp. 7,100.
- ^ "Signal Flags". National Maritime Museum. Archived from the original on 2007-09-30. Retrieved 16 September 2006.
- ^ Andidora, Ronald W. (2000). Iron Admirals: Naval Leadership in the Twentieth Century. Greenwood Press. p. 5. ISBN 0-313-31266-4.
- ^ a b "An A to Z of Nelson:E – England Expects... Vice-Admiral Horatio, Lord Nelson". SeaBritain 2005. 2005. Archived from the original on 2007-09-27. Retrieved 17 September 2006.
- ^ "Popham's code". HMS Victory. Retrieved 18 August 2012.
- ^ "England Expects That Every Man Will Do His Duty". National Maritime Museum. Archived from the original on 2007-09-30. Retrieved 16 September 2006.
- ^ Colin Joyce (2005-01-06). "Japan proudly flies battleflag again". Telegraph.co.uk.
- ^ Martin Chuzzlewit, Chapter 43.
- ^ The Hunting of the Snark, Fit the Fourth, 10th stanza, lines 1 and 2.
- ^ Ogden Nash in Wikiquote
- ^ Crick, M. (1997). Michael Heseltine: A Biography. Penguin Books Ltd: London. p. 388.
- ^ "Remarks by Secretary of the Navy Gordon England, At Western Connecticut Council Navy League, Stamford Yacht Club, Stamford, Conn.". 2002-02-18. Retrieved 17 September 2006.
- ^ "England expects...". BBC. 2005-09-07. Retrieved 16 September 2006.
- ^ Rick Broadbent (2005-11-12). "Great Expectations". London: Times Online. Retrieved 17 September 2006.
- ^ "England Expects". BBC. 2004-03-18. Retrieved 17 September 2006.
External links[edit]
Wikimedia Commons has media related to England expects that every man will do his duty. |
Wikiquote has quotations related to: Admiral Horatio Nelson |


text:
Epidural Injections at Sky Ridge Medical Center
An epidural injection is given into the epidural space of the spine to provide temporary or prolonged relief from pain or inflammation. Steroids, anesthetics and anti-inflammatory medications are typically are the medications injected to the epidural space. The injection may reduce pain and swelling in and around the spinal nerve roots, as well as around damaged nerves which in time may heal.
Imaging guidance, such as fluoroscopy, is used to help the doctor place the needle in exactly the right location so the patient can receive maximum benefit from the injection.
Common Uses of an Epidural Injection
An epidural injection is one of many methods used to relieve pain.
An epidural injection may be performed to alleviate pain caused by:
- A herniated or bulging disk
- Spinal stenosis
- Other injuries to spinal nerves, vertebrae and surrounding tissues


