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Kodak Dealer News
Please pass this Dealer News on to your staff to read Kodak Dealer News January/February , 1970 . lfe Save~~ save yourlife incolorr-·--- . in pictures_.•• wifha on, fllm ~ in color orblack & white ~ Can,eta ••save your life on Kodacolor Filnt'' e Thank you! Twonew films for advanced Our sincere thanks to all of you who took time off Kodak Instamatic Cameras to complete and return to us the questionnaire on 1970! our Christmas Advertising Display material. To widen the scope of picture taking with certain Generally it would seem that we are on the right Kodak lnstamatic cameras two new films have re There 's always something special about the start sure - 1970 is going to be a bumper year for the track and the material was well displayed. We feel cently been introduced. They are TRI-X 126-12 of a new decade. It 's rather exciting looking ahead things that matter to you and to us - Kodak sure that those of you using the display right up exposure film for black-and-white photography and wondering what the next ten years will bring . Cameras and Kodak Film . to Christmas are pleased with the results. We trust under adverse or available light situations and Ektachrome High Speed film-EH 126-20 exposure Looking back to 1960, how many of us would have As you will read elsewhere in Dealer News, we are you have followed up by displaying the Holiday Film Showcard to obtain your share of the extra film for making color slides under similar con forecast the tremendous impact of the Kodak ln conducting one of the biggest advertising cam ditions. -
Photofinishing Prices 08-01-19 X CUSTOMER 08-03-19.Pub
Miscellaneous Film Processing Services (Page 1 of 2) August 1, 2019 110 & 126 Develop, Scan & Print (C-41) Seattle Filmworks 35mm Processing Service Time: 10 Lab Days Matte or Glossy finish prints. Process: ECN-II or SFW-XL. Service Time: up to 2 weeks. C-41 process. Prints, if requested, on Kodak Royal paper. Applicable Films: Seattle Filmworks; Signature Color; Scanning the negatives is required prior to making prints. Eastman 5247 or 5294; Kodak Vision 2 or Vision 3 500T / We develop your cartridge of negatives ($4.90), scan the 5218 or 7218. visible images ($1.58 per negative), and, if requested, make prints ($0.20 per print). Scans are written to CD (no charge). Choose Matte or Glossy, 4x6 or 3½x5. Kodak Royal Paper. 110 film makes 4x5" prints. 126 film makes 4x4" prints. Default service is 4x6 Matte prints (if you don’t specify). Minimum charge : $12.00 Develop Only service Minimum Charge : $4.90 Develop Only service (blank film) ECN-II Develop & Print 4x6 or 3½x5 Identical 110 & 126 C-41 Develop Negatives & Scan to CD First Set 2nd Set Develop Develop & 20 or 24 Exposure ....................... 22.95 .................... 6.00 & Scan Scan & Print 36 Exposure ................................ 26.95 .................... 9.00 12 Exposure ................................ 23.86 .................. 26.26 Scan ECN-II process film to CD: 24 Exposure ................................ 42.82 .................. 47.62 Discount for unscannable negs ….1.58 each 1Reprint 2Enlargement Discount for prints not made from blank images ..........20 each Quality Quality Scanning Price per Roll CD CD Scans & Prints from Old 110 & 126 Negs with Develop & Print .......... -
Contemporary Nostalgia
Contemporary Nostalgia Edited by Niklas Salmose Printed Edition of the Special Issue Published in Humanities www.mdpi.com/journal/humanities Contemporary Nostalgia Contemporary Nostalgia Special Issue Editor Niklas Salmose MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade Special Issue Editor Niklas Salmose Linnaeus University Sweden Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Humanities (ISSN 2076-0787) from 2018 to 2019 (available at: https://www.mdpi.com/journal/ humanities/special issues/Contemporary Nostalgia). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03921-556-0 (Pbk) ISBN 978-3-03921-557-7 (PDF) Cover image courtesy of Wikimedia user jarekt. Retrieved from https://commons.wikimedia.org/ wiki/File:Cass Scenic Railroad State Park - Shay 11 - 05.jpg. c 2019 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. Contents About the Special Issue Editor ...................................... vii Niklas Salmose Nostalgia Makes Us All Tick: A Special Issue on Contemporary Nostalgia Reprinted from: Humanities 2019, 8, 144, doi:10.3390/h8030144 ................... -
KODAK La Câmara
