Orientador: Iara Lis Schiavinatto / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T20:11:36Z (GMT). No. of bitstreams: 1 Aquino_LiviaAfonsode_D.pdf: 255946029 bytes, checksum: 176794ed5283231aa05740c0d9e70a27 (MD5) Previous issue date: 2014 / Resumo: Esta tese trata da fotografia do amador e sua construção histórica no campo do turismo, refletindo sobre a criação de práticas sociais e sobre as transformações na percepção da experiência da viagem. O turista-fotógrafo é sujeito que comporta tanto o turista quanto o fotógrafo amador, mas se constitui, sobretudo, no entrelaçamento entre os dois. Parte-se de uma relação entre a fotografia e o turismo operando como dispositivo, cristalizando inerente relação. Nessa direção, a Eastman Kodak Company é peça fundamental no processo de popularização da fotografia e, consequentemente, na construção dos modos de produzir, consumir e compreender imagens. Por meio da publicidade, de estratégias de negócio, da elaboração de um sistema educativo e de ampla cadeia de produção, a Kodak atua na criação de valores relativos à importância do registro da viagem e enfatiza o fato de que sua rememoração pode ser obra do amador. O turista-fotógrafo torna-se assim um sujeito produtor de parte do mundo-imagem, pelo desejo de posse e status que a fotografia e o turismo carregam, e, especialmente, pela busca de uma fotografia que está sempre a sua espera / Abstract: This thesis addresses the amateur photography and its historical construction in the tourism area, reflecting on the creation of social practices and on the transformations in the perception of the travel experience. The tourist-photographer is the subject that encompasses both the tourist and the amateur photographer, but is mainly the interlacing between both. The starting point is the relationship between photography and tourism operating as an apparatus, crystalizing their inherent relationship. In this sense, Eastman Kodak Company is a fundamental piece in the process that made photography popular and consequently in the construction of the ways to produce, consume and comprehend images. By means of advertising, business strategies, creation of an educational system and an ample production network, Kodak creates values related to the importance of recording the trip and emphasizes the fact that recalling it can be the work of an amateur. The tourist-photographer becomes then a subject that produces part of the world-image, through the wish for possession and status inherent in photography and tourism, and, especially, through the search for a picture that is always waiting to be taken. / Doutorado / Artes Visuais / Doutora em Artes Visuais

This thesis discusses the camera design development from its very beginning until present time. Methodological is based on a basic ideas of industrial design, cooperation of brands with specific designers and achieve goals of industrial design. In the beginning, I am trying to find a breakpoint in thinking about the cameras, moment of not-only light-sensitive material development, but also adding of new ideas of camera ergonomics, the functional elements of the marking symbol or extra aesthetic value and mapping the effects and conditions to which it was formed. It contains substantial cooperation with world famous brands (Kodak, Leica, Hasselblad, Pentax ...), their theoretical basis and problems, concerning media images linked to the samples as well.

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Photography is inherently technological, based as it is on intricate chemical processes. George Eastman famously created the conventional photographic system, making the technology widely available to a mass market. Using the systems approach, I show how the Eastman Kodak Company consolidated critical photographic technologies through acquisition and research in the beginning of the twentieth century. Once the company achieved predominance in the industry, it set about expanding its markets. However, as the non-chemical elements of the technology advanced in the 1970s and beyond, the market changed. At the same time, foreign competitors matched and even surpassed Kodak's production efficiencies, threatening the company as never before. Just as Kodak began facing serious price competition in the 1980s for the first time in decades, electronics manufacturers introduced video camcorders and, later, digital still cameras. Dismissed by Kodak managers as inferior, the radical technology advanced far more rapidly than Kodak's chemical research. Computers in particular guided consumers to embrace new values, emphasizing a means of imaging that the conventional system could not match. Eastman Kodak's success with the older system created a protective mindset that led its managers to focus very narrowly on the survival of film. They viewed the new competitive landscape skeptically, and as a result they stifled innovation and prevented the company from aggressively competing in emerging technologies. / Master of Science

Thesis (M.B.A.)--University of Hong Kong, 1990.

Within the accepted historiography of photography, the importance of George Eastman and the Eastman Kodak Company (EKC) has become unassailable. They have been placed as the key, and often sole, agent in “revolutionizing” the amateur photography market in the late nineteenth century. While the photographic landscape and market of 1885-1914 was indeed radically altered, the historiographical dominance of what can be identified as the “Kodak story” has obscured the means through which EKC’s successful re-structuring of the existing manufacturing and distribution networks of photographic materials occurred. I argue that the changes effected by Eastman and the EKC began not with imaging desires, but with their acknowledgment, and profound understanding of the existing and competing interests within the photographic industry. This thesis focuses on the EKC’s re-structuring of the extant and evolving communities involved in the manufacturing and distribution of photographic materials in Canada between 1885-1910. Focusing particularly on the period immediately surrounding the establishment of the Canadian Kodak Co. Limited in 1899, I demonstrate the re-structuring processes at work, including: market and financial diversification; governmental lobbying; purchase and mergers; and other business and marketing-based strategies. I frame my theoretical positions and analysis of network re-structuring through the experiences of Ottawa professional photographer and photographic business owner William James Topley (active 1868-1907), and CKCoLtd manager John Garrison Palmer (active 1886-1921). Topley and Garrison’s professional experiences and interactions with expanded communities of photographic consumers and industry participants provide an opportunity for specific and detailed findings which challenge understandings of the evolution of the practice of photography during this transitional period. In doing so, I provide evidence of the primary role network re-structuring played in the EKC’s ability to shape the wider international photographic industry to their advantage in the early twentieth century.

