1.
Photography
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Typically, a lens is used to focus the light reflected or emitted from objects into a real image on the light-sensitive surface inside a camera during a timed exposure. With an electronic sensor, this produces an electrical charge at each pixel. A negative image on film is used to photographically create a positive image on a paper base, known as a print. The word photography was created from the Greek roots φωτός, genitive of φῶς, light and γραφή representation by means of lines or drawing, several people may have coined the same new term from these roots independently. Johann von Maedler, a Berlin astronomer, is credited in a 1932 German history of photography as having used it in an article published on 25 February 1839 in the German newspaper Vossische Zeitung. Both of these claims are now widely reported but apparently neither has ever been confirmed as beyond reasonable doubt. Credit has traditionally given to Sir John Herschel both for coining the word and for introducing it to the public. Photography is the result of combining several technical discoveries, later Greek mathematicians Aristotle and Euclid also independently described a pinhole camera in the 5th and 4th centuries BCE. Daniele Barbaro described a diaphragm in 1566, wilhelm Homberg described how light darkened some chemicals in 1694. The fiction book Giphantie, published in 1760, by French author Tiphaigne de la Roche, the discovery of the camera obscura that provides an image of a scene dates back to ancient China. Leonardo da Vinci mentions natural camera obscura that are formed by dark caves on the edge of a sunlit valley, a hole in the cave wall will act as a pinhole camera and project a laterally reversed, upside down image on a piece of paper. So the birth of photography was primarily concerned with inventing means to capture, renaissance painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western Art. The camera obscura literally means dark chamber in Latin and it is a box with a hole in it which allows light to go through and create an image onto the piece of paper. Around the year 1800, British inventor Thomas Wedgwood made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance and he used paper or white leather treated with silver nitrate. The shadow images eventually darkened all over, the first permanent photoetching was an image produced in 1822 by the French inventor Nicéphore Niépce, but it was destroyed in a later attempt to make prints from it. Niépce was successful again in 1825, in 1826 or 1827, he made the View from the Window at Le Gras, the earliest surviving photograph from nature. Because Niépces camera photographs required a long exposure, he sought to greatly improve his bitumen process or replace it with one that was more practical. With an eye to eventual commercial exploitation, the partners opted for total secrecy, Daguerres efforts culminated in what would later be named the daguerreotype process
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.
Point-and-shoot camera
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A point-and-shoot camera, also called a compact camera, is a still camera designed primarily for simple operation. Most use focus free lenses or autofocus for focusing, automatic systems for setting the exposure options, point-and-shoots are by far the best selling type of separate camera, as distinct from camera phones. They are popular with people who do not consider themselves photographers but want easy-to-use cameras for snapshots of vacations, parties, reunions, point-and-shoot camera sales declined after about 2010 as smartphones overtook them in such uses. Many superzoom compact cameras have optical zoom up to 30x and weigh less than 300 grams, much less than bridge cameras and DSLRs. Most of these cameras use small 1/2.3 sensors. They prioritize intelligent Auto, but some high end P&S cameras have PSAM mode dial, Raw image format, point-and-shoot cameras are distinguished from single-lens reflex cameras in several respects, point-and-shoot film cameras, and many digital ones, use a viewfinder. The image that the photographer sees is not the image that passes through the primary lens of the camera. Rather, the image in the passes through a separate lens. With this mechanism, pictures cannot be previewed on the LCD screens of most digital SLRs, digital cameras eliminate one advantage of the SLR design, as the cameras display image comes through the lens, not a separate viewfinder. Many smaller digital point-and-shoots of the 2010s omit the optical viewfinder, point-and-shoot cameras generally dont have such add-on devices, hence there is no such need. The lowest-end point-and-shoot film cameras are similar to cameras. These cameras have focus-free lenses, with fixed apertures and they may or may not have a light meter. Most have a wheel or lever for advancing the film and cocking the shutter, because of the fixed apertures, models with flash have no way of controlling the exposure from the flash. Therefore, flash pictures have to be taken within a range of distance from the subject. Advanced models use automatic focus and have variable apertures and they use electric motors to advance and rewind the film. They are much more versatile than the low-end models and they are also likely to have zoom lenses, more advanced auto-focus systems, exposure systems with manual controls, larger apertures and sharper lenses. They may have special lamps or pre-flash systems designed to reduce red eye in flash pictures of people, unit total sales of all types of point-and-shoot cameras declined by 17 percent year on year, but increased by 16 percent for cameras having optical zoom greater than 10x. Most film-based point-and-shoots made after the late 1980s use 35mm film, in the 1980s, 35mm was seen as a professional format due to the relative difficulty of loading and rewinding the film versus cartridge based formats such as 110 or disc film
4.
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
5.
