1.
DX number
–
The DX number was assigned by the International Imaging Industry Association. It uniquely identifies the type and manufacturer of a film emulsion, a proprietary list of DX numbers for APS and 135 film was prepared yearly or as needed. The list was available for sale from the I3A, a DX number has two parts separated by a dash, the combination code also known as DX Number Part 1 followed by a specifier number, or DX Number Part 2. For example, Agfa Perutz 3-color 200 ISO film is assigned 115-4, for 135 film cartridges the DX number is hashed to produce a four digit code. A suffix digit for the number of exposures and a manufacturers proprietary prefix digit are concatenated to form a 6 digit decimal code, the code is printed in human-readable text and also represented as an Interleaved 2 of 5 barcode. Size and position conform to the ANSI/NAPM IT1.14,1994 standard, to generate digits 2 through 5, the combination code is multiplied by 16 and added to the specifier number. The result is prefixed with zeroes to make 4 digits, for the Agfa film 115-4 above, the digits would be 1844. Digit 1 is any digit from 0 to 9 and is assigned by the manufacturer, the barcode is located between the electrically-read silver and black DX Camera Auto-Sensing Code and the film cartridge exit lip. The barcode is scanned by many film-processing machines when the cartridge is inserted for developing
DX number
–
DX I2/5 barcode on a 135 film cartridge
2.
American National Standards Institute
–
The organization also coordinates U. S. standards with international standards so that American products can be used worldwide. ANSI accredits standards that are developed by representatives of other organizations, government agencies, consumer groups, companies. These standards ensure that the characteristics and performance of products are consistent, that use the same definitions and terms. ANSI also accredits organizations that carry out product or personnel certification in accordance with requirements defined in international standards, the organizations headquarters are in Washington, DC. ANSIs operations office is located in New York City, the ANSI annual operating budget is funded by the sale of publications, membership dues and fees, accreditation services, fee-based programs, and international standards programs. ANSI was originally formed in 1918, when five engineering societies, in 1928, the AESC became the American Standards Association. In 1966, the ASA was reorganized and became United States of America Standards Institute, the present name was adopted in 1969. At the behest of the AIEE, they invited the U. S. government Departments of War, Navy, according to Adam Stanton, the first permanent secretary and head of staff in 1919, AESC started as an ambitious program and little else. Staff for the first year consisted of one executive, Clifford B, lePage, who was on loan from a founding member, ASME. An annual budget of $7,500 was provided by the founding bodies, aNSIs members are government agencies, organizations, corporations, academic and international bodies, and individuals. In total, the Institute represents the interests of more than 125,000 companies and 3.5 million professionals, though ANSI itself does not develop standards, the Institute oversees the development and use of standards by accrediting the procedures of standards developing organizations. ANSI accreditation signifies that the used by standards developing organizations meet the Institutes requirements for openness, balance, consensus. Voluntary consensus standards quicken the market acceptance of products while making clear how to improve the safety of products for the protection of consumers. There are approximately 9,500 American National Standards that carry the ANSI designation, the Institute is the official U. S. S. ANSI participates in almost the entire program of both the ISO and the IEC, and administers many key committees and subgroups. In many instances, U. S. standards are taken forward to ISO and IEC, through ANSI or the USNC, in 2009, ANSI and the National Institute of Standards and Technology formed the Nuclear Energy Standards Coordination Collaborative. NESCC is a joint initiative to identify and respond to the current need for standards in the nuclear industry. The ASA photographic exposure system, originally defined in ASA Z38.2.1 and ASA PH2.5, together with the DIN system, became the basis for the ISO system, a standard for the set of values used to represent characters in digital computers
American National Standards Institute
–
Logo of the American National Standards Institute
3.
Kodak
–
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
Kodak
–
The exterior of Kodak's main headquarters in
Rochester,
NY
Kodak
–
Current Kodak logo, which was redesigned in 2006
Kodak
–
1900 Kodak ad
Kodak
–
The Kodak factory and main office in Rochester, circa 1910
4.
135 film
–
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
135 film
–
135 film. The film is 35 mm (1.4 in) wide. Each image is 36×24 mm in the most common "full-frame" format (sometimes called "double-frame" for its relationship to the "single-frame" 35 mm movie format).
