1.
120 (film)
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The film went on general release across Turkey on February 15,2008 and is one of the highest grossing Turkish films of 2008. This is what stimulates me about the movie, the authentic historical scenario of the movie is one of the features that make the film exceptional. We show what our ancestors sacrificed -- and under which conditions -- for the country, there may not be many battle scenes, but there certainly is emotion around every corner. It is about the heroism of 120 children, I expect the audience to respond positively, looking from this perspective. It is a theme I have stressed for years and we went through unique battles and pretty hard days as a nation. However, we are somehow unsuccessful in making out of them. We are unable to tell our history to the coming generations, in each home we have a martyr. These have to be told, and 120 is a project in this respect. It will be tiring for me, but it is worth it, the film, which received a record amount of support from the Turkish Ministry of Culture and Tourism, was shot over two years in harsh conditions on location in Safranbolu, Van and Istanbul, Turkey. During the Battle of Sarikamish, the Ottoman army runs out of ammunition and appeals for help to the people of Van, who happen to have supplies. However, the First World War is on and all the men are fighting at the four corners of the empire and therefore can not respond to the appeal. The movie tells the story of the 120 boys and their sisters and mothers left behind. The film was in the Turkish box office charts for 41 weeks and is the 9th highest-grossing Turkish film of 2008 with a nationwide gross of US$3,289,480. Despite the tone of the release and the trailer. And neither does it out as praise of war. It simply tells a sad story, lost to the annals of history, the trick is that the period the movie carefully taps into is a minefield already, whether you are careful not to take sides or overlook certain details. On the whole, is a powerful film despite its many setbacks, including the usual didactic dialogue, overdose of melodrama and over-length running time. However, the makers of 120 -- I want to believe with good intentions -- succinctly remind us that indeed it was never easy as a nation to get to where we are now, in our current socio-politically volatile times, lets just hope that history doesnt repeat itself
2.
Kodak
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Eastman Kodak Company, commonly referred to as Kodak, is an American technology company that produces imaging products with its historic basis on photography. The company is headquartered in Rochester, New York and is incorporated in New Jersey, Kodak provides packaging, functional printing, graphic communications and professional services for businesses around the world. Its main business segments are Print Systems, Enterprise Inkjet Systems, Micro 3D Printing and Packaging, Software and Solutions and it is best known for photographic film products. Kodak was founded by George Eastman and Henry A, during most of the 20th century, Kodak held a dominant position in photographic film. The companys ubiquity was such that its Kodak moment tagline entered the lexicon to describe a personal event that was demanded to be recorded for posterity. Kodak began to struggle financially in the late 1990s, as a result of the decline in sales of photographic film, as a part of a turnaround strategy, Kodak began to focus on digital photography and digital printing, and attempted to generate revenues through aggressive patent litigation. In January 2012, Kodak filed for Chapter 11 bankruptcy protection in the United States District Court for the Southern District of New York. In February 2012, Kodak announced that it would stop making digital cameras, pocket video cameras and digital picture frames, in January 2013, the Court approved financing for Kodak to emerge from bankruptcy by mid 2013. Kodak sold many of its patents for approximately $525,000,000 to a group of companies under the names Intellectual Ventures, on September 3,2013, the company emerged from bankruptcy having shed its large legacy liabilities and exited several businesses. Personalized Imaging and Document Imaging are now part of Kodak Alaris, on March 12,2014, it announced that the board of directors elected Jeffrey J. Clarke as chief executive officer and a member of its board of directors. As late as 1976, Kodak commanded 90% of film sales, Japanese competitor Fujifilm entered the U. S. market with lower-priced film and supplies, but Kodak did not believe that American consumers would ever desert its brand. Kodak passed on the opportunity to become the film of the 1984 Los Angeles Olympics, Fuji won these sponsorship rights. Fuji opened a plant in the U. S. and its aggressive marketing. Fuji went from a 10% share in the early 1990s to 17% in 1997, fujis films soon also found a competitive edge in higher-speed negative films, with a tighter grain structure. The complaint was lodged by the United States with the World Trade Organization, on January 30,1998, the WTO announced a sweeping rejection of Kodaks complaints about the film market in Japan. Although Kodak developed a camera in 1975, the first of its kind. In the 1990s, Kodak planned a journey to move to digital technology. CEO George M. C. Fisher reached out to Microsoft, Apples pioneering QuickTake consumer digital cameras, introduced in 1994, had the Apple label but were produced by Kodak
3.
Brownie (camera)
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Brownie is the name of a long-running popular series of simple and inexpensive cameras made by Eastman Kodak. The Brownie camera, introduced in February 1900, invented low-cost photography by introducing the concept of the snapshot to the masses, the Brownie was a very basic cardboard box camera with a simple meniscus lens that took 2 1/4-inch square pictures on 117 roll film. The Brownie camera was conceived and marketed for sales of Kodak roll films, because of its simple controls and initial price of $1 along with the low price of Kodak roll film and processing, The Brownie camera achieved and surpassed its marketing goal. The Brownie is among the most important cameras in history, the first model of the camera was invented by Frank A. Brownell. The name comes from the brownies in popular Palmer Cox cartoons, consumers responded, and over 150,000 Brownie cameras were shipped in the first year of production. An improved model, called No.2 Brownie came in 1901, in 1908, the Austrian architectural critic Joseph August Lux wrote a book called Künstlerische Kodakgeheimnisse in which he championed the use of the camera for its cultural potential. Brownies were extensively marketed to children, with Kodak using them to popularise photography and they were also taken to war by soldiers. As they were so ubiquitous, many shots were taken on brownies. The cameras continued to be popular, and spawned many varieties, improvements continued, such as in 1940, when Kodak released the Six-20 Flash Brownie. The camera was Kodaks first internally synchronized flash camera, using General electric bulbs, then in 1957, Kodak produced the Brownie Starflash, Kodaks first camera with a built in flash. One of the most popular Brownie models was the Brownie 127, the Brownie 127 was a simple bakelite camera for 127 film which featured a simple meniscus lens and a curved film plane to compensate for the deficiencies of the lens. Another simple camera was the Brownie Cresta which was sold between 1955 and 1958 and it used 120 film and had a fixed-focus lens. The last official Brownie cameras made were anniversary model,110 film models in the early 1980s, the Kodak Brownie Number 2 is a box camera that was manufactured by the Eastman Kodak Company from 1901 to 1935. There were five models, A through F, and it was the first camera to use 120 film and it also came with a viewfinder and a handle. The Brownie Number 2 was made of three materials, cardboard, costing US$2.00, aluminum, costing US$2.75, and it was a very popular and affordable camera, and many are still in use by film photographers. The Beau Brownie range was available from 1930 to 1933, visually, they had a different enameled two-tone front plate in a geometric Art Deco design, the work of American designer Walter Dorwin Teague. They were available in five color combinations, black and burgundy, brown and tan, two-tone blue, two-tone green, the rose and green cameras were produced only in 1930 and 1931, and are therefore rarer than the others. They were encased in a faux-leatherette casing
4.
135 film
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135 is photographic film in a film format used for still photography. It is a film with a film gauge of 35 mm. Its engineering standard for the film is controlled by ISO1007, the term 135 was introduced by Kodak in 1934 as a designation for the cassette for 35 mm film, specifically for still photography. It quickly grew in popularity, surpassing 120 film by the late 1960s to become the most popular photographic film size, despite competition from formats such as 828,126,110, and APS, it remains so today. 135 camera film always comes perforated with Kodak Standard perforations, the size of the 135 film frame has been adopted by many high-end digital single-lens reflex and digital mirrorless cameras, commonly referred to as full frame. Even though the format is smaller than historical medium format and large format film, it is much larger than image sensors in most compact cameras. Individual rolls of 135 film are enclosed in single-spool, light-tight, the film is clipped or taped to a spool and exits via a slot lined with flocking. The end of the film is cut on one side to form a leader and it has the same dimensions and perforation pitch as 35 mm movie print film. Most cameras require the film to be rewound before the camera is opened, disposable cameras use the same technique so that the user does not have to rewind. Since the 1980s film cassettes have been marked with a DX encoding pattern, conforming cameras detect this, different films are sensitive to light at different degrees, this film speed is standardised by ISO.135 film has been made in several emulsion types and sensitivities. Since the introduction of digital cameras the most usual films have colour emulsions of ISO 100/21° to ISO 800/30°, films of lower sensitivity and higher sensitivity are for more specialist purposes. There are colour and monochrome films, negative and positive, monochrome film is usually panchromatic, orthochromatic has fallen out of use. Film designed to be sensitive to infrared radiation can be obtained, more exotic emulsions have been available in 135 than other roll-film sizes. The term 135 format usually refers to a 36×24 mm film format, the 36×24 mm format is common to digital image sensors, where it is typically referred to as full frame format. On 135 film, the dimension of the 36×24 mm frame runs parallel to the length of the film. The perforation size and pitch are according to the standard specification KS-1870, for each frame, the film advances 8 perforations. This is specified as 38.00 mm and this allows for 2 mm gaps between frames. Each camera model has a different location for the sprocket which advances the film, therefore, each camera model’s frame will vary in position relative to the perforations
5.