Holburne Museum
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The Holburne Museum is located in Sydney Pleasure Gardens, Bath, Somerset, England. The citys first public art gallery, the Grade I listed building, is home to fine, artists in the collection include Gainsborough, Guardi, Stubbs, Ramsay and Zoffany. The museum also provides a programme of exhibitions, music performances, creative workshops, family events, talks. There is a bookshop and a café that opens out onto Sydney Gardens, the museum reopened in May 2011 after restoration and an extension designed by Eric Parry Architects, supported by the Heritage Lottery Fund. The heart of the present day Collection was formed by Sir Thomas William Holburne, as a second son, Thomas William first pursued a naval career. He ultimately inherited the Baronetcy in 1820 following the death of his elder brother Francis at the Battle of Bayonne in 1814. In 1882 Sir Williams collection of over 4,000 objects, pictures and books was bequeathed to the people of Bath by his sister, after the museum was opened the collection has continued to expand with over 2,500 further objects being acquired. Similarly, the scope of the ceramics collection has been widened, with earlier pieces bequeathed by the collectors J Murray Elgar in 1955. Significant acquisitions have increased the Museums collection of British eighteenth and early nineteenth-century paintings. In 1955 the Museum received ten pictures from the bequest of Ernest E Cook and these included works by Gainsborough, Stubbs and Turner. Mid-eighteenth century portraits of the Sargent family by Allan Ramsay came with the bequest of Sir Orme Sargent in 1962, with few exceptions, acquisitions were required to keep with the character of the original Holburne collection to ensure its continued coherence. The museum also owns portraits by artists such as David Fisher. Since 1916 the Museum has been housed in the former Sydney Hotel at the end of Great Pulteney Street. The original design for the Hotel, prepared by Thomas Baldwin in 1794, was a building which would serve the pleasure gardens, known as Sydney Gardens. The gardens remain the only remaining eighteenth-century pleasure gardens in the country, after Baldwin was bankrupted his design for the hotel was not implemented. Instead a three-storey building was designed by Charles Harcourt Masters, the foundation stone was laid in 1796 and the building was ready by 1799. Visitors entered the gardens through the Hotel, projecting from the rear of the building at first floor level was a conservatory and a semi-circular Orchestra with a wide covered loggia below. Two semi-circular rows of supper boxes projected from the sides of the building, the gardens were used daily for promenades and public breakfasts
6.
Bath, Somerset
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Bath is a city in the ceremonial county of Somerset, England, known for its Roman-built baths. In 2011, the population was 88,859, Bath is in the valley of the River Avon,97 miles west of London and 11 miles south-east of Bristol. The city became a World Heritage Site in 1987, the city became a spa with the Latin name Aquæ Sulis c. AD60 when the Romans built baths and a temple in the valley of the River Avon, Bath Abbey was founded in the 7th century and became a religious centre, the building was rebuilt in the 12th and 16th centuries. In the 17th century, claims were made for the properties of water from the springs. Many of the streets and squares were laid out by John Wood, the Elder, and in the 18th century the city became fashionable, Jane Austen lived in Bath in the early 19th century. Further building was undertaken in the 19th century and following the Bath Blitz in World War II, the city has software, publishing and service-oriented industries. Theatres, museums, and other cultural and sporting venues have helped make it a centre for tourism with more than one million staying visitors and 3.8 million day visitors to the city each year. There are several museums including the Museum of Bath Architecture, Victoria Art Gallery, Museum of East Asian Art, the city has two universities, the University of Bath and Bath Spa University, with Bath College providing further education. Sporting clubs include Bath Rugby and Bath City F. C. while TeamBath is the name for all of the University of Bath sports teams. Bath became part of the county of Avon in 1974, and, the hills in the locality such as Bathampton Down saw human activity from the Mesolithic period. Several Bronze Age round barrows were opened by John Skinner in the 18th century, solsbury Hill overlooking the current city was an Iron Age hill fort, and the adjacent Bathampton Camp may also have been one. A long barrow site believed to be from the Beaker people was flattened to make way for RAF Charmy Down, messages to her scratched onto metal, known as curse tablets, have been recovered from the sacred spring by archaeologists. The tablets were written in Latin, and cursed people whom the writers felt had wronged them, for example, if a citizen had his clothes stolen at the baths, he might write a curse, naming the suspects, on a tablet to be read by the goddess. A temple was constructed in AD 60–70, and a complex was built up over the next 300 years. Engineers drove oak piles into the mud to provide a stable foundation, in the 2nd century, the spring was enclosed within a wooden barrel-vaulted structure that housed the caldarium, tepidarium, and frigidarium. The town was given defensive walls, probably in the 3rd century. After the failure of Roman authority in the first decade of the 5th century, in March 2012 a hoard of 30,000 silver Roman coins, one of the largest discovered in Britain, was unearthed in an archaeological dig
7.