135 film
–
Leica I, 1927, the first camera worldwide with 135 film
135 film
–
ISO 400 Fuji 135 colour film
135 film
–
135 frame and perforations
5.
Advanced Photo System
–
Advanced Photo System is a now discontinued film format for still photography first produced in 1996. It was marketed by Eastman Kodak under the brand name Advantix, by FujiFilm under the name Nexia, by Agfa under the name Futura and by Konica as Centuria. The film is 24 mm wide, and has three image formats, H for High Definition C for Classic P for Panoramic The C and P formats are formed by cropping. The full image is recorded on the film, and an image recorded in one aspect ratio can be reprinted in another, the C format has an equivalent aspect ratio to a 135 film image. In the absence of a format, the machine printing an APS roll will use these indicators to determine the output format of each print. The film is on a polyethylene naphthalate base, and is housed in a single-spool 39 mm long plastic cartridge, the basic diameter is 21 mm, while it measures 30 mm at the slot where the film exits. The slot is protected by a lightproof door and it is available in 40,25 and 15 exposure lengths. The film surface has a transparent magnetic coating, and the camera uses this information exchange system for recording information about each exposure, the camera handles winding and rewinding automatically, to the extent that partially exposed films can, in certain cameras, be removed and used later. A major distinction of APS film was the ability to record other than the image. This information could be read by the printing equipment to determine the print aspect ratio, print information on the back of the photograph. Two methods for storing information on the film were employed, magnetic IX, optical IX was employed on less expensive cameras and disposable cameras, and employed a light source to expose a small section of the film, outside of the image negative area. This method was limited to determining the print aspect ratio of the finished print, magnetic IX was used in the more expensive cameras and allowed for more information exchange. Magnetic IX caused some problems for photo processors, who found their magnetic reading heads had to be cleaned frequently, unlike 135 film, processed APS film is stored in the original cartridge. For identification, every roll of APS film has a six-digit ID code on the label and this ID is usually printed on the back of every individual print. This ID was designed to be an additional convenience both for the photoprocessor and for the consumer, who can easily locate the correct cartridge if reprints are desired, to facilitate automatic processing of film, a unique DX number is assigned to the different types of film. The format was introduced in 1996 by Kodak, Fujifilm, Minolta, Nikon, Canon, APS was mainly used for point and shoot amateur cameras, although some SLR systems were also created, Canon EOS IX, Minolta Vectis, Nikon Pronea with Nikon IX lenses. Of these the Canon EOS IX and the Nikon Pronea could use the existing 35 mm SLR lenses, Nikon developed the IX series of lens that were lighter and had a smaller image circle. Although the Nikon IX series of lenses were not compatible with the Nikon 35 mm SLR, using existing lenses meant that the field of view was reduced by around 1. 6×, but had the advantage of a larger lens selection
Advanced Photo System
–
KODAK Advantix APS Film Cartridge
Advanced Photo System
–
Advanced Photo System logo
Advanced Photo System
–
A typical low-end, fixed-focus APS compact camera
Advanced Photo System
–
Visual indicators on an APS cartridge
6.
