CHARLES EDWARD KENNETH MEES May 26,1882-August 15,1960
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BildMuseet - pressrelease the politics of place 25/01/2009 20:34 The Politics of Place 10 Feb - 28 April, 2002 BildMuseet, Umeå, Sweden Andreas Gursky Anthony Haughey Nanna H Margareta Klingberg Maria Lantz Walter Niedermayr Torbjørn Rødland Ingrid Pollard Jorma Puranen Allan Sekula Jeff Wall curator: Jan-Erik Lundström Imaging the landscape is a particularly incisive and charged practice within contemporary photographically based art. As a means towards propositions regarding space as a cultural, historical and political variable, defined by human action and imagination, photographs of landscape are instrumental not only as ways of exploring meaning or reflecting collective knowledge, but also as paths towards identity, self-recognition, transformation. This exhibition presents contemporary artists engaged in politically and historically defined notions of space. The artists examine current landscapes and landscape practices. They are equally concerned with the traditions of the landscape genre itself, with visually expressed historical notions of space, as well as with contemporary understanding and values. In their work, space is continually recognized as challenged, contested, complex, commanding and of grand currency. The Politics of Place brings together specific single works and projects. In relation to the powerful position of the landscape genre within European history the selection underlines European territory; the contested history and present of this continent as seen, imagined and perceive through the work of visual artists. A substantial catalogue accompanies the exhibition, featuring comissioned essays by Alessandra Ponte, John Taylor, Sverker Sörlin and an introduction by Jan-Erik Lundström. Separate section featuring essays by Michael T. Bravo, Lena Eskilson, Margareta Klingberg, Maria Lantz, Christer Nordlund, Klas Sandell and Bo Sundin. -
Festschrift:Experimenting with Research: Kenneth Mees, Eastman
Science Museum Group Journal Festschrift: experimenting with research: Kenneth Mees, Eastman Kodak and the challenges of diversification Journal ISSN number: 2054-5770 This article was written by Jeffrey Sturchio 04-08-2020 Cite as 10.15180; 201311 Research Festschrift: experimenting with research: Kenneth Mees, Eastman Kodak and the challenges of diversification Published in Spring 2020, Issue 13 Article DOI: http://dx.doi.org/10.15180/201311 Abstract Early industrial research laboratories were closely tied to the needs of business, a point that emerges strikingly in the case of Eastman Kodak, where the principles laid down by George Eastman and Kenneth Mees before the First World War continued to govern research until well after the Second World War. But industrial research is also a gamble involving decisions over which projects should be pursued and which should be dropped. Ultimately Kodak evolved a conservative management culture, one that responded sluggishly to new opportunities and failed to adapt rapidly enough to market realities. In a classic case of the ‘innovator’s dilemma’, Kodak continued to bet on its dominance in an increasingly outmoded technology, with disastrous consequences. Component DOI: http://dx.doi.org/10.15180/201311/001 Keywords Industrial R&D, Eastman Kodak Research Laboratories, Eastman Kodak Company, George Eastman, Charles Edward Kenneth Mees, Carl Duisberg, silver halide photography, digital photography, Xerox, Polaroid, Robert Bud Author's note This paper is based on a study undertaken in 1985 for the R&D Pioneers Conference at the Hagley Museum and Library in Wilmington, Delaware (see footnote 1), which has remained unpublished until now. I thank David Hounshell for the invitation to contribute to the conference and my fellow conferees and colleagues at the University of Pennsylvania for many informative and stimulating conversations about the history of industrial research. -
The Development and Growth of British Photographic Manufacturing and Retailing 1839-1914
The development and growth of British photographic manufacturing and retailing 1839-1914 Michael Pritchard Submitted for the degree of Doctor of Philosophy Department of Imaging and Communication Design Faculty of Art and Design De Montfort University Leicester, UK March 2010 Abstract This study presents a new perspective on British photography through an examination of the manufacturing and retailing of photographic equipment and sensitised materials between 1839 and 1914. This is contextualised around the demand for photography from studio photographers, amateurs and the snapshotter. It notes that an understanding of the photographic image cannot be achieved without this as it directly affected how, why and by whom photographs were made. Individual chapters examine how the manufacturing and retailing of photographic goods was initiated by