International Organization for Standardization
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The International Organization for Standardization is an international standard-setting body composed of representatives from various national standards organizations. Founded on 23 February 1947, the organization promotes worldwide proprietary and it is headquartered in Geneva, Switzerland, and as of March 2017 works in 162 countries. It was one of the first organizations granted general consultative status with the United Nations Economic, ISO, the International Organization for Standardization, is an independent, non-governmental organization, the members of which are the standards organizations of the 162 member countries. It is the worlds largest developer of international standards and facilitates world trade by providing common standards between nations. Nearly twenty thousand standards have been set covering everything from manufactured products and technology to food safety, use of the standards aids in the creation of products and services that are safe, reliable and of good quality. The standards help businesses increase productivity while minimizing errors and waste, by enabling products from different markets to be directly compared, they facilitate companies in entering new markets and assist in the development of global trade on a fair basis. The standards also serve to safeguard consumers and the end-users of products and services, the three official languages of the ISO are English, French, and Russian. The name of the organization in French is Organisation internationale de normalisation, according to the ISO, as its name in different languages would have different abbreviations, the organization adopted ISO as its abbreviated name in reference to the Greek word isos. However, during the meetings of the new organization, this Greek word was not invoked. Both the name ISO and the logo are registered trademarks, the organization today known as ISO began in 1926 as the International Federation of the National Standardizing Associations. ISO is an organization whose members are recognized authorities on standards. Members meet annually at a General Assembly to discuss ISOs strategic objectives, the organization is coordinated by a Central Secretariat based in Geneva. A Council with a membership of 20 member bodies provides guidance and governance. The Technical Management Board is responsible for over 250 technical committees, ISO has formed joint committees with the International Electrotechnical Commission to develop standards and terminology in the areas of electrical and electronic related technologies. Information technology ISO/IEC Joint Technical Committee 1 was created in 1987 to evelop, maintain, ISO has three membership categories, Member bodies are national bodies considered the most representative standards body in each country. These are the members of ISO that have voting rights. Correspondent members are countries that do not have their own standards organization and these members are informed about ISOs work, but do not participate in standards promulgation. Subscriber members are countries with small economies and they pay reduced membership fees, but can follow the development of standards
8.
120 film
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120 is a popular film format for still photography introduced by Kodak for their Brownie No.2 in 1901. It was originally intended for photography but was later superseded in this role by 135 film. 120 film and its relative,220 film, survive to this day as the only medium format films that are readily available to both professionals and amateur enthusiasts. The 120 film format is a film which is nominally 60 mm wide. The film is held in an open spool originally made of wood with metal flanges, later with all-metal, the length of film is typically 30 inches up to 32–33 inches, attached to a piece of backing paper longer and slightly wider than the film. The backing paper protects the film while it is wound on the spool, frame number markings for three standard image formats are printed on the backing paper. The 220 format was introduced in 1965 and is the width as 120 film. Unlike 120 film, however, there is no backing paper behind the film itself, just a leader and this results in a longer film on the same spool, but there are no printed frame numbers. Moreover, it cannot be used in unmodified old cameras that have a red window as frame indicator. Also, since the film alone is thinner than a film with a backing paper, a special pressure plate may be required to achieve optimal focus if the film is registered against its back side. Some cameras capable of using both 120 and 220 film will have a two position adjustment of the plate while others will require different film backs e. g. the Pentax 645 or Kowa Six). The specifications for 120 and 220 film are defined in the ISO732 standard, earlier editions of ISO732 also provided international standards for the 127 and 620 film formats. 120 film allows several frame sizes, the 6×9 frame has the same aspect ratio as the standard 36×24 mm frame of 135 film. The 6×7 frame enlarges almost exactly to 8×10 inch paper, for which reason its proponents call it ideal format, 6×4.5 is the smallest and least expensive roll-film frame size, equipment to take photos in this size is also the lightest. The wide 6×12, 6×17, and 6×24 cm frames are produced by special-purpose, most of these cameras use lenses intended for large format cameras for simplicity of construction. Cameras using 120 film will combine the numbers of the frame size in the name e. g. Pentax 6×7, Fuji 617. The number 6 in general, and the six are also commonly used in naming cameras e. g. Kiev 60. The 105 format was introduced by Kodak in 1898 for their first folding camera and was the original 6×9 cm format roll film, the 117 format was introduced by Kodak in 1900 for their first Brownie camera, the No.1 Brownie, 6×6 cm format
9.
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
10.