Medium format (film)
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Medium format has traditionally referred to a film format in still photography and the related cameras and equipment that use film. Generally, the term applies to film and digital cameras that record images on media larger than 24 by 36 mm, but smaller than 4 by 5 inches. In digital photography, medium format refers either to cameras adapted from medium-format film photography uses, or to cameras making use of sensors larger than that of a 35 mm film frame. As of 2013, medium-format digital photography sensors were available in sizes of up to 40.3 by 53.7 mm, sensors used in special applications such as spy satellites can be even larger, but are not necessarily described as medium-format equipment. In digital, medium format is an expensive option, with typical brand new all-digital medium-format cameras retailing for $10,000 to $32,000 in 2008. While at one time or another a variety of medium-format film sizes were produced, other sizes are mainly produced for use in antique cameras, and many people assume 120/220 film when the term medium format is used. The general rule with consumer cameras—as opposed to specialized industrial, scientific, and military equipment—is the more cameras sold, medium-format cameras made since the 1950s are generally less automated than smaller cameras made at the same time, having high image quality as their primary advantage. For example, autofocus became available in consumer 35 mm cameras in 1977, but did not reach medium format until the late 1990s, and has never been available in a consumer large format camera. The main benefit of medium-format photography is that, because of the size of the film or digital sensor. This allows for enlargements and smooth gradation without the grain or blur that would characterize similarly enlarged images produced from smaller film formats. The larger size of the film allows for better control of the depth of field. Cameras with a bellows typically support tilt and shift of the lens, together with 1,1 focusing, this permits landscape photography with an extremely large depth of field — from closest foreground to the far horizon — to be achieved. Compared to 35 mm, the drawbacks are accessibility and price. Also, medium-format cameras tend to be bulkier than their 35mm counterpart, medium-format film is usually roll film, typically allowing 8 to 32 exposures on one roll of film before reloading is needed. This is less convenient than 35 mm cartridges, which typically take 12 to 36 pictures on one roll, some companies had bulk film backs that used 70mm double-perforated that allowed up to 75 feet of film to be loaded at one time. While rolls of large format film were produced at one time, their use was specialized, medium-format sheet film was produced for some cameras, but these cameras tend to be smaller, lighter, and easier to use than large format gear. Sheet film was never used in cameras smaller than medium format. Film cost per exposure is related to the amount of film used, thus, the larger the film size
6.
Roll film
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The term originated in contrast to sheet film. Confusingly, roll film was often referred to as cartridge film because of its resemblance to a shotgun cartridge. The opaque backing paper allows roll film to be loaded in daylight and it is typically printed with frame number markings which can be viewed through a small red window at the rear of the camera. A spool of film is usually loaded on one side of the camera. In 1881 a farmer in Cambria, Wisconsin, Peter Houston and his younger brother David, filed the patents for various components of Peters camera. David Henderson Houston, originally from Cambria, Wisconsin, patented the first holders for flexible roll film, Houston moved to Hunter in Dakota Territory in 1880. He was issued an 1881 patent for a film holder which he licensed to George Eastman. Houston sold the patent outright to Eastman for $5000 in 1889, Houston continued developing the camera, creating 21 patents for cameras or camera parts between 1881 and 1902. In 1912 his estate transferred the remainder of his patents to Eastman, the most popular rollfilm is the type 120 film format, which is used in most medium-format cameras and roll film magazines for large-format cameras. Until the 1950s,120 roll film was used in what was then the most simple of snapshot cameras. The use of film in consumer cameras was largely superseded by 135 and 126 cartridges. Film stock Brownie Category, Film formats Film format List of color film systems List of film formats
7.
Bobbin
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A bobbin is a spindle or cylinder, with or without flanges, on which wire, yarn, thread or film is wound. Bobbins are typically found in sewing machines, cameras, and within electronic equipment, in non-electrical applications the bobbin is used for tidy storage without tangles. In electrical applications a coil of wire carrying a current has important magnetic properties, as used in spinning, weaving, knitting, sewing, or lacemaking, the bobbin provides temporary or permanent storage for yarn and may be made of plastic, metal, bone or wood. Bobbin lacemaking is a handcraft which requires the winding of yarn onto a temporary storage spindle made of wood, previously bone, many lace designs use dozens of bobbins at any one time. Exotic woods are popular with contemporary lacemakers. Both traditional and contemporary bobbins may be decorated with designs, inscriptions, often, the bobbins are spangled to provide additional weight to keep the thread in tension. A hole is drilled near the base to enable glass beads, again, in the modern context of the hobby of bobbin lacemaking, these spangles provide a means of self-expression in the decoration of a tool of the craft. Both antique and unique bobbins, sometimes spangled, have become sought after by collectors. In the case of a transformer, inductor or relay. The bobbin may be made of thermoplastic or thermosetting materials and this plastic often has to have a TÜV, UL or other regulatory agency flammability rating for safety reasons. The term bobbins also appears in northern English slang, meaning rubbish, taken from the cockney bobbins of cotton, meaning rotten. This may be related to the contemporary British slang usage, where bobbins can be used to denote something negative, 3D printer extruder Axle The Craft of Bobbin Making
8.
Focus (optics)
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In geometrical optics, a focus, also called an image point, is the point where light rays originating from a point on the object converge. Although the focus is conceptually a point, physically the focus has a spatial extent and this non-ideal focusing may be caused by aberrations of the imaging optics. In the absence of significant aberrations, the smallest possible blur circle is the Airy disc, aberrations tend to get worse as the aperture diameter increases, while the Airy circle is smallest for large apertures. An image, or image point or region, is in focus if light from object points is converged almost as much as possible in the image, the border between these is sometimes defined using a circle of confusion criterion. A principal focus or focal point is a focus, For a lens, or a spherical or parabolic mirror. Since light can pass through a lens in either direction, a lens has two focal points—one on each side, the distance in air from the lens or mirrors principal plane to the focus is called the focal length. Elliptical mirrors have two points, light that passes through one of these before striking the mirror is reflected such that it passes through the other. The focus of a mirror is either of two points which have the property that light from one is reflected as if it came from the other. Diverging lenses and convex mirrors do not focus a beam to a point. Instead, the focus is the point from which the light appears to be emanating, a convex elliptical mirror will reflect light directed towards one focus as if it were radiating from the other focus, both of which are behind the mirror. A convex hyperbolic mirror will reflect rays emanating from the point in front of the mirror as if they were emanating from the focal point behind the mirror. Conversely, it can focus rays directed at the point that is behind the mirror towards the focal point that is in front of the mirror as in a Cassegrain telescope. Autofocus Cardinal point Defocus aberration Depth of field Depth of focus Far point Focus Fixed focus Bokeh Focus stacking Focal Plane
9.
Mamiya C220
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The Mamiya C220 is a lightweight twin-lens reflex camera made in the early 1970s with interchangeable lenses ranging from 55 mm wide-angle to 250 mm telephoto. The camera accepts 120 and 220 rollfilms, the rack and pinion focusing system with a bellows makes it possible for close-up photography without attachments. The straight film path has no sharp turns for absolute flatness of the film, variations of the Mamiya TLR line from the Mamiyaflex to the C330S Professional continued the evolution of the TLR camera with the final TLR, the c330S Pro lacking in nothing. Changeable lenses on medium format SLR and rangefinder cameras such as the Hasselblad line or Koni-Omega Press were the norm, the Mamiya twin lens reflex cameras are among the very few medium-format TLR cameras with interchangeable lenses. Mamiya C330 - uses the same lenses and other accessories Mamiyaflex - predecessor model
10.