philosophical instrument makers, opticians and chemists from 1839 to the early 1850s; the growth of specialised photographic manufacturers and retailers; and the dramatic expansion in their number in response to the demands of a mass market for photography from the late1870s. The research discusses the role of technological change within photography and the size of the market. It identifies the late 1880s to early 1900s as the key period when new methods of marketing and retailing photographic goods were introduced to target growing numbers of snapshotters. Particular attention is paid to the role of Kodak in Britain from 1885 as a manufacturer and retailer. A substantial body of newly discovered data is presented in a chronological narrative. In the absence of any substantive prior work this thesis adopts an empirical approach firmly rooted in the photographic periodicals and primary sources of the period. -
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. -
Gretchen Arnold
Rochester Institute of Technology RIT Scholar Works Theses 2-1-2010 re:collection Gretchen L. Arnold Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Arnold, Gretchen L., "re:collection" (2010). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. re:collection By gretchen arnold THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Imaging Arts College of Imaging Arts and Sciences Rochester Institute of Technology School of Photographic Arts and Sciences __________________________________________________ Angela Kelly, Committee Chair Date __________________________________________________ Dan Larkin, Committee Advisor Date __________________________________________________ Alex Miokovic, Committee Advisor Date __________________________________________________ Jessica Lieberman, Committee Advisor Date February 2010 i TABLE OF CONTENTS iii. Acknowledgements iv. Abstract v. List of Figures 01. Introduction 03. Chapter 1. (Conceptualization). 17. Chapter 2. (Meaning, Influences and History). 27. Chapter 3. (Thesis Process + Realization of Exhibition/Installation). 36. Conclusion 37. Appendix A + Appendix B 39. Selected Bibliography ii ACKNOWLEDGEMENTS I am grateful for the help and wisdom of my committee - Angela Kelly, Dan Larkin, Alex Miokovic and Jessica Lieberman. I am eternally thankful to my family and friends that have stood by me and supported me through this thing called life. With a special thank you to my mother, Laura Schmidt. iii LIST OF FIGURES 1.1 Untitled. 2006. 1.2 Kodak Advertisement. 1.3 Untitled 1978. -
The New Color Exhibition
IMAGE Journal of Photography or the George Eastman House May, 1952 Vol. 1, No. 5 THE NEW COLOR EXHIBITION PERMANENT exhibition of the principles and history A of color photography has been installed at the George Eastman House. This important addition to the museum was made possible by the generosity of Leopold Godowsky and Leopold Mannes, the inventors of the Kodachrome process of color photography. Four rooms on the second floor have been completely redesigned for this purpose. The first room contains demonstration apparatus, set up to be operated by the visitor on pressing a button. Newton's classic experiment is recreated by projecting a beam of white light through a prism, thus forming a brilliant spectrum with all the colors of the rainbow. Having seen this analysis of white light, the visitor next sees how white light can be created by mixing the three primary colors. On a translucent screen, overlapping red and green circles form yellow. They are replaced by over lapping circles of green and blue, and red and blue. Finally three circles, red, green, and blue overlap to form white light. A sim ilar demonstration is arranged so that the visitor, by turning knobs, can add red, green, and blue light, in varying amounts, The meaning of spectrographic measurement of colors is to make any desired color. demonstrated by a device which projects a spectrum onto a To show that the color of objects depends upon the light which target. The beam is interrupted by a Fresnel lens, so that part they reflect, or transmit, a series of boxes are set up which con of the spectrum is collected onto a second target, forming white tain colored objects. -
KODACHROME Especial (1935 - 2010) KODACHROME