828 film
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828 is a film format for still photography. Kodak introduced it in 1935, only a year after 135 film,828 film was introduced with the Kodak Bantam, a consumer-level camera. The 828 format uses the basic film stock as 135 film. The standard image format is 40 ×28 mm and this provides a 30% larger image compared to 135s standard 24 ×36 mm, yet on the same film stock. Because Kodak targeted 828 at a consumer market, the film was much shorter. 828 film originally had one perforation per frame, much like 126 film, unlike 135 or 126,828 is a roll film format, like 120 film. Like 120, it has a paper and frames are registered through a colored window on the back of the camera. 828 cameras never achieved popularity, and the format had a rather limited run. Kodaks last 828 cameras were the Pony 828 in the US, produced until 1959, Kodak ceased production of 828 format film in 1985. The Traid Fotron, sold in the late 1960s, used 828 format film as well, however, the film was enclosed in a proprietary pop-in cartridge and so the consumer never actually saw the film, instead, they merely returned the entire cartridge to Traid for processing. Those wishing to photograph with an 828-format camera have few options, as of 2005,828 film is available for purchase on the Internet, this film is probably respooled from bulk unperforated 35mm film. Another option is to use standard 135 film, with sprocket holes, the effective image size will be reduced with this method as the perforations will intrude on the image area. Finally, as with other obsolete film types,120 film can be cut, Film format List of color film systems List of film formats List of specialist photographic suppliers Wallen, Brian L. Spooling 828 Film Film Rescue USA and Canada processors of 828 format film processors of 828 format film and other Old films
11.
Light meter
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A light meter is a device used to measure the amount of light. In photography, a meter is often used to determine the proper exposure for a photograph. Light meters are used in the fields of cinematography and scenic design. They are used in the field of lighting, where they can help to reduce the amount of waste light used in the home, light pollution outdoors. The earliest type of light meters were called extinction meters and contained a numbered or lettered row of neutral density filters of increasing density. The photographer would position the meter in front of his subject, the letter or number corresponding to the filter was used as an index into a chart of appropriate aperture and shutter speed combinations for a given film speed. Extinction meters suffered from the problem that they depended on the sensitivity of the human eye. Later meters removed the element and relied on technologies incorporating selenium, CdS. Selenium and silicon light meters use sensors that are photovoltaic, they generate a proportional to light exposure. Selenium sensors generate enough voltage for direct connection to a meter, they need no battery to operate, selenium sensors however cannot measure low light accurately and are altogether unable to measure very low light, such as candlelight, moonlight, starlight etc. Silicon sensors need an amplification circuit and require a source such as batteries to operate. CdS light meters use a sensor based on photoresistance, i. e. their electrical resistance changes proportionately to light exposure and these also require a battery to operate. Most modern light meters use silicon or CdS sensors and they indicate the exposure either with a needle galvanometer or on an LCD screen. Many modern consumer still and video include a built-in meter that measures a scene-wide light level and are able to make an approximate measure of appropriate exposure based on that. There are two types of light meters, reflected-light and incident-light. Reflected-light meters measure the light reflected by the scene to be photographed, all in-camera meters are reflected-light meters. Reflected-light meters are calibrated to show the appropriate exposure for “average” scenes and this pitfall is avoided by incident-light meters which measure the amount of light falling on the subject using an integrating sphere placed on top of the light sensor. Because the incident-light reading is independent of the reflectance, it is less likely to lead to incorrect exposures for subjects with unusual average reflectance
12.
Film speed
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Film speed is the measure of a photographic films sensitivity to light, determined by sensitometry and measured on various numerical scales, the most recent being the ISO system. A closely related ISO system is used to measure the sensitivity of digital imaging systems, highly sensitive films are correspondingly termed fast films. In both digital and film photography, the reduction of exposure corresponding to use of higher sensitivities generally leads to reduced image quality, in short, the higher the sensitivity, the grainier the image will be. Ultimately sensitivity is limited by the efficiency of the film or sensor. The speed of the emulsion was then expressed in degrees Warnerke corresponding with the last number visible on the plate after development. Each number represented an increase of 1/3 in speed, typical speeds were between 10° and 25° Warnerke at the time. The concept, however, was built upon in 1900 by Henry Chapman Jones in the development of his plate tester. In their system, speed numbers were inversely proportional to the exposure required, for example, an emulsion rated at 250 H&D would require ten times the exposure of an emulsion rated at 2500 H&D. The methods to determine the sensitivity were later modified in 1925, the H&D system was officially accepted as a standard in the former Soviet Union from 1928 until September 1951, when it was superseded by GOST 2817-50. The Scheinergrade system was devised by the German astronomer Julius Scheiner in 1894 originally as a method of comparing the speeds of plates used for astronomical photography, Scheiners system rated the speed of a plate by the least exposure to produce a visible darkening upon development. ≈2 The system was extended to cover larger ranges and some of its practical shortcomings were addressed by the Austrian scientist Josef Maria Eder. Scheiners system was abandoned in Germany, when the standardized DIN system was introduced in 1934. In various forms, it continued to be in use in other countries for some time. The DIN system, officially DIN standard 4512 by Deutsches Institut für Normung, was published in January 1934, International Congress of Photography held in Dresden from August 3 to 8,1931. The DIN system was inspired by Scheiners system, but the sensitivities were represented as the base 10 logarithm of the sensitivity multiplied by 10, similar to decibels. Thus an increase of 20° represented an increase in sensitivity. ≈3 /10 As in the Scheiner system, speeds were expressed in degrees, originally the sensitivity was written as a fraction with tenths, where the resultant value 1.8 represented the relative base 10 logarithm of the speed. Tenths were later abandoned with DIN4512, 1957-11, and the example above would be written as 18° DIN, the degree symbol was finally dropped with DIN4512, 1961-10
13.