Mamiya C330
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The Mamiya C330 Professional is a traditional film twin-lens reflex camera introduced in the 1970s for the professional and advanced amateur photography markets. This model was 340 grams lighter than the previous model C33, the later C330f is an improvement on the C330 and was succeeded by the C330S with further improvements. Uses 120 and 220 rollfilms With the rack and pinion bellows type focusing system, has a self-cocking one action 360° winding crank with a double exposure prevention device. The straight filmroll path has no right-angle turn and guarantees an absolutely flat film,7 interchangeable screens for focusing (matte, split image 4°, split image 6°, microprism, microprism + split image 45°, cross-hair and checkerboard pattern. 3 types of finders, a prismfinder, a porrofinder and a CdS-porrofinder, three types of magnifying hoods, normal focusing hood, CdS magnifying hood and a magnifying hood 3. 5× or 6×
11.
Pentax 645
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The Pentax 645 is a medium format single-lens reflex system camera manufactured by Pentax. It was introduced in 1984, along with a line of lenses. It captures images nominally 6 cm ×4.5 cm on 120,220, the 645 is the original model introduced in 1984. Unlike comparable medium-format cameras, the 645 does not have an interchangeable back system, instead, the film is loaded into holders, which are then inserted into the rear of the camera. The holders cannot be removed until an entire roll is shot, the crop factor vs. a 35 mm camera is.62. In 1997, a redesigned model was introduced. The 645N incorporated a system, and most of the 645 lenses were upgraded to match. The new model also featured matrix metering, film-edge data imprinting, the controls and LCD on the top plate were significantly changed, and the motor drive was increased to 2 frames per second. The 645NII is the latest model and was introduced in 2001, the main improvement was the addition of mirror lock-up. The Pentax 645D is a digital single-lens reflex camera introduced in 2010 and it is approximately the same size and shape as the earlier film models, and the lens mount accepts older manual and auto-focus lenses. It features a 40 megapixel CCD sensor manufactured by Kodak, the 7264×5440 pixel sensor measures 44 mm ×33 mm, which is less than 63% the size of a 6×4.5 cm film image but over 168% of a full-frame DSLR. Unlike other medium-format DSLRs, which accept digital camera backs of different resolutions or even manufacturers, the fixed back allows the 645D to be fully weather-sealed. The crop factor vs. a 35 mm camera is 0.79, on the 5th of February 2014 Ricoh announced they would exhibit a new model Pentax medium format digital at the CP+2014 Camera and Photo Imaging Show, tentatively titled the 645D2014. Features announced include a latest, super-high-resolution CMOS image sensor and a tilt-type LCD monitor, the camera was expected to be reaching market in Spring 2014. In April 2014 the camera was announced as Pentax 645Z and it was sold out after launch, as demand exceeded supply because of its relatively low price compared to other medium size cameras. The Pentax 645Z uses a 51.4 megapixel CMOS sensor, the A series manual focus lenses were released with the original 645, followed by the auto-focusing FA series for the 645N, and the DFA series for the 645D. The acronym smc stands for super multi-coated, a feature found on higher-grade Pentax lens. IF indicates that the lenses are of an internal focusing design, Pentax 67 lenses can be used on the 645 series with an adapter
12.
127 film
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127 is a roll film format for still photography introduced by Kodak in 1912. The film itself is 46 mm wide, placing it between 35 mm and 120 medium format films in terms of size, the image format normally used is a square 4 cm ×4 cm. However, rectangular 4 cm ×3 cm and 4 cm ×6 cm are also standard,127 enjoyed mainstream popularity until its usage began to decline from the 1960s onwards in the face of newer, cartridge-based films. However, as of 2016 it survives as a format and is still in production. 127 is a film,46 mm wide. Using the square format, there are 12 exposures per roll, 4×3 and 4×6 give 16 and 8, less commonly, other frame sizes have been used. For its “Alfax” model, Kimura Kōgaku had 4 cm ×4.5 cm frames, spaced by markings on the wind knob. In addition, the manufacturer C. F. Foth & Co. used a format of 3.6 cm ×2.4 cm for initial versions of their 127-based “Derby” camera. The format was introduced by Kodak in 1912, along with the “Vest Pocket Kodak” folding camera, the folding “127s” were in fact smaller than most 35 mm cameras today. 127 cameras from that era were often characterized by simple box-like construction, the format was part of the ISO732 standard until it was dropped in the third edition of that standard. Not all 127 films were labelled as such, after 1913, many Kodak cameras included the Autographic feature, and Kodak’s 127 films which had Autographic backing were identified as A127. Other film manufacturers did not produce Autographic films, for which Kodak held a patent, other camera manufacturers did make Vest Pocket-format cameras, however, and 127 film at the time was often labeled “Vest Pocket Film”. Few photofinishers made enlargements at the time the film was introduced, the later, more expensive 127 cameras featured lenses that were good enough to permit enlargement. 127 color transparencies can be mounted in standard 2” square slide mounts, Kodak stopped producing 127 film in July,1995, with all but one manufacturer following suit shortly thereafter. Fotokemika of Samobor, Croatia, continued to make 127 film, macophoto UP100 and Jessops 200 were made and packaged by Fotokemika. Chromazone 127 film is also sold intermittently on eBay, in July 2009, Rollei introduced Rollei Retro 80S film, available in 127 format. In August,2014, Maco announced that they will be selling black-and-white 127 film under the Rera Pan brand and this film is manufactured in Japan by EZOX Corporation, who are better known for manufacturing agricultural equipment and bicycles. Category, Film formats Film format List of color film systems List of film formats 127 format cameras in the 21st century, the use of these cameras today Silver, David
13.
Single-lens reflex camera
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A single-lens reflex camera is a camera that typically uses a mirror and prism system that permits the photographer to view through the lens and see exactly what will be captured. With twin lens reflex and rangefinder cameras, the image could be significantly different from the final image. When the shutter button is pressed on a mechanical SLR, the mirror out of the light path, allowing light to pass through to the light receptor. Prior to the development of SLR, all cameras with viewfinders had two light paths, one path through the lens to the film, and another path positioned above or to the side. Because the viewfinder and the lens cannot share the same optical path. This is not problematic for pictures taken at a middle or longer distance, moreover, focusing the lens of a fast reflex camera when it is opened to wider apertures is not easy. Most SLR cameras permit upright and laterally correct viewing through use of a roof pentaprism situated in the path between the reflex mirror and viewfinder. When the shutter is released, the mirror out of the light path. The Canon Pellix film camera was an exception to the mirror system. Focus can be adjusted manually by the photographer or automatically by an autofocus system, the viewfinder can include a matte focusing screen located just above the mirror system to diffuse the light. This permits accurate viewing, composing and focusing, especially useful with interchangeable lenses, nearly all inexpensive compact digital cameras now include an LCD preview screen allowing the photographer to see what the CCD is capturing. However, SLR is still popular in high-end and professional cameras because they are system cameras with interchangeable parts and they also have far less shutter lag, allowing photographs to be timed more precisely. Also the pixel resolution, contrast ratio, refresh rate, and color gamut of an LCD preview screen cannot compete with the clarity, large format SLR cameras were probably first marketed with the introduction of C. R. Smiths Monocular Duplex. SLRs for smaller exposure formats were launched in the 1920s by several camera makers, the first 35mm SLR available to the mass market, Leicas PLOOT reflex housing along with a 200mm f4.5 lens paired to a 35mm rangefinder camera body, debuted in 1935. The Soviet Спорт, also a 24mm by 36mm image size, was prototyped in 1934, K. Nüchterleins Kine Exakta was the first integrated 35mm SLR to enter the market. Additional Exakta models, all with waist-level finders, were produced up to, another ancestor of the modern SLR camera was the Swiss-made Alpa, which was innovative, and influenced the later Japanese cameras. The Duflex, which went into production in 1948, was also the worlds first SLR with an instant-return mirror. The first commercially produced SLR that employed a roof pentaprism was the Italian Rectaflex A, the Japanese adopted and further developed the SLR
14.
