Kodak Camera Quotes

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Here’s a current example of the challenge we face. At the height of its power, the photography company Kodak employed more than 140,000 people and was worth $28 billion. They even invented the first digital camera. But today Kodak is bankrupt, and the new face of digital photography has become Instagram. When Instagram was sold to Facebook for a billion dollars in 2012, it employed only thirteen people. Where did all those jobs disappear to? And what happened to the wealth that those middle-class jobs created? This book is built to answer questions like these, which will only become more common as digital networking hollows out every industry, from media to medicine to manufacturing.
Jaron Lanier (Who Owns the Future?)
the Kodak being a new kind of portable camera that eliminated the need for lens and shutter adjustments.
Erik Larson (The Devil in the White City)
I loved the way the burned-out flashcubes of the Kodak Instamatic marked a moment that had passed, one that would now be gone forever except for a picture. When they were spent, I took the cubed four-corner flashbulbs and passed them from hand to hand until they cooled. The broken filaments of the flash would turn a molten marble blue or sometimes smoke the thin glass black. I had rescued the moment by using my camera and in that way had found a way to stop time and hold it. No one could take that image away from me because I owned it.
Alice Sebold (The Lovely Bones)
In the morning this light breasts your windowpane and, having pried your eye open like a shell, runs ahead of you, strumming its lengthy rays - like a hot-footed schoolboy running his stick along the iron grate of the park or garden - along arcades, colonnades, red-brick chimneys, saints and lions. "Depict! Depict!" it cries to you, either mistaking you for some Canaletto or Carpaccio or Guardi, or because it doesn't trust your retina's ability to retain what it makes available, not to mention your brain's capacity to absorb it. Perhaps art is simply an organism's reaction against its retentive limitations. At any rate, you obey the command and grab your camera, supplementing both your brain cells and your pupil. Should this city ever be short of cash, it can go straight to Kodak for assistance - or else tax its products savagely. By the same token, as long as this place exists, as long as winter light shines upon it, Kodak shares are the best investment.
Joseph Brodsky (Watermark)
Deception. What follows digitalization is deception, a period during which exponential growth goes mostly unnoticed. This happens because the doubling of small numbers often produces results so minuscule they are often mistaken for the plodder’s progress of linear growth. Imagine Kodak’s first digital camera with 0.01 megapixels doubling to 0.02, 0.02 to 0.04, 0.04 to 0.08. To the casual observer, these numbers all look like zero. Yet big change is on the horizon. Once these doublings break the whole-number barrier (become 1, 2, 4, 8, etc.), they are only twenty doublings away from a millionfold improvement, and only thirty doublings away from a billionfold improvement. It is at this stage that exponential growth, initially deceptive, starts becoming visibly disruptive.
Peter H. Diamandis (Bold: How to Go Big, Create Wealth and Impact the World (Exponential Technology Series))
In honor of the fair Kodak called the folding version of its popular model No. 4 box camera the Columbus. The photographs these new cameras created were fast becoming known as “snap-shots,” a term originally used by English hunters to describe a quick shot with a gun.
Erik Larson (The Devil in the White City)
It is far better to cannibalize yourself than have someone else do it,” said Diego Piacentini in a speech at Stanford’s Graduate School of Business a few years later. “We didn’t want to be Kodak.” The reference was to the century-old photography giant whose engineers had invented digital cameras in the 1970s but whose profit margins were so healthy that its executives couldn’t bear to risk it all on an unproven venture in a less profitable frontier.
Brad Stone (The Everything Store: Jeff Bezos and the Age of Amazon)
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.
