1.
Roll film
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The term originated in contrast to sheet film. Confusingly, roll film was often referred to as cartridge film because of its resemblance to a shotgun cartridge. The opaque backing paper allows roll film to be loaded in daylight and it is typically printed with frame number markings which can be viewed through a small red window at the rear of the camera. A spool of film is usually loaded on one side of the camera. In 1881 a farmer in Cambria, Wisconsin, Peter Houston and his younger brother David, filed the patents for various components of Peters camera. David Henderson Houston, originally from Cambria, Wisconsin, patented the first holders for flexible roll film, Houston moved to Hunter in Dakota Territory in 1880. He was issued an 1881 patent for a film holder which he licensed to George Eastman. Houston sold the patent outright to Eastman for $5000 in 1889, Houston continued developing the camera, creating 21 patents for cameras or camera parts between 1881 and 1902. In 1912 his estate transferred the remainder of his patents to Eastman, the most popular rollfilm is the type 120 film format, which is used in most medium-format cameras and roll film magazines for large-format cameras. Until the 1950s,120 roll film was used in what was then the most simple of snapshot cameras. The use of film in consumer cameras was largely superseded by 135 and 126 cartridges. Film stock Brownie Category, Film formats Film format List of color film systems List of film formats
2.
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
3.
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
4.
135 film
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135 is photographic film in a film format used for still photography. It is a film with a film gauge of 35 mm. Its engineering standard for the film is controlled by ISO1007, the term 135 was introduced by Kodak in 1934 as a designation for the cassette for 35 mm film, specifically for still photography. It quickly grew in popularity, surpassing 120 film by the late 1960s to become the most popular photographic film size, despite competition from formats such as 828,126,110, and APS, it remains so today. 135 camera film always comes perforated with Kodak Standard perforations, the size of the 135 film frame has been adopted by many high-end digital single-lens reflex and digital mirrorless cameras, commonly referred to as full frame. Even though the format is smaller than historical medium format and large format film, it is much larger than image sensors in most compact cameras. Individual rolls of 135 film are enclosed in single-spool, light-tight, the film is clipped or taped to a spool and exits via a slot lined with flocking. The end of the film is cut on one side to form a leader and it has the same dimensions and perforation pitch as 35 mm movie print film. Most cameras require the film to be rewound before the camera is opened, disposable cameras use the same technique so that the user does not have to rewind. Since the 1980s film cassettes have been marked with a DX encoding pattern, conforming cameras detect this, different films are sensitive to light at different degrees, this film speed is standardised by ISO.135 film has been made in several emulsion types and sensitivities. Since the introduction of digital cameras the most usual films have colour emulsions of ISO 100/21° to ISO 800/30°, films of lower sensitivity and higher sensitivity are for more specialist purposes. There are colour and monochrome films, negative and positive, monochrome film is usually panchromatic, orthochromatic has fallen out of use. Film designed to be sensitive to infrared radiation can be obtained, more exotic emulsions have been available in 135 than other roll-film sizes. The term 135 format usually refers to a 36×24 mm film format, the 36×24 mm format is common to digital image sensors, where it is typically referred to as full frame format. On 135 film, the dimension of the 36×24 mm frame runs parallel to the length of the film. The perforation size and pitch are according to the standard specification KS-1870, for each frame, the film advances 8 perforations. This is specified as 38.00 mm and this allows for 2 mm gaps between frames. Each camera model has a different location for the sprocket which advances the film, therefore, each camera model’s frame will vary in position relative to the perforations
5.
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
6.
Folding camera
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A folding camera is a camera type. Folding cameras fold into a compact and rugged package for storage, the lens and shutter are attached to a lens-board which is connected to the body of the camera by a light-tight folding bellows. When the camera is fully unfolded it provides the focus distance from the film. The key advantage of folding cameras is their excellent physical-size to film-size ratio when the camera is folded for storage, portable folding cameras dominated camera design from the 1890s to 1930s and were significant into the late 1940s. Specialized cameras such as the Polaroid SX-70 Instant film camera, the typical amateur camera of the early 20th Century made various postcard sized negatives around 4 ×5. By the 1930s 6cm × 9cm cameras for either the 120 or 620 film size, were highly popular, 35mm film made small-sized cameras practical without using bellows. Lens technology allowed 120/620 cameras to use shorter focal distances, however, some 35mm cameras continued to be built as folding cameras, e. g. the original Kodak Retina. Medium format folders were produced in USSR until the 1960s
7.
