As with any science experiment, ask your students to craft their hypothesis about what will happen at the end of the chromatography process and then record the results. Plus, check out these Thanksgiving craft ideas. Julia is a writer and teacher living in Nevers, France. She received degrees in English and French language and literature from the University of Virginia and is constantly on the hunt for her next story.
When she's not writing you can find her supplementing her wine and cheese diet with long runs and the occasional dance party. You must be logged in to post a comment. Make leaf rubbings. Create leaf lanterns. Count out leaves on a graph. Measure and sort leaves. Make and wear! Read leaf-themed books. And speaking of books … 9.
How could he, prized for plumes and eggs and young used even as a riding-beast, respect men hiding actor-like in ostrich skins, with the right hand making the neck move as if alive and from a bag the left hand strewing grain, that ostriches might be decoyed and killed! Yes, this is he whose plume was anciently the plume of justice; he whose comic duckling head on its great neck revolves with compass-needle nervousness when he stands guard, in S-like foragings as he is preening the down on his leaden-skinned back.
The egg piously shown as Leda's very own from which Castor and Pollux hatched, was an ostrich-egg. And what could have been more fit for the Chinese lawn it grazed on as a gift to an emperor who admired strange birds, than this one, who builds his mud-made nest in dust yet will wade in lake or sea till only the head shows. Six hundred ostrich-brains served at one banquet, the ostrich-plume-tipped tent and desert spear, jewel- gorgeous ugly egg-shell goblets, eight pairs of ostriches in harness, dramatize a meaning always missed by the externalist.
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The power of the visible is the invisible; as even where no tree of freedom grows, so-called brute courage knows. Heroism is exhausting, yet it contradicts a greed that did not wisely spare the harmless solitaire or great auk in its grandeur; unsolicitude having swallowed up all giant birds but an alert gargantuan little-winged, magnificently speedy running-bird. This one remaining rebel is the sparrow-camel. Spenser's Ireland has not altered;-- a place as kind as it is green, the greenest place I've never seen.
Every name is a tune. Denunciations do not affect the culprit; nor blows, but it is torture to him to not be spoken to.
Download PDF Lesson Plans A Lantern in Her Hand
Oftentimes, sets of slides commercially produced for such uses would be sold along with books that described each slide in detail. Eventually, this made it easier for educators to incorporate these sets into their lesson plans. Initially, lantern slide projectors were fueled by burning oil, gas, or pieces of calcium, making them somewhat trickier to use. It wasn't until the s, after the introduction of electricity and electric stereopticons, that lantern slide collections were regularly used in classrooms.
Thus, McKnight's public lectures, especially ones covering artistic and cultural topics illustrated with colored examples, were almost without compare. The relatively unique experience of seeing such beautiful wonders of the world surely helped to fuel the popularity and success of her lectures. The processes for making lantern slides in McKnight's time were not dissimilar from the methods for developing photographic prints. There were two general approaches to production. The contact method involved exposing a photographic negative directly onto a light-sensitive piece of glass.
The glass and negative needed to already be the size desired for the final product, typically about three and a quarter square inches.
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The glass plates were placed on a wooden frame and the negative laid carefully on top. Plates would then be developed with chemicals and exposed to either natural or artificial light. If one wished to develop a slide at a different size from the negative, the camera method could be used.
This process was more difficult and technically involved, as it required more equipment. The plate and negative were placed in a camera.
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The job then proceeded like taking a picture of the negative rather than an outside subject. Light would pass through the negative, then through the camera's lens, and finally it would expose the image onto the plate. The tricky part was having the proper set-up to hold the negative to the camera's lens. The illustration above is from a guide to making lantern slides and shows one such possible arrangement. After the image had been exposed to the plate, the slide was developed in chemical baths in a similar way to regular photographs.
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The precise mix of chemicals and the recommended time to expose the slides varied, depending on how clear and intense the manufacturer wanted the image. Once the slide was all developed, cleaned, and dried, the plate was ready to be bound. Typically, a paper mat was placed on the slide to create a kind of frame for the image. Finally, a piece of glass was bound to the slide plate to cover and protect the emulsified side, and then the finished product was ready to be used. Many of McKnight's slides were produced by well-known slide manufacturers of the time, in both Europe and the United States.
Her collection includes the handiwork of companies such as T. If a manufacturer were to offer colored slides, there were a few different ways to achieve this.
Sometimes slides were tinted by applying even washes of one tone to the entire plate and colors could be altered in the developing process. Alternatively, one could add colors to a black and white image. This coloring process allowed for more detail and control in the application of color. McKnight used this method, employing colorists to colorize her slides. Plates could be colored with water colors or oils, although the latter presented more challenges in getting the colors to be transparent enough for light to pass through when the slide was projected.
Therefore, a thinning agent such as varnish or turpentine was often mixed into the colors. The limitations posed by the need for transparency also affected the range of colors that could be used.
A Lantern in Her Hand Test | Final Test - Medium
Ones that were typically recommended included crimson, indigo, Prussian blue, Italian pink, burnt sienna, rose madder, purple madder, raw sienna, and ivory black. The slides McKnight had colored from her travels to Hawaii are particularly bright and bold. They suggest that she was keen on making use of some of the best colors available.
Slide plates usually had one side that was smoother than the other, and this was the side that would be colored. The plate was prepared by washing it with a weak solution of water and ammonia. Requiring a steady hand, colorists often worked off a kind of table-top easel with a wooden frame around clear glass to rest the slide on. The frame sat up at an angle with a plain sheet of paper on the table below so that the colorist could clearly see how the colors would appear.