![](http://www.alamy.com/thumbs/6/D982A022-3DA1-4972-8952-9B9069A116EA/2AN0C8Y.jpg)
Living pictures; their history, photoproduction and practical workingWith a digest of British patents and annotated bibliography . ver lost sight of. Desvignes, in i860,proposed to place his Zoetropic designs on endlessbands (Fig. 67), but in the days of wet-plate photo-graphy such an expedient was entirely out of thequestion so far as securifig pictures was concerned,and even the early dry-plate, with all the assistanceit rendered, .lent no substantial aid in this direction. 6^ LIVING PICTURJES. Thus, in 1876, Donisthorpe proposed to place hisKinesigraph pictures on a band arranged to run off
Living pictures; their history, photoproduction and practical workingWith a digest of British patents and annotated bibliography . ver lost sight of. Desvignes, in i860,proposed to place his Zoetropic designs on endlessbands (Fig. 67), but in the days of wet-plate photo-graphy such an expedient was entirely out of thequestion so far as securifig pictures was concerned,and even the early dry-plate, with all the assistanceit rendered, .lent no substantial aid in this direction. 6^ LIVING PICTURJES. Thus, in 1876, Donisthorpe proposed to place hisKinesigraph pictures on a band arranged to run offone roller on to another, but only for purposes ofinspection ; the negatives from which they were printedwere obliged to be obtained at a comparatively lowspeed on plates and the positives actually mountedat accurate intervals. Not until the introduction o:celluloid as substitute for glass was it possible to securea long series of exposures on a suitable strip, and thecommercial existence of this eminently suitable supportbegan to bear fruit in the year 1888. Here, as inevery other branch of our subject, the first steps were.
Size: 985px × 2537px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1890, booki, booksubjectmotionpictures