Panoramic photography
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Panoramic photography is a technique of photography, using specialized equipment or software, that captures images with horizontally elongated fields of view. It is sometimes known as wide format photography, the term has also been applied to a photograph that is cropped to a relatively wide aspect ratio, like the familiar letterbox format in wide-screen video. While there is no division between wide-angle and panoramic photography, wide-angle normally refers to a type of lens, but using this lens type does not necessarily make an image a panorama. An image made with an ultra wide-angle fisheye lens covering the film frame of 1,1.33 is not automatically considered to be a panorama. An image showing a field of view approximating, or greater than and this generally means it has an aspect ratio of 2,1 or larger, the image being at least twice as wide as it is high. The resulting images take the form of a wide strip, some panoramic images have aspect ratios of 4,1 and sometimes 10,1, covering fields of view of up to 360 degrees. Both the aspect ratio and coverage of field are important factors in defining a true panoramic image, indeed, the careers of one of the inventors of photography, Daguerre, began in the production of popular panoramas and dioramas. The camera could capture a broad view on a daguerreotype plate. In complete and vivid detail, a cityscape is laid out before the viewer, the development of panoramic cameras was a logical extension of the nineteenth-century fad for the panorama. A more successful and technically superior panoramic camera was assembled the next year by Friedrich von Martens in Germany in 1844 and his camera, the Megaskop, used curved plates and added the crucial feature of set gears which offered a relatively steady panning speed. As a result, the camera properly exposed the plate, avoiding unsteady speeds that can create an unevenness in exposure. Martens was employed by Lerebours, a photographer/publisher and it is also possible that Martens camera was perfected before Puchberger patented his camera. Because of the high cost of materials and the difficulty of properly exposing the plates, Daguerreotype panoramas. After the advent of wet-plate collodion process, photographers would take anywhere from two to a dozen of the ensuing albumen prints and piece together to form a panoramic image. This photographic process was easier and far less expensive than Daguerreotypes. Some of the most famous early panoramas were assembled this way by George N. Barnard and his work provided vast overviews of fortifications and terrain, much valued by engineers, generals, and artists alike. Following the invention of film in 1888, panoramic photography was revolutionised. Dozens of cameras were marketed, many with brand names indicative of their era, such as the Cylindrograph survey camera, Wonder Panoramic, Pantascopic, a camera with combined two-fixed focus panoramic camera in one mahogany-wooded box
15.
Large format
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Large format refers to any imaging format of 4×5 inches or larger. Large format is larger than medium format, the 6×6 cm or 6×9 cm size of Hasselblad, Rollei, Kowa, and Pentax cameras, and much larger than the 24×36 mm frame of 35 mm format. The main advantage of large format, film or digital, is higher resolution at the pixel pitch. A 4×5 inch image has about 16 times the area, and thus 16× the total resolution, of a 35 mm frame. Large format cameras were some of the earliest photographic devices, and before enlargers were common, it was normal to just make 1,1 contact prints from a 4×5, 5×7, or 8×10-inch negative. The most common format is 4×5 inches, which was the size common cameras used in the 1930s-1950s, like the Graflex Speed Graphic and Crown Graphic. Above 8×10 inches, the formats are referred to as Ultra Large Format and may be 11×14, 16×20, or 20×24 inches or as large as film, plates. Many large formats are horizontal cameras designed to make big negatives for contact printing onto press-printing plates, the Polaroid 20×24 camera is one of the largest format instant cameras in common usage and can be hired from Polaroid agents in various countries. Many well-known photographers have used the 235 pounds, wheeled-chassis Polaroid, architectural and close-up photographers in particular benefit greatly from this ability. These allow the front and back of the camera to be shifted up/down and left/right, a number of actions need to be taken to use a typical large format camera, resulting in a slower, often more contemplative, photographic style. A tripod is used for view camera work, but some models are designed for hand-held use. These technical cameras have separate viewfinders and rangefinders for faster handling, in general large format camera use, the scene is composed on the cameras ground glass, and then a film holder is fitted to the camera back prior to exposure. Failure to Polaroid an exposure risks discovery later, at the time of film development, the 4×5 inch sheet film format was very convenient for press photography since it allowed for direct contact printing on the printing plate, hence it was widely used in press cameras. This was done well into the 1940s and 1950s, even with the advent of more convenient, the 35 mm and medium format SLR which appeared in the mid-1950s were soon adopted by press photographers. Large format photography is not limited to film, large digital camera backs are available to fit large format cameras and these are either medium-format digital backs adapted to fit large format cameras, step and repeat Multishot systems, or scanning backs. Scanning backs can take seconds or even minutes to capture an image. When using a Sinar Macroscan unit and 54H data files, over 1 gigabyte of data is produced, high quality fine art prints can be made at sizes in the range of 40x50 from a 4×5 original, and well beyond that for larger negatives. The Library of Congress uses various large format digital scans for American Memories in the current JPEG2000 format, and the older MrSID, JPEG, and TIFF formats
16.
Fujifilm
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Fujifilm Holdings Corporation, better known as Fujifilm or simply Fuji, stylized as FUJiFILM, is a Japanese multinational photography and imaging company headquartered in Tokyo. Fuji Photo Film Co. Ltd. was established in 1934 with the aim of being the first Japanese producer of photographic films, over the following 10 years, the company produced photographic films, motion-picture films and X-ray films. In the 1940s, Fuji Photo entered the optical glasses, lenses, after the Second World War, Fuji Photo diversified, penetrating the medical, printing, electronic imaging and magnetic materials fields. In 1962, Fuji Photo and U. K. -based Rank Xerox Limited launched Fuji Xerox Co. Ltd. through a joint venture, from the mid-1950s, Fuji Photo accelerated the establishment of overseas sales bases. In the 1980s, Fuji Photo expanded its production and other bases overseas, meanwhile, Fuji Photo developed digital technologies for its photo-related, medical and printing businesses. Like its rival Eastman Kodak which dominated in the US, Fuji Photo enjoyed a longtime near-monopoly on camera film in Japan, the complaint was lodged by the US with the World Trade Organization. On January 30,1998, the WTO announced a sweeping rejection of Kodaks complaints about the market in Japan. The new millennium witnessed the spread of digital technology in cameras. Demand for photographic films plunged in line with the popularity of digital cameras. In response, Fuji Photo implemented management reforms aimed at effecting drastic transformation of its business structures, while both film manufacturers recognized this fundamental change, Fuji Photo adapted to this shift much more successfully than Eastman Kodak. In September 19,2006, Fujifilm announced plans to establish a holding company, Fujifilm and Fuji Xerox would become subsidiaries of the holding company. A representative of the company reconfirmed its commitment to film, which accounts for 3% of sales, Fuji Xerox is a joint venture between Fujifilm and Xerox Corporation of North America. Fujifilm bought Sericol Ltd. a UK-based printing ink company specializing in screen, narrow web, velvia, one of the most saturated and fine-grained slide films, valued by nature and landscape photographers. Fortia, consumer slide film, featuring extremely vivid color rendering suitable for flower photography, Fuji Neopan Professional black & white negative film. As a side note, Neopan 400 and 1600 were designed to use the same developing times, ACROS and SS do not share this feature. This uses the Fuji G-mount lenses, to be released in 2017 The Clear Shot series of 35mm compact cameras Instax series of instant camera, wiki collection of bibliographic works on Fujifilm
17.
Kiev (brand)
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Kiev is a Soviet and Ukrainian brand of photographic equipment including cameras manufactured by the Arsenal Factory in Kyiv, Ukraine. The camera nameplates show the name KIEV, with cameras using КИЕВ or КИЇВ in Cyrillic. The email said that management had turned over to the Special Construction Department, all work had stopped and the workers laid off. He thought that Arax had enough cameras and parts to remain in business for at least another 4–5 years, the amount of stock remaining with other distributors around the world is unknown. The Kiev brand is probably best known for two 6×6 medium format cameras, An almost direct clone of the original Hasselblad 1600 F sometimes jokingly referred to as a Hasselbladski, originally called Salyut, it added a self-timer mechanism below the film advance knob to the original Hasselblad design. However, this add-on was abandoned and is seen on very early or prototype cameras. The Salyut went into production around 1957. An automatic aperture mechanism was added and the cameras designation was changed to Salyut C. After Salyut C the camera model evolved into Kiev 80, with the further addition of a hot shoe for electronic flashes, the cameras name became Kiev 88. It was sometimes exported to the West as the Zenith 80, the Kiev 88 used a screw type lens mount similar to the original Hasselblad mount, however there are mixed reports on compatibility between the two. Most film backs are not compatible between Kievs and Hasselblads due to different gear mechanisms, however, Kiev 88 viewfinders are compatible with the Hasselblad 1600F and 1000F, and even current Hasselblad V-system models. The Kiev 88 lens mount was modified to accept most Pentacon Six mount lenses around 1999, many of these cameras have found their way around the world, especially to the United States. They are considered inexpensive alternatives in the film format camera market. The Kiev 60 is similar to an enlarged 35 mm SLR, based loosely on the Pentacon Six and this camera was originally called the Kiev 6C with a shutter release button activated by the left hand, and accepting both 220 and 120 film. The current Kiev 60 has a more conventional right-handed shutter release, the Kiev 60 has a simpler frame-advancement mechanism than the Pentacon Six but it is often poorly adjusted at the factory resulting in incorrect frame spacing. There is both a waist level finder and metered prism finder available and it has no removable film back, thus making the Kiev 60 design simpler and less prone to light leaks, which is sometimes a problem with the Kiev 88 design. The low price of the Kiev medium format cameras has attracted many amateur photographers wishing to enter the medium format camera market on a budget. Some have reported that the prices of a Kiev camera setup with other Russian or Ukrainian components can be 1/10 to 1/15 the price of a similar Hasselblad setup
18.
