Septem Ber/October 7 992 Volume 7 9, Number 4
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History of KODAK Cameras
CUSTOMER SERVICE PAMPHLET March 1999 • AA-13 History of KODAK Cameras KODAK CAMERAS ON THE MARKET ORIGINAL CAMERA NAME FROM TO FILM SIZE LIST PRICE No. 1A AUTOGRAPHIC KODAK 1917 Model Camera 1917 1924 116 $21.00 No. 3 AUTOGRAPHIC KODAK Camera 1914 1926 118 41.50 No. 3A AUTOGRAPHIC KODAK Camera 1914 1934 122 50.50 No. 1 AUTOGRAPHIC KODAK Junior Camera 1914 1927 120 23.00 No. 1A AUTOGRAPHIC KODAK Junior Camera 1914 1927 116 24.00 No. 2C AUTOGRAPHIC KODAK Junior Camera 1916 1927 130 27.00 No. 3A AUTOGRAPHIC KODAK Junior Camera 1918 1927 122 29.00 No. 1 AUTOGRAPHIC KODAK Special Camera 1915 1920 120 56.00 (Bakelite side panels) No. 1 AUTOGRAPHIC KODAK Special Camera (Model B) (Back overlaps sides) Focus by thumb-turned gear. 1921 1921 120 79.00 (Only produced for a few months) No. 1 AUTOGRAPHIC KODAK Special Camera (Model B) 1922 1926 120 74.00 (knurled screw focusing) No. 1A AUTOGRAPHIC KODAK Special Camera 1914 1916 116 59.50 No. 1A AUTOGRAPHIC KODAK Special Camera 1917 1923 116 91.00 (w/coupled rangefinder and Bakelite side panels) No. 1A AUTOGRAPHIC KODAK Special Camera 1923 1926 116 60.00 w/coupled rangefinder, Model B (Back overlaps sides) No. 2C AUTOGRAPHIC KODAK Special Camera 1923 1928 130 65.00 w/coupled rangefinder No. 3 AUTOGRAPHIC KODAK Special Camera 1914 1926 118 86.00 No. 3A AUTOGRAPHIC KODAK Special Camera 1914 1916 122 74.00 No. 3A AUTOGRAPHIC KODAK Special Camera 1916 1934 122 109.50 (w/coupled rangefinder) Boy Scout KODAK Camera (V.P. -
Kodakery; Vol. 8, No. 26; June 29, 1950
2 Nevv Duaflex Models Join Popular Cameras The popular Kodak Dua fl ex Cam eras have been restyled. The two new models are smarter looking than ever-and the view finder has been impr oved . Kodak customers are going to find them a real bargain in dependable ..-------------- picture-taking equipment. are appealing, too. One m odel, with KODAK COMPANY Already, the people at Camera a Kodet lens, sells for only $13.95. Works are turning out these Dua- The other, with a faster Kodar f/ 8 flex II Cameras at a steady r ate. lens, is priced at $21.95. The prices The new m odels are now headed include federal tax. for dealers' counters in time for the summer vacationers. Chances are, they'll score a real hit. The improved view-finder sys tem with its new m etal hood gives a very clear picture of the scene being "snapped." There's built-in flash on both models to m ake in door shots sure and simple. Both models take 12 album-size pictures on a single roll of film. Loaded with Kodacolor, they can produce excellent snapshots in full color. The prices of these new cameras Night in Hills Rivals Eerie New Duaflex II- Here is a typical of operations at Poe Thriller Camera Works where the new Kodak Duaflex II It was a perfect setting for an Cam eras are being produced. At left Charles Boone Edgar Allen Poe mystery story. makes final inspection in Dept. 75. Above, left, Thunder boomed and echoed, Helen Gallagher assembles finder lens and hood to lightning illuminated the lonely front section in Dept. -
Kodak Magazine (Canada); Vol. 10, No. 10; Nov. 1954
Plant Tour Booli: - page 6 Vol. 10, No. 10 November 1954 Published by Canadian Kodak Co., Limited Toronto 9, Ontario The George Eastman Centennial at Kodak Heights Company's biggest celebration - in memory of one hundredth anniversary of George Eastman's birth - attracts over 2300 people to four- night show Story and more pictures appear on following pages Displays wer e s taffed b y Kodak t echnical re presentatives R e fres lune n ts we r e pre pared in the kitche n of the R ecr e ation Building with an e fficie nt l>roduc tio n line :-oys t e n1 2 The many easels of •noun ted prints placed across the back of the auditoriun1 were carefully viewed The nrrun~ement nf sandwic h plates on long tables provided quick !Service when the guests entered the ca(cteria Eastman Centennial a Great Success F attendance figures and interest I shown are any indication, the biggest display and entertainment ever held at Kodak Heights was a great success. As guests of the Company, the more than 2300 Kodak people, their relatives and friends who visited over the four nights saw an excellent portrayal of the Company, it's story, and products past and present at the Centennial marking the one hundredth anniversary of George Eastman's birth. The story of Eastman - founder The many pictures of Mr. Eas tman rece ived close attention of the Kodak organization , father of modern photography and re nowned philanthropist, is well known to Kodak people. A special display of photographs of Eastman and the growth of the organization to which he devoted a lifetime gave everyone an opportunity for a closer look at highlights of his career. -
Are We in the Movies Now ? Stacey Johnson
Document generated on 10/02/2021 9:26 a.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Are We in the Movies Now ? Stacey Johnson Cinélekta 2 Article abstract Volume 8, Number 3, printemps 1998 The popularity of 8mm, home movie making swelled to notable proportions in the postwar period and throughout the 1950s, at which point 8mm movie URI: https://id.erudit.org/iderudit/024762ar cameras were in their widest, popular use in North American families. This DOI: https://doi.org/10.7202/024762ar paper explores the rise to ubiquity of postwar home movie production by tracing its cultural precedent to the mass-popularization of photography in the See table of contents late-nineteenth century, and the ways in which a producing and consuming visual culture established itself in the family. Publisher(s) Cinémas ISSN 1181-6945 (print) 1705-6500 (digital) Explore this journal Cite this article Johnson, S. (1998). Are We in the Movies Now ? Cinémas, 8(3), 135–158. https://doi.org/10.7202/024762ar Tous droits réservés © Cinémas, 1998 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Are We in the Movies Now ?l Stacey Johnson RÉSUMÉ La popularité du 8mm à titre de film de famille atteig nit un niveau remarquable pendant la période de l'après-guerre et durant les années cinquante, à un point tel que les caméras 8mm trouvèrent à cette époque leur utilisation la plus répandue au sein des fa milles nord-américaines. -
George Eastman Museum Annual Report 2016
George Eastman Museum Annual Report 2016 Contents Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs & Events 5 Online 7 Education 8 The L. Jeffrey Selznick School of Film Preservation 8 Photographic Preservation & Collections Management 9 Photography Workshops 10 Loans 11 Objects Loaned for Exhibitions 11 Film Screenings 15 Acquisitions 17 Gifts to the Collections 17 Photography 17 Moving Image 22 Technology 23 George Eastman Legacy 24 Purchases for the Collections 29 Photography 29 Technology 30 Conservation & Preservation 31 Conservation 31 Photography 31 Moving Image 36 Technology 36 George Eastman Legacy 36 Richard & Ronay Menschel Library 36 Preservation 37 Moving Image 37 Financial 38 Treasurer’s Report 38 Fundraising 40 Members 40 Corporate Members 43 Matching Gift Companies 43 Annual Campaign 43 Designated Giving 45 Honor & Memorial Gifts 46 Planned Giving 46 Trustees, Advisors & Staff 47 Board of Trustees 47 George Eastman Museum Staff 48 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries during 2016. Alvin Langdon Coburn Sight Reading: ONGOING Curated by Pamela G. Roberts and organized for Photography and the Legible World From the Camera Obscura to the the George Eastman Museum by Lisa Hostetler, Curated by Lisa Hostetler, Curator in Charge, Revolutionary Kodak Curator in Charge, Department of Photography Department of Photography, and Joel Smith, Curated by Todd Gustavson, Curator, Technology Main Galleries Richard L. Menschel -
