Cognition: the Limit to Organization Change; a Case Study of Eastman Kodak

Total Page:16

File Type:pdf, Size:1020Kb

Cognition: the Limit to Organization Change; a Case Study of Eastman Kodak COGNITION: THE LIMIT TO ORGANIZATION CHANGE; A CASE STUDY OF EASTMAN KODAK A THESIS Presented to The Faculty of the Department of Economics and Business The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Noah Simon April 2011 COGNITION: THE LIMIT TO ORGANIZATION CHANGE; A CASE STUDY OF EASTMAN KODAK Noah Simon April 2011 LAS: Leadership Abstract The following thesis examines an incumbent firm affected by change. It seeks to deepen the understanding of the dynamic capabilities model by proposing cognition and not previous resource deployment is the limit of change. Two similar companies, Eastman Kodak and Polaroid will be compared during the shift from film to digital photography to determine what separated the two companies. KEYWORDS: (Organizational cognition, dynamic capabilities, path dependency, cognition, perception) TABLE OF CONTENTS ABSTRACT ACKNOWLEDGEMENTS 1 INTRODUCTION 1 2 LITERATURE REVIEW 6 2.1 Dynamic Capabilities...................................................................................... 7 2.1.1 How does a company survive?.............................................................. 7 2.1.2 What are the effects of core competencies?.......................................... 8 2.1.3 How are established companies affected by change?........................... 9 2.2 The Cognitive Perspective.............................................................................. 10 2.2.1 What does a path dependency mean for the individual?....................... 10 2.2.2 What are the effects of routines?........................................................... 13 2.2.3 What begins the process of change?..................................................... 14 2.2.4 What affects perception of change?...................................................... 16 2.2.5 What is needed to address and affect change effectively?.................... 20 2.3 Summary…………………………………………………………………... 21 3 METHODOLOGY 23 3.1 Data Selection……………………………………………………………... 24 3.2 Data organization………………………………………………………….. 27 3.3 Limitations………………………………………………………………… 27 4 RESULTS 29 4.1 History of the Digital Photography Market………………………………... 29 4.2 Coding System…………………………………………………………….. 31 4.3 Results……………………………………………………………………... 32 4.3.1 Research……………………………………………………………… 32 4.3.2 External/ internal factors……………………………………………... 37 4.3.3 Sales…………………………………………………………………... 40 4.4 Summary of Results………………………………………………………. 42 4.4.1 Kodak vs. Polaroid……………………………………………………. 45 50 5 CONCLUSION 5.1 Connections between the Findings and the Literature Base……………… 50 5.2 Implications……………………………………………………………….. 51 5.3 Limitations………………………………………………………………... 51 5.4 Future Directions………………………………………………………….. 52 6 APPENDIX A 53 7 APPENDIX B 56 8 APPENDIX C 59 9 WORKS CONSULTED 62 LIST OF FIGURES 4.1 Research and Development…………….…………………………………….... 25 4.2 External and Internal Factors………………………………………………….. 26 4.3 Sales and Consumer Confidence………………………………………………. 26 5.1 Adoption of Digital Cameras by US Consumers……………………………… 30 5.2 US Camera Sales………………………………………………………………. 30 5.3 Coding Explained……………………………………………………………… 32 5.4 Research Data………………………………………………………………….. 33 5.5 External/ Internal Factors……………………………………………………… 37 5.6 Sales…………………………………………………………………………… 40 CHAPTER I INTRODUCTION The one driving force behind all of time is change. Because of change nothing can stay permanent. During the age of humanity, the effects of change have ranged from miraculous to catastrophic. For those who possess better technologies, the advantage gained is enormous. In the Bronze Age the Assyrians forged an empire because they wielded bronze better than anyone else.1 The new technology was extremely beneficial for the Assyrians, but it was a major threat to the competing nations. An advantage in technology can create a disparity between those who possess it and those who don't. The nature of change dictates that what once was is no longer. As humanity has continued to imagine and invent, the previous way of doing things continues to become obsolete. Obsolescence, however, is only detrimental for the incumbent. The new technology which creates the obsolescence typically advances humanity and is beneficial because of that. For the incumbent, however, it is a threat. Change is accelerating. Innovations which disrupt in the short term, but are seen as advances in the long term are becoming more common. The pace of change started quite slowly, the domestication of animals occurred in roughly 3000B.C.2 which was almost 150,000 years after the human which resembles modern humans is known to 1 James Harvey Robinson and James Henry Breasted, History of Civilizations: Earlier Ages, (New York City: Ginn and Company, 1960), 791. 