Pentacon Six
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The Pentacon Six is a single-lens reflex medium format camera system made by Pentacon from 1956 to 1992. The Six accepts lenses with the Pentacon Six mount, a bayonet mount. The Praktisix was manufactured by Kamera Werkstätten and it is a 6×6 SLR modelled on contemporary 35 mm SLRs. It was followed by the Praktisix II and Praktisix IIA, all with minor and they all have rather poor reliability, including poor frame spacing. In 1959 Kamera Werkstätten became VEB Kamera and KinoWerke Dresden, in 1964 they became VEB Pentacon and in 1970, Kombinat VEB Pentacon. With the unification of the East German photographic industry the Praktisix was modified to become the Pentacon Six. Frame spacing was improved through the use of a roller with teeth that is turned by the film as it advances, when the length of film has advanced. When the TTL-metered prism was introduced, the letters TL were added to the name plate, the Pentacon Six was imported into the U. S. as the Hanimex Praktica 66 by Australian distributor Hanimex. This was to get around U. S. laws prohibiting direct imports from communist countries, the Pentacon Six TLs is a version modified to shoot 4×4.5 cm frames for photo IDs. The Exakta 66 is based on the Pentacon Six but was made in West Germany by Exakta GmbH, the body is rubber coated, the film advance lever moves through a shorter angle, and it has a TTL-metered prism coupled to new Schneider lenses. The Exakta 66 is not to be confused with earlier cameras with nearly exactly the same name. These Exakta 6x6 cameras were produced by Ihagee, Dresden, in the pre-war years, the Praktisix and Pentacon Six comes with a simple waist-level finder with a flip-up cover. A non-metered prism was available for the Pentacon Six, with a TTL-metered prism produced later, a third-party adaptor allows the metered prism from the Kiev 60 to be attached to most Pentacon Sixes and Exakta 66s. It is brighter, shows more of the view, and is available new, the same adaptor also allows the Kiev 60 waist-level finder to be used. This finder is reportedly inspired by the one found on Rolleiflex TLR cameras and is better than the original Pentacon finder. The Pentacon Six System by TRA Pentacon Six at camerapedia. org Praktisix and Pentacon Six at Commie Cameras Pentacon six manual Praktisix Story by Coopiecat JAPAN
19.
Folding camera
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A folding camera is a camera type. Folding cameras fold into a compact and rugged package for storage, the lens and shutter are attached to a lens-board which is connected to the body of the camera by a light-tight folding bellows. When the camera is fully unfolded it provides the focus distance from the film. The key advantage of folding cameras is their excellent physical-size to film-size ratio when the camera is folded for storage, portable folding cameras dominated camera design from the 1890s to 1930s and were significant into the late 1940s. Specialized cameras such as the Polaroid SX-70 Instant film camera, the typical amateur camera of the early 20th Century made various postcard sized negatives around 4 ×5. By the 1930s 6cm × 9cm cameras for either the 120 or 620 film size, were highly popular, 35mm film made small-sized cameras practical without using bellows. Lens technology allowed 120/620 cameras to use shorter focal distances, however, some 35mm cameras continued to be built as folding cameras, e. g. the original Kodak Retina. Medium format folders were produced in USSR until the 1960s
20.
Chinon Industries
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Chinon Industries Inc. was a Japanese camera manufacturer. Kodak took a majority stake in the company in 1997, and made it a fully owned subsidiary of Kodak Japan, Kodak Digital Product Center, as a subsidiary, it continues to develop digital camera models. They manufactured many cameras, such as the CG-5, which was one of the first cameras ever to use an Auto Focus lens and they were cumbersome and had two infra-red eyes on the top. They would connect by a bayonet fitting similar to the Pentax K fitting and it also used a split-image prism for determining when an image was properly focused. The CM-1 was sold through discount retailers such as K-Mart during the 1980s, Chinon branded products were sold in the UK through the Dixons high-street chain in the same period. Most of Chinons SLR cameras used the Pentax K-mount, which was promoted by Pentax as a mount and therefore Pentax allowed. This helped to expand the range of offerings for both Chinon and Pentax cameras. Chinon also was a manufacturer of CD-ROM drives, scanners, electronic pocket calculators and they even dabbled in VR with Cybershades for the PC, launched in the US market in 1995 for $199. More Information on Chinon 35mm and point and shoot cameras Information on Chinon Model 357,502,506 & 506-L,5.25 and 3.5 Floppy Drive Models
21.
ESL Federal Credit Union
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ESL Federal Credit Union is a full-service financial institution with headquarters in Rochester, New York. The locally owned financial institution employs more than 700 people in Rochester, New York and, the company has now appeared on the Great Place to Work® Best Small and Medium Workplaces for six years. Access to the union includes 20 branch locations and more than 40 ATM locations, locally based telephone and internet chat centers. Membership in ESL is open to employees of Eastman Kodak, members of the George Eastman House, ESL Federal Credit Union was chartered in 1920 as Eastman Savings and Loan Association by George Eastman, founder of Eastman Kodak Company. Mr. Eastman’s intent at that time was to provide his employees with an institution that served their financial needs—especially by providing mortgages. On February 1,1996, Eastman Savings and Loan changed its charter from a U. S. bank to a Federal Credit Union and it is the largest locally owned financial institution in the Greater Rochester area and the largest credit union in New York State. ESL is in the top 1% of national credit unions ranked by assets
22.
Canon EOS
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Canon EOS is an autofocus single-lens reflex camera camera series produced by Canon Inc. Introduced in 1987 with the Canon EOS650, all EOS cameras used 35 mm film until October 1996 when the EOS IX was released using the new, in 2000, the D30 was announced, as the first digital SLR designed and produced entirely by Canon. Since 2005, all newly announced EOS cameras have used digital image sensors rather than film, the EOS line is still in production as Canons current digital SLR range, and, with the 2012 introduction of the Canon EOS M, Canons mirrorless interchangeable-lens camera system. The name EOS was chosen for Eos, the Titan goddess of the dawn in Greek mythology and it competes primarily with the Nikon F series and its successors, as well as autofocus SLR systems from Olympus Corporation, Pentax, Sony/Minolta, and Panasonic/Leica. In 2010, Canon held 44. 5% market share in DSLRs, at the heart of the system is the EF lens mount, which replaced the previous FD lens mount, which mainly supported only manual-focus lenses. The bayonet-style EF lens mount is at the centre of the EOS camera system, breaking compatibility with the earlier FD mount, it was designed with no mechanical linkages between moving parts in the lens and in the camera. The aperture and focus are controlled via electrical contacts, with motors in the lens itself and this was similar in some ways to Canons earlier attempt at AF with the T80. Other manufacturers including Contax, Nikons 1983 F3AF and Olympus have since embraced this type of drive system. It is a lens mount compared to most of its competition. The flash system in the EOS cameras has gone through a number of evolutions since its first implementation, the basic EOS flash system was actually developed not for the first EOS camera, but rather for the last high-end FD-mount manual-focus camera, the T90, launched in 1986. This was the first Canon camera with through-the-lens flash metering, although other brands had been metering that way for some time and it also introduced the A-TTL system for better flash exposure in program mode, using infrared preflashes to gauge subject distance. This system was carried over into the early EOS cameras wholesale, A-TTL largely fell out of favor, and was replaced by E-TTL. This used a pre-flash for advanced metering, and used the system to judge where the main subject was for more accurate exposure. E-TTL II, which was an enhancement in the firmware only. Canon Speedlite-brand flashes have evolved alongside the cameras and they are capable of wired and wireless multi-flash setups, the latter using visible or infrared pulses to synchronise. Canon also produces Speedlite accessories, including the OC-E3 Off-Camera Shoe Cord, the Off-Camera Shoe Cord is popular among portrait photographers who need to have more control over lighting than a camera mounted flash can offer. As of 2017, Canon has released no fewer than 70 EOS SLR and DSLR camera models, in the 1990s, Canon worked with Kodak to produce digital camera bodies, starting with the EOS DCS3 in 1995. The first digital EOS SLR camera wholly designed and manufactured by Canon was the EOS D30, Canon sold two EOS cameras designed to use the APS film format, the EOS IX and the EOS IX Lite
23.