110 film
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110 is a cartridge-based film format used in still photography. It was introduced by Kodak in 1972,110 is essentially a miniaturised version of Kodaks earlier 126 film format. Each frame is 13 mm ×17 mm, with one registration hole, the film is fully housed in a plastic cartridge, which also registers the image when the film is advanced. There is a backing paper, and the frame number. The film does not need to be rewound and is simple to load and unload. It is pre-exposed with frame lines and numbers, a feature intended to make it easier, unlike later competing formats, such as disc and APS film, processed 110 negatives were returned in strips, without the original cartridge. The 110 cartridge was introduced by Kodak in 1972 with Kodak Pocket Instamatic cameras, the new pocket-sized cameras became immediately popular, and soon displaced competing subminiature cameras, such as the Minolta 16 series, from the market. The 110 film width is 16 mm, a four frame strip measures 111 mm. Fujifilm stopped manufacturing 110 in September 2009. Lomography re-commenced 110 film production in 2011, Lomography sell 110 Black and White, Colour negative, and Colour slide film. Such cameras are capable of making high-quality images on 110 film, some of these cameras are quite small and still hold appeal to subminiature-photography enthusiasts. The small negative size of 110 film makes it difficult to enlarge successfully, for these reasons, the 110 format is associated with prints that are often rather grainy and unsharp. This has led to the misconception that the cartridge itself is incapable of holding film flat enough for making high-quality negatives, the 110 cartridge, as specified by Kodak, has a plastic tab on one end. Camera designers had the option of using this tab to sense film speed, a short tab indicated high-speed film, and a long tab indicated low-speed film. Kodak left it to the manufacturer to decide which film speeds were high or low. Only a few took advantage of this feature, Rollei A110, Canon 110 ED, Minolta 110 Zoom SLR Mark I/II, Minox 110S. The last 110 film that Kodak produced was ISO400 speed packed in a cartridge that senses as low speed, as shown in the photograph to the right, these cartridges can be modified by hand so that they signal the proper speed to the camera. Although the format is associated with print film, Kodak also produced Kodachrome 110 slide film until 1982. In 2012 Lomography re-introduced slide film for 110 with their Peacock 200 ASA model, however, since not all 110 cameras have a settable ASA dial, a ND filter has to be used over the lens or the exposure compensation dial has to be used where available
14.
8 mm film
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8 mm film is a motion picture film format in which the film strip is eight millimeters wide. It exists in two main versions — the original standard 8 mm film, also known as regular 8 mm or Double 8 mm, and Super 8. Although both standard 8 mm and Super 8 are 8 mm wide, Super 8 has a larger image area because of its smaller and more widely spaced perforations. There are also two varieties of Super 8—Single 8 mm and Straight-8 that require different cameras, but produce a final film with the same dimensions. After the film is developed, the processor splits it down the middle, resulting in two lengths of 8 mm film, each with a single row of perforations along one edge. Each frame is half the width and half the height of a 16 mm frame, so there are four times the number of frames in a film area. Because of the two passes of the film, the format was sometimes called Double 8, the frame size of regular 8 mm is 4.8 mm ×3.5 mm and 1 meter of film contains 264 pictures. Normally Double 8 is filmed at 16 or 18 frames per second, common length film spools allowed filming of about 3 minutes to 4.5 minutes at 12,15,16 and 18 frames per second. Kodak ceased sales of standard 8 mm film under its own brand in the early 1990s, but continued to manufacture the film, some specialists also produce Super 8 mm film from existing 16 mm, or even 35 mm film stock. In 1965, Super-8 film was released and was adopted by the amateur film-maker. It featured a better quality image, and was easier to use due to a cartridge-loading system that did not require reloading and rethreading halfway through. In reality, this was not the case, the plastic pressure plate could be moulded to far tighter tolerances than their metal counterparts could be machined. To easily differentiate Super 8 film from Standard 8, projector spools for the former had larger spindle holes, therefore, it was not possible to mount a Super 8 spool on a Standard 8 projector, and vice versa. Another version of Super-8 film, Single-8, was produced by Fuji in Japan, introduced in 1965 as an alternative to the Kodak Super 8 format, it had the same final film dimensions, but with a different cassette. Unlike the co-axial design of Super 8, the Single 8 cartridge featured one spool above the other. A number of companies offered single width 8 mm film in magazines or spools. The first single run 8mm film was offered in 1935 with a Bell & Howell movie camera Filmo 127-A called Straight Eight. Single width 8 mm film revived in the United States by Bolsey-8 in 1956, introduced in 2011 by Nicholas Kovats, and implemented by Jean-Louis Seguin, this format uses Standard 8 film in a modified Bolex camera
15.
