Background: Collodion baby is a rare condition (i.e., 1: 300000 birth), which is referred to a neonate covered with a tight and shiny membrane desquamating within two weeks. This condition takes place as a result of the epidermal cornification disorder. Given the impairment of the skin barrier function, these neonates are at the risk of several complications, including hypernatremic dehydration, hypothermia, skin infections, fissures, conjunctivitis, sepsis, dehydration, and constrictive bands of the extremities resulting in vascular compromise and edema. This condition has a high mortality rate; accordingly, the majority of the collodion babies die within the first few weeks of birth due to the secondary complications depending on the type of mutations. Although the collodion membrane is a transient condition, it can lead to a number of complications in 45% of the newborns and result in 11% mortality rate in the first few weeks of the neonatal life. However, in the recent years, the mortality rates have been declined owing to the introduction of systemic retinoids to the clinical practice and the advanced care methods, which are used in the intensive care units. Harlequin ichthyosis has been associated with the mutation in the ABCA12 gene; therefore, genetic counseling and mutation screening of this gene should be considered.Case report: Herein, we reported a case of a collodion baby with favorable evolution, who developed hypernatremia and suffered from some complications having aroused from the condition.Conclusion: Infection prevention and supportive care of collodion babies mainly with incubator, serum therapy, and feeding support can be effective in preventing complications.

Introduction: Lamellar ichthyosis (collodion baby) is a cornification disorder classified under the category of autosomal recessive congenital ichthyosis and characterized by hyperkeratosis. Early-stage retinoid treatment has been shown to improve survival in these patients. In this article, a lamellar ichthyosis case is presented of an infant who had the symptoms at birth and was treated successfully with acitretin.Case Presentation: A term newborn infant presented after delivery. Physical examination showed that the skin on her outer mouth, neck, axillae, and inguinal fold areas had collodion membranes and peelings. On the third day of life, the skin all over her body became dry and seemed similar to parchment paper, with peeling in some areas, as well as ectropion and eclabium development. After her daily bath, liquid Vaseline was applied all over her body, but it did not provide enough benefits. The infant was started on acitretin treatment. On the 14th day of treatment, the skin appeared nearly normal. On the 28th day of life, the infant was discharged.Conclusions: Early oral retinoid treatment facilitates increased quality of life improves survival rates for ichthyosis patients.

Purpose: The use of resins and gums in historical art works has been considered for a long time. These materials were used for a variety of purposes in different arts such as painting, calligraphy, gilding, architectural decorations and even buildings. Resins and gums were also used photography. The present study carried out by examining the photographic glass plates of the album house of the Golestan Palace collection to identify the role of gums and resins in the production of Qajarid black-and-white glass plate negatives. Method and Research Design: Data was collected using FTIR method fornon-destructive chemical analysis. Also, historical technical literature was reviewed for additional data. Findings and Conclusions: As expected, the use of different resins and gums such as Arabic gum and shellac in different parts of the glass plate negatives has been common. Some cases were identified to be different from those mentioned in the historical technical literature. These materials have been used as a varnish layer, pre-retouch, post-retouch coating, as well as adhesives.

Background: Warts are among the most common skin diseases with various recommended treatments, including topical ablation, chemotherapy, and immunotherapy. However, given the unsatisfactory response rate, complications, and recurrence, effective treatment remains controversial. This study compared formalin against an anti-wart compound containing salicylic acid and lactic acid. Methods: This clinical trial recruited 58 patients with wart lesions on hands and feet randomly divided into two groups of daily topical treatment: formalin 5% (n = 29) and anti-wart lotion containing salicylic acid 16. 7% and lactic acid 16. 7% in flexible collodion (n = 29) for eight weeks. Patient satisfaction and recovery were assessed and compared between the groups at weeks four and eight. Results: Patient satisfaction did not change significantly in either group (P > 0. 05), and no significant difference was observed between the groups (P = 0. 838). The number of wart lesions fell significantly after eight weeks in both groups (P < 0. 001), with no significant difference between them (P = 0. 225). There was no significant difference between the two methods in terms of side effects (P = 0. 084). Conclusion: Both formalin and salicylic acid plus lactic acid lotion effectively treated plantar and common warts, and neither had any significant side effects. The treatment choice should be based on the patient’, s age, the number of lesions, and the site affected.