text:
Irrespective of how times change, the factors that contribute to healthy and successful relationships, for the most part, seem to remain unchanged. For instance, a healthy courtship improves the chances of a successful relationship. In view of this, dating is an important step that individuals who want to know each other better and form a good relationship ought to take. During a healthy dating process, couples can establish the foundation of a good relationship.
Tips for a Healthy Dating Process
Dating is a fun process but it can also be very challenging. If you are looking for a man or women to begin a healthy and successful relationship, you can make sure that you start off on right note by following these dating tips:
Understand What You Want
Do you want to go on dates for fun or are you dating in order to find a partner with whom you can form a long and healthy relationship?
If the latter is the case, make sure that you clearly understand why your past relationships failed and make a commitment to correct past relationship mistakes before you begin dating again. While it may be easy to find someone to date, making it work can be quite difficult especially if you make wrong choices repeatedly.
In addition to this, it is also vital to establish, beforehand, the type of relationship partner you are looking for. By doing so, you can narrow down your dating options and make a plan on how and where you can meet the type of person you want to date. However, keep an open mind since it may not be possible to find a partner who is the "perfect fit."
Keep Your Anxiety in Check
Dating can be a scary experience, especially if you have been out of the dating field for a long time. To succeed at dating, you need to learn to let go and enjoy the excitement and fun of the moment instead of focusing on the fears and insecurities you have about the dating process.
If you are constantly worrying about whether your dates will develop into a long term relationship or fretting about the impression you create on your dates, you will end up scaring away all your dates. As such, when you go on dates, keep your insecurities in check by showing a genuine interest in learning as much as you can about your date.
Pay Attention
One of the most important aspects of going on a date, besides having fun is to learn more about your date. As such, no matter how excited you are that a person you like has asked you out on a date or accepted your request for a date, you need to make sure that you pay attention during your date. Listen to what your date has to say and watch their facial expressions and body movement so that you can understand what he/she really feels about various issues.
Also, avoid talking incessantly about your life, experiences or opinions. By paying attention, you create the impression that you are interested in your date. This sets a good foundation for your future dates that may eventually lead to a healthy relationship.
Keep the First Few Dates Casual
No matter how much you want to be with someone, it is important not to get too serious too fast with your dates. Remember, they may not share your desire for a long term relationship and you may end up being disappointed if you try and turn your dates into a marathon that you hope will turn into something more.
Moreover, even if you and your date share the same relationship goals, if you get serious too fast, you may miss out on the opportunity to know each other well before jumping into it. This may affect your chances of forming a successful and healthy, long-lasting situation. In view of this, keep your first few dates causal by keeping the conversations light and engaging in casual activities, such as going to the movies, picnics or parks.
If you know what you are looking for in a potential partner before you begin dating, make sure you make the right choices while dating in order to find your right partner. Additionally, ensure that your dating expectations are realistic. It may not be possible to find an ideal partner in a matter of weeks or months. However, once you find the right person, your dates will progress naturally into a healthy and successful relationship.


text:
Reviewed By yancey g (NASHVILLE, TN) Reviewed for a 2014 Toyota RAV4 —1/27/2015 6:22 AM
The back cargo liner doesn't fit quite as snug as the front and back seat ones, but it's a pretty damn nice product. One trip to the recycling station, with dripping bottles, and some grossness, was enough to sell me on this product. Brought the car home, pulled out the liner, rinsed it off with a hose, and voila, looks brand new.


text:
"Very nice. Good Quality, and nice price." (E19238)
"Standard adjustable belt for a great price. When buying by the dozen it worked out to less than $3 a belt. Good belt at a great price." (E15445)
"Great value...sizes ran true and the shorts look like they will hold up nicely!" (E1295)
We're sorry but there were no products found for the specified criteria.


text: Titanic Island Game iPhone gamesBookmark the permalink. Release date: Mar 7th, 2012 Price: Free Version: 1.2 Seller: Awakin Buy Now STP SCORE: Not yet reviewed Description Related Games Monument Valley Out There Tengami In Fear I Trust Walking Dead: The Game – Season 2 Republique Grand Theft Auto: San Andreas The Wolf Among Us Oceanhorn Sorcery! 2


text:
[1787] Histologic and Cytomorphologic Features of ALK-Rearranged Lung Adenocarcinomas.
Michiya Nishino, Veronica E Klepeis, Kristin Bergethon, Eugene J Mark, A John Iafrate, Mari Mino-Kenudson. Massachusetts General Hospital, Boston
Background: Chromosomal rearrangements leading to constitutive activation of anaplastic large cell lymphoma kinase (ALK) define a category of lung adenocarcinomas that may be amenable to targeted therapy. Our previous study with a limited number of ALK-rearranged (ALK+) tumors has shown their association with a solid histology with numerous signet ring cells; however, experience of others appears to be different. Thus, we evaluated the histologic and cytomorphologic characteristics of ALK+ lung adenocarcinomas from a large cohort of patients.
Design: We examined biopsy, resection, and cytology specimens from 119 patients with lung adenocarcinomas that were positive for an ALK rearrangement by fluorescence in situ hybridization. Histologic subtypes and distinctive cytomorphologic features were assessed in each case and were compared with 117 ALK rearrangement-negative (ALK-) lung adenocarcinomas. In mixed-subtype tumors, the predominant histologic subtype was used in the analysis.
Results: The 119 ALK+ lung adenocarcinoma specimens consisted of 60 resections or excisional biopsies of primary or metastatic tumor, 49 core or transbronchial biopsies, and 10 cell blocks. The most common predominant histologic subtype was solid pattern (58%), followed by micropapillary (17%), acinar (14%), papillary (7%), and bronchioloalveolar (3%). In one specimen, the tumor was predominantly infiltrative with single cells and cords. Tumors with a predominantly solid subtype were more frequent in ALK+ cases compared to ALK- cases (58% vs. 31%, P < 0.0001). In 35% of the ALK+ tumors, signet ring cells comprised 10% or more of the tumor cells, and a solid histology with numerous signet ring cells was seen in 24% (vs. 3% of ALK- tumors, P < 0.0001). Large hepatoid cells with abundant eosinophilic cytoplasm and prominent nucleoli were observed in 26% of the ALK+ cases but were rarely seen in the ALK- tumors.
Conclusions: The evaluation of a large cohort of ALK+ lung adenocarcinomas confirmed a solid subtype with numerous signet ring cells as their characteristic histology and cytomorphology. Identification of this particular pattern as well as cells with hepatoid features may be useful in predicting the subset of lung adenocarcinomas harboring ALK rearrangements.
Category: Pulmonary
Tuesday, March 1, 2011 1:00 PM
Poster Session IV # 262, Tuesday Afternoon