126 film
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For the unrelated roll-film format produced from 1906 to 1949, see 126 film. 126 is the given to a cartridge-based film format used in still photography. It was introduced by Kodak in 1963, and is associated mainly with low-end point-and-shoot cameras, although 126 was once very popular, as of 2008 it is no longer manufactured, and few photofinishers will process it. In 1963, Kodak introduced a new film, encased in a plastic cartridge, the term 126 was intended to show that images were 26 mm square, using Kodaks common 1xx film numbering system. However the image size is actually 28×28 mm, but usually reduced to approximately 26. 5×26.5 mm by masking during printing or mounting, the 126 film format was defined in ISO3029, which has since been withdrawn. Like the 120 format, there is a backing paper. The cartridge has a captive take-up spool, but no supply spool, the positioning of the image is fixed by the cartridge. The film is 35 mm wide, but unlike 135 film, it is unperforated, except for one registration hole per image, similar to the earlier 828 film. The top edge of the cartridge above the gate has a square notch in a specific position corresponding to the speed of the film in the cartridge. Some of the cameras used this notch to determine the correct exposure, or to set the light meter. Although only film with speeds between ISO 64/19° and ISO 400/27° were ever manufactured in this format, the standard defined 20 different speeds, the film was originally available in 12 and 20 image lengths, at the time regular production stopped it was only available in 24 exposure cartridges. The film does not need to be rewound, and is simple to load and unload. The format was introduced by Kodak under the brand name Kodapak, around ten million cameras were made by Kodak and other companies. However, with a few exceptions, the format was used for fairly simple amateur cameras. Kodak officially discontinued the format on 31 December 1999, Ferrania in Italy, was the last factory producing 126 film. Their product was an ISO200 colour print film marketed under their Solaris brand, the last scheduled production run took place in April 2007, but an unscheduled production run in late 2007 surprised industry observers and raised hopes that it had not actually been discontinued. As of March 2009, Ferrania customer service states that they are producing only 135 format color film in 200 and 400 ASA. Adocolor 126, which was recently available in Europe and was sometimes imported by North American resellers, was manufactured for the German Adox company by Ferrania
8.
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
9.
Autographic film
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The autographic system for roll film was launched by Kodak in 1914, and allowed the photographer to add written information on the film at the time of exposure. The system was patented by Henry Jacques Gaisman, inventor and safety razor manufacturer, george Eastman purchased the rights for US$300,000. It consisted of a tissue-like carbon paper sandwiched between the film and the paper backing, text was entered using a metal stylus, and would appear in the margin of the processed print. The system was never popular, and was discontinued in 1932. Kodaks autographic films had A as the first part of the film size designation, thus, standard 122 film would be labeled 122 and autographic 122 would be A122. Autographic roll film sizes were A116, A118, A120, A122, A123, A126, A127, the autographic feature was marketed as having no extra charge. In 1915, Kodak also sold upgrade autographic backs for their existing cameras, Film format Size A118 Autographic Film Cartridge Autographic camera and stylus Article by David Silver
10.
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
11.
Zeiss Ikon Kolibri
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The Kolibri 523/18 was a camera by Zeiss Ikon, made between 1930 and 1935. The Kolibri took sixteen 3x4cm exposures on 127 film, the camera featured a collapsible lens tube and was arranged in a vertical format, with a flip-up viewfinder on the top. On the right-hand side was the winding knob and a tripod bush, the lens had small feet on either side, so the camera would stand horizontally, and a strut could be fixed below the lens to balance the camera vertically. There were two red windows on the back, for the image format. A supplementary close-up lens was available, called Proxar, which allowed focusing down to 30 cm, lens, Carl Zeiss Tessar 5 cm/f3.5 or f4.5, Novar f6.3 or Biotar f2. Shutter, Compur or Telma Film,127,16 3x4cm images powerhousemuseum. com amdmacpherson. com Users manual
12.