The present research has been carried out following extensive studies and investigations on glass plate negatives available in several important historical archives and libraries in Iran, including the Golestan Palace, the Shahr Photographic Museum, and the library of the Iranology Foundation. The investigated glass plate negatives generally belong to the 19th and early 20th centuries, mostly Qajar and first Pahlavi eras. This research aims to show the importance of retouching in glass plate negatives and their preservation through studying and investigating this phenomenon.In this study, retouching is defined as:“Photographic retouching is a phenomenon that is used to correct the results of incomplete spectral sensitivity and poor technical manipulation or improve the general appearance of the subject.”It is important to note two issues: 1. Although, coloring is related to retouching but it is solely an aesthetic application and it is not discussed in this research; and 2. the intended retouching in this research is historical retouching that either happened at the same time as the creation of the work or within a short time after.The purpose of this research is to draw more attention to the retouching in glass plate negatives, as an important and integral part of these art works, and raising awareness in an attempt to try and preserve them as a result. This will not be achieved, unless a light is shed on the importance of investigating the retouches in these works and getting familiar with the information that can be extracted from these studies.The research conducted is of an applied, descriptive-analytical type. The material presented in this research is the result of a qualitative review of the observations made from the study of historical retouching samples of glass-based photographic negatives available in several historical image document repositories. In addition, the obtained primary data has been adapted to the information available in the related historical sources.This research has starts with a review of the history of retouching in early photographic works. Retouching, which had become common, and in some cases necessary, since the beginning of photography, continued to be popular in the glass-based photography processes (collodion and gelatin dry plate). Since glass provided a very suitable surface for manual retouching, glass negatives can be considered one of the most important examples of manual negative retouching in the history of photography. Therefore, investigating this phenomenon in this category of historical photography works can be very beneficial.The reasons for retouching glass plate negatives briefly include the following: 1. light and contrast corrections; 2. High sensitivity of some photographic emulsions to blue and violet colors, and their insensitivity to other colors, especially red; 3. Image modification due to the recording of microscopic details by the camera lens; 4. Removing some unwanted items in the image, such as posing stand/headrests; 5. Poor appearance of negatives due to the multiplicity of materials and stages of development and fixing process; 6. Changing the statement of the photographer; 7. Changing the subject; 8. Composition promotion; 9. Fixing general defects such as scratching, and emulsion shrinkage; 10. Improving facial beauty; 11. Combining two or more successful shots of the same subject for various reasons (photo Combination); 12. Combining two or more shots of different subjects belonging to different times with multiple goals. (photo montage)In order to investigate different types of retouching in glass plate negatives, it is necessary to use  several different types of light radiation: 1. reflected light with an angle between 30 and 45 degrees, from both sides. (for observing paint, dye and paper retouching); 2. raking light which is a reflected light with an angle between 15 and 30 degrees from one side (for observing pencil retouching and preliminary retouching); and 3. Straight transmitted light (for observing abrasive, dye, and paint type retouching). All of the lights should be day light color light.The reasons for the importance of retouching in glass plate negatives, which is the main subject of this research, are somehow directly related to the reasons for retouching. In the way that the main reasons for the importance of retouching are the same reasons for retouching in these works. This means that retouching in these works, along with the art used in doing them, always carries a hidden truth. This can be related to the technical characteristics of the image, or the characteristics of the face of a historical person in the image, or truth and facts about a historical event, or anything that can be tampered with by retouching.Everything that we have in retouching today has been done to a large extent in historical retouching as well. The reasons that the article lists for the importance of investigations of retouching are as follows:In some cases, retouching was used to compensate for the defects and technical shortcomings of the photography methods of that era. Examining the negative with awareness of this issue, and if possible, comparing it with the old printed version, can provide useful information regarding the negative technique, and even the approximate time of that the work. In addition, since the use of retouching has also been applied to fix the damage caused to the negative (sometimes even in the form of spotting), the possibility of mistaking retouching paint as damage to the work, and then trying to remove it exists (as it has happened in some cases). Knowing this will be very useful in protecting these works.Retouching is also used to remove or add people or objects to the image, depending on the photographer's intention and purpose. Knowing that such a possibility existed at that time, and the fact that traces of it can only be found in the surviving negatives, can further reveal the importance of preserving retouches in glass-based photographic negatives.Another use of retouching, which can be one of the reasons for its importance, is to use it to make one's face more beautiful. This type of retouching requires adequate knowledge of light and skills painting of the retoucher. In fact, the artistic aspect of retouching is more demonstrative in this type of retouching, and also in retouching that intended to create an unreal scene or world, or in a bad scenario, to falsify the history.Awareness of the possibility of image manipulation with the aim of creating an artistic work, unattainable in the real world, or falsification the historical events by retouching, in the era of glass plate negatives, is another reason for the importance of studying retouching in glass plate negatives.Another reason for investigating the retouching and trying to record them is the risk of their loss. Part of which is related to the lack of awareness of the phenomenon of retouching in glass-based photographic negatives, and another part is related to the vulnerable nature of the materials used in them.In this article, an attempt has been made to discuss the most important issues that can shed light on the significance of retouching on glass plate negatives. According to the issues discussed in this research, it is possible to understand how multifaceted and important it is to study this integral and partially neglected part of historical glass plate negatives; and subsequently, their documentation and preservation.

