Facts About the Polaroid Collections
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Tactical Shipping and Scheduling at Polaroid with Dual Lead-Times
Tactical Shipping and Scheduling at Polaroid with Dual Lead-Times Kermit THREATTE and Stephen C. GRAVES, MIT This paper focuses on the development and validation of a tactical model that makes production-scheduling recommendations and specifies shipping options to reduce Abstract—We report on a project with Polaroid Corporation in total supply chain cost. The paper describes Polaroid, reviews which we developed a supply chain model to provide decision literature on inventory management with two replenishment support for planning production and transportation. Production modes, and develops a simple static network model that can be occurs in Asia to serve world-wide demand. Production planners used for decision support. We exercise the model by must determine both the production quantities as well as simulation to determine the relationship between whether to ship by sea or by air. We develop a model to optimize transportation costs, inventory costs, forecast error and a static version of this problem and then show how to use this manufacturing capacity in a typical framework where static model in a dynamic setting. We test the model with data production and shipping decisions are made periodically. from Polaroid and show its effectiveness. Index Terms—dual replenishment modes, inventory and Finally the paper recommends a course of action for Polaroid transportation planning, supply chain application, supply chain regarding model implementation. modeling II. BACKGROUND I. INTRODUCTION Polaroid is the leading instant imaging company in the world Many U.S. companies attempt to reduce labor costs by and is the only manufacturer of traditional instant cameras and 1 shifting production to overseas locations with lower wage film in the United States, with revenues in 2000 of $1.85 billion. -
Anxiety Among Customers and Other
Cambridge Centre for Social Innovation Research Report Summary THE ART OF THE PIVOT: MANAGING RELATIONSHIPS WITH STAKEHOLDERS WHEN CHANGING DIRECTION Dr Christian E. Hampel, Imperial College London Professor Paul Tracey, University of Cambridge & Professor Klaus Weber, Northwestern University Edited by Dr Michelle Fava Contents Key findings ........................................................................................................................... 1 Background ............................................................................................................................ 1 Emerging themes .................................................................................................................. 2 Implications and future research ......................................................................................... 5 About the project .................................................................................................................. 5 Key findings When entrepreneurs run into trouble, they are often advised to 'pivot' - radically transform their ventures' strategy, product offering or organisational identity – so that they can pursue a new direction. However, this case study of 'The Impossible Project' shows that pivoting is far from the simple option it is often portrayed to be. The risks are particularly acute where ventures rely heavily on resources from a core stakeholder group, such as a user community. In this case study of 'The Impossible Project' we show that pivoting can disrupt -
February/March 2014
The PHOTO REVIEW NEWSLETTER February / March 2014 Robert Heinecken Cybill Shepherd/Phone Sex. 1992, dye bleach print on foamcore, 63"×17”. (The Robert Heinecken Trust, Chicago; courtesy Petzel Gallery, New York. © 2013 The Robert Heinecken Trust) At the Museum of Modern Art, New York Exhibitions PHILADELPHIA AREA Germán Gomez “Deconstructing Cities and Duos,” Bridgette Mayer Gallery, 709 Walnut St., Philadelphia, PA 19106, 215/413– Alien She Vox Populi, 319 N. 11th St., 3rd fl., Philadelphia, PA 8893, www.bridgettemayergallery.com, T–Sat 11–5:30 and by 19107, 215/23 8-1236, www.voxpopuligallery.org, T–Sun 12–6, appt., through February 22. March 7 – April 27. Includes photography. Graffiti, Murals, and Tattoos “Paired,” Bucks County Project Artists of a Certain Age Philadelphia Episcopal Cathedral, Gallery, 252 W. Ashland St., Doylestown, PA 18901, 267/247- 3723 Chestnut St., Philadelphia, PA 19104, 267/386-0234 x104, 6634, www.buckscountyprojectgallery.com, Th–F 12–4, F–Sat daily 10–4 and by appt., through February 28. Includes photogra- 1–5, March 8 – April 6. phy by William Brown and Arlene Love. David Graham “Thirty-Five Years / 35 Pictures,” Gallery 339, Donald E. Camp/Lydia Panas/Lori Waselchuk “Humankind,” 339 S. 21st St., Philadelphia, PA 19103, 215/731-1530, www.gal- Main Line Art Center, 746 Panmure Rd., Haverford, PA 19041, lery339.com, T–Sat 10–6, through March 15. 610/525-0272, www.mainlineart.org, M–Th 10–8, F–Sun 10–4, through March 20. Reception, Friday, February 21, 6–8 PM. Panel Jefferson Hayman Wexler Gallery, 201 N. 3rd St., Philadelphia, Discussion and Book Signing, Wednesday, March 19, 6–8 PM. -