Hank Bracker
The Memory Business Steven Sasson is a tall man with a lantern jaw. In 1973, he was a freshly minted graduate of the Rensselaer Polytechnic Institute. His degree in electrical engineering led to a job with Kodak’s Apparatus Division research lab, where, a few months into his employment, Sasson’s supervisor, Gareth Lloyd, approached him with a “small” request. Fairchild Semiconductor had just invented the first “charge-coupled device” (or CCD)—an easy way to move an electronic charge around a transistor—and Kodak needed to know if these devices could be used for imaging.4 Could they ever. By 1975, working with a small team of talented technicians, Sasson used CCDs to create the world’s first digital still camera and digital recording device. Looking, as Fast Company once explained, “like a ’70s Polaroid crossed with a Speak-and-Spell,”5 the camera was the size of a toaster, weighed in at 8.5 pounds, had a resolution of 0.01 megapixel, and took up to thirty black-and-white digital images—a number chosen because it fell between twenty-four and thirty-six and was thus in alignment with the exposures available in Kodak’s roll film. It also stored shots on the only permanent storage device available back then—a cassette tape. Still, it was an astounding achievement and an incredible learning experience. Portrait of Steven Sasson with first digital camera, 2009 Source: Harvey Wang, From Darkroom to Daylight “When you demonstrate such a system,” Sasson later said, “that is, taking pictures without film and showing them on an electronic screen without printing them on paper, inside a company like Kodak in 1976, you have to get ready for a lot of questions. I thought people would ask me questions about the technology: How’d you do this? How’d you make that work? I didn’t get any of that. They asked me when it was going to be ready for prime time? When is it going to be realistic to use this? Why would anybody want to look at their pictures on an electronic screen?”6 In 1996, twenty years after this meeting took place, Kodak had 140,000 employees and a $28 billion market cap. They were effectively a category monopoly. In the United States, they controlled 90 percent of the film market and 85 percent of the camera market.7 But they had forgotten their business model. Kodak had started out in the chemistry and paper goods business, for sure, but they came to dominance by being in the convenience business. Even that doesn’t go far enough. There is still the question of what exactly Kodak was making more convenient. Was it just photography? Not even close. Photography was simply the medium of expression—but what was being expressed? The “Kodak Moment,” of course—our desire to document our lives, to capture the fleeting, to record the ephemeral. Kodak was in the business of recording memories. And what made recording memories more convenient than a digital camera? But that wasn’t how the Kodak Corporation of the late twentieth century saw it. They thought that the digital camera would undercut their chemical business and photographic paper business, essentially forcing the company into competing against itself. So they buried the technology. Nor did the executives understand how a low-resolution 0.01 megapixel image camera could hop on an exponential growth curve and eventually provide high-resolution images. So they ignored it. Instead of using their weighty position to corner the market, they were instead cornered by the market.
Peter H. Diamandis (Bold: How to Go Big, Create Wealth and Impact the World (Exponential Technology Series))
Kids started having their own cameras, en masse, in the 1960s. Kodak Instamatics, which came out in 1963, were inexpensive ($16) and easy to use, durable and small, the perfect size to fit in a child’s pocket or the upper tray of a footlocker on its way to summer camp. The Instagram logo, in a conscious nod, echoes the look of the early Instamatics—a dark stripe on top, metallic on the bottom, with a round flat lens and viewfinder in the middle. The
Nancy Jo Sales (American Girls: Social Media and the Secret Lives of Teenagers)
The Secrets of Skunk: Part Two At the Lockheed skunk works, Kelly Johnson ran a tight ship. He loved efficiency. He had a motto—“be quick, be quiet, and be on time”—and a set of rules.6 And while we are parsing the deep secrets of skunk, it’s to “Kelly’s rules” we must now turn. Wall the skunk works off from the rest of the corporate bureaucracy—that’s what you learn if you boil Johnson’s rules down to their essence. Out of his fourteen rules, four pertain solely to military projects and can thus be excluded from this discussion. Three are ways to increase rapid iteration (a topic we’ll come back to in a moment), but the remaining seven are all ways to enforce isolation. Rule 3, for example: “The number of people with any connection to the project should be restricted in an almost vicious manner.” Rule 13 is more of the same: “Access by outsiders to the project and its personnel must be strictly controlled by appropriate security measures.” Isolation, then, according to Johnson, is the most important key to success in a skunk works. The reasoning here is twofold. There’s the obvious need for military secrecy, but more important is the fact that isolation stimulates risk taking, encouraging ideas weird and wild and acting as a counterforce to organizational inertia. Organizational inertia is the notion that once any company achieves success, its desire to develop and champion radical new technologies and directions is often tempered by the much stronger desire not to disrupt existing markets and lose their paychecks. Organizational inertia is fear of failure writ large, the reason Kodak didn’t recognize the brilliance of the digital camera, IBM initially dismissed the personal computer, and America Online (AOL) is, well, barely online. But what is true for a corporation is also true for the entrepreneur. Just as the successful skunk works isolates the innovation team from the greater organization, successful entrepreneurs need a buffer between themselves and the rest of society. As Burt Rutan, winner of the Ansari XPRIZE, once taught me: “The day before something is truly a breakthrough, it’s a crazy idea.” Trying out crazy ideas means bucking expert opinion and taking big risks. It means not being afraid to fail. Because you will fail. The road to bold is paved with failure, and this means having a strategy in place to handle risk and learn from mistakes is critical. In a talk given at re:Invent 2012, Amazon CEO Jeff Bezos7 explains it like this: “Many people misperceive what good entrepreneurs do. Good entrepreneurs don’t like risk. They seek to reduce risk. Starting a company is already risky . . . [so] you systematically eliminate risk in those early days.