Purpose: Photographs, among the range of visual recordings of cultural heritage, are important for rebuilding and visualizing the culture and civilization of the past. Knowledge of the material and techniques employed to produce them is also important both for historical research and preservation. This paper introduces techniques and methods of producing glass and plate photographic negatives, and methods for identifying them by their visible morphological characteristics.Method/Research Design: Findings are based on of archival, the Internet, and library resources.Findings and Results: There are three basic types of glass plate negatives, namely, albumen glass plate, collodion glass plate, and gelatin dry plate. Each can be quickly identified by their unique visual properties such as thickness of the glass support, edge cut of the glass, color of the image, evenness of the edges of the binder, varnish layers, evenness of glass support surface, and emulation surface.

Purpose: Variations of retouch on black and white glass plate negatives, including collodion and gelatin glass plates was a common practice in 19th and early 20th century. This paper, inspired by a larger research project, reports an examination of glass plate negatives held at Golestan Palace Photo Archive in Tehran to identify techniques and materials used. Method and Research Design: Data is collected by observations, historical technical literature on retouching as well as from library materials. Findings and Conclusion: Glass plate negatives are retouched by various tools and materials including graphite (pencil), abrasives (knife, needle or abrasive powders), colors, papers. Several techniques also have were applied as discussed in th epaaper.

In this work, nanoparticles of the metal fuel Zirconium (Zr) and nanoscale oxidizer BaCrO4 are synthesized considering their unique nanoparticle characteristics like mixing homogeneity and high surface/volume ratio. Using the synthesized fuel and oxidizer, the pyrotechnic mixture of Zr/BaCrO4 was developed under 4 different conditions and analyzed in terms of the thermal behavior and burning rate. In the synthesis stage, the oxidizer nanopowder BaCrO4 was developed through precipitating Barium Nitrate and Chromate Potassium in the vicinity of Dodecyl benzene sulfonate sodium (DBSS) stabilizer. Also, Zr nanopowder was prepared using direct reduction of Zr (NO3)2 by N2H2 and was coated by a 4% Collodion. Then, the pyrotechnic mixture Zr/BaCrO4 was charged and pressed in the constructed combustion chamber. The burning rate of the mixture was captured by the direct footage of the combustion process using digital cameras with 60 frame-per-second capabilities. The fastest burning occurs when both the fuel and the oxidizer are nano-scaled. The thermal behavior of the mixture was studied using the simultaneous thermal analysis (STA) machine within the temperature range of 25 to 1000 °C. Results of the thermal analysis show that the thermal decomposition temperature of the Zr/BaCrO4 mixture in the micron size is higher than in the nano size and the amount of destruction is lower. Increasing the concentration of zirconium in the nano-size from 10 to 50% leads to a decrease in the decomposition temperature from 565 to 437 °C, while the pyrotechnic mixture destruction rate increases from 39% to over 63%.

Mirza Seyedalikhan Mostofi, entitled Etemad-e Hozoor the son of Mirza Seyedaliakbar Mostofi, is considered as one of the most active but anonymous photographers during Qajar era. In spite of large number of his works in galleries of Golestan palace, the collection of pictorial documentaries in central library of Tehran University and on the niches of most of old houses in Iran, there is not much popularity for his name in different photography histories of Iran. Most of his works subjects are governmental officials, nobles and appointed people which have been taken in his private studio in a particular style. Some of these photos have been drawn by well-known painters and published in a lithography form in Sharaf and Sharafat newspapers that are two known newspapers in the Qajar era. As we know, about five hundred of his works are available now. Most of his photographs have been taken indoor, in his private studio and a few numbers of his works have been taken outdoor. His subjects are governmental officials but in some collections we can see photos of regular people and even poor people. No portrait from shah has been founded in his works but there is a photo of a woman that seems to be the shah's wife. Except this one, other portrait sitters are males. He made his studio by himself and paid the costs by himself. Later, as Shah realized his skill, he managed the royal photography studio and took portraits from governmental officials. This could be understood from series of photographs that have same titles and same method. His technique was wet collodion and his photographs have been taken in a studio with textile back ground and some decorations that are obviously artificial. The most important point in his photographs is that he seems to use same clothes in his studio for different subjects. The clothes and a significant sword are used in a series of portraits that make us believe that he was the first photographer that supplied his studio with some accessories to be used in the photographs for different persons. Most of his works are framed by special cardboards. His name is printed in English on these frames and all of the portraits have a subtitle that seems to be written by the photographer explaining the situation, name and posts of the portrait sitters. His photographs have less artistic or aesthetic value and can be mostly classified as practical photographs. In this study, his photographic technique and his particular style in portraiture are studied. There are a lot of portraits taken by him but he is still anonymous because his works haven‟t yet been studied. This research relying on visual and library documents was performed through an explanative- documentary method. Data was collected by observation and library methods. We have tried to investigate all his works, traits and photograph taking methods with regard to very limited resources of information written by him.