2 ibid. 1 2 have existed.3 Now, however, we are advancing at a tremendous rate. Moore's law contends that computing power will double every two years.4 And more recently, Ray Kurzweil, a leading futurist, built off Moore's law by suggesting all technology is growing at an exponential rate.5 In many ways, this change is good and it has benefited humanity. For some, however, change has been destructive. When new mindsets are created and spread, the previous way of doing things is seen as wrong. Slavery in the United States of America is largely accepted as wrong and is a prime example of old mindsets being cast away. And the effects of this paradigm shift still persist today. When new technologies are introduced, incumbent organizations are at risk. All change can be both beneficial and damaging; it depends on which perspective is looked at. This thesis will examine change from the incumbent‟s perspective. For an incumbent, change can be dangerous. For thousands of years, aside from walking, horses were the main source of alternative transportation. When the car was invented and made popular, an entire history based on the horse was made obsolete. When a disruptive technology is introduced incumbents are forced to adapt or perish.6 Firms have been able to adapt to disruptive change, but many have not. What prevents some from succeeding? This thesis will examine why some organizations are unable to adapt to change. It will be argued that the past is not the determining factor. Instead, it will be argued that the present is what determines success. An interdisciplinary approach is needed to understand the nature of the past and present. 3 "New Clues Add 40,000 Years to Age of Human Species" in National Science Foundation [database online]. [cited 2011]. Available from http://www.nsf.gov/news/news_summ.jsp?cntn_id=102968. 4 Gordan Moore, "Cramming more componentsonto integrated circuits," Electronics 38, no. 8 (1965) 5 Ray Kurzwiel, The Singularity Is Near, (USA: Viking, 2005), 652. 6 Dorothy Leonard-Barton, "Core Capabilities and Core Rigidities: a Paradox in Managing New Product Development," Strategic Management Journal 13 (1992): 111-125. 3 Taking the dynamic capabilities model from business theory explains how the past influences and creates the present. Dynamic capabilities was introduced by Teece (1997) and argued a firm must respond to change by reallocating their resources to better match the environment. A failure to do so meant the eventual destruction of the firm.7 The dynamic capabilities model offers a solution to path dependency theory which seeks to understand what the influence resource deployment has on the future. Path dependency theory argues a company's resource deployment forces a company to commit to a path which decides the direction of the firm.8 These fields focus on the role of resources and how they determine the future of the company. This body of research uses the past to determine future direction. Cognition from psychology is used to introduce a new factor to the dynamic capabilities model. The field of cognition seeks to discover what affects perception. This relates to the following research in that an individual's perception of their environment will dictate what decisions they make in the present.9 As firms are operated by individuals, the role they play cannot be ignored. Cognition deals with how information is processed in the present moment to determine future direction.10 This thesis will combine these two disciplines and argue the limit to a firm's dynamic capabilities is rooted in cognition. It will be argued that dynamic capabilities offers the solution to the problem of path dependence, but does not offer a complete 7 David J. Teece, Gary Pisano, and Amy Shuen, "Dynamic Capabilities and Strategic Management," in Technological Know-How, Organizational Capabilities, and Strategic Management: Business Strategy and Enterprise Development in Competitive Environments Hackensack, N.J. and Singapore: World Scientific, 1997), 27-51. 8 JORG SYDOW, GEORG SCHREYOGG, and JOCHEN KOCH, "Organizational Path Dependence: Opening the Black Box," Academy of Management Review 34, no. 4 (2009): 689-709. 9 Clark G. Gilbert, "Change in the Presence of Residual Fit: Can Competing Frames Coexist?" Organization Science 17, no. 1 (2006): 150-167. 10 ibid. 4 explanation of what affects a firm's ability to change. This thesis will demonstrate how the past exerts influence only up until the present moment. Path dependency is used to explain the influence the past has on the present. Then, cognition will explain what happens in the present moment and how the limit to change is rooted in cognition or imagination, and not the past. A case study of Kodak from 1974 to 2005 is used to explain how a company can transform
