1.
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
2.
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
3.
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
4.
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
5.
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
6.
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
7.
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
8.
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
9.
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
10.
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