Latent image
–
A latent image is an invisible image produced by the exposure to light of a photosensitive material such as photographic film. When photographic film is developed, the area that was exposed darkens, in more physical terms, a latent image is a small cluster of metallic silver atoms formed in or on a silver halide crystal due to reduction of interstitial silver ions by photoelectrons. If intense exposure continues, such photolytic silver clusters grow to visible sizes and this is called printing out the image. On the other hand, the formation of an image by the action of photographic developer is called developing out the image. The size of a cluster in the latent image can be as small as a few silver atoms. However, in order to act as a latent image center. On the other hand, a developed silver grain can have billions of silver atoms, therefore, photographic developer acting on the latent image is a chemical amplifier with a gain factor up to several billion. The development system was the most important technology that increased the sensitivity in the history of photography. The action of the light on the silver halide grains within the emulsion forms sites of metallic silver in the grains, the basic mechanism by which this happens was first proposed by R W Gurney and N F Mott in 1938. The incoming photon liberates an electron, called a photoelectron, from a silver halide crystal, photoelectrons migrate to a shallow electron trap site, where the electrons reduce silver ions to form a metallic silver speck. A positive hole must also be generated but it is largely ignored, subsequent work has slightly modified this picture, so that hole trapping is also considered. Since then, understanding of the mechanism of sensitivity and latent image formation has been greatly improved, one very important way to increase photographic sensitivity is to manipulate the electron traps in each crystal. A pure, defect-free crystal exhibits poor photographic sensitivity, since it lacks a shallow electron trap that facilitates the formation of a latent image, in such a case, many of the photoelectrons will recombine with the silver halide crystal and be wasted. Shallow electron traps are created by sulfur sensitization, introduction of a crystalline defect, the location, kind and number of shallow traps have a huge influence on the efficiency by which the photoelectrons create latent image centers, and consequently, on photographic sensitivity. Another important way to increase photographic sensitivity is to reduce the size of developable latent images. Gold sensitization of Koslowski creates metallic gold specks on the crystal surface, when a latent image is formed around the gold speck, the presence of gold is known to reduce the number of metallic silver atoms necessary to render the crystal developable. Another important concept in increasing photographic sensitivity is to separate photoholes away from photoelectrons and this should reduce the probability of recombination. Reduction sensitization is one implementation of this concept
Latent image
–
"Printed out" image on a 35mm B&W film, overexposed by approximately 24 stops (about two days of exposure at f/2), without any chemical processing, showing that the silver clusters can grow up to visible sizes without developing.
7.
Interleaved 2 of 5
–
Interleaved 2 of 5 is a continuous two-width barcode symbology encoding digits. It is used commercially on 135 film, for ITF-14 barcodes, ITF encodes pairs of digits, the first digit is encoded in the five bars, while the second digit is encoded in the five spaces interleaved with them. Two out of five bars or spaces are wide. The digits are encoded to symbols as follows, Where n is a narrow line, the wide lines form a two-out-of-five code with consecutive values of 1,2,4,7, and 0, where the code 0 has a value of 11. This is similar to the POSTNET bar code, before the actual pairs there is a start code consisting of nnnn, and after all symbols there is the stop code consisting of Wnn. Because digits are encoded by pairs, only a number of digits can be encoded. Typically an odd number of digits is encoded by adding a 0 as first digit, a checksum can be added as last digit, which is calculated in the same way as UPC checksums. There are specific constraints on the height and width of the bars and the width of the quiet areas, on 135 film canisters it is used to identify the manufacturer, the film type, number of exposures and proprietary information in 6 digits. The barcode is located between the electrically read silver and black DX Camera Auto-Sensing Code and the film can exit lip and it is optically scanned by many film-processing machines when the cartridge is inserted for developing. Identcode and Leitcode are variants of interleaved 2 of 5 with check digits used by Deutsche Post
Interleaved 2 of 5
–
Decoding Interleaved 2 of 5. Every pair of digits are color-coded, showing the code and the value for each digit.
8.
Barcode
–
A barcode is an optical, machine-readable, representation of data, the data usually describes something about the object that carries the barcode. Originally barcodes systematically represented data by varying the widths and spacings of parallel lines, later two-dimensional codes were developed, using rectangles, dots, hexagons and other geometric patterns in two dimensions, usually called barcodes although they do not use bars as such. Barcodes originally were scanned by special optical scanners called barcode readers, later applications software became available for devices that could read images, such as smartphones with cameras. An early use of one type of barcode in a context was sponsored by the Association of American Railroads in the late 1960s. Two plates were used per car, one on side, with the arrangement of the colored stripes encoding information such as ownership, type of equipment. The plates were read by a scanner, located for instance, at the entrance to a classification yard. The project was abandoned after ten years because the system proved unreliable after long-term use. Barcodes became commercially successful when they were used to automate supermarket checkout systems and their use has spread to many other tasks that are generically referred to as automatic identification and data capture. The very first scanning of the now ubiquitous Universal Product Code barcode was on a pack of Wrigley Company chewing gum in June 1974, silver told his friend Norman Joseph Woodland about the request, and they started working on a variety of systems. Their first working system used ultraviolet ink, but the ink faded too easily and was expensive, convinced that the system was workable with further development, Woodland left Drexel, moved into his fathers apartment in Florida, and continued working on the system. His next inspiration came from Morse code, and he formed his first barcode from sand on the beach, I just extended the dots and dashes downwards and made narrow lines and wide lines out of them. To read them, he adapted technology from optical soundtracks in movies and he later decided that the system would work better if it were printed as a circle instead of a line, allowing it to be scanned in any direction. The patent was issued on 7 October 1952 as US Patent 2,612,994, in 1951, Woodland moved to IBM and continually tried to interest IBM in developing the system. IBM offered to buy the patent, but its offer was not high enough, philco purchased their patent in 1962 and then sold it to RCA sometime later. During his time as an undergraduate, David Collins worked at the Pennsylvania Railroad, immediately after receiving his masters degree from MIT in 1959, he started work at GTE Sylvania and began addressing the problem. He developed a system called KarTrak using blue and red reflective stripes attached to the side of the cars, encoding a six-digit company identifier, light reflected off the stripes was fed into one of two photomultipliers, filtered for blue or red. The Boston and Maine Railroad tested the KarTrak system on their cars in 1961. The tests continued until 1967, when the Association of American Railroads selected it as a standard, Automatic Car Identification, the installations began on 10 October 1967
Barcode
–
Example of barcode on a patient identification wristband
Barcode
–
A
UPC-A barcode symbol
Barcode
–
Barcoded parcel
Barcode
–
DX film edge barcode
9.