Recommended publications
  • Openimageio 1.7 Programmer Documentation (In Progress)
    OpenImageIO 1.7 Programmer Documentation (in progress) Editor: Larry Gritz [email protected] Date: 31 Mar 2016 ii The OpenImageIO source code and documentation are: Copyright (c) 2008-2016 Larry Gritz, et al. All Rights Reserved. The code that implements OpenImageIO is licensed under the BSD 3-clause (also some- times known as “new BSD” or “modified BSD”) license: Redistribution and use in source and binary forms, with or without modification, are per- mitted provided that the following conditions are met: • Redistributions of source code must retain the above copyright notice, this list of condi- tions and the following disclaimer. • Redistributions in binary form must reproduce the above copyright notice, this list of con- ditions and the following disclaimer in the documentation and/or other materials provided with the distribution. • Neither the name of the software’s owners nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIB- UTORS ”AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FIT- NESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUD- ING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABIL- ITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
    [Show full text]
  • KODACOLOR RDTG Series Inks Datasheet
    KODACOLOR RDTG Series Inks High performance with mid/high viscosity inks KODACOLOR RDTG Series System Qualiied Piezo-electric Print Heads The KODACOLOR RDTG Series inks from Kodak FUJI STARFIRE, RICOH GEN 4, RICOH GEN 5 & were speciically developed for direct-to-fabric RICOH GH2220. Formulated with best in class printing on cotton, cotton blends, and polyester components selected to provide market leading, fabrics. They are equally at home when used industrial performance. for printing directly to inished garments or to roll fabrics. This water-based digital ink system is designed to work in printers that employ 14 piezo-electric print heads. Although designed RDTG Viscosity Proile for use in production printing, it is suitable for 12 high quality sampling and strike offs. 10 KODAK RDTG Series performs to the highest level of nozzle performance among Print Heads 8 requiring mid-high viscosity inks. 6 Fabric Pre-Treats The KODACOLOR Pre-Treats are formulated (mPas) Viscosity 4 exclusively for the KODACOLOR EDTG & RDTG Ink Sets to produce the highest quality image 2 and excellent durability in wash-fastness. The 0 three types of Pre-Treat cover the gamut of 22 24 26 28 30 32 34 36 38 40 garments available, from 100% Cotton Dark to Temperature (deg C) White Polyesters. RCDGT RMDGT RYDGT RKDGT RWDGT Powered by KODACOLOR Technology KODACOLOR RDTG Series Inks Micrographs of dot formation KODAK RDTG Series mid-high viscosity Ink set printed through a RICOH GEN 5 Print Head Cyan Black RDTG Viscosity Viscosity Viscosity Viscosity Viscosity Viscosity
    [Show full text]
  • The Retina Reflex Guide
    by mischa koning kodak.3106.net > index manuals information The Retina Reflex Guide These web-pages have been scanned and converted from a photocopy of the "Focal Press" publication "Retina Reflex Guide", 1970 edition. There may be reference to "current" and "discontinued" models. Obviously all Retina cameras are now long discontinued, but For ease of editing if nothing else, all the original text has been retained. The original book was divided into two sections, effectively an overview and a "green pages" section covering specific models in more detail. I've not bothered with a green background to these pages, but hopefully I will have included links where appropriate to the relevant text. Similarly, page-number references; as I've included each sub- section of the book on one web-page, original page number references have been linked to the new layout. Table of Contents The Retina Reflex The Winding and Release Sequence Retina Reflex Evolution Handling the Retina Reflex Handling, Winding and Trimming the Film Films and Filters Exposure Using an Exposure Meter Flash with the Retina Reflex Using Alternative Lenses The Retina Reflex IV The Retina Reflex III The Retina Reflex and Retina Reflex S The Retina Reflex Retina Reflex Lenses Accessories Facts, Figures and Tables The Retina Reflex The Retina Reflex is an eye-level 35 mm. reflex camera with interchangeable lenses for all general photography as well as technical work, copying, photomicrography, stereo photography, etc. In many of these fields the ground-glass screen is a distinct advantage. The camera takes normal 35 mm. perforated film and produces a negative size 24x36 mm.(1 x 1½ in.).