Newsletter-Q3 2019
NewsLetter Newsletter Team: E. Foote, July-September M. Hall, E. Kliem, W. Rosen [email protected] Polaroid Retirees Association 2019 THIS PUBLICATION IS SOLELY FOR THE USE OF THE PRA MEMBERSHIP POLAROID RETIREES ASSOCIATION, INC. P.O. BOX 541395, WALTHAM, MA 02454-1395 WEB SITE ADDRESS WWW.POLAROIDRETIREES.ORG Board of Letter from the President Dear PRA Members, Directors My three one-year terms as President of the Polaroid Retirees Association ended on June 11th. Officers Serving as the leader of this wonderful organization has been a true privilege, one which I'll always treasure. PRA members are committed to the success of our association. I've gotten to Elizabeth Foote know many more of you during my term as president, although not nearly as many as I'd like. President As I leave, I want to acknowledge the dedication and hard work of the members of your Board of Directors. Each brings a unique perspective and skill set to their role. I'm very confident that John Flynn this talented group will ensure the success of the PRA going forward. 1st Vice President I'm even more confident that our organization is in good hands with the election of Elizabeth Foote as our new President, and I wish her every success in her term of office. Arthur Aznavorian With best regards, 2nd Vice George Murray, PRA Past President President From Elizabeth Foote: Nino DiIanni Treasurer At the May Business and June board meetings, candidates were elected to serve your organiza- tion as it enters its 35th year. I thank this committed, energetic board for asking me to work Mary McCann with you as president, and I congratulate all those chosen. -
P H O T O N E W S L E T T
The PHOTO REVIEW NEWSLETTER July / August 2017 Michael Nichols Charger, Bandhavgarh National Park, India, 1996, inkjet print mounted on Dibond (© Michael Nichols/National Geographic) From “Wild” at the Philadelphia Museum of Art Exhibitions PHILADELPHIA AREA T. R. Ericsson The Print Center, 1614 Latimer St., Philadel- phia, PA 19103, 215/735-6090, www.printcenter.org, T–Sat 11–6, Annual Alumni Exhibition The Galleries at Moore, Moore through August 6. College of Art and Design, 20th St. & the Parkway, Philadelphia, PA 19103, 215/965-4027, www.moore.edu, M–Sat 11–5, through Judy Gelles “Fourth Grade Project in Yakima, Washington,” August 19. The Center for Emerging Visual Artists, Bebe Benoliel Gallery at the Barclay, 237 S. 18th St., Suite 3A, Philadelphia, PA 19103, Another Way of Telling: Women Photographers from the Col- 215/546-7775, www.cfeva.org, M–F 11–4, through July 28. lection The Philadelphia Museum of Art, Perelman Building, Julien Levy Gallery, 2525 Pennsylvania Ave., Philadelphia, PA Christopher Kennedy “Re-Imagined,” The Studio Gallery, 19130, 215/684-7695, www.philamuseum.org, T–Sun 10–5, W & 19 W. Mechanic St., New Hope, PA 18930, 215/738-1005, thestu- F 10–8:45, through July 16. dionewhope.com, W–Sun 11–6, through July 30. A Romantic Youth: Advanced Teen Photo Philadelphia Photo Arts Center, 1400 N. American St., Ste. 103, Philadelphia, PA 19122, 215/232-5678, www.philaphotoarts.org, T–Sat 10–6, through July 8. Christopher Kennedy: A Vision of Cubicity, from Impalpable Light at the Bazemore Gallery, Manayunk, PA Christopher Kennedy “Impalpable Light,” The Bazmore Gal- lery, 4339 Main St., Manayunk, PA 19127, 215/482-1119, www. -
The Quest Towards a Non-Destructive Identification Method for Polaroid Integral Film Types
The quest towards a non-destructive identification method for Polaroid integral film types. The quest towards a non-destructive identification method for Polaroid integral film types. Master Thesis, Conservation and Restoration of Cultural Heritage, Photography. Student: Tessa Maillette de Buy Wenniger, 10452575. Information and source image cover page: Stages of the development of an SX-70 film. The subject in the Thesis Supervisor: Katrin Pietsch (UvA) image is crystalline silver nitrate seen through crossed polarisers at 80x. University of Amsterdam, Amsterdam. Land, Edwin, Howard Rogers and Vivian Walworth. "One- Date: July 2020. step Photography", 261. All figures and tables etcetera made by the author unless stated otherwise. 1 Tessa Maillette de Buy Wenniger, UvA, 2020. The quest towards a non-destructive identification method for Polaroid integral film types. Table of content Acknowledgements .............................................................................................................................3 Abstract (Nederlands) .........................................................................................................................4 Abstract (English) ...............................................................................................................................4 Introduction .........................................................................................................................................5 Research objective. ....................................................................................................................... -
Killed Polaroid ?