Film speed
–
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
Film speed
–
This film container denotes its speed as ISO 100/21°, including both arithmetic (100 ASA) and logarithmic (21 DIN) components. The second is often dropped, making (e.g.) "ISO 100" effectively equivalent to the older ASA speed. (As is common, the "100" in the film name alludes to its ISO rating).
Film speed
–
Grainy high-speed B&W film negative
Film speed
–
A
CCD image sensor, 2/3 inch size
10.
F-number
–
The f-number of an optical system such as a camera lens is the ratio of the systems focal length to the diameter of the entrance pupil. It is a number that is a quantitative measure of lens speed. It is also known as the ratio, f-ratio, f-stop. The f-number is commonly indicated using a hooked f with the format f/N, the f-number N or f# is given by, N = f D where f is the focal length, and D is the diameter of the entrance pupil. It is customary to write f-numbers preceded by f/, which forms a mathematical expression of the pupil diameter in terms of f and N. Ignoring differences in light transmission efficiency, a lens with a greater f-number projects darker images, the brightness of the projected image relative to the brightness of the scene in the lenss field of view decreases with the square of the f-number. Doubling the f-number decreases the brightness by a factor of four. To maintain the same photographic exposure when doubling the f-number, the time would need to be four times as long. Most lenses have a diaphragm, which changes the size of the aperture stop. The entrance pupil diameter is not necessarily equal to the aperture stop diameter, a 100 mm focal length f/4 lens has an entrance pupil diameter of 25 mm. A200 mm focal length f/4 lens has a pupil diameter of 50 mm. The 200 mm lenss entrance pupil has four times the area of the 100 mm lenss entrance pupil, a T-stop is an f-number adjusted to account for light transmission efficiency. The word stop is sometimes confusing due to its multiple meanings, a stop can be a physical object, an opaque part of an optical system that blocks certain rays. In photography, stops are also a used to quantify ratios of light or exposure. The one-stop unit is known as the EV unit. On a camera, the setting is traditionally adjusted in discrete steps. Each stop is marked with its corresponding f-number, and represents a halving of the light intensity from the previous stop. This corresponds to a decrease of the pupil and aperture diameters by a factor of 1/2 or about 0.7071, each element in the sequence is one stop lower than the element to its left, and one stop higher than the element to its right
F-number
–
A
Canon 7 mounted with a 50 mm lens capable of an exceptional f /0.95
F-number
–
A 35 mm lens set to f /11, as indicated by the white dot above the f-stop scale on the aperture ring. This lens has an aperture range of f /2.0 to f /22.
F-number
–
Comparison of f /32 (top-left corner) and f /5 (bottom-right corner)
F-number
–
Shallow focus with a wide open lens
11.