Minolta
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Minolta Co. Ltd. was a Japanese worldwide manufacturer of cameras, camera accessories, photocopiers, fax machines, and laser printers. Minolta was founded in Osaka, Japan, in 1928 as Nichi-Doku Shashinki Shōten and it is perhaps best known for making the first integrated autofocus 35mm SLR camera system. In 1931, the company adopted its current name, an acronym for Mechanism, Instruments, Optics, in 1933, the brand name first appeared on a camera, a copy of the Plaubel Makina simply called Minolta. In 2003, Minolta merged with Konica Corporation to form Konica Minolta,1928, Kazuo Tashima establishes Nichi-Doku Shashinki Shōten. 1929, Marketed the companys first camera, the Nifcarette,1937, The Minolta Flex is Japans second twin-lens reflex camera. 1947, Introduction of the long lived 35mm rangefinder camera Minolta-351958,1962, John Glenn takes a specially modified Ansco-logoed Minolta Hi-Matic camera into space aboard Friendship 7. The company changes its name to Minolta Camera Co. Ltd,1966, The Minolta SR-T101 SLR camera is one of the first with TTL full aperture light metering. The first is Topcon RE Super from 1963,1972, Minolta signs an agreement to cooperate with Leica in SLR development,1973, The Minolta CL is the first fruit of this agreement. 1976, The Leica R3 is introduced, Minolta produces the R3, R4, and R5 models in the Leica R series. Subsequent cameras are built in Germany by Leica themselves,1977, The Minolta XD-11 is introduced, the worlds first multi mode SLR offering M, A, S modes, with a Program override in S mode effected by a computer chip, the worlds first Program mode. 1981, Implementation of Minoltas invention and patent of TTL OTF exposure metering, the Minolta X-700 manual-focus SLR is introduced, this model is sold until 1999 and is enormously successful. The Minolta XD-11 is the first Minolta product branded with an updated logo,1985, The Minolta Maxxum 7000 Alpha Mount Camera becomes the worlds first autofocus 35mm SLR with in-camera autofocus motor. 1987, Honeywell files lawsuit against Minolta for patent infringement over autofocus technologies,1991, Minoltas autofocus design was found to infringe on the patents of Honeywell, a U. S. corporation. 1994, The company changes its name to Minolta Co. Ltd. because it no longer is primarily a camera company,1995, Introduction of the Minolta RD-175, a 1. 75-megapixel digital SLR camera. 1996, The Minolta Vectis camera is a completely new SLR system designed around the Advanced Photo System film format,1998, The Minolta Maxxum 9 autofocus SLR is introduced. This system is targeted toward the photographer and has many features not duplicated by the competition. 2003, DiMAGE A1 introduced worlds first sensor-based anti-shake, and was the final Minolta product branded prior to the Konica Minolta merger,2004, Minolta and Konica officially merge to become Konica Minolta Holdings, Inc. 2005, The company announces joint venture with Sony on CCD,2006, Konica Minolta announces it is discontinuing all film and digital camera production, ending a 78-year history as a camera manufacturer
16.
Rollei
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Later products included specialty and nostalgic type films for the photo hobbyist market. Originally named Werkstatt für Feinmechanik und Optik, Franke & Heidecke, KG, in 1979, and Rollei Fototechnic GmbH & Co. After being purchased in 1995 by Samsung Techwin, part of the South Korean Samsung Group, in 2002, it was bought by a Danish investment group, and renamed Rollei GmbH in 2004. Following another restructuring in 2007, Rollei was split into three companies, Franke & Heidecke GmbH, Feinmechanik und Optik focused on the production of professional medium format cameras and slide projectors, while RCP-Technik GmbH & Co. Finally, Rollei Metric GmbH took over the photogrammetry business, in early 2009, Franke & Heidecke GmbH, Feinmechanik und Optik declared itself insolvent. DHW Fototechnik presented two new Rolleiflex cameras and a new electronic shutter at photokina 2012, DHW itself filed for insolvency on 2014-08-15 and was dissolved in April 2015, thereby ending any further production of cameras, lenses and accessories. As of 2015 the brands Rollei and Rolleiflex continue to be owned by the RCP Technik Verwaltungs GmbH, on 2015-01-01, the RCP-Technik GmbH & Co. KG refirmed as Rollei GmbH & Co, KG to market digital consumer cameras and accessories under the Rollei label in Europe. Rollei was a German company that established a reputation with the Rolleiflex. Rollei was founded in 1920 as the Werkstatt für Feinmechanik und Optik, the company changed its name and legal form many times, to Rollei-Werke Franke & Heidecke in 1962, to Rollei-Werke Franke & Heidecke GmbH & Co. KG in 1979, to Rollei Fototechnic GmbH & Co, KG in 1981, and finally to Rollei GmbH in 2004. In 2006, the headquarters of Rollei GmbH were moved to Berlin while production was transferred to Rollei Produktion GmbH, currently Franke & Heidecke GmbH, the company underwent more radical restructuring in 2007/08. Rolleis decision to start manufacturing in Singapore in 1970 was regarded as an achievement by the photographic industry. Unfortunately, it damaged the companies reputation as a German precision manufacturer. In 1982, after failed attempts at restructuring, the company finally achieved success by focusing on medium format cameras along with a few other products. Surveying systems were added to the range in 1986, and modern digital. Over the years, many great photographers have used Rollei cameras, David Bailey and Diane Arbus, Brett Weston, and Helmut Newton, amongst others. Rollei cameras typically used Carl Zeiss or Schneider Kreuznach lenses, as well as manufactured by Rollei based on designs by Zeiss
17.