text:
Scrape by scrape, ancient Rome emerges. At the heart of the city, in pits secured by scaffolding and little wider than railway cars, the modern gives way to the Renaissance. Medieval brick falls away. Sunlight shines on imperial marble. A shovel scratches the ground. The upturned earth, undisturbed for 2,000 years, smells sharp and fresh.
In the Italian capital, where every spade hole has the potential to contain buried treasure, the ancient still governs the modern. Any underground construction project—the laying of a gas line, the expansion of a basement—requires a visit from the city's archaeologists. So when the city planners decided in 1990 to update their subway system, attempting to plug a glaring gap in one of the least developed underground transit systems in Europe, they expected a challenge.
The new Linea C—construction on the line began in 2007 and is scheduled for completion in 2015—will be the first to service Rome's historic center and will pass through an area of vital interest to locals, travelers, and archaeologists alike. Plotted to run from the Colosseum to the Forum, it will pitch west at Trajan's Market and head to the Theater of Pompey, where Julius Caesar recoiled from Brutus's knife. From there, it will slip under the Tiber River toward Hadrian's tomb and on to the countryside beyond.
Building the line through one of the world's most history-rich areas will require feats of technical engineering and planning unheard of in most cities. To pass under the oldest archaeological strata, the metro will have to plunge a full 90 feet below street level, three times deeper than Rome's existing lines. In the city center, the twin tunnels will also be larger than Rome's other metro lines, with a diameter of 29 feet instead of the standard 20. The extra width means that if an archaeological discovery—an unexpected temple, say, or an emperor's villa—blocks a proposed subway entrance, the station (and passenger platform) can easily be shunted down the line. To further avoid damaging archaeological layers (and any resulting controversies), the contractors will have to work like laparoscopic surgeons, minimizing trauma by tunneling through existing ventilation and entrance shafts to build the stations below.
And then there are the considerations for what's aboveground, such as that ancient symbol of the Eternal City, the Colosseum. To Francesco Rotundi, the project manager for Metro C (the contractor responsible for the new line), the amphitheater presents a technical headache. "The problem is: What happens to the Colosseum when I pass under it with the excavator?" he said, thinking of how the structure's massive walls could shift as the ground below it settles. "And what happens after I've excavated and I pass through with the metro?"
Rotundi's predecessors would have simply torn through. Rome's first metro line, built during the 1940's and 50's, runs from the central train station to EUR, Benito Mussolini's ambitious capital outside the capital. Workers dug in open pits as truckloads of history were sifted for valuables and dumped elsewhere. Subsequent expansions have been more cautious, but this new line has been the first to give preservation the same consideration as modernization: more than a year before construction could begin, every access point, ventilation shaft, and escalator tunnel for the planned line had to be examined by teams of archaeologists—a Herculean task by any measure.
"What makes Rome different from other cities is that we can't plan," said Luigi Napoli, technical director at Roma Metropolitane, the agency overseeing the subway's expansion. "We have to go straight to the field and see what challenges await us."