Canon EOS D2000
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The Canon EOS D2000 is a 2-megapixel digital single-lens reflex camera developed by Kodak on a Canon EOS-1N body. It was released in March 1998 and it features a CCD sensor and can shoot at 3.5 frames per second. Many enthusiasts regard the D2000 as Canons first truly usable Digital SLR and it was released in tandem with the Canon EOS D6000, a 6-megapixel model. Like its predecessor, the EOS DCS3, the D2000 uses an EOS-1N camera body with a Kodak digital back, other incremental improvements such as a higher shooting rate and a swappable, rechargeable battery pack were included. The D2000 was the last of the Kodak / Canon press cameras and it was sold by Kodak until at least as late as 2001. Canons first home-grown professional digital SLR, the Canon EOS-1D, was released later the same year, Canon EOS Canon EF lens mount Kodak DCS Canon Camera Museum, EOS D2000
24.
Canon EOS DCS 3
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The Canon EOS DCS3 was Kodaks second Canon based Digital SLR camera released in July 1995, four months after Kodak EOS-DCS5. It uses a modified Canon EOS-1N film camera with a modified Kodak NC2000e digital camera back attached, as a result, it maintained the Canon EF lens mount, and full compatibility with all of Canons EF lenses made until that time. The camera was followed by the six megapixel Canon EOS DCS1, the back had a then-massive 16MB of RAM to act as an image buffer, as well as a PCMCIA card slot for image storage, plus a SCSI socket for connection to a computer. The imaging element was an APS-C sensor with a 1. 5x crop factor, the camera back did not have an LCD monitor. A typical 260MB PCMCIA card or IBM Microdrive of the period could store 189 images, the EOS DCS3 lacked any internal JPEG processing, and images had to be processed on a computer before they were usable in any form. The large amount of memory contributed the then-immense price of the EOS DCS3, the camera was succeeded by the Canon EOS D2000 in 1998. Kodak DCS Canon Camera Museum, Canon EOS DCS3
25.
Cine-Kodak
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The Cine-Kodak was the first 16mm camera, introduced in 1923. It was a rectangular cast aluminum box approximately 8 inches square, hand turning meant that a tripod was essential while allowing varying speeds and single frames to be taken. Accessories such as lenses and a motor attachment became available later, in 1925, Kodak followed up with a spring motor-driven Cine-Kodak Model B, at which time the original Cine-Kodak was re-designated as Model A. In 1929, a Model BB for 50-ft reels and an additional 8 frames/second speed was introduced, followed by the Model K in 1930, which was an enlarged BB for 100-ft reels. The Model K was joined briefly by a stripped-down Model M, in 1933, the Cine-Kodak Special was introduced for advanced amateur and semi-professional work, and quickly became popular with professionals for its vast range of capabilities. The new Kodak S-mount was introduced with this camera. The Cine-Kodak Special II was introduced in 1948 with a turret but was otherwise unchanged from the Special. The Special was discontinued in the early 1960s, although a Special Reflex was available until the late 60s, the mid-30s saw the beginning of a line of magazine-loading cameras, the Magazine Cine-Kodaks, made initially in Kodaks Nagel Works in Germany. In 1937, the Model E was introduced with a similar to the later Pathe Webo camera and provided slow motion speeds. The final 16mm spool loading Cine-Kodak the K100 arrived in 1956 with both turret and non-turret versions, 16mm Cine-Kodaks were well-made, long-lived cameras. Most have double claws and double sprockets and hence require double perf film in unmodified form, the exceptions are both the Specials and K100 models that were designed for the addition of sound tracks and accept single perf film. The Cine-Kodak brand was applied to the double run 8mm cameras introduced by Kodak in 1932 beginning with the Eight Twenty model. History of photography History of the camera
26.
Instamatic
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For the film formats associated with the Instamatic and Pocket Instamatic camera ranges, see 126 film and 110 film respectively. The Instamatic is a series of inexpensive, easy-to-load 126 and 110 cameras made by Kodak beginning in 1963, the Instamatic was immensely successful, introducing a generation to low-cost photography and spawning numerous imitators. During its heyday, the range was so ubiquitous that the Instamatic name is frequently used to refer to any inexpensive point-and-shoot camera. The Instamatic name was used by Kodak on some Super 8-based home-cine cameras. The first Instamatics went on sale for $16 in early 1963 and they were the first cameras to use Kodaks new 126 format. A wide variety of print and slide film was sold by Kodak in the 126 format, the lead designer for the Instamatic program was Dean M. Peterson, also later known for most of the innovations in the point-and-shoot camera revolution of the 1980s. The first Instamatic to be released was the Instamatic 50, which appeared in the UK in February 1963, the first model released in the US was the basic Instamatic 100. With fixed shutter speed of 1/90th of a second, aperture and focus, it continued in the tradition of Kodaks earlier Brownie cameras and it also featured a built-in flashgun for AG-1 peanut bulbs, a feature lacking in the 50. The top-of-the-line model was the Instamatic Reflex SLR, which was made in Germany, the Instamatic was an instant success, more than 50 million Instamatic cameras were produced between 1963 and 1970. Many other manufacturers attempted to capitalize on the popularity of the Instamatic with their own 126 cameras, including Canon, Olympus, Minolta, Ricoh, Zeiss Ikon, a new series of Instamatics was introduced in 1970 to take advantage of the new Magicube flash technology. Magicubes used mechanically triggered pyrotechnic detonators for each bulb, an improvement over flashcubes in that the need for batteries was eliminated, Instamatics with Magicube sockets were denoted by an X in the model number. In 1972, Kodak introduced the Pocket Instamatic series for its new 110 format, the 110 cartridge had the same easy-load design as the 126 format but was much smaller, allowing the cameras to be very compact. The top-of-the-line model was the Pocket Instamatic 60, which featured a steel body, rangefinder. More than 25 million Pocket Instamatics were produced in three years, and the 110 format remained popular into the 1990s. In 1976, the Instamatic X line was updated for use with the new Flipflash system and these cameras were designated by the addition of the suffix F to the model number of the corresponding Magicube model. The basic X-15F was the last Instamatic sold in the United States, list of defunct consumer brands Media related to Kodak Instamatic at Wikimedia Commons
27.
Kodak 35
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The Kodak 35 was introduced in 1938 as the first US manufactured 35mm camera from Eastman Kodak Company. It was developed in Rochester, New York when it likely that imports from the Kodak AG factory in Germany could be disrupted by war. While Kodak had invented the Kodak 135 daylight-loading film cassette in 1934, US built 35mm cameras used the 828 paper backed 35mm roll-film. The first Kodak 35 has no rangefinder and it resembles slightly to cameras like the German Wirgin Edinex and Adox Adrette. It takes thirty-six 24×36 mm frames on 135 film, the precision molded black Bakelite body has satin-chromed top and base plates, and a collapsible finder is mounted on top center. The removable Bakelite back with the base plate slides easily off for film handling. It is secured by a centrally located wing key in the base plate, prominently placed at the top are the large wind-on and rewind knobs, the right-hand one is the film advance knob, both to be operated in the clockwise direction. Next to it is a manually reset frame counter dial and the chromed wind-on release button. The front element focusing Kodak lens has a rigid lensmount set in a Kodak inter-lens shutter, the shutter is cocked by a gear coupling to the sprocket-wheel drum, which is trailing along with the passing film during the wind-on operation. Hence, there is no shutter cocking without a film in the camera, an automatic mechanism locates the next frame on the film by locking the advance knob. It is released for the frame by depressing the wind-on release button before turning the wind-on knob. This prevents double exposure, but not blank frames since nothing prevents pressing the button again, however, a red indicator is shown to the left in a slot on the top of the shutter cover that indicates the camera has been wound. The shutter release, in the shape of a pin attached to the shutter release lever, is situated at about 10-oclock at the shutter housing. It is protected from being triggered by a small cover extending over it. It is not possible to raise the wind-on knob if it is not free to rotate, the frame counter dial rotates during rewind as long as the film passes the sprocket wheel drum. The wind gears, which is visible inside the machined steel film chamber, all internal metal parts are either plated steel or brass. The film pressure-plate is chrome-plated polished steel, while the parts are nickel-plated. It is generally referred to as the RF model, several finishes appeared during the production run
28.
