Kodak Camera 8.2 Megapixel

[Amalia Antill]

Introducingthe brand-new Kodak Retina digital mirrorless camera! Inside this retro-styled body is a 40-megapixel APS-C BSI CMOS sensor. It has eight built-in presets that mimic classic Kodak film stocks. The pictures from the Kodak Retina look great straight-out-of-camera, no editing needed! This new camera is bold yet beautiful; classic yet modern; digital yet analog.

I was so confused through the first two paragraphs, thinking, dang that looks like my Fujifilm camera. I also was thinking, what a great idea, Kodak! But then realized why the camera looked like my x-t5 and you confirmed it. I agree with an above commenter; this would have played really well on April 1!

Hillarious. You really had me! Very creative and your totally right about how Kodak should have pivoted. Things would have been very different. I bought my first set of Kodak digital cameras in 1995 or 96 when I was the publisher / editor of a magazine. We made the decision at that time to go totally digital with all aspects of the production and it was a terrific time to cut our teeth on this new thing called the internet as well. Those early Kodak digitals were terrific in so many ways as they allowed us to cut our creative time and production costs down dramatically.

If Kodak had committed more to digital, and pivoted from film, things would likely look much different today, as you said. Thanks for sharing your story! What was the magazine that you were the editor of back then?

The AZ255 is the perfect bridge camera to pursue your passion for photography. With 16 megapixels, 25X optical zoom and a wider angle lens than traditional models, this camera might just become your new best friend.

The KODAK PIXPRO WPZ2 Digital Camera is the perfect companion to get wet. Shockproof, dustproof, and adventure ready, the WPZ2 was built to take on the go and be used in, on and under the water - up to 15M.

This is where if this were truly a well formed rant, I would make the case that the Brownie destroyed the profession of making photographs for a living. I could chronicle how the quality of photography was taken away from the few experts that really understood how photography worked.

Most pros also had a medium format camera system that shot two and a quarter inch square or rectangular photographs in differing lengths up to a panorama version up to almost seven inches in length. Each format required its own set of lenses.

Film had to be purchased followed by developing and printing costs. Yes, it cost less to shoot black and white or color slide film. Still, shooting slides with a 35mm camera cost around a dollar a photograph. Medium format upped the ante to a couple of bucks a shot.

During this time photographers still had to understand how photography worked. A photographer then absolutely had to know what would be on the film before it was sent out for processing. It was normal to leave a set up in the studio for days at a time. A photograph would be made, the film went to the lab and once it came back the photographs were analyzed.

Then changes were made to the set. The processing steps got repeated for each change. These changes were to the set and lighting. That the exposure and color were right and the image was in focus was a given. That was the craft, the skill part that anyone had to master to be a professional photographer.

Learning Photoshop did not kill the need to learn photography. The reality was quite the contrary. Those of us who were in business and were prescient enough to understand that Photoshop would change photography completely, immediately began to learn to use the app.

Photoshop allowed us to realize the photographs we imagined but could not create with cameras and film. Remember that photographers then already understood how photography worked. We also understood how to shoot on an instinctive level.

Newcomers to photography have always looked to what professionals were doing to learn what they ought to study to become professionals. What they saw during the early years of digital was pretty much a whole generation of photographers learning Photoshop.

The next disruption of photography happened in March of 2001. Until that time a high quality (six megapixel) portable, digital single lens reflex was priced at $28,000. That was when Kodak drastically reduced the price of its DCS-760 camera down to $8,000. Ultimately this set the company on the road to bankruptcy eleven years later. My 760 is shown at the beginning of this rant. Its price reduction marks the time that digital capture takeover had begun in earnest. The barrier of cost started to crumble. Practicing photography would no longer require buying film and paying to process it.

A Kodachrome slide held about ten megapixels of data. As the next dozen years passed, the quality of digital capture increased as the price for the cameras dropped. 35mm form factor full-frame DSLRs delivered better quality images both in color and resolution than even medium format film cameras.

