Digital Press Printing Willmar Mn
Custom Brochure Printing in Willmar Mn
Digital printing in Minnesota has been a door opener for many businesses. Because printers sell the same thing as everyone else, everyone tries to claim that their service, quality and price are better than others. For this reason, every printer has to find something that would separate them from everyone else. And some business owners find that they have increased productivity after using digital technology and short run processes. Somehow, these gains can be credited to a combination of better pricing and more efficient press performance. Let’s say you have greeting cards that need to be printed. Obsolete inventory through the use of short run digital press can be eliminated.
Custom Brochure Printing in Willmar Mn
This is because with this technology you can print only the needed cards, thus, resulting to orders printed in the exact quantity required. But just the same this kind of printing system is not for everyone. There are risks and changes that need to be dealt with. Nevertheless, the printing industry will continue to change and improve in the years to come. Thus, all business owners and companies have to do is to determine whether this certain printing technique is what they need.
Digital Printing vs. the Traditional Method in Photography
Colored pencils Color effect – Sunlight shining through stained glass onto carpet (Nasir ol Molk Mosque located in Shiraz, Iran) Colors can appear different depending on their surrounding colors and shapes. The two small squares have exactly the same color, but the right one looks slightly darker. Color (American English) or colour (Commonwealth English) is the characteristic of human visual perception described through color categories, with names such as red, yellow, purple, or blue. This perception of color derives from the stimulation of cone cells in the human eye by electromagnetic radiation in the spectrum of light. Color categories and physical specifications of color are associated with objects through the wavelength of the light that is reflected from them. This reflection is governed by the object's physical properties such as light absorption, emission spectra, etc. By defining a color space, colors can be identified numerically by coordinates. The RGB color space for instance is a color space corresponding to human trichromacy and to the three cone cell types that respond to three bands of light: long wavelengths, peaking near 564–580 nm (red); medium-wavelength, peaking near 534–545 nm (green); and short-wavelength light, near 420–440 nm (blue). There may also be more than three color dimensions in other color spaces, such as in the CMYK color model, wherein one of the dimensions relates to a colour's colorfulness). The photo-receptivity of the "eyes" of other species also varies considerably from that of humans and so results in correspondingly different color perceptions that cannot readily be compared to one another. Honeybees and bumblebees for instance have trichromatic color vision sensitive to ultraviolet (an electromagnetic radiation with a wavelength from 10 nm (30 PHz) to 400 nm (750 THz), shorter than that of visible light but longer than X-rays) but is insensitive to red. Papilio butterflies possess six types of photoreceptors and may have pentachromatic vision. The most complex color vision system in the animal kingdom has been found in stomatopods (such as the mantis shrimp) with up to 12 spectral receptor types thought to work as multiple dichromatic units. The science of color is sometimes called chromatics, colorimetry, or simply color science. It includes the perception of color by the human eye and brain, the origin of color in materials, color theory in art, and the physics of electromagnetic radiation in the visible range (that is, what is commonly referred to simply as light). Continuous optical spectrum rendered into the sRGB color space. Electromagnetic radiation is characterized by its wavelength (or frequency) and its intensity. When the wavelength is within the visible spectrum (the range of wavelengths humans can perceive, approximately from 390 nm to 700 nm), it is known as "visible light". Most light sources emit light at many different wavelengths; a source's spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, there are many more possible spectral combinations than color sensations. In fact, one may formally define a color as a class of spectra that give rise to the same color sensation, although such classes would vary widely among different species, and to a lesser extent among individuals within the same species. In each such class the members are called metamers of the color in question. The familiar colors of the rainbow in the spectrum – named using the Latin word for appearance or apparition by Isaac Newton in 1671 – include all those colors that can be produced by visible light of a single wavelength only, the pure spectral or monochromatic colors. The table at right shows approximate frequencies (in terahertz) and wavelengths (in nanometers) for various pure spectral colors. The wavelengths listed are as measured in air or vacuum (see refractive index). The color table should not be interpreted as a definitive list – the pure spectral colors form a continuous spectrum, and how it is divided into distinct colors linguistically is a matter of culture and historical contingency (although people everywhere have been shown to perceive colors in the same way). A common list identifies six main bands: red, orange, yellow, green, blue, and violet. Newton's conception included a seventh color, indigo, between blue and violet. It is possible that what Newton referred to as blue is nearer to what today is known as cyan, and that indigo was simply the dark blue of the indigo dye that was being imported at the time. The intensity of a spectral color, relative to the context in which it is viewed, may alter its perception considerably; for example, a low-intensity orange-yellow is brown, and a low-intensity yellow-green is olive-green. The color of an object depends on both the