Eastman Kodak Quotes

The whole point of taking pictures is so that you don’t have to explain things with words.

Some stories, some visions, demand celluloid film and what it can deliver.

It’s not enough,” one senior manager at Eastman Kodak told the author Daniel Goleman, “to be able to sit at your computer excited about a fantastic regression analysis if you’re squeamish about presenting those results to an executive group.” (Apparently it’s OK to be squeamish about doing a regression analysis if you’re excited about giving speeches.)

Write him down, if he must write him down as something, as a disbeliever; he disbelieved in the Pope, in the Kremlin, in the Vietcong, in the American eagle, in astrology, Arthur Schlesinger, Eldridge Cleaver, Senator Eastland, and Eastman Kodak. Nor did he believe overmuch in his disbelief. He

In 1996, Eastman Kodak was a hundred-year-old powerhouse with one hundred forty thousand employees and a valuation of twenty-eight billion dollars. Yet a mere sixteen years later, the company was filing for bankruptcy, a T. Rex dinosaur that had failed to fathom the disruptive power and game-changing impact of the digital photography revolution.

In June 1940, immediately after France surrendered to the invading Nazis, Rieber and Westrick took part in a celebratory dinner in a private room at New York’s Waldorf-Astoria Hotel, where executives of Ford, General Motors, Eastman Kodak, and other companies talked about the prospects for American cooperation with the Nazi regime that seemed certain to dominate Europe for the foreseeable future. Germany would be a good credit risk for American loans, Westrick said, and there should definitely be no more of this nonsense of selling US arms to the British.

Fast-forward nearly a hundred years, and Prufrock’s protest is enshrined in high school syllabi, where it’s dutifully memorized, then quickly forgotten, by teens increasingly skilled at shaping their own online and offline personae. These students inhabit a world in which status, income, and self-esteem depend more than ever on the ability to meet the demands of the Culture of Personality. The pressure to entertain, to sell ourselves, and never to be visibly anxious keeps ratcheting up. The number of Americans who considered themselves shy increased from 40 percent in the 1970s to 50 percent in the 1990s, probably because we measured ourselves against ever higher standards of fearless self-presentation. “Social anxiety disorder”—which essentially means pathological shyness—is now thought to afflict nearly one in five of us. The most recent version of the Diagnostic and Statistical Manual (DSM-IV), the psychiatrist’s bible of mental disorders, considers the fear of public speaking to be a pathology—not an annoyance, not a disadvantage, but a disease—if it interferes with the sufferer’s job performance. “It’s not enough,” one senior manager at Eastman Kodak told the author Daniel Goleman, “to be able to sit at your computer excited about a fantastic regression analysis if you’re squeamish about presenting those results to an executive group.” (Apparently it’s OK to be squeamish about doing a regression analysis if you’re excited about giving speeches.)

Weston, having been born in Chicago, was raised with typical, well-grounded, mid-western values. On his 16th birthday, his father gave him a Kodak camera with which he started what would become his lifetime vocation. During the summer of 1908, Weston met Flora May Chandler, a schoolteacher who was seven years older than he was. The following year the couple married and in time they had four sons. Weston and his family moved to Southern California and opened a portrait studio on Brand Boulevard, in the artsy section of Glendale, California, called Tropico. His artistic skills soon became apparent and he became well known for his portraits of famous people, such as Carl Sandburg and Max Eastman. In the autumn of 1913, hearing of his work, Margrethe Mather, a photographer from Los Angeles, came to his studio, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, intimate relationship. Both Weston and Mather became active in the growing bohemian cultural scene in Los Angeles. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common. Weston expanded his horizons but tried to keep his affairs with other women a secret. As he immersed himself further into nude photography, it became more difficult to hide his new lifestyle from his wife. Flora became suspicious about this secret life, but apparently suffered in silence. One of the first of many women who agreed to model nude for Weston was Tina Modotti. Although Mather remained with Weston, Tina soon became his primary model and remained so for the next several years. There was an instant attraction between Tina Modotti, Mather and Edward Weston, and although he remained married, Tina became his student, model and lover. Richey soon became aware of the affair, but it didn’t seem to bother him, as they all continued to remain good friends. The relationship Tina had with Weston could definitely be considered “cheating,” since knowledge of the affair was withheld as much as possible from his wife Flora May. Perhaps his wife knew and condoned this new promiscuous relationship, since she had also endured the intense liaison with Margrethe Mather. Tina, Mather and Weston continued working together until Tina and Weston suddenly left for Mexico in 1923. As a group, they were all a part of the cozy, artsy, bohemian society of Los Angeles, which was where they were introduced to the then-fashionable, communistic philosophy.

For example, people ask me about Eastman Kodak’s slow disintegration and financial struggle. Let me tell you that people at Kodak knew where the wind was blowing. The decline in sales of photographic film and its slowness in transitioning to digital photography was no surprise to anybody who studied it intensively or was directly involved. Listen to your intuition and sell, or even better, don't invest in it at all.   Selling

In 1996, Eastman Kodak was a hundred-year-old powerhouse with one hundred forty thousand employees and a valuation of twenty-eight billion dollars. Yet a mere sixteen years later, the company was filing for bankruptcy, a T. Rex dinosaur that had failed to fathom the disruptive power and game-changing impact of the digital photography revolution.   In

As convenient as the pencil,” said the advertising. “You press the button, we do the rest.” That pretty much summed up George Eastman’s vision when his company, Eastman Kodak, introduced the first cameras ever to be sold to the general public.