Yashica
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Yashica was a Japanese manufacturer of cameras. The trademark rights of Yashica are now owned by Hong Kong-based MF Jebsen Group, in 2015, trademark rights were transferred to Yashica International Company Limited and appointed 100 Enterprises International Group Co. Limited as Yashica Global Sole Agent, the company began in December 1949 in Nagano, Japan, when the Yashima Seiki Company was founded with an initial investment of $566. Its eight employees originally manufactured components for electric clocks, while the Yashimaflex used lenses labeled Tri-Lausar, successive models used Yashikor and Yashinon lenses. All of these lenses were manufactured for Yashica by the Tomioka Optical Works, late in 1953, Yashima Seiki Company became Yashima Optical Industry Company, Ltd. In 1957, Yashima founded Yashica, Inc. a subsidiary arm in New York City to manage marketing efforts in the United States,1957 also marked the introduction of a popular new TLR camera series, the Yashica Mat line. As well as an 8mm cine movie camera, during the next year and a half, Yashima continued to grow, with 1,982 employees by 1958. Later in 1958, Yashima changed its name to Yashica Company, Ltd, the Nicca acquisition was fortuitous, as the designs acquired assisted Yashica in expanding its product line into advanced 35mm rangefinder cameras. The Yashica Pentamatic, an advanced, modern 35mm Single Lens Reflex camera with a proprietary bayonet-mount, automatic diaphragm, as before, Yashica continued to source its lenses from the Tomioka Optical factory. Around 1959–1960, Yashica acquired the assets of the bankrupt Zunow Optical Industry Co. Ltd, with the assistance of Tomioka Optical Works, Yashica adapted Zunow lens designs into its own 8mm turret cine cameras. Like Zunow, Yashica found it difficult to gain acceptance with its proprietary SLR lens mount. The new SLR camera was introduced as the Penta J, the company continued to expand its international markets, and in August 1968, Yashica finally acquired its lens manufacturer, the Tomioka Optical and Machine Manufacturing Co. Ltd. By this time, Tomioka was one of the largest and most reputable lens manufacturers in Japan, sales of 35mm SLRs continued to grow steadily, and Yashica was quickly acquiring a reputation for both electronic camera expertise and high-quality optics. 1968 also marked the year of Yashicas last major TLR camera design, the Yashica Mat-124, in 1968, Yashica introduced the TL Electro-X 35mm single lens reflex camera and produced it until 1974. It had a screw thread lens mount, the M42 lens mount and it also had an all-electronic through-the-lens exposure meter in the viewfinder using LEDs. The Copal Square SE shutter, a metal blade focal plane shutter made by Copal Corporation. In 1972, Yashica introduced the TL Electro 35mm SLR camera which was similar to the Pentax Spotmatic camera made by the Asahi Optical Company. The TL Electro also used the electronic exposure LEDs that the prior TL Electro-X had introduced as well as the M42 screw threaded lens mount for its interchangeable lenses, the F. Alexander Porsche Group was hired to complete an ergonomic and styling study of the new camera
18.