F-stop
–
The f-number of an optical system such as a camera lens is the ratio of the systems focal length to the diameter of the entrance pupil. It is a number that is a quantitative measure of lens speed. It is also known as the ratio, f-ratio, f-stop. The f-number is commonly indicated using a hooked f with the format f/N, the f-number N or f# is given by, N = f D where f is the focal length, and D is the diameter of the entrance pupil. It is customary to write f-numbers preceded by f/, which forms a mathematical expression of the pupil diameter in terms of f and N. Ignoring differences in light transmission efficiency, a lens with a greater f-number projects darker images, the brightness of the projected image relative to the brightness of the scene in the lenss field of view decreases with the square of the f-number. Doubling the f-number decreases the brightness by a factor of four. To maintain the same photographic exposure when doubling the f-number, the time would need to be four times as long. Most lenses have a diaphragm, which changes the size of the aperture stop. The entrance pupil diameter is not necessarily equal to the aperture stop diameter, a 100 mm focal length f/4 lens has an entrance pupil diameter of 25 mm. A200 mm focal length f/4 lens has a pupil diameter of 50 mm. The 200 mm lenss entrance pupil has four times the area of the 100 mm lenss entrance pupil, a T-stop is an f-number adjusted to account for light transmission efficiency. The word stop is sometimes confusing due to its multiple meanings, a stop can be a physical object, an opaque part of an optical system that blocks certain rays. In photography, stops are also a used to quantify ratios of light or exposure. The one-stop unit is known as the EV unit. On a camera, the setting is traditionally adjusted in discrete steps. Each stop is marked with its corresponding f-number, and represents a halving of the light intensity from the previous stop. This corresponds to a decrease of the pupil and aperture diameters by a factor of 1/2 or about 0.7071, each element in the sequence is one stop lower than the element to its left, and one stop higher than the element to its right
F-stop
–
A
Canon 7 mounted with a 50 mm lens capable of an exceptional f /0.95
F-stop
–
Diagram of decreasing apertures, that is, increasing f-numbers, in one-stop increments; each aperture has half the light gathering area of the previous one.
F-stop
–
A 35 mm lens set to f /11, as indicated by the white dot above the f-stop scale on the aperture ring. This lens has an aperture range of f /2.0 to f /22.
F-stop
–
Comparison of f /32 (top-left corner) and f /5 (bottom-right corner)
12.
Wayback Machine
–
The Internet Archive launched the Wayback Machine in October 2001. It was set up by Brewster Kahle and Bruce Gilliat, and is maintained with content from Alexa Internet, the service enables users to see archived versions of web pages across time, which the archive calls a three dimensional index. Since 1996, the Wayback Machine has been archiving cached pages of websites onto its large cluster of Linux nodes and it revisits sites every few weeks or months and archives a new version. Sites can also be captured on the fly by visitors who enter the sites URL into a search box, the intent is to capture and archive content that otherwise would be lost whenever a site is changed or closed down. The overall vision of the machines creators is to archive the entire Internet, the name Wayback Machine was chosen as a reference to the WABAC machine, a time-traveling device used by the characters Mr. Peabody and Sherman in The Rocky and Bullwinkle Show, an animated cartoon. These crawlers also respect the robots exclusion standard for websites whose owners opt for them not to appear in search results or be cached, to overcome inconsistencies in partially cached websites, Archive-It. Information had been kept on digital tape for five years, with Kahle occasionally allowing researchers, when the archive reached its fifth anniversary, it was unveiled and opened to the public in a ceremony at the University of California, Berkeley. Snapshots usually become more than six months after they are archived or, in some cases, even later. The frequency of snapshots is variable, so not all tracked website updates are recorded, Sometimes there are intervals of several weeks or years between snapshots. After August 2008 sites had to be listed on the Open Directory in order to be included. As of 2009, the Wayback Machine contained approximately three petabytes of data and was growing at a rate of 100 terabytes each month, the growth rate reported in 2003 was 12 terabytes/month, the data is stored on PetaBox rack systems manufactured by Capricorn Technologies. In 2009, the Internet Archive migrated its customized storage architecture to Sun Open Storage, in 2011 a new, improved version of the Wayback Machine, with an updated interface and fresher index of archived content, was made available for public testing. The index driving the classic Wayback Machine only has a bit of material past 2008. In January 2013, the company announced a ground-breaking milestone of 240 billion URLs, in October 2013, the company announced the Save a Page feature which allows any Internet user to archive the contents of a URL. This became a threat of abuse by the service for hosting malicious binaries, as of December 2014, the Wayback Machine contained almost nine petabytes of data and was growing at a rate of about 20 terabytes each week. Between October 2013 and March 2015 the websites global Alexa rank changed from 162 to 208, in a 2009 case, Netbula, LLC v. Chordiant Software Inc. defendant Chordiant filed a motion to compel Netbula to disable the robots. Netbula objected to the motion on the ground that defendants were asking to alter Netbulas website, in an October 2004 case, Telewizja Polska USA, Inc. v. Echostar Satellite, No.02 C3293,65 Fed. 673, a litigant attempted to use the Wayback Machine archives as a source of admissible evidence, Telewizja Polska is the provider of TVP Polonia and EchoStar operates the Dish Network
Wayback Machine
–
Wayback Machine
13.