    [Show full text]
  • The Cine-Kodak News; May 1931; Vol. 7, No. 12
    softly diffused ... ideal fo r close-ups ... Kodalite, Model B, simplifies indoor movie making AvAILABLE in one-, two- and three- including stand and cord, is priced at light units, Kodalite, Model B, $15; the two-light unit at $27.50. A makes it surprisingly easy for the am- complete outfit, including single and ateur movie maker to get satisfactory double units with carrying case, costs illumination for his indoor pictures. $50. The 500-watt lamp is sold sepa- Technical knowledge of lighting is no rately, at $4.85 (available in three longer a necessary factor. voltages- 100, ll0 and llS). No diffuser is needed with Kodalite, Your Cine-Kodak dealer will be glad Model B. Its scientifically designed re- to point out to you the many interest- flector throws a broad-angle, uniform ing features of the Model B Kodalite. flood of light. The illumination is He'll explain its practical application smooth and even . .. so softly diffused as to indoor movie making- a field that to make it ideal for close-ups. offers many attractive opportunities to Model B' s telescoping s rand is quickly the owner of a movie outfit. and easily set up or taken down. The lamp itself is adjustable in any direc- tion. It is equipped with a handle for holding or carrying the light in any Kodnlite, Model B. Single unit with special position that may be desired . stand and cord, $1 5. The single-unit Kodalite, Model B, The CINE-KODAK News Published Monthly in th e Interests of Amateur Motion Pictures b v th e Eastman Kodok Company, Rochester, N .
    [Show full text]
  • The Effect of Radiation on Selected Photographic Film
    NASA/TP--2000-210193 The Effect of Radiation on Selected Photographic Film Richard Slater L ymton B. Johnson Space Center Houston, Texas 77058-3690 ,lohn Kinard L vndon B. Johnson Space Center Houston, Texas 77058-3696 Ivan Firsov Energia Space Corporation Moscow, Russia NASA/ENERGIA Joint Film Test October 2000 The NASA STI Program Office ... in Profile Since its founding, NASA has been dedicated to CONFERENCE PUBLICATION. the advancement of aeronautics and space Collected papers from scientific and science. The NASA Scientific and Technical technical conferences, symposia, Information (STI) Program Office plays a key seminars, or other meetings sponsored or part in helping NASA maintain this important co-sponsored by NASA. role. SPECIAL PUBLICATION. Scientific, The NASA STI Program Office is operated by technical, or historical information from Langley Research Center, the lead center for NASA programs, projects, and missions, NASA's scientific and technical information. The often concerned with subjects having NASA STI Program Office provides access to the substantial public interest. NASA STI Database, the largest collection of aeronautical and space science STI in the world. TECHNICAL TRANSLATION. English- The Program Office is also NASA's institutional language translations of foreign scientific mechanism for disseminating the resuhs of its and technical material pertinent to research and development activities. These NASA's mission. results are published by NASA in the NASA STI Report Series, which includes the following Specialized services that complement the STI report types: Program Office's diverse offerings include creating custom thesauri, building customized TECHNICAL PUBLICATION. Reports of databases, organizing and publishing research completed research or a major significant results ..
    [Show full text]
  • 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.
    [Show full text]
  • Kodacolor Gold Films
    Kodacolor Gold 400 Kodacolor Gold 1600 I [{•] »7iW«]" Kodacolor Gold 400 Kodacolor Gold 1600 78 PHOTOgraphic/September 1989 welcome addition. sharpness between the 400 Gold and by Jack and Sue Drafahl We noticed a tremendous difference its slower siblings. When we look at when color printing this new film. The the ISO 400 color films of ten years previous emulsions tended to be denser ago, it's hard to believe that the only Everyone has a fami- and printed much cooler than the oth- difference today between the ISO 400 ly tree, which ex- er Gold films. The appearance of the and 100 films is in the degree of en- pands and spreads in ISO 100, 200 and 400 films is so much largement recommended. different directions alike that you must read the film edge with each new addition. Kodak is to verify the emulsion type when print- NEW 1600 GOLD proud to announce it is adding two ing the negatives. A welcome surprise is the high- new members to its Gold family of speed ISO 1600. Kodak states that this films. With over 100 million color neg- new addition has borrowed technology atives taken by consumers every year, from the Ektar 1000, but we suspect there comes a need to provide a variety that some help also was derived from of color negative films in order to sat- the Ektapress 1600 research. As the isfy every photographic situation. newer cameras increase their shutter Presently the Gold family tree in- speeds to '/sooo, there comes the poten- cludes ISO 100, 200, 400, and 1000 tial of photographing very-high-speed members.
