Jean Comandon Neuroscientist.

The microbiologist Jean Comandon is famous for his studies on the movement of the syphilis bacteria as differentiated in various forms by ultramicroscope. He was also a pioneer on the technical application of the microcinematography in laboratory research. His collaboration with clinicians and surgeons in the study of various pathological disorders is little known. From 1918 to the 1920s, he collaborated with such neurologists as André Thomas, Jean Athanase Sicard, and others in the study of various neurological disorders by using cinematography as a scientific tool for understanding the clinical and pathological mechanisms of diseases. These collaborations allowed him to be involved in the beginnings of the French cinematography industry, especially with Charles Pathé who established a small film studio laboratory in Vincennes where a multidisciplinary group improved the application of cinematography in clinical medical practice.

Microscopic Image Photography Techniques of the Past, Present, and Future.

CONTEXT: The field of pathology is driven by microscopic images. Educational activities for trainees and practicing pathologists alike are conducted through exposure to images of a variety of pathologic entities in textbooks, publications, online tutorials, national and international conferences, and interdepartmental conferences. During the past century and a half, photographic technology has progressed from primitive and bulky, glass-lantern projector slides to static and/or whole slide digital-image formats that can now be transferred around the world in a matter of moments via the Internet. OBJECTIVE: To provide a historic and technologic overview of the evolution of microscopic-image photographic tools and techniques. DATA SOURCES: Primary historic methods of microscopic image capture were delineated through interviews conducted with senior staff members in the Emory University Department of Pathology. Searches for the historic image-capturing methods were conducted using the Google search engine. Google Scholar and PubMed databases were used to research methods of digital photography, whole slide scanning, and smart phone cameras for microscopic image capture in a pathology practice setting. CONCLUSIONS: Although film-based cameras dominated for much of the time, the rise of digital cameras outside of pathology generated a shift toward digital-image capturing methods, including mounted digital cameras and whole slide digital-slide scanning. Digital image capture techniques have ushered in new applications for slide sharing and second-opinion consultations of unusual or difficult cases in pathology. With their recent surge in popularity, we suspect that smart phone cameras are poised to become a widespread, cost-effective method for pathology image acquisition.

The structure of Lippmann heliochromes: Cajal and the 1908 Nobel Prize in Physics.

The 1908 Nobel Prize in Physics was awarded to Luxembourgeois Gabriel Lippmann (1848-1921), Professor of Mathematical and Experimental Physics at la Sorbonne, for his method of reproducing colors photographically based on the theory of wave interference. In the preceding several years, the eminent neurohistologist - and avid photographer - Santiago Ramón y Cajal (1852-1934) had been experimenting with Lippmann heliochromes, studying under the microscope the structure of the laminae of Zenker that produce mixed colors, and especially white. Those studies led to a series of technical papers by Cajal, the culmination being an article published 100 years ago in the Annual Report of the Board of Regents of the Smithsonian Institution in Washington, DC. A few years later, Cajal published Photography in Colors, his classic monograph on the physicochemical principles of the 'art of Daguerre,' bearing further testimony to his exuberant productivity, far-reaching interests, and scientific genius. The present article reflects on the workings of the mind of Cajal and his fundamental knowledge that was a precondition for his success in neurohistology. It highlights the links between the early photographic studies of Cajal and Lippmann, masters of the biological and physical sciences, respectively. Special emphasis is placed on Lippmann's discovery of heliochromes and the microscopic analyses performed on them by Cajal, including elements from relevant contemporary studies and discoveries.

[Silhouettes: electron microscopic photography in bioscience]. / Schattenbilder: zur elektronenmikroskopischen photographie in den biowissenschaften.

The paper describes the first attempts of biological electron microphotography. It starts with a description of the early use of electron microscopy in biology, showing that electron microscopy was used as an extension of former light microscopical studies. Thus, the pictures produced by electron microscopy are interpreted as describing the micro-texture of those structures already seen in light microscopy. That was done irrespective from the specific problems of tissue preparation for electron microscopy. The use of photography in electron microscopy is discussed in more detail. It is shown that in electron microscopy, not the preparation itself which is usually destroyed or damaged during observation in the electron microscope. Thus, biological electron microscopy can be described as a real image science.