Kodak 35 Rangefinder
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The Kodak 35 Rangefinder is an improved version of the Kodak 35 that was launched by the Eastman Kodak Company in 1938 as their first 35mm camera manufactured in the USA. It is generally referred to as the Kodak 35 Rangefinder model, the centrally positioned eyepiece is for the viewfinder. Both the separate viewfinder and rangefinder eyepieces and the lens coupling are in the style of the Leica camera, the difference is the way in which the lever operates on the lens barrel. Looking through the small window at the left-hand side at the back reveals a clear view of a horizontally split image. The lower image part is shifted sideways by turning the wheel at the front right-hand side of the lens. By aligning the vertical feature of any object in the motive that crosses the split in the image may render it sharp on the film. Note, This model is referred to as the gear coupled RF version due to the conspicuously placed gear next to the lens front element. The gear however, only provides a means of turning the front element using a finger on the edge of the wheel, some RF models have black knobs and some have black rangefinder protrusion next to the lens, but the majority have plated metal knobs. There was no civil production between 1942 and 1945, the post-war viewfinder and the rangefinder models were also black with bright-chromed metal features, and an accessory shoe was added to the viewfinder model next to the rewind knob. However, for a while during the period from 1947 to 1949, both the metal- and the white rewind knobs have a film reminder dial in the hub. A few minor modifications were made to internal parts, notably to the film pressure plate spring that changes through a variety of shapes from rod to flat shape. Most, if not all shutters alternatives have a No.5 Cable Release socket with a tiny removable coin-slotted screw plug, while the later ones also have a Kodak type flash synchroniser contact post. A metal band inscribed Made in U. S. A. was attached to the top of the shutter housing cover plate, the milling pattern on the focusing wheel front goes through a variety of styles from flat to a pattern of several concentric circles. The Kodak 35 came with a brown leather ever-ready case. Of these, the C is substituted by 1, the A by 2 etc. through to the Y by 0, ET thus gives the number 49 for the year 1949. The Kodak 35 serial number is engraved on the front ring on the lens, Kodak Camera Collection - Private collection with free images of most Kodak models
29.
Kodak DC Series
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Kodak was an early pioneer in the development of digital cameras. The DC series is Kodaks consumer-grade budget line of cameras as opposed to the more expensive professional Kodak DCS series. Cameras in the DC series were manufactured and sold during the mid-to-late 1990s. Some were branded as Digital Science, most of these early digital cameras only supported serial port connections and did not have USB connectivity, as USB did not exist when camera development was begun. This series was superseded by the Kodak Easy Share camera series. DC20 —0.2 megapixel,47 mm equivalent lens, fixed DC25 —0.2 megapixel,47 mm equivalent lens, fixed, CompactFlash slot DC40 —0.38 megapixel,37 mm equivalent lens, fixed DC50 —0. It had a suggested retail price of US$299 when most other digital cameras at the time cost well over $1000. The DC20 only had the most basic features of a digital camera and it came with only 1 megabyte of internal flash memory, which could only store 8 or 16 images, depending on image quality, and did not support external flash memory. It had no built-in photo flash and its CCD sensor had a maximum resolution of 493x373 pixels. It had a focal length f/4 lens, equivalent to 47 mm for 35 mm single lens reflex film cameras. With physical dimensions of 31 x 102 x 61 mm, the Kodak DC20 was the first ultracompact digital camera and its sleek compact size would remain unrivaled until the release of the Canon Digital Ixus and Casio Exilim. There were several add-on lenses released for the Kodak DC20 and these included a macro adapter, a telephoto converter, and a wide-angle converter from Tiffen. These were clip-on lenses since the lens had no thread. There was also a photo flash unit made by Kodak. The Kodak DC25 was released around the time as the Kodak DC20. They both shared the same form factor and shape, but the DC25 was considerably larger than the DC20 and they also shared the same 493x373 pixel CCD sensor and 47 mm-equivalent lens. The Kodak DC25, however, came with an LCD display for picture review, moreover, the Kodak DC25 was among the first cameras to have a PCMCIA slot to support CompactFlash cards for external storage. Released in 1995, the DC40 is Kodaks own branded version of the Apple QuickTake 100 and it came with fixed focal length lens of 37 mm-equivalent and a 768x512 pixel CCD sensor
30.
Kodak DC215
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The Kodak DC215 is a discontinued model of digital camera produced in Japan by the Eastman Kodak Company. This model does not have memory, but a 4MB card is supplied with the camera. The camera has a 1-megapixel sensor, a fixed lens with 2x optical zoom and macro-setting. The viewfinder is optical, but it is possible to use the 1.8 rear LCD monitor as viewfinder, there was also a small LCD black and white screen on the top of the camera to show camera settings only. The DC215 also came in a Millennium Edition version which had a rather than silver case. The Kodak DC215 had a problem with its battery compartment. This compartment, which takes in 4 AA batteries, was made of plastic, consumers often resorted to makeshift solutions like the use of rubber bands or duct tape to keep batteries in the camera. Kodak DC Series List of products manufactured by Kodak Official Online Manual Kodak DC215 digital camera specifications
31.
Kodak DC3200
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The Kodak DC3200 is a model of digital camera produced by the Eastman Kodak Company in 2000-2002. The camera was connected via a cable in order to download pictures. Kodak ceased supporting the model a couple of years later, a PDF file of the manual is available on their site. Although Kodak no longer offer a download of the necessary software. However the software is not really necessary, if the compact flash storage is used. The camera has 2 MB of internal memory, memory capacity can be expanded with a CompactFlash card. A common problem with the DC3200 was that the flash was too powerful. Pictures that were taken indoors would often be overexposed
32.
Kodak DCS
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The Kodak Digital Camera System is a series of digital single-lens reflex cameras and digital camera backs that were released by Kodak in the 1990s and 2000s, and discontinued in 2005. They were all based on existing 35mm film SLRs from Nikon, Canon, the range included the original Kodak DCS, the very first commercially available digital SLR. In 1975 Kodak engineer Steven Sasson invented the first digital still camera, by 1986 Kodak had developed a sensor with 1.4 million pixels. A number of inventions were made to increase usability, including improvements in sensor technology, the first Raw image format DCR. The original Kodak DCS was launched in 1991, and was based on a stock Nikon F3 SLR with digital components and it used a 1. 3-megapixel Kodak KAF-1300 sensor, and a separate shoulder-mounted processing and storage unit. The DCS200 series of 1992 condensed the storage unit into a module which mounted onto the base, the module contained a built-in 80 megabyte hard drive and was powered with AA batteries. It was followed by the upgraded DCS400 series of 1994, the DCS400 series included the 1. 5-megapixel DCS420, and the 6-megapixel Kodak DCS460, which retailed for $28,000 on launch. In common with Kodaks later 6-megapixel models, the DCS460 used the award-winning APS-H Kodak M6 sensor, a modified version of the DCS420 was also sold by the Associated Press as the Associated Press NC2000. In parallel with the DCS400 series Kodak also sold the analogous Kodak EOS DCS range, with the exception of the original DCS100, these early models did not include LCD preview screens. Kodaks subsequent models integrated the digital module with the body more thoroughly. The DCS500 series of 1998 was also based on the Canon EOS-1N, and comprised the 2-megapixel DCS520 and the 6-megapixel DCS560, which initially had a suggested retail price of $28,500. These models were sold by Canon, as the Canon D2000 and D6000 respectively. Kodak used the electronics package for the DCS600 series. Kodaks concluded the initial DCS range with the DCS700 series, which comprised the 2-megapixel DCS 720x, the 6-megapixel DCS760, and the 6-megapixel DCS 760m, which had a monochrome sensor. By the time of launch, Kodak faced competition from the popular Nikon D1 and Nikon D1x, the DCS 760s initial list price was $8,000. Kodak final generation of DCS cameras was launched with the Kodak DCS Pro 14n, a 14-megapixel full-frame digital SLR, in 2002 and these two cameras were based on a Nikon F80 body, and were considerably more compact than previous Kodaks. They used sensors designed by Belgian imaging company FillFactory, the DCS PRO SLR/n was also accompanied by the Canon-compatible DCS PRO SLR/c, which was based on a Sigma SA9 SLR. Kodak discontinued the SLR/n and SLR/c in May 2005, to concentrate on digital cameras and high-end medium format digital backs for Leaf
33.