    [Show full text]
  • Lecture 9, Part 2A: Cameras We Cannot Picture
    Cameras We Cannot Picture Ravi Athale The MITRE Corporation Outline • History of Camera: important milestones • Modern milestones: – Invention of photographic film – Invention of CCD semiconductor sensor • New directions in camera design: – Cameras + computers • Future A world reliant on imaging • You are probably carrying a camera right now • It is likely you have been imaged at least once TODAY! • Have you received information today communicated by an image? • You or someone close to you is alive today because of an image • 1/3 or brain processing devoted to vision 3 Images (clockwise from upper left) from US Govt Agencies: NOAA/NCEP; NASA ; NIH; FBI,; USAID Natural Observations Image courtesy of Steve took it on Flickr. Images of the sun during a solar eclipse through the leaves of a tree. October 3, 2005, St Juliens, Malta. © Wikipedia User: Ellywa. License CC BY-SA. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. Historical Milestones – Early Contributors 400-500 BC: Chinese philosophers, Aristotle Observation of pinhole images 1011-1012: Alhazan; “Book of Optics” First scientific study of light combining philosophical aspect with experimental observations. - Constructed first “pinhole camera” - Elaborated laws of reflection and refraction World’s Largest Pinhole Camera (July 2006) • Six photographers captured an image measuring 8.5 X 32 meters of the decommissioned El Toro Marine Corps Air Station in Irvine, Calif., and unveiled the slightly fuzzy image Wednesday. • The black-and-white shot was recorded on a massive sheet of light- sensitive fabric about eight storey tall and one-third the length of a football field.
    [Show full text]
  • “Dark Chamber”
    The Word Camera Is From Latin “Camera Obscura” Which Means “Dark Chamber”. National Camera Day is observed each year on June 29th. This day commemorates photographs, the camera, and their invention. A camera is an irreplaceable tool used to record and replicate memories, events, and people/places. Before the invention of the camera, the only resource to document a vision was a painting. There are very few who can perfectly capture the image of a person or a place in a drawing. The power of a camera provided many with a simple, inexpensive and fast solution. George Eastman, also known as “The Father of Photography,” brought the camera to the masses. While he did not invent the camera, he did invent many additions that improved the use, ease, and production of the camera, making it widely available to homes around the world. The original camera was large and bulky but has now evolved into something that can be as small as a pen. Cameras have many features and variations, making them appealing to men and women of all ages for personal and professional use. Joseph Niépce was a French inventor; he is most noted as one of the inventors of photography and was a pioneer in the field. He developed the heliograph; a technique used to produce the world’s first known photograph in 1825, the view from the window at Le Gras the families estate. In 1839, Louis Jacques Daguerre took the first fixed image that didn’t fade. He is recognized for his invention of the daguerreotype process of photography.
    [Show full text]
  • I798 JACKSON Jackson, Phil, 1349 Jackson, Thomas Penfield, Ro3 8
    I798 JACKSON INDEX INDEX JORDAN MCGRATH CASE & TAYLOR, INC. I799 798, I2oI, I266, I52I, i601; Thrille~ Japan Advertising Agency Association, 466, Jennings, Peter, 95, 523 Joe Camel, 311, 316, 336, 539, 690, 760, Johnson, Ray, 77 (Durham, North Carolina). See under r520; "Thrille1;" Io92 469, 878 Jenny Craig International. See under Craig 1212, 1369, 1694 Johnson, Robert Wood, Jr., 880, 881, 882 Harttnan Jackson, Phil, 1349 Japan Advertising Council, 468 Jeno's Pizza, 623, 1234, 1235 Joe Chemo, 336 Johnson, Robert Wood, Sr., 880 John W. Shaw Advertising. See under Shaw Jackson, Reggie, 148r, I482 Japan Air Lines, 898, 900, 1462 Jensen, Thomas, 525 Joe Isuzu, 114, II4, 457, 475, 522 Johnson, Samuel, 749 John Wanamaker & Company. See under Jackson, Thomas Penfield, ro3 8 Japan Audit Bureau of Circulation Jenson, Nicolas, 1580, 1583 foe Palooka, 729 Johnson, Samuel Curtis, 884, 886, 888 Wanamaker Jackson & Perkins, 1673 Association, 466 Jenson typefaces, 1580, 1583, 1584 Joe Robbie Stadiun1, 335 Johnson, William H., 139 "Join the Dodge rebellion," 305 Jacksonville Jaguars, 3 3 5 japan Marketing Association, 466 Jeopardy!, 1426. See also color plate in "Jogger," 940 Johnson, William R., 730 "Join the people who've joined the Army," Jackson Wain Agency, 1071 144, 238, I437 Japan Newspaper Advertising Agency volume one John, W.A.P., 791 Mead Johnson & Co1npany, 57, 210, 880 1050 Jack Tinker & Partners. See under Tinker Association, 466 Jep et Carre, 618 "John and Marsha" (Freberg), 623, 824 Johnson & Johnson, 582, 880-83; Ammirati Joint Policy Com1nittee for Broadcast Talent Jacob Ruppert, Inc. See under Ruppert Jardine Matheson & Company, 301 ]e Reviens, 1202 John Birch Society, 1676 Puris Lintas and, 967; Batten Barton Union Relations, 99 Jacobs, Alan, 197 Jarreau, Al, 1395 Andrew Jergens Company: Cunningham & John Brown & Partners.
