ALEX WALLACE Travelling Light SCOTT LEGGO Outdoorsman
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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. -
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 -
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 -
Related Primary Sources
Related Primary Sources Cameras represent the largest collection of technology at the Fulton County A Century of Cameras Schools Archives and Teaching Museum. The assortment spans nearly all @ the decades of the twentieth century and helps explain why so many images of schools, students, teachers, parents and employees are stored in the ar- Teaching Museum South chives and on display in exhibits. Photographs, more than any other audio/ visual medium, have documented the history of the schools and the commu- nities they serve over the past century and a half. Kodak No. 0 0 Model B, 1916 1916.13.110 The Model B represents the simplest of photograph technology. Its initial price was only $1. Invented by Frank A. Brownell, these “Brownies” were widely popular and affordable. How it works: the lens simply allows light into the box, which upon contact with the light-sensitive film, records an image. To develop prints, the camera was brought to a camera dealer, where the film would be removed and processed. Agfa Synchro Box, 1951 1951.50.3 This German-made camera used Kodak 120 film. The front has a large lens and two viewfinders. The viewfinders were connected by mirrors to corresponding lenses on the top and sides to allow for both portrait and landscape-oriented photographs. Exakta VX IIb, 35mm, 1963 1963.18.4 The Exakta was produced by a German company named Ihagee. At the time it was produced, it pro- vided the photographer with all the newest up- grades in camera technology, including inter- changeable lenses and stereo viewfinder attach- ments. -
"POX PAL WAGON KODAK COASTER MODEL NO M Firl ENGINE RED Enamtl MOVIE OUTFIT FINISH RUBBER TIRES
PRESS-HERALD WEDNESDAY, NOV. 13, 1968 THESE PRICES EFFECTIVE THURSDAY thru SUNDtJf BONUS PHOTOS WHtN YOU BRING US YOUR SQUARL PICTURE ALL ITEMS LIMITED TO KODACOLOR FILM STOCK ON HAND YOU GET AN EXTRA STYLE WALLET SIZE PHOTO ALONG WITH EACH REGULAR SIZE ALBUM HAIR SPRAY PHOTO WITH ALL 13 OUNCE CAI^-«79c VALUE EACH KODAK INSTAMATIC 126 FILM (12 OR 20 EXPOSURES! OR 12 00 AND 620 KODACOLOP FILM INSTAMATIC 124' CAMERA OUTFIT PLUS KODACOLOR X FILM FOR 12 COLOR SNAPS, FLASHCUBES. BATTERIES. WRIST STRAP AND INSTRUCTIONS! ULTRA BRITE nd ACCESSORIES KODAK KOTEX Instamatic314 NAPKINS COLOR OUTFIT PKG. OF 12 *49c VALUE EACH LOST IN SPACE ROBOT M V ,'fO ROBOT Tt'M VOVES AROUND YilTH L'GMts FLASHING. HIS ARMS MOVL t POINT. 9.95 VALUE , FUSHCUBES or PLASTIC FLASHBULBS FOOD STORAGE JUNGLEBOOK TELEPHONE SYLVAN IA Mil M AC18 WALT OISNIV S 12 HASH TALKING TELEPHONE THEY PACKS CONTAINERS 1ALK TO YOU. JUST TURN IHE VAlUtS DIAL. 895 VAIUE ... ...... TO ? n .... I t» "POX PAL WAGON KODAK COASTER MODEL NO M FIRl ENGINE RED ENAMtl MOVIE OUTFIT FINISH RUBBER TIRES. 6 95 VALUE INSTAMATIC M MM. JOHNNY TOYMAKER MA'S'', All K'NDS 01 TlNG TOYS. CARS. TRUCKS AM ulHfRS S(T INCLUDES EVEHYIHINC YOU NEED. POLY BOWLS 12 95 VALUE LOVIN1 LEAVES. 120 OZ. 1.39 VAl BONGO BASKET KER-PLUNK GAME II QT, POlYrFMYUNf. 169 VAL. CAT TRAYMATES DEKA. PIASTIC. 13'i"illH"i2»»" FOOD 1 39 VALUE SKITILE-BOWl TIN PiS ACTION GAME SCORF.S UK( BOWLING FUN Fufl IHE WHOLE FAMILY 12 9i VALUE IHE GAME THAT MAXES YOU Kodacolor '126' THINK WHILE HAVING FUN. -
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.). -
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 . -
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 .. -
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. -
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. -
A Chronicle of the Motion Picture Industry a Chronicle of the Motion Picture Industry
A CHRONICLE OF THE MOTION PICTURE INDUSTRY A CHRONICLE OF THE MOTION PICTURE INDUSTRY INTRODUCTION If you’ve ever taken a still photograph, you’re already acquainted with the essentials of shooting a motion picture image. The biggest diMerence between the two is that the movie camera typically captures twenty-four images each second. Well into the late Nineteenth Century, most images were captured on sensitized glass plates, metal, or heavy paper. Shortly after the invention of 1951 KODAK BROWNIE photography, attempts were already underway to capture and reproduce a Movie Camera moving image. Typically, an array of individual cameras, triggered in rapid succession, captured a series of single exposures on glass plates. These experiments relied on a persistence of vision concept—the eye-brain combination is capable of melding a series of sequential images into a movie. A more practical photographic system had yet to be created. It was George Eastman’s invention of the KODAK Camera, and the flexible film it exposed, that made the movie camera possible. A HISTORY OF CINEMATOGRAPHY Human fascination with the concept of communicating with light and shadows has its roots in antiquity. Aristotle supplied the earliest reference to the camera obscura—sunlight, passing through a small hole, projected an inverted image on the wall of a darkened room. Renaissance artists traced that projected image to create accurate drawings. Gemma Frisius published a drawing of a camera obscura in 1545. Thirteen years later Giovanni Battista della Porta wrote "Magia Naturalis," a book describing the use of a camera obscura with lenses and concave mirrors to project a tableau in a darkened room. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Eggleston, Christenberry, Divola: Color Photography Beyond the New York Reception Permalink https://escholarship.org/uc/item/3cb1w5rx Author Main, Reva Leigh Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Eggleston, Christenberry, Divola: Color Photography Beyond the New York Reception A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Reva Leigh Main June 2016 Dissertation Committee: Dr. Susan Laxton, Chairperson Dr. Jason Weems Dr. Liz Kotz Copyright by Reva Leigh Main 2016 The Dissertation of Reva Main is approved: Committee Chairperson University of California, Riverside Acknowledgments My deepest gratitude to all the U.C. Riverside Art History Department staff and faculty. Sincere thanks to Dr. Susan Laxton for advising and encouraging me throughout the many phases of this project. Your patience and support allowed me to complete this thesis while living 3,000 miles away and working full time—a true challenge. I would also like to thank Dr. Jason Weems and Dr. Liz Kotz for serving as members of my committee, pausing their own sabbaticals to provide me with incredibly helpful feedback; Leigh Gleason, Curator of Collections at the California Museum of Photography, for guiding me in my search to find balance between work and school; and Graduate Coordinator, Alesha Jaennette, for solving my many paperwork crises. I am forever grateful to all of you for your flexibility and understanding. Finally, thank you to my family, friends, and Princeton University Art Museum coworkers for sticking with me through the highs and many lows of this process.