Who Killed Polaroid ? Copyright Michael E. Gordon 2010 The Polaroid Corporation had been one of the most exciting, controversial and misunderstood companies of all time. Some might argue that it was seriously mismanaged throughout its convoluted history. Others might believe that its "growing pains" were unavoidable and to be expected for a $ 2.3 billion cutting-edge technology company. Polaroid filed for bankruptcy in 2001 and was dismembered, piece by painful piece. The remainder of the Company was acquired by an investment group in 2002, sold again to another investment group, and finally laid to rest permanently. Did this just happen, or did someone kill Polaroid? The Polaroid Corporation was founded in 1937 by Dr. Edwin Land (1909 – 1991) to commercialize his first product: polarizing light material. This unique 3-layered sheet structure found use in light control, glare reduction, 3D movies, and a variety of military applications such as goggles, smart bombs and target finders. Land was in his late 20s when he launched Polaroid. During the Second World War, the company grew rapidly. By 1949, under the relentless leadership of Dr. Land, Polaroid had developed and commercialized the Land Camera - the first instant black and white camera and film system capable of producing exceptional photos in 60 seconds. This was followed by several other break-through products, including the instant color peel- apart system (1963); SX-70 absolute on-step color photography (1972); and the Polavision instant movie camera, film and projector system (1975). Polavision was a financial disaster (-$500M) due to the complexity of the technology and the simultaneous emergence of magnetic video Dr. -
T-55 Film Data Sheet
Film Data Sheet T-55 (Positive/Negative) 4 x 5 Black & White Sheet Film Description Extremely high-resolution positive/negative film for finely detailed black and white prints (and negatives). Medium-speed and contrast, produces instant print and negative. 10.2 x 12.7 cm Key Applications • Proofing • Scientific imaging • Advertising and magazine photography • SEM or microscope imaging • Copystand photography • Fine-art photography • Any application requiring a negative for additional prints Film Speed Compatible Hardware ISO 50/DIN 18 • Any instrument or camera equipped with a Model Format 545/545i Film Holder 4 x 5 in. (10.2 x 12.7 cm) • MP-4+ Camera Sheet Film Special Treatment Image Area Requires print coating the positive and clearing the negative. To 1 1 3 /2 x 4 /2 in. (9 x 11.4 cm) clear the negative for reuse, immerse it in a sodium sulfite clearing bath immediately after development. Sodium sulfite powder is Finish readily available from professional photographic supply dealers Glossy and chemical supply houses. Exposures per Unit Mix in the following proportions: 20 exposures per box Warm water: 2 liter or 70 fl. oz. Development Time Sodium sulfite powder: 440 grams or 16 oz. (weight) 0 20-25 seconds at 70 F (anhydrous/desiccated) Slowly add the powder to the water; stir continuously until all Caution 0 0 This film uses a small amount of powder is dissolved. Allow to cool to approximately 70 F(21 C) caustic paste. If any paste appears, before using. Store the solution in brown, well-stoppered avoid contact with skin, eyes and bottles or in a tank with a floating lid. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
For Immediate Release Arrangements by Marie Cosindas January 16Th
For Immediate Release Arrangements by Marie Cosindas January 16th – March 8, 2014 Almost fifty years after her first museum exhibition, Bruce Silverstein Gallery is honored to present Arrangements by Marie Cosindas, featuring thirty-five of the artist’s photographs from the 1960s-80s. In addition to images that have never been exhibited, this show includes works from the historic Museum of Modern Art exhibition of her color photographs in 1966. Arrangements is Cosindas' term for her richly layered assemblages created primarily in her Boston studio, and in later years, around the world, from found or borrowed objects—fabrics, flowers, figurines, jewelry, perfume bottles, tarot cards and other such treasures which came to define her signature style. Often pyramidal in structure, the artist's baroque compositions are filled with an old world style of excess delightfully bordering on kitsch. Cosindas prefers the term Arrangement to “still life” for this body of work, as