[Photography as a resource of microscopic research? Joseph von Gerlach (1820-1896) and the early anatomical microphotographers]. / "Die photographie als Hülfsmittel mikroskopischer Forschung"? Joseph von Gerlach (1820-1896) und die frühen anatomischen Mikrophotographen.

The Erlangen anatomist Joseph von Gerlach was one of the first medical researchers who used microphotography for their scientific aims in basic tissue research. Already in 1863, Gerlach published a famous handbook on the methodology of the microphotographic technique, entitled Die Photographie als Hülfsmittel mikroskopischer Forschung. Here, he discussed the technological, practical and epistemological standards and constraints of the newly introduced visualisation technique of scientific photography. The efforts and setbacks of Gerlachs' innovative approaches shall be characterised in the present paper. Furthermore, some of the most important arguments put forward by some of his peers are closely compared and thoroughly scrutinised. These anatomical and biological microscopists objected frequently to Gerlach's photographic approach as being "unscientific" or "insufficient" to support the growth of experimental morphology and neurohistological research. In his scientific self-defence, Gerlach developed important auxiliary arguments that display many facets of the epistemological discourse of 19th-century medical research, particularly on the question of how scientific objects should be visualised and identified in the experimental laboratory.

Representation of the microcosm: the claim for objectivity in 19th century scientific microphotography.

Microphotography was one of the earliest applications of photography in science. The first monograph on tissue organization illustrated with microphotographs was published in 1845. In the 1860s, a large number of introductions to scientific microphotography was published by anatomists. They argued that microphotography was a means of documenting the results of microscopic analysis, uncontaminated by subjectivity of the observer. In the early decades of the 19th century, before the general acceptance of cell theory, such a technique was of special importance, so no criteria were available to distinguish between important and superficial characters in the description of tissue microstructures. Microphotography was praised as the method of choice for documenting the scientific observations of microscopic material. Some of the microphotographic practices described in these early manuals, however, did not conform with the idea of a purely mechanical process of documentation. The authors of these manuals saw photography not as a technique which produced artifacts, but as a complete and reliable substitute for the original preparations. Thus, according to these authors, the artificial world of photography was seen as the actual representation of the microworld. Consequently, they tried to understand the microcosm by analyzing photographs instead of the microscopic preparation themselves. Such attitudes discredited the use of microphotography in the sciences. Consequently, the definitive breakthrough of scientific microphotography was delayed until the 1880s and was largely due to the efforts of Robert Koch, who made microphotography a central tool of bacteriology.

A historic photomicrograph of a parasite (Trichomonas vaginalis).

Knowing that Alfred Donné was the discoverer of an important human parasite, and finding that he was also a pioneer of photomicrography, it occurred to me that his parasite might well have become a subject of his photography. It was a simple matter to confirm that this was indeed the case. The parasite he discovered was Trichomonas vaginalis; and, in collaboration with Foucault, Donné made a photomicrograph showing several protozoan parasites lying among vaginal epithelial cells. His publication of an engraved image of the photomicrograph in 1845, was a landmark in the history of photography and microbiology.

Operative microphotography: a Malis legacy.

An account of the methods and equipment used by Dr. Malis for the development of operative microphotography is presented. Attention to the critical evaluation of technology became part of the legacy provided to those he trained. Current microphotographic innovations are described.

Santiago Ramón y Cajal and methods in neurohistology.

Controversy, misunderstanding or uninformed opinion abound over the extent to which the great Spanish neurohistologist, Santiago Ramón y Cajal, specified his staining methods in his analytical papers, the methods by which he analysed and presented his data, and the microscopes available to him. In this paper, we have attempted to outline the information on these points that we have been able to obtain from a detailed examination of his writings and a study of the evidence remaining in the Cajal Museum in Madrid.