A Quote by George Eastman

Philologically, the word Kodak is as meaningless as a child's first goo. Terse, abrupt to the point of rudeness, literally bitten off by firm and unyielding consonants at both ends, it snaps like a camera shutter in your face. What more would one ask. (Explaining why he named his company Kodak.)
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 all those middle-class jobs created?
Did you know that Kodak actually invented the digital camera that ultimately put it out of business? Kodak had the patents and a head start, but ignored all that.
The man at Kodak told me the shots were very good and if I kept it up, they would give me an exhibition. Later, Kodak gave me my first exhibition.
Back in the 1970s, Kodak tried to give $25m to a black civil rights organisation in Rochester, New York. The company's shareholders rose up in arms: making this politically charged offering wasn't the reason they had entrusted Kodak with their money. The donation was withdrawn.
In 1976, Kodak's first digital camera shot at 0.1 megapixels, weighed 3.75 pounds, and cost over $10,000.
I called it Kinko’s because of my nickname — because I had this really kinky hair. If you think about it, the first thing a baby learns is ‘Googoo, gaga,’ and if you think of good businesses like Kodak, Xerox, Google, people remember consonants — which was why Kinko’s was a good name. But really I had this big head of curly hair and before being called ‘Kinko’ I was ‘Pube Head.’ So I thought Kinko’s was better than Pubo’s.
The film [ Wyatt Earp and the Holy Grail] was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.
Even a fellow with a camera has his favourite subjects, as we can see looking through the Kodak-albums of our friends. One amateur prefers the family group, another bathing scenes, another cows upon an alp, or kittens held upside down in the arms of a black-faced child. The tendency to choose one subject rather than another indicates the photographer's temperament. Nevertheless, his passion is for photography rather than for selection, a kitten will serve when no cows are available.
Besides," Shane said "I want to see Monica's face when she catches sight of the two of you. Kodak moment.
I began working with a family camera. It was called a Kodak Autographic, which was one of those things where you flopped it open and pulled out the bellows. And I've been at it ever since - I've never stopped
I began working with a family camera. It was called a Kodak Autographic, which was one of those things where you flopped it open and pulled out the bellows. And I've been at it ever since; I've never stopped.
My stepfather gave me a Kodak camera when I was 17 years old. I started working at a local photo store in Le Havre, France, taking passport pictures and photographing weddings.
We were shooting at the Kodak Theatre and to see my production company's clap board in front of Sylvester Stallone was overwhelming, I had to pinch myself. It was a magical moment. It was a different high.
At first it was a bit strange and daunting to have to wear a mask, but afterwards I came to enjoy it. In warm conditions, though, it started to slip off my face. Other times they used this double-sided sticky tape, and I literally couldn't get it off my face. I would feel like I was ripping my face off and I had a lot of cuts and bruises because of it-huge red marks. People might think it was method acting.
Almost any fool can paint an academy picture, and any imbecile can shoot off a Kodak.
Both those taking snaps and documentary photographers... have not understood information. What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.
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