Nº 40 Ignacio Benedeti Cinema S.L - Avda Nostián-Pardiñas Nave 3 - 15008 ( A Coruña) Tlf.: 981 25 92 47 email: [email protected] Boletín Trimestral ADIOS PARA SIEMPRE Nº 40 KODACHROME Especial (1935 - 2010) KODACHROME CITAS "¿A quién va usted a creer, a mí o a sus propios ojos?" "Citadme diciendo que me han citado mal" "Conozco a centenares de maridos que serían felices de volver al Este 31 de diciembre de 2010 se deja de fotografiada por Steve McCurry, sino hogar si no hubiese revelar para siempre la película t a m b i é n m i l l o n e s d e p e l í c u l a s una esposa Kodachrome, tras una historia gloriosa de impresionadas por aficionados en las que esperándoles" setenta y cinco años de mágicos colores se encuentra registrada en colores fotoquímicos. Dicho acontecimiento es la indelebles la historia cotidiana de nuestra causa de que “Flicker”, de forma civilización. excepcional y por primera vez en su larga "Creo que la televisión historia, en lugar de estar dedicado a Aunque I.B.Cinema es una Productora a la es muy educativa. recoger las actividades y premios de vanguardia tecnológica (fuimos, por Cuando alguien la I.B.Cinema (quienes nos siguen ya son ejemplo, los primeros en rodar una película enciende me voy a leer conocedores de nuestros mas de 400 en electrónico, en los tiempos de “El regalo un libro." galardones, que incluyen el Pilar Miró de la de Silvia”; somos los únicos que disponemos sección oficial de la SEMINCI con “Estigmas” de una Motion Control Harryhausen—no solo Groucho Marx hasta nuestras dos nominaciones -
Technology of Photography
Technology of Photography Claudia Jacques de Moraes Cardoso Based on Alex Sirota http://iosart.com/photography-art-or-science Camera Obscura Camera Obscura, Georg Friedrich Brander (1713 - 1785), 1769 Light Sensitive Materials • After the camera obscura had been invented and it’s use widely popularized, many dreamt of capturing the images obtained by the camera obscura permanently. • For hundreds of years before photography was invented, people had been aware that some colors are bleached in the sun, but they had made little distinction between heat, air and light. • In 1727, Johann Heinrich Schulze (1687-1744), a German scientist found that silver salts darkened when exposed to sunlight and published results that distinguished between the action of light and heat upon silver salts. • Even after this discovery, a method was needed to halt the chemical reaction so the image wouldn’t darken completely. A Simplified Schematic Representation of the Silver Halide Process First Permanent Picture Joseph Nicephore Niepce (1765-1833), a French inventor, was experimenting with camera obscura and silver chloride. • In 1826, he turned to bitumen of Judea, a kind of asphalt that hardened when exposed to light. • Niepce dissolved the bitumen in lavender oil and coated a sheet of pewter with the mixture. • He placed the sheet in the camera and exposed it for eight hours aimed through an open window at his courtyard. • The light forming the image on the plate hardened the bitumen in bright areas and left it soft and soluble in the dark areas. • Niepce then washed the plate with lavender oil, which removed the still-soft bitumen that hadn’t been struck by light, leaving a permanent image. -
HBN Spring 2005
VOLUME 6 SPRING 2005 NUMBER 2 COME CELEBRATE AT BRIGHTON TOWN HALL, APRIL 12, 7:15 PM THE BICENTENNIAL OF EAST A VENUE, 1805-2005 Corinthian capital, George Eastman House. Clara Drescher Baird alights from a Cunningham limousine in front of the Drescher house at 2615 East Ave. in Brighton,1920s. When the road that became East Ave. was named in 1847) west of Culver Rd. had been blazed in 1805, it was called River Road and annexed by the city. The final bite came a cen- 1 located entirely in the township of Northfield. tury ago as residents of Brighton Village, the By 1814, Northfield was divided into Brighton town center at East Ave. and Winton Rd., voted and Pittsford, and the road, now called Pittsford to become part of the city sewer district. Ac- Street, was entirely in Brighton. With the build- cording to former city historian Joseph W. Barnes, ing of the Erie Canal aqueduct and the canal “the Brighton cesspools had grown more obnox- reaching Rochester in 1823, the village crossed ious in direct proportion to the increase in popu- the Genesee River and annexed 157 acres of lation and threatened the quality of well water.” Brighton to Chestnut Street. In 1826, Rochester After a bitter political battle, and a 85 to 84 pressed deeper into Brighton to Union St. and in vote, Cobbs Hill and Brighton Village became 1834, to Goodman St. By 1874, East Ave. (so the 21st Ward of Rochester in 1905. Brighton Hall on East Ave., Brighton Village in 1936,and Brighton Presbyterian Church backs up to the Erie Canal. -
Études Photographiques, 30 | 2012 the Cavalcade of Color 2