Exakta
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The Exakta was a camera produced by the Ihagee Kamerawerk in Dresden, Germany, founded as the Industrie und Handels-Gesellschaft mbH, in 1912. The inspiration and design of both the VP Exakta and the Kine Exakta are the work of the Ihagee engineer Karl Nüchterlein, highlights of Exakta cameras include, First single-lens reflex camera for 127 roll film came in 1933. First built-in flash socket, activated by the shutter, in 1935, First SLR for 35mm film came in 1936, the Kine Exakta. Early Kine Exaktas had a fixed waist-level viewfinder, but later models, examat and Travemat Through-the-lens metering prisms were introduced in the mid-1960s. Most controls—including the shutter release and the film wind lever—are on the left-hand side, the film is transported in the opposite direction to other 35mm SLRs. In classic Exaktas—made between 1936 and 1969—two film canisters can be used, one containing unexposed film and a second into which is wound the exposed film, the knife was omitted in the Exakta VX500, one of the last official Exakta cameras. The shutter release on classic Exaktas is on the front of the camera and it is pressed with the left forefinger. This is quite similar to the Praktina design, the shutter-release of which was located on the side of the camera-body front. Equipment is fully compatible between all models manufactured between 1936 and 1969, a related line of smaller, simpler cameras was the Exa line, these, too, existed in several variations. The Beseler Topcon line of 35mm cameras used the same mount as the Exakta. In the early 1970s the Exakta RTL1000 was introduced, it accepted the older models lenses but had its own range of viewfinders, m42 lens mount variants of the RTL line of cameras also appeared under the Practica name. After an economic collapse following Germanys reunification, the successor of the firm is now back in business and this company is not related to the Dutchman Johan Steenbergen, the founder of Ihagee, or with the Exakta, which was discontinued in the 1970s. The Exakta RTL1000, later simply RTL1000, is not considered a true Ihagee Exakta having only the lens mount in common with earlier Ihagee Exaktas. As the name Varex was already a trademark in the USA. As such, cameras sold in Europe that bore the name Varex, were sold in the United States as V or VX. Some camera imports were simply censored during shipment, their Varex stricken out with a silver to match the colour of the camera body, ISBN 2-9519891-0-5 Spiegelreflexkameras aus Dresden, Richard Hummel, Spiegelreflexkameras aus Dresden
13.
Single-lens reflex camera
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A single-lens reflex camera is a camera that typically uses a mirror and prism system that permits the photographer to view through the lens and see exactly what will be captured. With twin lens reflex and rangefinder cameras, the image could be significantly different from the final image. When the shutter button is pressed on a mechanical SLR, the mirror out of the light path, allowing light to pass through to the light receptor. Prior to the development of SLR, all cameras with viewfinders had two light paths, one path through the lens to the film, and another path positioned above or to the side. Because the viewfinder and the lens cannot share the same optical path. This is not problematic for pictures taken at a middle or longer distance, moreover, focusing the lens of a fast reflex camera when it is opened to wider apertures is not easy. Most SLR cameras permit upright and laterally correct viewing through use of a roof pentaprism situated in the path between the reflex mirror and viewfinder. When the shutter is released, the mirror out of the light path. The Canon Pellix film camera was an exception to the mirror system. Focus can be adjusted manually by the photographer or automatically by an autofocus system, the viewfinder can include a matte focusing screen located just above the mirror system to diffuse the light. This permits accurate viewing, composing and focusing, especially useful with interchangeable lenses, nearly all inexpensive compact digital cameras now include an LCD preview screen allowing the photographer to see what the CCD is capturing. However, SLR is still popular in high-end and professional cameras because they are system cameras with interchangeable parts and they also have far less shutter lag, allowing photographs to be timed more precisely. Also the pixel resolution, contrast ratio, refresh rate, and color gamut of an LCD preview screen cannot compete with the clarity, large format SLR cameras were probably first marketed with the introduction of C. R. Smiths Monocular Duplex. SLRs for smaller exposure formats were launched in the 1920s by several camera makers, the first 35mm SLR available to the mass market, Leicas PLOOT reflex housing along with a 200mm f4.5 lens paired to a 35mm rangefinder camera body, debuted in 1935. The Soviet Спорт, also a 24mm by 36mm image size, was prototyped in 1934, K. Nüchterleins Kine Exakta was the first integrated 35mm SLR to enter the market. Additional Exakta models, all with waist-level finders, were produced up to, another ancestor of the modern SLR camera was the Swiss-made Alpa, which was innovative, and influenced the later Japanese cameras. The Duflex, which went into production in 1948, was also the worlds first SLR with an instant-return mirror. The first commercially produced SLR that employed a roof pentaprism was the Italian Rectaflex A, the Japanese adopted and further developed the SLR
14.
