Word: layering
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...Jack Benny almost never does. His material is gauged for longevity rather than flash. His patent for permanence is simply that he can do no wrong. His cheapskate, self-deceiving, inept, shrug-it-off, endearing and vainglorious public character has grown round him for decade after decade like layer after layer of cement, and he has long since become utterly indestructible. Many of his peer contemporaries-Eddie Cantor. Fred Allen, Ben Bernie-are either retired or dead; but Benny just keeps on standing there with that look, and warm, unraucous laughter ripples all over the room...
...romance of science and turn out to be teeming with life? Were there, as some romanticists confidently expected, forests of intelligent, moving trees? Or would Mariner prove the accuracy of some of the glummer theories of radio astronomy -that Venus is a barren ball covered with a dull layer of dust? Last week JPL's boss, New Zealand-born Physicist William Hayward Pickering, brought his Mariner team to Washington to deliver a batch of decoded data containing the first series of answers...
While the film is dry, the linked molecules remain quiescent, but after the picture is snapped, a pair of rollers in the camera breaks a pod of thick, alkaline liquid and spreads it evenly over the film. The liquid penetrates quickly through the layers, waking the linked molecules to active chemical life. They start moving, and most of them eventually touch a grain of silver halide in the nearest light-sensitive layer. If that grain has been exposed to light, it is ready for action. It grabs the developer end of the molecule, holds it tight, and uses...
This is the secret of Polacolor. The three superimposed images-blue, green and red-capture developer molecules with dyes of appropriate color attached to them. In spots on the film that have been exposed to blue light the silver halide grains in the top layer capture and hold all the yellow dye, which lies in the layer just below. Since no red or green light has reached this part of the film, the magenta and cyan dyes in the deeper layers are free to move to the surface. Acting together, they make a spot of blue...
...same molecular machinery produces the other colors. When green light from foliage forms a latent image on the green-sensitive layer, the magenta dye, which is nearest that layer, is captured. The other dyes, yellow and cyan, are free to go to the surface and become the green leaves in the finished picture. Similarly, yellow and magenta make red. Intermediate colors form at places where the images overlap weakly, allowing fractional amounts of dye to escape. White light in the picture (such as a cottony summer cloud) makes exposed spots on all three layers, capturing all the dyes and leaving...