Research work is being undertaken by the Department of Orthodontics at Addenbrooke's Hospital, Cambridge, which involves studying the growth of children's faces in three dimensions. In evaluating the morphology of soft tissues, the advantages oflered by photogrammetry have been recognised and this paper describes how the technique has been put into practice at the hospital where a stereometric instrument, equally siritable for iise as a camera or as a projection plotter, has been constructed.

Photography was about sixty years old at the end of the last century. Although it was intended to be used for recording portraits and scenes, the possibility of using it as a recording medium for science was also realized from the start, and through the years it became more and more relied upon as a way of making records for observation and measurement. It was not until towards the end of the century, however, that studies were started on what is now known as ‘the theory of the photographic process,’ which embraces the relationship between the photograph and the thing photographed. Until then the scientific world had shown little interest in the science of photography as distinguished from its practice. The science of photography deals with the physics and chemistry of lightsensitive substances, especially of silver compounds. It is concerned with the nature of the light-sensitive material, the changes occurring when it is exposed to light, the chemical actions involved when a developer is applied to bring out the image, the structure of the developed image, the faithfulness of reproduction of the brightness scale of the original subject, and so on. The first worth-while study of the sensitivity of photographic materials, and the formulation of the rules by which the developed image is related to the original subject, were published by Ferdinand Hurter and V. G. Driffield in 1890. Their investigations, described in the Journal of the Society of Chemical Industry , rested in oblivion for some time. At the end of the century, however, two young students became interested in the subject, eventually found the Hurter and Driffield paper, realized its significance, and very substantially broadened its subject matter.

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Enrique Granados (nacido en 1867 en Lérida) llegó a su fin en las aguas frías del Canal de la Mancha después que la nave en que navegaba fuera atacada por un submarino alemán el 24 de marzo de 1916. El compositor regresaba de Nueva York, donde su ópera Goyescas se estrenó en el Metropolitan Opera. Su carrera estaba en pleno apogeo, y cosas aún más grandes le iban a suceder, sin duda. No obstante, a pesar del hecho de que este incidente llegó a ser un escándalo internacional y provocó mucha controversia apasionada, el mismo ataque muchas veces ha sido imprecisamente relatado y mal interpretado. Ahora, más de noventa años después de la muerte de Granados, es apropiado examinar una vez más este incidente y clarifi car exactamente qué pasó y qué no pasó, y juzgar el impacto de su espantoso fallecimiento entonces y ahora.