KODAK MILESTONES 1879 - Eastman Invented an Emulsion-Coating Machine Which Enabled Him to Mass- Produce Photographic Dry Plates
KODAK MILESTONES 1879 - Eastman invented an emulsion-coating machine which enabled him to mass- produce photographic dry plates. 1880 - Eastman began commercial production of dry plates in a rented loft of a building in Rochester, N.Y. 1881 - In January, Eastman and Henry A. Strong (a family friend and buggy-whip manufacturer) formed a partnership known as the Eastman Dry Plate Company. ♦ In September, Eastman quit his job as a bank clerk to devote his full time to the business. 1883 - The Eastman Dry Plate Company completed transfer of operations to a four- story building at what is now 343 State Street, Rochester, NY, the company's worldwide headquarters. 1884 - The business was changed from a partnership to a $200,000 corporation with 14 shareowners when the Eastman Dry Plate and Film Company was formed. ♦ EASTMAN Negative Paper was introduced. ♦ Eastman and William H. Walker, an associate, invented a roll holder for negative papers. 1885 - EASTMAN American Film was introduced - the first transparent photographic "film" as we know it today. ♦ The company opened a wholesale office in London, England. 1886 - George Eastman became one of the first American industrialists to employ a full- time research scientist to aid in the commercialization of a flexible, transparent film base. 1888 - The name "Kodak" was born and the KODAK camera was placed on the market, with the slogan, "You press the button - we do the rest." This was the birth of snapshot photography, as millions of amateur picture-takers know it today. 1889 - The first commercial transparent roll film, perfected by Eastman and his research chemist, was put on the market. -
3D Frequently Asked Questions
3D Frequently Asked Questions Compiled from the 3-D mailing list 3D Frequently Asked Questions This document was compiled from postings on the 3D electronic mail group by: Joel Alpers For additions and corrections, please contact me at: [email protected] This is Revision 1.1, January 5, 1995 The information in this document is provided free of charge. You may freely distribute this document to anyone you desire provided that it is passed on unaltered with this notice intact, and that it be provided free of charge. You may charge a reasonable fee for duplication and postage. This information is deemed accurate but is not guaranteed. 2 Table Of Contents 1 Introduction . 7 1.1 The 3D mailing list . 7 1.2 3D Basics . 7 2 Useful References . 7 3 3D Time Line . 8 4 Suppliers . 9 5 Processing / Mounting . 9 6 3D film formats . 9 7 Viewing Stereo Pairs . 11 7.1 Free Viewing - viewing stereo pairs without special equipment . 11 7.1.1 Parallel viewing . 11 7.1.2 Cross-eyed viewing . 11 7.1.3 Sample 3D images . 11 7.2 Viewing using 3D viewers . 11 7.2.1 Print viewers - no longer manufactured, available used . 11 7.2.2 Print viewers - currently manufactured . 12 7.2.3 Slide viewers - no longer manufactured, available used . 12 7.2.4 Slide viewers - currently manufactured . 12 8 Stereo Cameras . 13 8.1 Currently Manufactured . 13 8.2 Available used . 13 8.3 Custom Cameras . 13 8.4 Other Techniques . 19 8.4.1 Twin Camera . 19 8.4.2 Slide Bar . -
1 Stereographics
1 Stereographics Mike Bailey [email protected] This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License Computer Graphics Stereographics.pptx mjb – August 5, 2021 1 2 Stereovision is not new – It’s been in common use in the movies since the 1950s Computer Graphics Life Magazine mjb – August 5, 2021 2 1 And, even longer than that in stills 3 Newport Maritime Museum Portland Art Museum Computer Graphics mjb – August 5, 2021 3 4 Binocular Vision In everyday living, part of our perception of depth comes from the slight difference in how our two eyes see the world around us. This is known as binocular vision. We care about this, and are