When using the digital halftone proofing systems, a closer print match can be achieved compared to what earlier couldbe done with the analogue proofing systems. These proofing systems possibilities to produce accurate print match canas well lead to producing bad print matches as several print related parameters can be adjusted manually in the systemby the user. Therefore, more advanced knowledge in graphic arts technology is required by the user of the system.The prepress company Colorcraft AB wishes to control that their color proofs always have the right quality. This projectwas started with the purpose to find a quality control metod for Colorcraft´s digital halftone proofing system(Kodak Approval XP4).Using a software who supports spectral measuring combined with a spectrophotometer and a control bar, a qualitycontrol system was assembled. This system detects variations that lies out of the proofing system´s natural deviation.The prerequisite for this quality control system is that the tolerances are defined with consideration taken to the proofingsystems natural deviations. Othervise the quality control system will generate unnecessecary false alarms and thereforenot be reliable.

The dissertation examines how image-making, a common pastime, was made common. It investigates the ways in which the production and consumption of images in the context of the North American family contributed to the development of a distinctly domestic and privatized visual culture, and the transformation of the home into a site for privatized spectatorship. / Four cultural forms (No. 1 Kodak, Box Brownie, Cine Kodak and Cine Kodak 8) are specified in this development, all pioneered by the Eastman Kodak Company. The dissertation traces Eastman Kodak's direct involvement in the popularization of image practices. It analyzes strategies used by them to make this possible, namely an appeal to the becoming lifestyles of the bourgeois and middle-classes. / The analysis links the popularization of image-making and consuming practices to other popular amusements (i.e. cycling, cinema-going) to work against an artifact-centred analysis. Issues of gender and generation are critically evaluated as concepts used to instill image-making as a popular, family practice. Shifts in modern temporal and spatial experience, as well as mobility are also explored in relation to popular image-making.

Det här examensarbetet berör ämnet färgstyrning inom digitaltryck. Grundprincipen medfärgstyrning är att få hela den grafiska produktionskedjan att resultera i en förutsägbar och korrektslutprodukt. Den här styrningen sker i huvudsak med hjälp av ICC-profiler.Syftet med arbetet var att hjälpa företaget dpn att ta fram ett väl fungerande arbetsflöde för derastvå Kodak digitalpressar. Företaget ville dels få en så bra färgmatchning mellan de bådatryckpressarna som möjligt, och dels få en så bra matchning mot gällande standardvärden föroffsettryck som möjligt. Dessutom syftade arbetet till att utveckla min egen kunskap kring arbetetmed färgstyrning.Arbetet utfördes genom instudering av relevant teori i ämnet, vilken sedan applicerades på detpraktiska arbetet. Det praktiska arbetet bestod främst i att trycka testkartor som mättes upp och lågtill grund för skapande av ICC-profiler.Arbetet visade sig ge ett positivt resultat. Mätningar gjordes dels innan arbetet påbörjades för attkontrollera hur stor färgavvikelsen var vid det tillfället. Efter skapande och applicering av de nyaprofilerna visade sig färgavvikelsen ha minskat, både sinsemellan de båda tryckpressarna och motgällande standard. Avvikelsen hamnade under de målvärden företaget satt upp på förhand, menlämnade samtidigt utrymme för ytterligare förbättringar på sina ställen.SlutsatserRapporten visar att målsättningen att få de båda tryckpressarna på företaget att trycka med enfärgavvikelse under de på förhand uppsatta värdena kunde uppnås med god marginal. Vidarekonstaterades också att målet att få de båda tryckpressarna att simulera mot standardvärden föroffsettryck kunde uppnås, med undantag för några enstaka färgvärden. / Color management of Kodak Nexpress on Digital Printing NetworkThis thesis concerns the subject of color management in digital printing. The basic principle ofcolor management is to get the entire graphic production to result in a predictable and accurate endproduct. This control is mainly made by the use of ICC profiles.The purpose of this work was to help the company dpn to produce a well-functioning workflow fortheir two Kodak digital presses. The company wanted to get as good color matching between thetwo printing machines as possible, and get a good match with the existing standard values for offsetprinting as possible.The work was carried out by studying of relevant theory on the subject, which then was applied tothe practical work. The practical work consisted mainly of printing test charts, which was measuredand was the basis for the creation of the ICC profiles.The work proved to give a positive result. Measurements were made before the work began tocontrol how much color difference was at the time. After the creation and application of the newprofiles it was shown that color deviation have declined, both between the two printing presses andwith the current standard. Deviation fell below the targets the company had set up in advance, butdid allow for further improvements in their places.ConclusionsThe report shows that the objective of the two Kodak Nexpress to print with a color differenceunder the pre-determined values could be achieved with good margin. Moreover, it was found thatthe objective of the two Kodak Nexpress to simulate the default values for offset printing wasachieved, with the exception of a few color values.

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