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
15.
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
16.
Twin-lens reflex camera
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A twin-lens reflex camera is a type of camera with two objective lenses of the same focal length. One of the lenses is the objective or taking lens, while the other is used for the viewfinder system. In addition to the objective, the viewfinder consists of a 45-degree mirror, a focusing screen at the top of the camera. The two objectives are connected, so that the focus shown on the screen will be exactly the same as on the film. However, many inexpensive pseudo TLRs are fixed-focus models, most TLRs use leaf shutters with shutter speeds up to 1/500th sec with a B setting. For practical purposes, all TLRs are film cameras, most often using 120 film, although there are examples which used 620 film,127 film. No general-purpose digital TLR cameras exist, since the heyday of TLR cameras ended long before the era of digital cameras, in 2015, MiNT Camera released Instantflex TL70, a twin-lens reflex camera that uses Fuji instax mini film. This sort of approach was used as late as the 1960s. The TLR camera was thus an evolution, using a reflex mirror to allow viewing from above also enabled the camera to be held much more steadily than if it were to be held in the hand. When this process was automated, the movement of the mirror could cause shake in the camera, the London Stereoscopic Cos Carlton model is claimed to have been the first off-the-shelf TLR camera, dating from 1885. The major step forward to mass marketing of the TLR came with the Rolleicord and then Rolleiflex in 1929, the Rolleiflex was widely imitated and copied and most mass-market TLR cameras owe much to its design. TLRs are still manufactured in Germany by DHW Fototechnik, the successor of Franke & Heidecke in three versions, higher-end TLRs may have a pop-up magnifying glass to assist the user in focusing the camera. In addition, many have a sports finder consisting of a hole punched in the back of the pop-up hood. Photographers can sight through these instead of using the matte screen and this is especially useful in tracking moving subjects such as animals or race cars, since the image on the matte screen is reversed left-to-right. It is nearly impossible to accurately judge composition with such an arrangement, bayonet-mount TLRs, notably Rolleis & Yashicas, had both wide-angle and tele supplementary front add-ons, with Rolleis Zeiss Mutars being expensive but fairly sharp. The Mamiya TLRs also employ bellows focusing, making extreme closeups possible, many TLRs used front and back cut-outs in the hinged top hood to provide a quick-action finder for sports and action photography. Late model Rollei Rolleiflex TLRs introduced the widely copied additional feature of a sports finder. This permits precise focusing while using the sports finder feature, the magnified central image is reversed both top-to-bottom and left-to-right
17.