Chinon Industries
–
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
Chinon Industries
–
AUTO CHINON 28MM
Chinon Industries
–
Chinon CE-3 memotron labeled as Revueflex AC 1
Chinon Industries
–
Chinon CP-9 AF with Autofocusobjectiv 35-135mm
14.
Brownie (camera)
–
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
Brownie (camera)
–
Brownie Flash III.
Brownie (camera)
–
A
Walter Dorwin Teague Beau Brownie camera.
Brownie (camera)
–
Hawkeye Brownie Flash Model (Sept 1950 - July 1961)
Brownie (camera)
–
Colosseum, Rome - taken with a Brownie 127 (1964)
15.
Canon EOS
–
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
Canon EOS
–
Features of EF-lens
Canon EOS
–
This article relies too much on
references to
primary sources. Please improve this article by adding
secondary or tertiary sources. (April 2008)
Canon EOS
–
Speedlite 550EX
Canon EOS
–
Canon EOS 650D, a Canon DSLR
16.
Canon EOS D2000
–
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
Canon EOS D2000
–
Canon EOS D2000
17.
Canon EOS DCS 3
–
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
Canon EOS DCS 3
–
Canon EOS DCS 3
18.
Cine-Kodak
–
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
Cine-Kodak
–
Opened up Cine Kodak
19.
Instamatic
–
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
Instamatic
–
The Instamatic 100, the first Instamatic sold in the US
Instamatic
–
Kodak Pocket Instamatic using 110 film.
20.
Kodak 35
–
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
Kodak 35
–
Kodak 35 c.1938
21.
Kodak 35 Rangefinder
–
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
Kodak 35 Rangefinder
–
Kodak 35 RF c.1949
22.
Kodak Brownie Number 2
–
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
Kodak Brownie Number 2
–
It has been suggested that this article be
merged into
Brownie (camera). (
Discuss) Proposed since October 2013.
23.
Kodak DC Series
–
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
Kodak DC Series
–
A Kodak DC220
24.
Kodak DC215
–
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
Kodak DC215
–
Kodak DC215
25.
Kodak DC3200
–
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
Kodak DC3200
–
Kodak DC3200
26.
Kodak DCS
–
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
Kodak DCS
–
A Kodak DCS 420, a 1.2-megapixel digital SLR based on a
Nikon F90 body.
Kodak DCS
–
Kodak DCS 100, based on a
Nikon F3 body with Digital Storage Unit, released in May, 1991.
Kodak DCS
–
A Kodak DCS 760, a six megapixel digital SLR based on a
Nikon F5
Kodak DCS
–
A Kodak DCS 560, a six megapixel digital SLR based on a
Canon EOS-1N
27.
Kodak DCS 100
–
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
Kodak DCS 100
–
Kodak DCS 100, based on a
Nikon F3 body with Digital Storage Unit.
28.
Kodak DCS 300 series
–
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
Kodak DCS 300 series
–
The Kodak DCS315 DSLR camera with Nikon Pronea 6i body
Kodak DCS 300 series
–
The main conponents inside the Kodak DCS315 DSLR camera with Nikon Pronea 6i body
Kodak DCS 300 series
–
The Kodak DCS315 DSLR camera with Nikon Pronea 6i body showing the existing unused film transport mechanism
Kodak DCS 300 series
–
The Kodak DCS315 DSLR camera with main PCB's folded out
29.
Kodak DCS 400 series
–
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
Kodak DCS 400 series
–
Kodak DCS 460
Kodak DCS 400 series
–
A DCS 420 in sensor cleaning mode