Today, some DSLRs easily surpass 4 by 5 film and are at parity with 8 by 10-inch cameras. The price barriers to entry were the continuous, unrelenting expense of film and processing. Entry-level photographers actually believe that all they need is an entry-level digital camera along with a laptop running Windows or a MacBook Pro.

No matter how good the automatic exposure or how well sloppy exposures can be fixed in Photoshop, a professional photographer must master photography itself in order to have a successful career over time.

It also requires an understanding of business. Business is pricing photography at a dollar level that allows the practitioner to pay their expenses and have money left over to live on and for retirement.

Profit is the air, water and food for any business. Profit is definitely not a dirty word. Beyond all of these requirements, the photographer has to figure out how to find work. Then work with clients to fulfill their needs, to make photographs that illustrate their ideas, picture their stories and very importantly, make their products and services desirable to customers.

There is still one last barrier to entry. The public truly believes that the camera makes the photographer. They believe that buying a good camera makes the purchaser an experienced, professional photographer.

Like others in this time of the Coronavirus pandemic, I am concerned with taking care of those around me. When it comes to providing a safe environment for creating photographs of people, cleanliness, masks and as much physical distancing as possible are my main concerns. My client Susan and I spoke on Zoom to get

Yup. I know. Everyone has heard of it. A lot of people viewed it. Some of us gathered to photograph it. I joined other photographer friends on a just built deck of a not-yet-finished house in Marble, North Carolina to shoot the moon as it passed in front of the sun. This one was made

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.[1] They are all based on existing 35mm film SLRs from Nikon, Canon and Sigma. The range includes the original Kodak DCS, the first commercially available digital SLR.

In 1975, Steven Sasson developed Kodak's first prototype digital still camera, which used a Fairchild 100 x 100 pixel CCD.[2][3] By 1986 Kodak had developed a sensor with 1.4 million pixels.[4] It was used in what is believed to be the world's first Digital Single-Lens Reflex (D-SLR) camera, known as the Electro-Optic Camera, which was designed and constructed by Eastman Kodak Company under a U.S. Government contract in 1987 and 1988.[5]

A number of other improvements were made to increase image quality and usability, including improvements in sensor technology, the first raw image format known as DCR (Digital Camera Raw),[6] and host software to process the DCR images. The original Kodak DCS was launched in 1991, and is based on a stock Nikon F3 SLR film camera with a CCD image sensor mounted in the film gate. It uses a 1.3-megapixel Kodak KAF-1300 sensor, and a separate shoulder-mounted processing and storage unit.

The DCS 200 series, introduced in 1992, condenses the storage unit into a module which is mounted onto the base and back of a stock Nikon 8008 SLR film camera. It was the first digital camera to use the Bayer color filter pattern. The module contains a built-in 80 megabyte hard drive and is powered with AA batteries. It was followed by the upgraded DCS 400 series of 1994, which replaces the hard drive with a PCMCIA card slot. The DCS 400 series includes the 1.5-megapixel DCS 420, and the 6-megapixel Kodak DCS 460, which retailed for $28,000 on launch.[7] In common with Kodak's later 6-megapixel models, the DCS 460 used the award-winning APS-H Kodak M6 sensor.[8] A modified version of the DCS 420 was also sold by the Associated Press as the Associated Press NC2000.[9] In parallel with the DCS 400 series Kodak also sold the analogous Kodak EOS DCS range, which was based on the Canon EOS-1N SLR. With the exception of the original DCS 100, these early models do not include LCD preview screens.

Kodak's subsequent models integrate the digital module with the camera body more thoroughly, and include LCD preview screens and removable batteries. The DCS 500 series of 1998 is also based on the Canon EOS-1N, and comprises the 2-megapixel DCS 520 and the 6-megapixel DCS 560, which initially had a suggested retail price of $28,500.[10] These models were also sold by Canon, as the Canon D2000 and D6000 respectively, and were the first digital SLRs sold under the Canon name. Kodak used the same electronics package for the DCS 600 series, which is based on the Nikon F5. The DCS 600 range includes the Kodak DCS 620x, a high-sensitivity model with an upgraded indium tin oxide sensor and a cyan-magenta-yellow Bayer filter, which has a then-unique top ISO setting of ISO 6400.

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