physics of the object in its environment and the characteristics of the perceiving eye and brain. Physically, objects can be said to have the color of the light leaving their surfaces, which normally depends on the spectrum of the incident illumination and the reflectance properties of the surface, as well as potentially on the angles of illumination and viewing. Some objects not only reflect light, but also transmit light or emit light themselves, which also contribute to the color. A viewer's perception of the object's color depends not only on the spectrum of the light leaving its surface, but also on a host of contextual cues, so that color differences between objects can be discerned mostly independent of the lighting spectrum, viewing angle, etc. This effect is known as color constancy. The upper disk and the lower disk have exactly the same objective color, and are in identical gray surroundings; based on context differences, humans perceive the squares as having different reflectances, and may interpret the colors as different color categories; see checker shadow illusion. Some generalizations of the physics can be drawn, neglecting perceptual effects for now: To summarize, the color of an object is a complex result of its surface properties, its transmission properties, and its emission properties, all of which contribute to the mix of wavelengths in the light leaving the surface of the object. The perceived color is then further conditioned by the nature of the ambient illumination, and by the color properties of other objects nearby, and via other characteristics of the perceiving eye and brain. When viewed in full size, this image contains about 16 million pixels, each corresponding to a different color on the full set of RGB colors. The human eye can distinguish about 10 million different colors. Main article: Color theory Although Aristotle and other ancient scientists had already written on the nature of light and color vision, it was not until Newton that light was identified as the source of the color sensation. In 1810, Goethe published his comprehensive Theory of Colors in which he ascribed physiological effects to color that are now understood as psychological. In 1801 Thomas Young proposed his trichromatic theory, based on the observation that any color could be matched with a combination of three lights. This theory was later refined by James Clerk Maxwell and Hermann von Helmholtz. As Helmholtz puts it, "the principles of Newton's law of mixture were experimentally confirmed by Maxwell in 1856. Young's theory of color sensations, like so much else that this marvelous investigator achieved in advance of his time, remained unnoticed until Maxwell directed attention to it." At the same time as Helmholtz, Ewald Hering developed the opponent process theory of color, noting that color blindness and afterimages typically come in opponent pairs (red-green, blue-orange, yellow-violet, and black-white). Ultimately these two theories were synthesized in 1957 by Hurvich and Jameson, who showed that retinal processing corresponds to the trichromatic theory, while processing at the level of the lateral geniculate nucleus corresponds to the opponent theory. In 1931, an international group of experts known as the Commission internationale de l'éclairage (CIE) developed a mathematical color model, which mapped out the space of observable colors and assigned a set of three numbers to each. Main article: Color vision Normalized typical human cone cell responses (S, M, and L types) to monochromatic spectral stimuli The ability of the human eye to distinguish colors is based upon the varying sensitivity of different cells in the retina to light of different wavelengths. Humans are trichromatic—the retina contains three types of color receptor cells, or cones. One type, relatively distinct from the other two, is most responsive to light that is perceived as blue or blue-violet, with wavelengths around 450 nm; cones of this type are sometimes called short-wavelength cones, S cones, or blue cones. The other two types are closely related genetically and chemically: middle-wavelength cones, M cones, or green cones are most sensitive to light perceived as green, with wavelengths around 540 nm, while the long-wavelength cones, L cones, or red cones, are most sensitive to light is perceived as greenish yellow, with wavelengths around 570 nm. Light, no matter how complex its composition of wavelengths, is reduced to three color components by the eye. Each cone type adheres to the Principle of Univariance, which is that each cone's output is determined by the amount of light that falls on it over all wavelengths. For each location in the visual field, the three types of cones yield three signals based on the extent to which each is stimulated. These amounts of stimulation are sometimes called tristimulus values. The response curve as a function of wavelength varies for each type of cone. Because the curves overlap, some tristimulus values do not occur for any incoming light combination. For example, it is not possible to stimulate only the mid-wavelength (so-called "green") cones; the other cones will inevitably be stimulated to some degree at the same time. The set of all possible tristimulus values determines the human color space. It has been estimated that humans can distinguish roughly 10 million different colors. The other type of light-sensitive cell in the eye, the rod, has a different response curve. In normal situations, when light is bright enough to strongly stimulate the cones, rods play virtually no role in vision at all. On the other hand, in dim light, the cones are understimulated leaving only the signal from the rods, resulting in a colorless response. (Furthermore, the rods are barely sensitive to light in the "red" range.) In certain conditions of intermediate illumination, the rod response and a weak cone response can together result in color discriminations not accounted for by cone responses alone. These effects, combined, are summarized also in the Kruithof curve, that describes the change of color perception and pleasingness