Superslide (film)
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127 is a roll film format for still photography introduced by Kodak in 1912. The film itself is 46 mm wide, placing it between 35 mm and 120 medium format films in terms of size, the image format normally used is a square 4 cm ×4 cm. However, rectangular 4 cm ×3 cm and 4 cm ×6 cm are also standard,127 enjoyed mainstream popularity until its usage began to decline from the 1960s onwards in the face of newer, cartridge-based films. However, as of 2016 it survives as a format and is still in production. 127 is a film,46 mm wide. Using the square format, there are 12 exposures per roll, 4×3 and 4×6 give 16 and 8, less commonly, other frame sizes have been used. For its “Alfax” model, Kimura Kōgaku had 4 cm ×4.5 cm frames, spaced by markings on the wind knob. In addition, the manufacturer C. F. Foth & Co. used a format of 3.6 cm ×2.4 cm for initial versions of their 127-based “Derby” camera. The format was introduced by Kodak in 1912, along with the “Vest Pocket Kodak” folding camera, the folding “127s” were in fact smaller than most 35 mm cameras today. 127 cameras from that era were often characterized by simple box-like construction, the format was part of the ISO732 standard until it was dropped in the third edition of that standard. Not all 127 films were labelled as such, after 1913, many Kodak cameras included the Autographic feature, and Kodak’s 127 films which had Autographic backing were identified as A127. Other film manufacturers did not produce Autographic films, for which Kodak held a patent, other camera manufacturers did make Vest Pocket-format cameras, however, and 127 film at the time was often labeled “Vest Pocket Film”. Few photofinishers made enlargements at the time the film was introduced, the later, more expensive 127 cameras featured lenses that were good enough to permit enlargement. 127 color transparencies can be mounted in standard 2” square slide mounts, Kodak stopped producing 127 film in July,1995, with all but one manufacturer following suit shortly thereafter. Fotokemika of Samobor, Croatia, continued to make 127 film, macophoto UP100 and Jessops 200 were made and packaged by Fotokemika. Chromazone 127 film is also sold intermittently on eBay, in July 2009, Rollei introduced Rollei Retro 80S film, available in 127 format. In August,2014, Maco announced that they will be selling black-and-white 127 film under the Rera Pan brand and this film is manufactured in Japan by EZOX Corporation, who are better known for manufacturing agricultural equipment and bicycles. Category, Film formats Film format List of color film systems List of film formats 127 format cameras in the 21st century, the use of these cameras today Silver, David
18.
Croatia
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Croatia, officially the Republic of Croatia, is a sovereign state between Central Europe, Southeast Europe, and the Mediterranean. Its capital city is Zagreb, which one of the countrys primary subdivisions. Croatia covers 56,594 square kilometres and has diverse, mostly continental, Croatias Adriatic Sea coast contains more than a thousand islands. The countrys population is 4.28 million, most of whom are Croats, the Croats arrived in the area of present-day Croatia during the early part of the 7th century AD. They organised the state into two duchies by the 9th century, tomislav became the first king by 925, elevating Croatia to the status of a kingdom. The Kingdom of Croatia retained its sovereignty for nearly two centuries, reaching its peak during the rule of Kings Petar Krešimir IV and Dmitar Zvonimir, Croatia entered a personal union with Hungary in 1102. In 1527, faced with Ottoman conquest, the Croatian Parliament elected Ferdinand I of the House of Habsburg to the Croatian throne. In 1918, after World War I, Croatia was included in the unrecognized State of Slovenes, Croats and Serbs which seceded from Austria-Hungary, a fascist Croatian puppet state backed by Fascist Italy and Nazi Germany existed during World War II. After the war, Croatia became a member and a federal constituent of the Socialist Federal Republic of Yugoslavia. On 25 June 1991 Croatia declared independence, which came wholly into effect on 8 October of the same year, the Croatian War of Independence was fought successfully during the four years following the declaration. A unitary state, Croatia is a republic governed under a parliamentary system, the International Monetary Fund classified Croatia as an emerging and developing economy, and the World Bank identified it as a high-income economy. Croatia is a member of the European Union, United Nations, the Council of Europe, NATO, the World Trade Organization, the service sector dominates Croatias economy, followed by the industrial sector and agriculture. Tourism is a significant source of revenue during the summer, with Croatia ranked the 18th most popular tourist destination in the world, the state controls a part of the economy, with substantial government expenditure. The European Union is Croatias most important trading partner, since 2000, the Croatian government constantly invests in infrastructure, especially transport routes and facilities along the Pan-European corridors. Internal sources produce a significant portion of energy in Croatia, the rest is imported, the origin of the name is uncertain, but is thought to be a Gothic or Indo-Aryan term assigned to a Slavic tribe. The oldest preserved record of the Croatian ethnonym *xъrvatъ is of variable stem, the first attestation of the Latin term is attributed to a charter of Duke Trpimir from the year 852. The original is lost, and just a 1568 copy is preserved—leading to doubts over the authenticity of the claim, the oldest preserved stone inscription is the 9th-century Branimir Inscription, where Duke Branimir is styled as Dux Cruatorvm. The inscription is not believed to be dated accurately, but is likely to be from during the period of 879–892, the area known as Croatia today was inhabited throughout the prehistoric period
19.
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
20.
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
21.
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
22.