Kodak DCS 100
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The Kodak Professional Digital Camera System or DCS, later unofficially named DCS100, was the first commercially available digital single-lens reflex camera. It was a camera back bearing the digital image sensor, mounted on a Nikon F3 body and released by Kodak in May 1991. Aimed at the photo journalism market in order to improve the speed with which photographs could be transmitted back to the studio or newsroom, the DCS had a resolution of 1.3 megapixels. The DCS100 was publicly presented for the first time in Arles, at the Journées de lImage Pro by Mr Ray H. DeMoulin,453 international journalists attended this presentation, which took place in the Palais des Congres of Arles. The predecessor to the commercial Digital Still Camera was prototyped in the spring of 1987 at Kodak Research Labs, a 1.3 megapixel imager had been produced by Kodak’s Microelectronics Technology Division and the logical next step was to build a high resolution digital imaging system around it. The DCS prototype was developed for trials by the Associated Press, Kodak researchers chose the Nikon F3HP SLR because it was the most widely used professional camera at the time. A number of key problems had to be solved, How to accurately position the image sensor in the film plane. How to synchronize the camera’s mechanical shutter exposure period and the image sensor’s electronic integration period, which lenses would provide sharp images without aliasing artifacts. What feedback could be provided to assist the photographer with getting the right exposure, many scenes had higher dynamic range than the imager. How were digital images to be stored, where was sufficient power to be sourced. Fortunately, the F3HP had motor drive contacts that provided signals sufficient for electronic synchronization, a set of potential lenses underwent MTF testing and best matched lenses were selected. The battery power and a hard drive were integrated into a remote system to be worn on the shoulder while the photographer worked. The A/D converter output was processed to generate a histogram for the photographer. Finally, since the 1. 3MP imager was smaller than the full 35mm film frame, the prototype system was tested extensively in 1987 and 1988 by AP photographers and in studies comparing its performance to film systems. There was enough enthusiasm for the system to undertake a commercial version, an early version was shown at photokina in 1990 and the product was launched in May 1991. The DCS100 retained many of the characteristics of the prototype, including a separate shoulder carried Digital Storage Unit to store and to visualize the images, an external keyboard allowed entry of captions and other image information. The Kodak Professional Digital Camera System was available with two different digital format backs, the DC3 color back used a custom color filter array layout. The DM3 monochrome back had no color filter array, a few DM3 backs were manufactured without IR filters
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Kodak DCS 300 series
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The Kodak DCS300 series comprised two cameras, the DCS315 and DCS330. They were professional-level digital SLR cameras built by Eastman Kodaks Kodak Professional Imaging Solutions division and they were based on the Nikon Pronea 6i APS SLR camera and were aimed at a lower price point than other models in the Kodak DCS range. The 1.5 megapixel DCS315 was launched in 1998, the DCS315 was the first digital SLR camera to incorporate an image preview LCD and inbuilt JPEG processing. The two cameras had different sized CCD imaging chips, both of which were smaller than either 135 film or APS-C film frames. The 315s imager had a factor of 2.6 relative to 135 film. The Kodak modification to the Pronea 6i involved removing the cameras film back and this not only covered the back of the camera, but also extended beneath it, approximately doubling the cameras height. This was required to accommodate the large PC cards used as media, the six AA batteries required to power the camera. The Kodak back had two display screens, the upper was a full-color screen used for viewing taken shots. The lower LCD displayed the cameras settings, an infrared filter was mounted just behind the lens mount. This had to be removed in order to fit certain Nikkor lenses, the DCS315 was substantially faster than the 330 since only half as much data needed to be stored per shot. The 315 also allowed image storage in the smaller JPEG format, while the 330 only allowed Kodaks proprietary. TIF RAW format
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Kodak DCS 400 series
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The Kodak DCS400 series was a series of Nikon based digital SLR cameras with sensor and added electronics produced by Eastman Kodak. The cameras in this include the 1. 5-megapixel DCS420, the 1. 5-mpx DCS410. In addition, Kodak sold a version of the back from the DCS460 adapted for medium format bodies as the DCS465, Kodak also made a camera especially for Associated Press. It was called NC2000, later upgraded to NC2000e using many of the components as was used for the DCS400 series. In addition to the colour version, Kodak made monochrome and infrared versions of the DCS420. There were also versions of the DCS460 and DCS465. The non-colour versions are rare and tend to collect high prices at auctions. The DCS 400-series were based on the Nikon N90s 35 mm film camera, the DCS410 and some early versions of the DCS420 and 460 were based on the Nikon N90/F90 body. After the Nikon N90s/F90x was introduced in late 1994, Kodak started using that model as basis for the DCS 400-series, the camera body could be converted back to a film camera by removing the digital component, and replacing the digital back with a standard back. All cameras in the series used a 12 bit/channel CCD, the 1.5 Mpx sensor used in the DCS410 and DCS420 measures 9. 2x13.8 mm. The 6.2 Mpx sensor used in the DCS460, the 1.3 Mpx sensor used in the NC2000 and NC2000e measures 16. 4x20. 5mm with an unusual aspect ratio. In 1995, the DCS460 was the highest resolution digital camera available, when it closed out in November 2000, the price had dropped to US$2,500. Kodak DCS Nikonweb Information for Kodak and older Nikon D-SLRs DCS Survey - Serial number survey of all DCS models-Gives idea of production quantities The DCS Story
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Kodak DCS Pro 14n
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The Kodak Professional DCS Pro 14n is a professional Nikon F80 based F-mount digital SLR produced by Eastman Kodak. It was announced at the trade show photokina in Germany during September 2002. All previous digital SLRs had sensors smaller than a frame and thus had a crop factor larger than 1.0. In September 2003 Kodak announced the availability of an upgrade from 256 MB to 512 MB to DCS Pro 14n owners. The 512 MB version of the camera is often referred to as Kodak Professional DCS Pro 14n 512. A monochrome variant, known unofficially as Kodak Professional DCS Pro 14n m and based on the same CMOS image sensor, the DCS Pro 14n was replaced by the Kodak Professional DCS Pro SLR/n, released in 2004, which was a similar, but improved model. In particular, the new camera featured an image sensor and better power management. At around 1800 USD existing owners of the DCS 14n could order another camera upgrade from Kodak, comprising the new image sensor and these upgraded cameras were officially referred to as Kodak Professional DCS Pro 14nx by Kodak. Except for the management and name plate, they were basically the same as the DSC Pro SLR/n. Kodak DCS DPReview on the DCS Pro 14n, Kodak support page for the DCS Pro 14n
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Kodak DCS Pro SLR/c
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The Kodak Professional DCS Pro SLR/c is a 13.5 megapixel digital SLR camera produced by Eastman Kodak. It is full frame—it uses a sensor that is the full size of a 35 mm frame. It is compatible with Canon EOS lenses, the camera was launched on March 18,2004 and incorporates the internal systems of the previous Nikon-compatible SLR/n in a Sigma SA9 SLR body. Both the SLR/c and the SLR/n were officially discontinued by Kodak on May 31,2005, although remaining stock would be sold, Kodak cited poor profitability of the sector in its announcement. Kodak DCS Pro SLR/n Kodak DCS Kodak page on the DCS Pro SLR/c
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Kodak DCS Pro SLR/n
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The Kodak Professional DCS Pro SLR/n is a 13.5 megapixel full-frame 35mm digital SLR produced as a collaboration between Nikon Corporation and Eastman Kodak. It was a version of the Kodak Professional DCS Pro 14n series. The camera was announced in early 2004 and became available to purchase mid-year, a monochrome variant named Kodak Professional DCS Pro SLR/n m of the camera existed as well. The camera has no anti-aliasing filter in front of the CMOS sensor, which gives it very high edge acuity and this can be partially compensated for with the software, which has advanced noise reduction capabilities. It also has high dynamic range. It has less of a range of ISO sensitivity than many modern digital SLR cameras. The camera is very unusual for a DSLR in having a long exposure setting where film speeds down to 6 ASA and this would have been useful for Product Photography. s EOS lenses. Both cameras were discontinued on May 31,2005 Kodak DCS Pro SLR/c Kodak DCS The DCS Story