12 ~ 13 ·~-- -·~ ESPAfilOL Advertencla: Fotos con flash Para totos con flash use solamente Nota: No necesita pilas. Solo puede Magicube tipo X. No utlllce otro tipo de utlllzarse Maglcube tlpo X. Calcule la cubollash. distancia de la câmara al objeto; ajustela en la escala de flash 14. Pelleulas Co loque un Magicube tipo X 15. Use peHcv1as ;~OOAK Gn r:nroA<J< · r~.; t./o n rlfvnnô1 Cl o l:-> j•.:;! \0 d V r'l;) d tStancia 126. Para diapositivas en color use vompreuo,at:t ~ · w ~ 1 .~ a 3.7 metros de Pelicula "Kodachrome-X" o KODAK la câmara. Para tomar la fotografia "Ektachrome-X .. ; para copias en color enmarque el objeto en el viser y oprima utilice Pelîcula • Kodacolor Il • y para el d isparador. Puede tomar 4 lotos con copias en blanco y negro, use Pelicula cada Magicube. luego retfrelo y câm KODAK "Verichrome • Pan. bielo. El Magicube g ira mientras usted Nota : Anles de fotografiar cualquier bobina. Puede también girarse manual tema importante, practique con la mente en la direcci6n de la flecha. câmara, tomando lotos al aire libre y en Un Magicube parcialmente usado se interiores con flash. puede quitar y volver a colocar, siempre y c uando una de las bombillas sin C6mo cargar la câmara uti lizar quede mirane1o hacia adelante. Abra la câmara 1, introduzca el Si una bombilla usada queda hacia cargador 2, ci erre la câmara 3. adelante, se verâ una seria i en el Retirando los dedos del disparador, visor 16. En tai caso. gire manualmente accione el mecanisme Cie arrastre hasta el Magicube hacia la izquiere1 a, hasta que se bloquee. -
Biology in the Grid
Biology in the Grid CARY WOLFE, SERIES EDITOR 46 Biology in the Grid: Graphic Design and the Envisioning of Life Phillip Thurtle 45 Neurotechnology and the End of Finitude Michael Haworth 44 Life: A Modern Invention Davide Tarizzo 43 Bioaesthetics: Making Sense of Life in Science and the Arts Carsten Strathausen 42 Creaturely Love: How Desire Makes Us More and Less Than Human Dominic Pettman 41 Matters of Care: Speculative Ethics in More Than Human Worlds Maria Puig de la Bellacasa 40 Of Sheep, Oranges, and Yeast: A Multispecies Impression Julian Yates 39 Fuel: A Speculative Dictionary Karen Pinkus 38 What Would Animals Say If We Asked the Right Questions? Vinciane Despret 37 Manifestly Haraway Donna J. Haraway 36 Neofinalism Raymond Ruyer 35 Inanimation: Theories of Inorganic Life David Wills 34 All Thoughts reA Equal: Laruelle and Nonhuman Philosophy John Ó Maoilearca 33 Necromedia Marcel O’Gorman 32 The Intellective Space: Thinking beyond Cognition Laurent Dubreuil 31 Laruelle: Against the Digital Alexander R. Galloway 30 The Universe fo Things: On Speculative Realism Steven Shaviro 29 Neocybernetics and Narrative Bruce Clarke 28 Cinders Jacques Derrida 27 Hyperobjects: Philosophy and Ecology after the End of the World Timothy Morton 26 Humanesis: Sound and Technological Posthumanism David Cecchetto 25 Artist Animal Steve Baker 24 Without Offending Humans: A Critique of Animal Rights Élisabeth de Fontenay (continued on page 263) Biology in the Grid Graphic Design and the Envisioning of Life posthumanities 42 posthumanities 43 posthumanities 44 posthumanPhillip Thurtleities 45 posthumanities 46 posthumanities 47 posthumanities 48 posthumanities 49 posthumanities 50 University of Minnesota Press posthumanMinneapolisities 51 London posthumanities 52 posthumanities 53 posthumanities 54 posthumanities 55 posthumanities 56 posthumanities 57 posthumanities 58 posthumanities 59 posthumanities 60 posthumanities 61 A multimedia website accompanies the theoretical and historical analysis presented in Biol- ogy in the Grid: Graphic Design and the Envisioning of Life. -
University Microfilms International 300 North Zeeb Road Ann Arj*Or
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
The Concise Focal Encyclopedia of Photography
The Concise Focal Encyclopedia of Photography Prelims-K80998.indd i 6/20/07 6:14:35 PM This page intentionally left blank The Concise Focal Encyclopedia of Photography From the First Photo on Paper to the Digital Revolution MICHAEL R. PERES, MARK OSTERMAN, GRANT B. R OMER, NANCY M. STUART , Ph.D., J. TOMAS LOPEZ AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • O XFORD • PARIS • S AN DIEGO SAN FRANCISCO • S INGAPORE • S YDNEY • TOKYO Focal Press is an imprint of Else vier Prelims-K80998.indd iii 6/20/07 6:14:37 PM Acquisitions Editor : Diane Heppner Publishing Ser vices Manager : George Mor rison Senior Project Manager : Brandy Lilly Associate Acquisitions Editor : Valerie Gear y Assistant Editor : Doug Shults Marketing Manager : Christine Degon V eroulis Cover Design: Alisa Andreola Interior Design: Alisa Andreola Focal Press is an imprint of Else vier 30 Cor porate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford O X2 8DP, UK Copyright © 2008, Else vier Inc. All rights reser ved. No par t of this publication ma y be reproduced, stored in a retrie val system, or transmitted in an y form or by any means, electronic, mechanical, photocop ying, recording, or otherwise, without the prior written per mission of the publisher . Permissions ma y be sought directly from Else vier’s Science & T echnology Rights Department in Oxford, UK: phone: ( ϩ44) 1865 843830, fax: ( ϩ44) 1865 853333, E-mail: per missions@else vier.com. You may also complete your request on-line via the Else vier homepage (http://else vier.com), by selecting “Suppor t & Contact” then “Cop yright and Permission” and then “Obtaining P ermissions. -
Situating LGBTQ Voices in National Trust Historic Houses
Queer activism begins at home: situating LGBTQ voices in National Trust historic houses Sean Curran UCL Institute of Education Supervisors: Professor Pam Meecham & John Reeve I, Sean Curran confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 1 _______________________________________________________________ _______ 2 Abstract Despite a growing body of literature and practical examples of lesbian, gay, bisexual, trans and queer (LGBTQ) interventions in museums, there is a dearth of research in equivalent initiatives in historic houses, specifically in those owned and managed by the National Trust. My research aims to address that gap, by using a creative intervention in the form of an exhibition for LGBT History Month. This queered action research involved curating an intervention, using a crowd-sourced exhibition, at the National Trust’s Sutton House in Hackney, London. The exhibition and the process of curation is the primary case study in my thesis. The exhibition 126, saw 126 LGBTQ identified volunteers submitting smartphone recordings of Shakespeare’s Fair Youth Sonnets and short video portraits of themselves as contributors. These were edited into a film, and exhibited at the first ever ‘Queer Season’ at Sutton House in February and March 2015. While feedback from visitors and contributors was analysed, the video portraits formed the primary data in the thesis. The videos are presented as a means through which LGBTQ people have chosen to represent their queer identities in a National Trust property. The results are noteworthy for the diversity of ways that LGBTQ people choose to visually signify their queer identities when given autonomy to do so. -
Jobless Rate Down the Manufacturing Industries WASHINGTON (UPI) - the at the Wnoiesale Level 13 Years Ago Rise
iiandipHtPr • Since 1881 • 20c Inflation up Jobless rate down The manufacturing industries WASHINGTON (UPI) - The at the wnoiesale level 13 years ago rise. showed the greatest improvement in nation's unemployment rate edged now sell for $249. Even though inflation is on the up unemployment, witnessing a drop of down to 7.6 percent in August while Almost two-thirds of the increase swing and unemployment remains at nearly a point to 9.3 percent, but in Former Yippie leader Abbie Hoffman said today he is ready inflation at the wholesale level raged in producer prices in August was an historically high level, at least one the construction industry, which has to go to prison if necessary on bail jumping and drug charges. on at a more than 20 percent annual caused by a 4 4 percent jump in food government official thinks the seen a steady rise since February, rate, the government reported today. prices — the second straight month current recession — the seventh He turned himself in Thursday and was released without bail the rate escalated 2.2 percentage The Bureau of Labor Statistics said they have shot up. since World War II — will not be pending trial. (UPI) points to 18.3 percent in August. the unemployment rate dropped Most economists expect food around much longer. Another positive sign came in the from 7.8 percent in July to 7.6 per prices to continue to rise sharply in In a speech in Miami Thursday manufacturing workweek, which cent last month, reducing the the months ahead, applying even night. -
Cameras in the Curriculum. a Challenge to Teacher Creativity. An