    [Show full text]
  • Joseph Ciaglia, Barbara London, John Upton, Ken Kobre and Betsy
    00 0789731207_fm.qxd 4/6/04 2:16 PM Page i Absolute Beginner’s Guide to Digital Photography Joseph Ciaglia, Barbara London, John Upton, Ken Kobré, and Betsy Brill with Peter Kuhns 800 East 96th Street, Indianapolis, Indiana 46240 00 0789731207_fm.qxd 4/6/04 2:16 PM Page ii Absolute Beginner’s Guide to Digital Executive Editor Photography Candace Hall Copyright 2004 by Que Publishing Acquisitions Editor All rights reserved. No part of this book shall be reproduced, stored in a retrieval Karen Whitehouse system, or transmitted by any means, electronic, mechanical, photocopying, record- Development ing, or otherwise, without written permission from the publisher. No patent liability Editor is assumed with respect to the use of the information contained herein. Although Karen Whitehouse every precaution has been taken in the preparation of this book, the publisher and author assume no responsibility for errors or omissions. Nor is any liability assumed Managing Editor for damages resulting from the use of the information contained herein. Charlotte Clapp International Standard Book Number: 0-7897-3120-7 Project Editor Library of Congress Catalog Card Number: 2004100876 George Nedeff Printed in the United States of America Copy Editor Karen Whitehouse First Printing: April 2004 Indexer 07 06 05 04 4321 Mandie Frank Trademarks Production Editor All terms mentioned in this book that are known to be trademarks or service marks Seth Kerney have been appropriately capitalized. Que Publishing cannot attest to the accuracy of this information. Use of a term in this book should not be regarded as affecting the Publishing validity of any trademark or service mark.
    [Show full text]
  • Modeling 3D Scenes
    Modeling 3D Scenes Paradigm Shifts in Photogrammetry, Remote Sensing and Computer Vision Reinhard Klette CITR, The University of Auckland, Auckland, New Zealand Ralf Reulke Humboldt University and DLR, Berlin, Germany Paradigm 1962: ”...a constellation of concepts, values, perceptions and practices shared by a community which forms a particular vision of reality that is the basis of the way a community organises itself.” RK_RR T.S.Kuhn. The Structure of Scientific Revolutions. BGSU, 1962 Contents of Talk Progress in digital frame cameras - the basic tool Computer vision - success stories in 3D object modeling A few words on laser range finders - new opportunities for 3D scene modeling Photogrammetry and remote sensing - from digital frame cameras to line cameras Panoramic imaging - by applying line cameras Unified applications of new technologies - example: LRF and line camera for 3D modeling Conclusions RK_RR Properties of Interest 3D scene properties Distances between camera and objects in the scene Color textures of object surfaces Changes in 3D scenes Varying lighting conditions, weather, etc. Coping with dynamic scenes Calibration Positions of cameras or used sensors (tools) Viewing directions of cameras or sensors Inner camera parameters RK_RR n ≥ 1 pinhole cameras (Still) the Common Default nth camera 1st camera projection ray world coordinates RK_RR it started with n = 1 1900: The railroad camera of George R. Lawrence RK_RR Division of Photographic History, National Museum of American History, Smithsonian Institution Digital Camera
    [Show full text]