Peter H. Diamandis (Bold: How to Go Big, Create Wealth and Impact the World (Exponential Technology Series))
The first digital camera, built in 1976 by Kodak engineer Steven Sasson, was the size of a toaster oven, took twelve black-and-white images, and cost over $10,000.
Peter H. Diamandis (The Future Is Faster Than You Think: How Converging Technologies Are Transforming Business, Industries, and Our Lives (Exponential Technology Series))
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.
Simon Sinek (The Infinite Game)
Hidden in a toolbox, in the rafters of his four-car garage, was an envelope full of pictures taken by a private detective...They were pictures of a scrawny, boyish looking nine year old with a wide mouth and a tangle of brown hair...Her eyes were oblong and deep set, their color hidden from the camera by the slant of the sun. The angles and planes of her face were oddly beautiful just then, in that moment, frozen on Kodak paper. A hint of the woman she would someday become.
Shirley A. Martin (Bloodline Gypsy: Jook and Gypsies vol. 1)
I wonder if we would ever switch back to old photo albums we got printed from photography shops. A Kodak KB10 camera with 36 photos worth of film roll, waiting for it to complete before sending the photos for developing. Nothing was instant, it would sometimes take months to compete a film and weeks to get the prints. The joy of seeing the photos, the disappointment to find a ruined image due to shaky hands. Even after having lots of camera and GBs of memory cards will never bring the same feeling.
Crestless Wave
On June 8, 1924, the thirty-eight-year-old Mallory and his protégé, Andrew “Sandy” Irvine, twenty-two, were seen by Noel Odell, a member of their team, about nine hundred feet below the summit and climbing strongly. Then Mallory and Irvine were swallowed from view by a cloud, and disappeared with no trace. Mallory’s fate remained a mystery for seventy-five years, until May of 1999, when an American expedition organized specifically to hunt for the famed British climber found his frozen body approximately two thousand feet below the summit, where he apparently had fallen. Whether George Mallory made it to the top before his fatal plunge is an unsettled debate. His altimeter, a monogrammed scarf, some letters and a pocket knife were recovered in 1999, but the Kodak cameras that Mallory and Irvine brought along to record their ascent were not found; nor (yet) was Irvine’s body.
Beck Weathers (Left for Dead: My Journey Home from Everest)
Kodak was in the business of recording memories. And what made recording memories more convenient than a digital camera?
Peter H. Diamandis (Bold: How to Go Big, Create Wealth and Impact the World (Exponential Technology Series))
The best photographers do not need 50000 dollars worth of gear. Look what Ansel Adams did with a Kodak brownie camera. A good photographer has a way of seeing (perspective) that is different from the mundane.
David Hultgren
When photographs were first invented, people thought of them like paintings. There was nothing else to compare them to. Thus, subjects in photos copied subjects in paintings. And since people sitting for portraits couldn’t hold a smile for the many hours the painting took, they adopted a serious look. Subjects in photos adopted the same look. What finally got them to change? Business, profit, and marketing, of course. In the mid-twentieth century, Kodak, the film and camera company, was frustrated by the limited number of pictures people were taking and devised a strategy to get them to take more. Kodak’s advertising began associating photos with happiness. The goal was to get people in the habit of taking a picture whenever they wanted to show others what a good time they were having. All those smiling yearbook photos are a result of that successful campaign (as are most of the photos you see on Facebook and Instagram today).
Seth Stephens-Davidowitz (Everybody Lies: Big Data, New Data, and What the Internet Can Tell Us About Who We Really Are)
Whereas in 1964 each of the four largest American companies still had an average workforce of about 430,000 people, by 2011 they employed only a quarter that number, despite being worth twice as much.14 Or take the tragic fate of Kodak, inventor of the digital camera and a company that in the late 1980s had 145,000 people on its payroll. In 2012, it filed for bankruptcy, while Instagram–the free online mobile photo service staffed by 13 people at the time–was sold to Facebook for $1 billion. The reality is that it takes fewer and fewer people to create a successful business, meaning that when a business succeeds, fewer and fewer people benefit.
Rutger Bregman (Utopia for Realists: How We Can Build the Ideal World)