Carl Zeiss AG
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Carl Zeiss is a German manufacturer of optical systems, industrial measurements and medical devices, founded in Jena, Germany in 1846 by optician Carl Zeiss. Together with Ernst Abbe and Otto Schott they built a base for modern optics, there are currently two parts of the company, Carl Zeiss AG located in Oberkochen with important subsidiaries in Aalen, Göttingen and Munich, and Carl Zeiss GmbH located in Jena. Carl Zeiss AG is the company of the Zeiss Gruppe. The Zeiss Gruppe is located in Heidenheim and Jena, also controlled by the Carl-Zeiss-Stiftung are the glass manufacturers Schott AG and Jenaer Glas, located in Mainz and Jena respectively. Carl Zeiss is one of the oldest existing optics manufacturers in the world, Carl Zeiss opened an optics workshop in Jena in 1846. By 1847 he was making microscopes full-time, by 1861 Zeiss was considered to be among the best scientific instrument makers in Germany with about 20 people working under him with his business still growing. By 1866 the Zeiss workshop sold their 1, 000th microscope, in 1872 physicist Ernst Abbe joined Zeiss and along with Otto Schott designed greatly improved lenses for the optical instruments they were producing. After Carl Zeisss death in 1888, the business was incorporated as the Carl-Zeiss-Stiftung in 1889, by World War I, Zeiss was the worlds largest location of camera production. Zeiss Ikon represented a significant part of the production along with dozens of brands and factories. The Hensoldt System Technology division was continued by Zeiss under the Hensoldt name until 2006, as part of Nazi Germany Zwangsarbeiter program, Zeiss used forced labour during the Second World War. The destruction of the war caused many companies to divide into smaller subcompanies, at the end of the war Jena was occupied by the US Army. As part of the World War II reparations, the Soviet army took most of the existing Zeiss factories and tooling back to the Soviet Union as the Kiev camera works. The western business was restarted in Oberkochen as Opton Optische Werke Oberkochen GmbH in 1946, which became Zeiss-Opton Optische Werke Oberkochen GmbH in 1947, but was soon renamed to Carl Zeiss. West German Zeiss products were labelled Opton for sale in the Eastern bloc and this collaboration continued under Yashicas successor, Kyocera, until the latter ceased all camera production in 2005. Zeiss later produced lenses for the industry and, more recently, has again produced high-quality 35 mm camera lenses. Jenoptik GmbH was split off as a specialty company in the areas of photonics, optoelectronics, the Hensoldt AG was renamed Carl Zeiss Sports Optics GmbH on 1 October 2006. The companies of the Zeiss Gruppe in and around Dresden have branched into new technologies, screens and products for the automotive industry, today, there are arguably three companies with primarily Zeiss Ikon heritage, Zeiss Germany, the Finnish/Swedish Ikon, and the independent eastern Zeiss Ikon. On 28 June 2013, Carl Zeiss officially announced its plan to rename the brand from Carl Zeiss to simply Zeiss, all the products will be standardized under the Zeiss brand
19.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal climate and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
20.
35mm format
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The 35 mm format, or simply 35 mm, is the common name for the 36×24 mm film format or image sensor format used in photography. It has a ratio of 3,2, and a diagonal measurement of approximately 43 mm. The format originated with Oskar Barnack and his introduction of the Leica camera in the 1920s, thus it is sometimes called the Leica format or Barnack format. The name 35 mm originates with the width of the 135 film. The term 135 format remains in use, in digital photography, the format has come to be known as full frame, FF or FX, the latter invented as a trade mark of Nikon. Historically the 35 mm format was sometimes called miniature format or small format, terms meant to distinguish the it from the medium, the 35 mm format was conceived by Oskar Barnack by doubling the size of the 24×18 mm format used in cinema. The term 35 mm camera usually refers to a photographic film camera which uses the 35 mm format on 135 film. Such cameras have been produced by Leica, Kodak, Nikon, Canon, Minolta, Olympus, Contax, Pentax, Carl Zeiss, Fujifilm, and numerous other companies. Many digital image sensors approximate the dimensions of the 35 mm format, since 2007, Nikon has referred to their 35 mm format by the trade mark FX. Other makers of 35 mm format cameras, including Leica, Sony. A true normal lens for 35 mm format would have a length of 43 mm. However, lenses of 43 mm to 60 mm are considered normal lenses for the format, in mass production. Common focal lengths of lenses made for the format include 24,28,35,50,85,105, and 135 mm. Most commonly, a 50 mm lens is the one considered normal, any lens shorter than this is considered a wide angle lens, even then, wide angles shorter than 24 mm is called an extreme wide angle. Many photographers think about angle of view in terms of 35 mm format lenses, for example, a photographer might associate a 50 mm focal length with a normal perspective, because a 50 mm lens produces that perspective on this format. With many smaller formats now common, lenses may be advertised or marked with their 35 mm equivalent or full-frame equivalent focal length as a mnemonic. This equivalent is computed by multiplying the focal length of the lens by the ratio of the diagonal measurement of the native format to that of the 35 mm format. For example, a lens for APS-C format with a length of 40 mm
21.
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
22.
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
23.
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
24.
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
25.
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
26.
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
27.
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
28.
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
29.
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
30.
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
31.
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
32.
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
33.
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
34.
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
35.
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
36.
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
37.
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
38.
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
39.
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
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