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
23.
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
24.
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
25.
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
26.
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
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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
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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
29.
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
30.
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
31.
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
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Kodak DCS 100
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The Kodak Professional Digital Camera System or DCS, later unofficially named DCS100, was the first commercially available digital single-lens reflex camera. It was a camera back bearing the digital image sensor, mounted on a Nikon F3 body and released by Kodak in May 1991. Aimed at the photo journalism market in order to improve the speed with which photographs could be transmitted back to the studio or newsroom, the DCS had a resolution of 1.3 megapixels. The DCS100 was publicly presented for the first time in Arles, at the Journées de lImage Pro by Mr Ray H. DeMoulin,453 international journalists attended this presentation, which took place in the Palais des Congres of Arles. The predecessor to the commercial Digital Still Camera was prototyped in the spring of 1987 at Kodak Research Labs, a 1.3 megapixel imager had been produced by Kodak’s Microelectronics Technology Division and the logical next step was to build a high resolution digital imaging system around it. The DCS prototype was developed for trials by the Associated Press, Kodak researchers chose the Nikon F3HP SLR because it was the most widely used professional camera at the time. A number of key problems had to be solved, How to accurately position the image sensor in the film plane. How to synchronize the camera’s mechanical shutter exposure period and the image sensor’s electronic integration period, which lenses would provide sharp images without aliasing artifacts. What feedback could be provided to assist the photographer with getting the right exposure, many scenes had higher dynamic range than the imager. How were digital images to be stored, where was sufficient power to be sourced. Fortunately, the F3HP had motor drive contacts that provided signals sufficient for electronic synchronization, a set of potential lenses underwent MTF testing and best matched lenses were selected. The battery power and a hard drive were integrated into a remote system to be worn on the shoulder while the photographer worked. The A/D converter output was processed to generate a histogram for the photographer. Finally, since the 1. 3MP imager was smaller than the full 35mm film frame, the prototype system was tested extensively in 1987 and 1988 by AP photographers and in studies comparing its performance to film systems. There was enough enthusiasm for the system to undertake a commercial version, an early version was shown at photokina in 1990 and the product was launched in May 1991. The DCS100 retained many of the characteristics of the prototype, including a separate shoulder carried Digital Storage Unit to store and to visualize the images, an external keyboard allowed entry of captions and other image information. The Kodak Professional Digital Camera System was available with two different digital format backs, the DC3 color back used a custom color filter array layout. The DM3 monochrome back had no color filter array, a few DM3 backs were manufactured without IR filters
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Kodak DCS 300 series
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The Kodak DCS300 series comprised two cameras, the DCS315 and DCS330. They were professional-level digital SLR cameras built by Eastman Kodaks Kodak Professional Imaging Solutions division and they were based on the Nikon Pronea 6i APS SLR camera and were aimed at a lower price point than other models in the Kodak DCS range. The 1.5 megapixel DCS315 was launched in 1998, the DCS315 was the first digital SLR camera to incorporate an image preview LCD and inbuilt JPEG processing. The two cameras had different sized CCD imaging chips, both of which were smaller than either 135 film or APS-C film frames. The 315s imager had a factor of 2.6 relative to 135 film. The Kodak modification to the Pronea 6i involved removing the cameras film back and this not only covered the back of the camera, but also extended beneath it, approximately doubling the cameras height. This was required to accommodate the large PC cards used as media, the six AA batteries required to power the camera. The Kodak back had two display screens, the upper was a full-color screen used for viewing taken shots. The lower LCD displayed the cameras settings, an infrared filter was mounted just behind the lens mount. This had to be removed in order to fit certain Nikkor lenses, the DCS315 was substantially faster than the 330 since only half as much data needed to be stored per shot. The 315 also allowed image storage in the smaller JPEG format, while the 330 only allowed Kodaks proprietary. TIF RAW format