Études photographiques 30 | 2012 Paul Strand / Kodak / Robert Taft versus Beaumont Newhall The Cavalcade of Color Kodak and the 1939 World’s Fair Ariane Pollet Translator: James Gussen Electronic version URL: http://journals.openedition.org/etudesphotographiques/3486 ISSN: 1777-5302 Publisher Société française de photographie Printed version Date of publication: 20 December 2012 ISBN: 9782911961304 ISSN: 1270-9050 Electronic reference Ariane Pollet, « The Cavalcade of Color », Études photographiques [Online], 30 | 2012, Online since 02 July 2014, connection on 01 May 2019. URL : http://journals.openedition.org/ etudesphotographiques/3486 This text was automatically generated on 1 May 2019. Propriété intellectuelle The Cavalcade of Color 1 The Cavalcade of Color Kodak and the 1939 World’s Fair Ariane Pollet Translation : James Gussen EDITOR'S NOTE An earlier version of this article was presented at the one-day conference ‘Le Spectacle de l’industrie / Exhibiting Industry,’ organized by Claire-Lise Debluë and Anne-Katrin Weber at the Centre des sciences historiques de la culture at the University of Lausanne on June 1, 2012. The author wishes to thank Jesse Peers, study center archivist, George Eastman House, Lori Birrell, manuscript librarian, University of Rochester, Kathy Connor, George Eastman legacy curator, Joe Struble, archivist, George Eastman House Photo Collection, and Olivier Lugon for his rigorous and inspired rereading of the text. 1 Kodak did not become the world’s leading photography company on the strength of its products alone; it also pursued an aggressive marketing and advertising strategy. Its real accomplishment was using that strategy to establish photography as a privileged medium of consumer society ‘by creating and then capturing a large-scale amateur market.’1 The economic logic was simple: Kodak lowered its prices, increased its production, and guaranteed its profits through a system of patents that quickly gave it a virtual monopoly. -
Identification and Care of Photographic Materials Clues For
Identification and Care of Photographic Materials Workshop at the State Hermitage Museum 2014 Jens Gold PM 2014 Identification Categories: Negatives Positives Direct positives Printing out – POP Developing out – DOP Black and White photography Color photography Instant photography … Loriot Photomechanical … Digital print outs and Media… Clues for Identification • Presentation and mounting technique • The photographed object itself • Production date • Text or company stamp/ trademark on backside • Surface texture • Printing patterns • Image color • Binder • Support • Look in different illumination • Look under magnification • Behavior under changing conditions of relative humidity and temperature • Deterioration signs and damages •… 1 Black and White early direct positive processes • Daguerreotype • Ambrotype • Ferrotype , Pannotype Daguerreotype • Inventor: Louis Jacques Mandé Daguerre • Time of use: 1839 – about 1860’s • Technology/Support: silver image on silver plated copper • Presentation: passé partout frame in Europe; wood-, leather-, early plastic-case (union case) in North America • Format in mm: 216 x 162, 162 x 108, 162 x 144, 162 x 72, 108 x 81, 81 x 72, 81 x 54, 72 x 54 and large formats like 270 x 320 as well as round plates with 90 mm in diameter • Identification: - mirror like image surface - negative/positive effect when the light comes from different angles • Most common deterioration signs: - blue brownish oxidation films - abrasions on surface - exfoliation, flaking Daguerreotype M. S. Barger J. Gold M. S. Barger 2 Daguerreotype M. S. Barger Daguerreotype Ambrotype • Inventor: Frederick Scott Archer & Peter Fry, 1851 • Time of use: 1852 – about 1870’s • Technology/support : collodion on glass • Presentation format: passé partout frame in Europe; wood, leather, early plastic case (union case) in North America • Format in mm: ca. -
The Role of Adele T. Katz in the Early Expansion of the New York "Schenker School"
The Role of Adele T. Katz in the Early Expansion of the New York "Schenker School" By David Carson Berry In 1927, Heinrich Schenker named New York as the first North American city in which his ideas were spreading, though he was not specific as to the means of transmission.l Four years later, however, the chief point of con tact would be clear, as Schenkerism found an institutional home at the David Mannes Music School (now Mannes College of Music) . It was there that Schenker's student Hans Weisse began teaching in 1931; starting the next year, he concurrently conducted graduate seminars at Columbia Uni versity. Mter Weisse's untimely death in 1940, Schenker's student Felix Salzer assumed similar duties at Mannes; he later became a professor of music at Queens College ofthe City University of New York. Through their efforts, and those of other early adherents, Schenkerian analysis gradually propagated elsewhere, first in outposts at Princeton and Yale Universities, 2 and then throughout other parts of the country. Still, the New York "Schenker School" has remained of enormous significance. Numerous Schenkerians currently active in teaching and publishing were trained in New York by such esteemed individuals as Carl Schachter, who (like his own teacher, Salzer) taught at both Mannes and Queens College. Mannes in particular has continued to be an epicenter for Schenkerian research through various events held there, such as three International Schenker Symposia (in 1985, 1992, and 1999) and an "Institute on Schenkerian Theory and Analysis" convened in 2002 as part of the Mannes Institute for Advanced Studies in Music Theory.