she wishes to highlight the very active role she played in the construction of these images as well as the intense engagement required from the viewer in order to absorb their varied textures, patterns, colors and minute details. For Cosindas, the resulting image and viewing experience is anything but still. Now reemerging as a cult figure in this medium, Cosindas was one of America’s best-known photographers in the 1960s-80s following her exhibitions at MoMA (her first solo show, and a pioneering feat for a woman artist in this period), the Museum of Fine Arts, Boston, 1966; the Chicago Art Institute, 1967; the International Center of Photography, 1978; and John Szarkowski’s landmark exhibition, Mirrors and Windows, 1978. -
Polaroid, Ansel Adams and Aperture
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Salford Institutional Repository Polaroid, Aperture and Ansel Adams: Rethinking the industry-aesthetics divide Abstract This article takes the history of Polaroid photography as an opportunity to question a presupposition that underpins much thinking on photography: the split between industrial (ie useful) applications of photography and its fine art (ie aesthetic) manifestations. Critics as ideologically opposed as Peter Bunnell and Abigail Solomon-Godeau steadfastly maintain the existence of this separation of utility and aesthetics in photography, even if they take contrasting views on its meaning and desirability. However, Polaroid, at one time the second largest company in the photo industry, not only enjoyed close relations with those key representatives of fine art photography, Ansel Adams and the magazine Aperture, but it also intermittently asserted the ‘essentially aesthetic’ nature of its commercial and industrial activities in its own internal publications. The divide between industry and aesthetics is untenable, then, but this does not mean that the two poles were reconciled at Polaroid. While Aperture may have underplayed its commercial connections and Polaroid may have retrospectively exaggerated its own contributions to the development of fine art photography, most interesting are the contradictions and tensions that arise when the industrial and the aesthetic come together. The article draws on original research undertaken at the Polaroid Corporation archives held at the Baker Library, Harvard, as well as with the Ansel Adams correspondence with Polaroid, held at the Polaroid Collections in Concord, Massachusetts. 1 Polaroid, Aperture and Ansel Adams: Rethinking the industry-aesthetics divide [Edwin] Land could invent new cameras every hour and still would not increase the awareness of photography as a creative medium because his cameras are designed for the amateur. -
POLAROID And. SOUTH AFRICA
POLAROID and. SOUTH AFRICA Boycott Polaroid Support the black Until all sales revolutionary workers to South Africa at Polaroid. are discontinued . ThE STRUGGLE BEGINS .... Ken Williams Chris Nteta On Oct . 8, 1970 the PRWM intiated Prior . to the rally Polaroid tried to its struggle against Polaroid with take away some of the demonstration's a large rally before the plate glass heat by releasing & slick statement windows of Polaroid's corporate head- about its position in South Africa. quarters in Cambridge . Attended by Polaroid's_ trick back-fired when many Polaroid workers, the rally drew Chris Nteta, a black South African attention to Polaroid's sale of its exposed the lies in Polaroid's state- ID-2 identification system in South ment . With the enthusiastic support Africa . Ken Williams, a member of the crowd, Nteta called on Polaroid of the PRWM and a Polaroid employee, to meet three demands : 1)get out of accused Polaroid of supporting fascism South Africa completely and immediately, in South Africa and demanded Polaroid's 2)denounce apartheid, and 3)donate immediate withdrawal from South Africa past profits from sales in South . Africa to liberation movements. The struggle had started . POLAROID REVOLUTIONARY WORKERS MOVEMENT- JANUARY 12, /971 ON BEHALF OF BLACK SOUTH AFRICANS AND ALL OPPRESSED PEOPLES, THE,POLAROID REVOLUTIONARY WORKERS DEMAND: . 1) .' THAT POLARIOD ANNOUNCE A POLICY OF COMPLETE DISENGAGEMENT FROM SOUTH AFRICA . WE BELIEVE . THAT ALL AMERICAN COMPANIES DOING BUSINESS THERE REINFORCE THAT RACIST SYSTEM. 2.) THAT POLAROID ANNOUNCE ITS POSITION ON APARTHEID PUBL I CALLY IN THE US AND SOUTH AFRICA, SIMULTANEOUSLY.