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Kodak DCS 400 series
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The Kodak DCS400 series was a series of Nikon based digital SLR cameras with sensor and added electronics produced by Eastman Kodak. The cameras in this include the 1. 5-megapixel DCS420, the 1. 5-mpx DCS410. In addition, Kodak sold a version of the back from the DCS460 adapted for medium format bodies as the DCS465, Kodak also made a camera especially for Associated Press. It was called NC2000, later upgraded to NC2000e using many of the components as was used for the DCS400 series. In addition to the colour version, Kodak made monochrome and infrared versions of the DCS420. There were also versions of the DCS460 and DCS465. The non-colour versions are rare and tend to collect high prices at auctions. The DCS 400-series were based on the Nikon N90s 35 mm film camera, the DCS410 and some early versions of the DCS420 and 460 were based on the Nikon N90/F90 body. After the Nikon N90s/F90x was introduced in late 1994, Kodak started using that model as basis for the DCS 400-series, the camera body could be converted back to a film camera by removing the digital component, and replacing the digital back with a standard back. All cameras in the series used a 12 bit/channel CCD, the 1.5 Mpx sensor used in the DCS410 and DCS420 measures 9. 2x13.8 mm. The 6.2 Mpx sensor used in the DCS460, the 1.3 Mpx sensor used in the NC2000 and NC2000e measures 16. 4x20. 5mm with an unusual aspect ratio. In 1995, the DCS460 was the highest resolution digital camera available, when it closed out in November 2000, the price had dropped to US$2,500. Kodak DCS Nikonweb Information for Kodak and older Nikon D-SLRs DCS Survey - Serial number survey of all DCS models-Gives idea of production quantities The DCS Story
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Kodak DCS Pro 14n
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The Kodak Professional DCS Pro 14n is a professional Nikon F80 based F-mount digital SLR produced by Eastman Kodak. It was announced at the trade show photokina in Germany during September 2002. All previous digital SLRs had sensors smaller than a frame and thus had a crop factor larger than 1.0. In September 2003 Kodak announced the availability of an upgrade from 256 MB to 512 MB to DCS Pro 14n owners. The 512 MB version of the camera is often referred to as Kodak Professional DCS Pro 14n 512. A monochrome variant, known unofficially as Kodak Professional DCS Pro 14n m and based on the same CMOS image sensor, the DCS Pro 14n was replaced by the Kodak Professional DCS Pro SLR/n, released in 2004, which was a similar, but improved model. In particular, the new camera featured an image sensor and better power management. At around 1800 USD existing owners of the DCS 14n could order another camera upgrade from Kodak, comprising the new image sensor and these upgraded cameras were officially referred to as Kodak Professional DCS Pro 14nx by Kodak. Except for the management and name plate, they were basically the same as the DSC Pro SLR/n. Kodak DCS DPReview on the DCS Pro 14n, Kodak support page for the DCS Pro 14n
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Kodak DCS Pro SLR/c
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The Kodak Professional DCS Pro SLR/c is a 13.5 megapixel digital SLR camera produced by Eastman Kodak. It is full frame—it uses a sensor that is the full size of a 35 mm frame. It is compatible with Canon EOS lenses, the camera was launched on March 18,2004 and incorporates the internal systems of the previous Nikon-compatible SLR/n in a Sigma SA9 SLR body. Both the SLR/c and the SLR/n were officially discontinued by Kodak on May 31,2005, although remaining stock would be sold, Kodak cited poor profitability of the sector in its announcement. Kodak DCS Pro SLR/n Kodak DCS Kodak page on the DCS Pro SLR/c
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Kodak DCS Pro SLR/n
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The Kodak Professional DCS Pro SLR/n is a 13.5 megapixel full-frame 35mm digital SLR produced as a collaboration between Nikon Corporation and Eastman Kodak. It was a version of the Kodak Professional DCS Pro 14n series. The camera was announced in early 2004 and became available to purchase mid-year, a monochrome variant named Kodak Professional DCS Pro SLR/n m of the camera existed as well. The camera has no anti-aliasing filter in front of the CMOS sensor, which gives it very high edge acuity and this can be partially compensated for with the software, which has advanced noise reduction capabilities. It also has high dynamic range. It has less of a range of ISO sensitivity than many modern digital SLR cameras. The camera is very unusual for a DSLR in having a long exposure setting where film speeds down to 6 ASA and this would have been useful for Product Photography. s EOS lenses. Both cameras were discontinued on May 31,2005 Kodak DCS Pro SLR/c Kodak DCS The DCS Story
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