DOCUMENT RESUME ED 260 697 IR 011 770 AUTHOR McMillan, Samuel, Ed.; Quinto,Frances, Ed. TITLE Cameras in the Curriculum. A Challengeto Teacher Creativity. An NEA/KODAKProgram. Volume 2/1983-84. INSTITUTION Eastman Kodak Co., Rochester, N.Y.;National Education Association, Washington,D.C.; National Foundation for the Improvementof Education, Washington, D.C. PUB DATE 85 NOTE 309p.; For Volume 1 of this publication,see ED 238 409. Photographs will not reproducewell. PUB TYPE Guides Classroom Use Guides (For Teachers) (052) -- Reports - Descriptive (141) EDRS PRICE MF01 Plus Postage. PC Not Availablefrom EDRS. DESCRIPTORS Awards; Case Studies; *CreativeActivities; Elementary Secondary Education; HigherEducation; Instructional Innovation; *Photography;Production Techniques; Program Descriptions;*Program Implementation; *Teacher DevelopedMaterials; Teaching Guides; Teaching Methods;*Visual Aids ABSTRACT Designed as a teacher's guideto stimulate student interest, creativity, and achievement,this teaching guide includes 132 projects which involve theuse of photography as an instructional tool. The volume is divided intosubject areas with grade levels ranging from kindergarten throughhigher education. Most projectsare multidisciplinary, and each projectincludes the title, contributing author, location, subject, gradelevel, quotation from the author, purpose and description of the project, activities,materials, resources and expenses, outcomes, and adaptability.The subjects of the 'ograms are:(1) art education, includingcreative expression, varitts -
Media Guide Template
MEN’S SINGLES, 1881-2014 T N US OPEN CHAMPIONS E M O A Rt/Lft Rt/Lft F N N I Year (Seed) Champion Handed (Seed) Runner-up Handed Score Time R U O 2014 (14) Marin Cilic (Croatia) Right (10) Kei Nishikori (Japan) Right 63 63 63 1:54 T 2013 (2) Rafael Nadal (Spain) Left (1) Novak Djokovic (Serbia) Right 62 36 64 61 3:21 2012 (3) Andy Murray (Great Britain) Right (2) Novak Djokovic (Serbia) Right 76(10) 75 26 36 62 4:54 2011 (1) Novak Djokovic (Serbia) Right (2) Rafael Nadal (Spain) Left 62 64 67(3) 61 4:10 2010 (1) Rafael Nadal (Spain) Left (3) Novak Djokovic (Serbia) Right 64 57 64 62 3:43 2009 (6) Juan Martin del Potro (Argentina) Right (1) Roger Federer (Switzerland) Right 36 76(5) 46 76(4) 62 4:06 S & 2008 (2) Roger Federer (Switzerland) Right (6) Andy Murray (Great Britain) Right 62 75 62 1:51 D Y N T I 2007 (1) Roger Federer (Switzerland) Right (3) Novak Djokovic (Serbia) Right 76(4) 76(2) 64 2:26 U L I O 2006 (1) Roger Federer (Switzerland) Right (9) Andy Roddick (U.S.) Right 62 46 75 61 2:25 C R A 2005 (1) Roger Federer (Switzerland) Right (7) Andre Agassi (U.S.) Right 63 26 76(1) 61 2:19 G F 2004 (1) Roger Federer (Switzerland) Right (4) Lleyton Hewitt (Australia) Right 60 76(3) 60 1:49 2003 (4) Andy Roddick (U.S.) Right (3) Juan Carlos Ferrero (Spain) Right 63 76(2) 63 1:42 2002 (17) Pete Sampras (U.S.) Right (6) Andre Agassi (U.S.) Right 63 64 57 64 2:54 2001 (4) Lleyton Hewitt (Australia) Right (10) Pete Sampras (U.S.) Right 76(4) 61 61 1:53 2000 (6) Marat Safin (Russia) Right (4) Pete Sampras (U.S.) Right 64 63 63 1:38 S 1999 -
Eaton's Catalogue
. EATON'S where Christmas is a warm, wonder-filled family occasion We’re proud to be a part of your Christmas plans . from the far corners of the world we’ve gathered gifts to please every member of your family. This book contains hundreds of gift suggestions . and these are only a sample of the wonderful variety you’ll find at your nearest Eaton’s Store. Whether you shop in person or by ’phone, you’ll find the people at Eaton’s friendly and helpful ... in the true spirit of Christmas. — . a a gracious hostess 4A Tonight is the night to entertain in grand style— This is her moment — she’ll set the mood in a delicate scooped neck shell encrusted with sequins. Black or white. Sizes 10 to 18. 25.00 4B Completing the picture — supple skirt of black rayon crepe. Fully lined. Sizes 10 to 20. 20.00 by LA DEAR 4C She'll add drama to a decorative scheme that’s become part of her life — French Provincial 25 " colour television console 1,125.00 Eaton VIKING 5A She knows how to make a small occasion more festive — and the grandest evening more intimate. Cast-iron table candelabra 4.00 5B Box of twelve 15" candles. 4A White, red, yellow, pine orange, 25.00 or butterscotch 1.95 5C Box of six glass candlesticks with pillar candles. Two colours per box. Red/orange; white/green; agean blue/blue 7.95 5D Six pillar candles. Red, orange, white or yellow 4.95 5E The light of the party— cast- iron candelabra 9.95 5F Box of eight 24" hand-dipped candles.