Eastman Kodak will not be returning. Walmart and its ilk will never provide stable employment. The boom economies of energy exploration might seem more “real” than an extensive interconnected community of food and beverage makers, but any “one-stop shop” of a single corporation or an energy extraction bonanza is ultimately less stable than a mutually reinforcing, geographically unique, and irreplaceable range of businesses.

But companies like Instagram and Facebook employ a tiny fraction of the people that were needed at Kodak. Nonetheless, Facebook has a market value several times greater than Kodak ever did and has created at least seven billionaires so far, each of whom has a net worth ten times greater than George Eastman did.

Eastman Kodak went from its late-1980s peak of 145,000 employees to fewer than 20,000, and filed for Chapter 11 protection in 2012. Polaroid, already struggling with longstanding debt and other problems, got clobbered. Between 2001 and 2009 the company declared bankruptcy twice and was sold three times; one of those buyers went to federal prison for fraud. Polaroid film was discontinued forever in 2008.

2. Don’t trade penny stocks. A penny stock is any stock that trades under $5. Unless you are an advanced trader, you should avoid all penny stocks. I would extend this by encouraging you to also avoid all stocks priced under $10. Even if you have a small trading account ($5,000) or less, you are better off buying fewer shares of a higher-priced stock than a lot of shares of a penny stock. That is because low-priced stocks are most often associated with lower quality companies. As a result, they are not usually allowed to trade on the NYSE or the Nasdaq. Instead, they trade on the OTCBB ("over the counter bulletin board") or Pink Sheets, both of which have much less stringent financial reporting requirements than the major exchanges do. Many of these companies have never made a profit. They may be frauds or shell companies that are designed solely to enrich management and other insiders. They may also include former “blue chips” that have fallen on hard times like Eastman Kodak or Lehman Brothers. In addition, penny stocks are inherently more volatile than higher-priced stocks. Think of it this way: if a $100 stock moves $1, that is a 1% move. If a $5 stock moves $1, that is a 20% move. Many new traders underestimate the kind of emotional and financial damage that this kind of volatility can cause. In my experience, penny stocks do not trend nearly as well as higher-priced stocks. They tend to be more mean-reverting (Mean reversion occurs when a stock moves up sharply from its average trading price, only to fall right back down again to its average trading price). Many of them are eventually headed to zero, but they are still not good short candidates. Most brokers will not let you short them. And even if you do find a broker who will let you short a penny stock, how would you like to wake up to see your penny stock trading at $10 when you just shorted it at $2 a few days before? I learned that lesson the hard way. It turned out that I was risking $8 to make $2, which is not a good way to make money over the long term. To add injury to insult, a penny stock might appear to be liquid one day, and the next day, the liquidity dries up and you are confronted by a $2 bid/ask spread. Or the bid might completely disappear. Imagine owning

Much like GM and GE, Kodak had a fair employment policy in place by the 1960s and had laid out is own Plan for Progress, which included a commitment to “hold discussions with the employment interviewers in the various division to remind them: that “such things as race, creed, color, or national origin” are neither to “help nor hinder in getting a job at Kodak.” Yet for blacks trying to work and move up at the company, these assurances didn’t mesh with their own experiences. Some of this was a consequence of blacks being poorly educated, especially those who had relocated to Rochester from the rural South. In the company’s eyes, the simply weren’t qualified. “We don’t grow many peanuts in Eastman Kodak,” Monroe Dill, Kodak’s industrial relations director said in 1963, adding that the company would start to recruit more from all-black colleges so as to not keep “discriminating by omission.” But there was also plenty of discrimination by commission, as individual Kodak managers used their discretion to hire whomever they liked and cast off whomever they didn’t. “They would say it blatant, like, 'We don't have any colored jobs,"" recalled Clarence Ingram, who served as general manager of the Rochester Business Opportunities Corporation, an entity formed after the '64 riots to support minority businesses. "They would tell you that." Apparently, they told a lot of blacks that. In 1964, only about 600 African Americans worked for Kodak in Rochester. less than 2 percent of the 33,000 employees based there. Determined to remedy this was FIGHT, which was led by Franklin Delano Roosevelt Florence, the thirty-one-year-old pastor of the Reynolds Street Church of Christ, a stocky, hard-charging, charismatic man, who called Malcolm X a friend. On September 2, 1966, a delegation of sixteen from FIGHT walked into Kodak's executive suite. Florence, sporting a Black Power button in his lapel, said he wanted to see "the top man." Before he knew it, the minister and his retinue were sitting in front of three top men: Kodak chairman Albert Chapman, president William Vaughn, and executive vice president Louis Eilers. Florence told them about the harshness of life in Rochester's black ghetto and said he wanted Kodak to start a training program for people who normally wouldn't be recruited into the company. Florence braced himself, expecting Kodak to resist. But Vaughn listened carefully and then asked Florence to submit a more specific proposal. Two weeks later, he did. Calling FIGHT " the only mass based organization of poor people and near poor people in the Rochester area," Florence requested that Kodak train 500 to 600 men and women over eighteen months. FIGHT also wanted direct involvement in the process; the group would "recruit and counsel trainees and offer advice, consultation, and assistance.

Eastman wanted something stickier, something that people would remember and talk about. One of his favorite letters was K. In 1892, the Eastman Kodak Company was born.

Kodak made its founder, George Eastman, a rich man, but it also provided middle-class jobs for generations of people and created a substantial share of the wealth created in the city of Rochester after company’s founding in 1880. But 132 years later, a few months before Instagram was sold to Facebook, Kodak filed for bankruptcy. 8 Photography has never been more popular.