discussing it, because stereo computer graphics can be a great help in de-cluttering a complex 3D scene. It can also enhance the feeling of being immersed in a movie. OSU President Dr. Becky Johnson Computer Graphics mjb – August 5, 2021 4 2 5 The Cyclops Model In the world of computer graphics, the two eye views can be reconstructed using standard projection mathematics. The simplest approach is the Cyclops Model. In this model, the left and right eye views are obtained by rotating the scene plus and minus what a Cyclops at the origin would see Y ψ ψ X L C R Z The left eye view is obtained by rotating the scene an angle +ψ about the Y axis. The right eye view is obtained by rotating the scene an angle -ψ about the Y axis. In practice, if you wanted to do this (and you don’t), a good value of ψ would be 1-4˚. -
"Iwijpipw Mlimm X Ipf * Mm
** THE STAR, D. C. agogues and temples tonight at A-8 EVENINO' Washington, raißAi. nwttii ia, tew 8:30 o’clock wUI be: District Tax Heads Augusts (Ga.) Herald Sold Wfshington Congre- Brooks, president of the Wash- gation—Dr. H. QerthSh Mor- 'Having Open House To Opposition Chronicle Synagogues to Hear ington Ministerial Union. gan, Assistant Director of the By sh» AmocMml Emt Dr. Mordecai Johnson, presi- Institute for Child Study. Uni- versity of Maryland, on “What In New Quarters dent of University, will I I AUGUSTA,Ga., Feb. 18—Wil- Howard Our Youngsters Want and Howl 1 Attention, ail District income Morris, Brotherhood Week occupy the pulpit of Temple liam S. publisher of the they Go and Get It.” 8:30 pm. I jtaxpayers: Augusta Chronicle, announced Sinai at the 8:30 o'clock service Young Peoples Synagogue city’s night in Bethlehem Chapel, Washing- and ’ The tax officials would : last that he has entered Tiferetb Israel Congregation— : into a contract for purchase Guest Speakers ton The Brotherhood | j like you to know they are of Cathedral. Abe Shefferman, executive hold-1 : the Augusta Herald and phys- Brotherhood Week be the Week service is sponsored by di-! ing open house during all wifi the , rector of Adas Israel Bynagogue, j business ical properties of afternoon guest temple's Men’s Club. i the theme of speaker* at tome ’on “American Judaism: The hours in their new quarters, ! newspaper. of the Sabbath services to be Other Brotherhood Week Next Century.” If you Mr. Morris, services will be held st j want Information co-owner of the EXCLUSIVES Temple or: morning Chronicle with his wife, I held tonight in Washington area! I Tzeon Congregation, Har-1 B’nai Jacob—Rabbi help in filling out your tax re- I j v Wheaton.! Raymond Krlnsky, ; Florence H. -
Digitális Fotokamerák
DIGITÁLIS FOTOKAMERÁK 2020 augusztus blzs ver. 1.1 TARTALOMJEGYZÉK 1. A digitális kameragyártás általános helyzete…………………………...3 2. Középformátum………………………………………………………...6 2.1 Hátfalak……………………………………………………………..9 2.2 Kamerák…………………………………………………………...18 3. Kisfilmes teljes képkockás formátum………………………………….21 3.1 Tükörreflexesek……………………………………………………22 3.2 Távmérősek………………………………………………………...31 3.3 Kompaktok…………………………………………………………33 3.4 Tükörnélküli cserélhető objektívesek………………………………35 4. APS-C formátum……………………………………………………….42 4.1 Tükörreflexesek…………………………………………………….43 4.2 Kompaktok………………………………………………………….50 4.3 Tükörnélküli cserélhető objektívesek……………………………….53 5. Mikro 4/3-os formátum…………………………………………………60 5.1 Olympus…………………………………………………………….61 5.2 Panasonic…………………………………………………………...64 6. „1 col”-os formátum……………………………………………………69 6.1 Cserélhető objektívesek…………………………………………….69 6.2 Beépített objektívesek………………………………………………71 7. „Nagyszenzoros” zoom-objektíves kompaktok………………………..75 8. „Kisszenzoros” zoom-objektíves kompaktok………………………….77 8.1 Bridge kamerák…………………………………………………….78 8.2 Utazó zoomos ( szuperzoomos ) kompaktok……………………….81 8.3 Strapabíró ( kaland- víz- ütés- porálló ) kompaktok………………..83 9. A kurrens kamerák összefoglalása……………………………………...87 9.1 Technológia szerint…………………………………………………87 9.2 Gyártók szerint……………………………………………………..89 10. Gyártók és rendszereik………………………………………………....90 10.1 Canon……………………………………………………………...91 10.2 Sony……………………………………………………………….94 10.3 Nikon……………………………………………………………...98 10.4 Olympus………………………………………………………….101 10.5 Panasonic………………………………………………………...104 -
Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945
Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Jennifer Elizabeth Anne Rudd Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 i © 2014 Jennifer Elizabeth Anne Rudd All rights reserved ii Abstract Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Jennifer Elizabeth Anne Rudd This study offers a history of the concept of realism in portrait photography through the examination of a set of categories that have colored photographic practices since the origins of the medium in 1839: the posed and the candid. The first section of this study deals with the practices of posing in early photography, with chapters on the daguerreotype, the carte de visite, and the amateur snapshot photograph. Considering technological advances in conjunction with prevailing cultural mores and aesthetic practices, this section traces the changing cultural meaning of the portrait photograph, the obsolescence of the pose, and the emergence of an “unposed” aesthetic in photography. The second section of this study examines three key photographers and their strategies of photographic representation, all of which involved candid photography: it looks at Erich Salomon’s pioneering photojournalism, Humphrey Spender’s politicized sociological photography, and Walker Evans’ complex maneuvering of the documentary form. Here, the emphasis is on the ways in which the trope of the candid informed these three distinct spheres of photography in the early 20th century, and the ways in which the photographic aesthetic of candor cohered with—or contested—political and cultural developments of the interwar period in Germany, Britain, and the United States. -
Part 2 Photography
This is the Comprehensive Digital & General Photography Review Certified Digital Designer Professional Certification Examination Review Within this presentation – We will use specific names and terminologies. These will be related to specific products, software, brands and trade names. ADDA does not endorse any specific software or manufacturer. It is the sole decision of the individual to choose and purchase based on their personal preference and financial capabilities. the Profession It is about the world vision and expression through a lens It is about how light and color can change the results It is about images which can cause us feel emotions or to act or react It is about images – manipulated in multiple ways It is mental conception – transferred through graphical effects It is about creating memories with digital media It is expressing complicated ideas through visual applications THIS is what we call DIGITAL PHOTOGRAPHY ADDA Professional Certification Series Digital & General Photography Section ADDA Professional Certification Series – Digital & General Photography Acronyms ADDA American Digital Design Association American Design Drafting Association SLR Single Lens Reflex Camera DSLR Digital Single Lens Reflex Camera ISO International Standards Organization. Used instead of ASA as prefix to a cameras sensitivity to light The scale is identical to the ASA scale back in the film days . LCD Liquid Crystal Display TTL Through the Lens CCD Charge Coupled Device. More commonly known as the camera sensor. ADDA Professional Certification Series – Digital & General Photography Acronyms RAW Raw image format, contains minimally processed data from the image sensor of a digital camera or image scanner. Raw files are so named because they are not yet processed and ready to be used with a bitmap graphics editor , computer, or printing machine.