of light as function of temperature and intensity. Main article: Color vision The visual dorsal stream (green) and ventral stream (purple) are shown. The ventral stream is responsible for color perception. While the mechanisms of color vision at the level of the retina are well-described in terms of tristimulus values, color processing after that point is organized differently. A dominant theory of color vision proposes that color information is transmitted out of the eye by three opponent processes, or opponent channels, each constructed from the raw output of the cones: a red–green channel, a blue–yellow channel, and a black–white "luminance" channel. This theory has been supported by neurobiology, and accounts for the structure of our subjective color experience. Specifically, it explains why humans cannot perceive a "reddish green" or "yellowish blue", and it predicts the color wheel: it is the collection of colors for which at least one of the two color channels measures a value at one of its extremes. The exact nature of color perception beyond the processing already described, and indeed the status of color as a feature of the perceived world or rather as a feature of our perception of the world – a type of qualia – is a matter of complex and continuing philosophical dispute. Main article: Color blindness If one or more types of a person's color-sensing cones are missing or less responsive than normal to incoming light, that person can distinguish fewer colors and is said to be color deficient or color blind (though this latter term can be misleading; almost all color deficient individuals can distinguish at least some colors). Some kinds of color deficiency are caused by anomalies in the number or nature of cones in the retina. Others (like central or cortical achromatopsia) are caused by neural anomalies in those parts of the brain where visual processing takes place. Main article: Tetrachromacy While most humans are trichromatic (having three types of color receptors), many animals, known as tetrachromats, have four types. These include some species of spiders, most marsupials, birds, reptiles, and many species of fish. Other species are sensitive to only two axes of color or do not perceive color at all; these are called dichromats and monochromats respectively. A distinction is made between retinal tetrachromacy (having four pigments in cone cells in the retina, compared to three in trichromats) and functional tetrachromacy (having the ability to make enhanced color discriminations based on that retinal difference). As many as half of all women are retinal tetrachromats.:p.256 The phenomenon arises when an individual receives two slightly different copies of the gene for either the medium- or long-wavelength cones, which are carried on the X chromosome. To have two different genes, a person must have two X chromosomes, which is why the phenomenon only occurs in women. There is one scholarly report that confirms the existence of a functional tetrachromat. In certain forms of synesthesia/ideasthesia, perceiving letters and numbers (grapheme–color synesthesia) or hearing musical sounds (music–color synesthesia) will lead to the unusual additional experiences of seeing colors. Behavioral and functional neuroimaging experiments have demonstrated that these color experiences lead to changes in behavioral tasks and lead to increased activation of brain regions involved in color perception, thus demonstrating their reality, and similarity to real color percepts, albeit evoked through a non-standard route. After exposure to strong light in their sensitivity range, photoreceptors of a given type become desensitized. For a few seconds after the light ceases, they will continue to signal less strongly than they otherwise would. Colors observed during that period will appear to lack the color component detected by the desensitized photoreceptors. This effect is responsible for the phenomenon of afterimages, in which the eye may continue to see a bright figure after looking away from it, but in a complementary color. Afterimage effects have also been utilized by artists, including Vincent van Gogh. Main article: Color constancy When an artist uses a limited color palette, the eye tends to compensate by seeing any gray or neutral color as the color which is missing from the color wheel. For example, in a limited palette consisting of red, yellow, black, and white, a mixture of yellow and black will appear as a variety of green, a mixture of red and black will appear as a variety of purple, and pure gray will appear bluish. The trichromatic theory is strictly true when the visual system is in a fixed state of adaptation. In reality, the visual system is constantly adapting to changes in the environment and compares the various colors in a scene to reduce the effects of the illumination. If a scene is illuminated with one light, and then with another, as long as the difference between the light sources stays within a reasonable range, the colors in the scene appear relatively constant to us. This was studied by Edwin Land in the 1970s and led to his retinex theory of color constancy. It should be noted, that both phenomena are readily explained and mathematically modeled with modern theories of chromatic adaptation and color appearance (e.g. CIECAM02, iCAM). There is no need to dismiss the trichromatic theory of vision, but rather it can be enhanced with an understanding of how the visual system adapts to changes in the viewing environment. Main article: Color term See also: Lists of colors and Web colors Colors vary in several different ways, including hue (shades of red, orange, yellow, green, blue, and violet), saturation, brightness, and gloss. Some color words are derived from the name of an object of that color, such as "orange" or "salmon", while others are abstract, like "red". In the 1969 study Basic Color Terms: Their Universality and Evolution, Brent Berlin and Paul Kay describe a pattern in naming "basic" colors (like "red" but not "red-orange" or "dark red" or "blood red", which are "shades" of red). All languages that have two "basic" color names distinguish dark/cool colors from bright/warm colors. The next colors to be distinguished are usually red and then yellow or green. All languages with six "basic" colors include black, white, red, green, blue, and yellow. The pattern holds up to a set of twelve: black, gray, white, pink, red, orange, yellow, green, blue, purple, brown, and azure (distinct from blue in Russian and Italian, but not English). Individual colors have a variety of cultural associations such as national colors (in general described in individual color articles and color symbolism). The field of color psychology attempts to identify the effects of color on human emotion and activity. Chromotherapy is a form of alternative medicine attributed to various Eastern traditions. Colors have different associations in different countries and cultures. Different colors have been demonstrated to have effects on cognition. For example, researchers at the University of Linz in Austria demonstrated that the color red significantly decreases cognitive functioning in men. The CIE 1931 color space chromaticity diagram. The outer curved boundary is the spectral (or monochromatic) locus, with wavelengths shown in nanometers. The colors depicted depend on the color space of the device on which you are viewing the image, and therefore may not be a strictly accurate representation of the color at a particular position, and especially not for monochromatic colors. Most light sources are mixtures of various wavelengths of light. Many such sources can still effectively produce a spectral color, as the eye cannot distinguish them from single-wavelength sources. For example, most computer displays reproduce the spectral color orange as a combination of red and green light; it appears orange because the red and green are mixed in the right proportions to allow the eye's cones to respond the way they do to the spectral color orange. A useful concept in understanding the perceived color of a non-monochromatic light source is the dominant wavelength, which identifies the single wavelength of light that produces a sensation most similar to the light source. Dominant wavelength is roughly akin to hue. There are many color perceptions that by definition cannot be pure spectral colors due to desaturation or because they are purples (mixtures of red and violet light, from opposite ends of the spectrum). Some examples of necessarily non-spectral colors are the achromatic colors (black, gray, and white) and colors such as pink, tan, and magenta. Two different light spectra that have the same effect on the three color receptors in the human eye will be perceived as the same color. They are metamers of that color. This is exemplified by the white light emitted by fluorescent lamps, which typically has a spectrum of a few narrow bands, while daylight has a continuous spectrum. The human eye cannot tell the difference between such light spectra just by looking into the light source, although reflected colors from objects can look different. (This is often exploited; for example, to make fruit or tomatoes look more intensely red.) Similarly, most human color perceptions can be generated by a mixture of three colors called primaries. This is used to reproduce color scenes in photography, printing, television, and other media. There are a number of methods or color spaces for specifying a color in terms of three particular primary colors. Each method has its advantages and disadvantages depending on the particular application. No mixture of colors, however, can produce a response truly identical to that of a spectral color, although one can get close, especially for the longer wavelengths, where the CIE 1931 color space chromaticity diagram has a nearly straight edge. For example, mixing green light (530 nm) and blue light (460 nm) produces cyan light that is slightly desaturated, because response of the red color receptor would be greater to the green and blue light in the mixture than it would be to a pure cyan light at 485 nm that has the same intensity as the mixture of blue and green. Because of this, and because the primaries in color printing systems generally are not pure themselves, the colors reproduced are never perfectly saturated spectral colors, and so spectral colors cannot be matched exactly. However, natural scenes rarely contain fully saturated colors, thus such scenes can usually be approximated well by these systems. The range of colors that can be reproduced with a given color reproduction system is called the gamut. The CIE chromaticity diagram can be used to describe the gamut. Another problem with color reproduction systems is connected with the acquisition devices, like cameras or scanners. The characteristics of the color sensors in the devices are often very far from the characteristics of the receptors in the human eye. In effect, acquisition of colors can be relatively poor if they have special, often very "jagged", spectra caused for example by unusual lighting of the photographed scene. A color reproduction system "tuned" to a human with normal color vision may give very inaccurate results for other observers. The different color response of different devices can be problematic if not properly managed. For color information stored and transferred in digital form, color management techniques, such as those based on ICC profiles, can help to avoid distortions of the reproduced colors. Color management does not circumvent the gamut limitations of particular output devices, but can assist in finding good mapping of input colors into the gamut that can be reproduced. Additive color mixing: combining red and green yields yellow; combining all three primary colors together yields white. Additive color is light created by mixing together light of two or more different colors. Red, green, and blue are the additive primary colors normally used in additive color systems such as projectors and computer terminals. Subtractive color mixing: combining yellow and magenta yields red; combining all three primary colors together yields black Subtractive coloring uses dyes, inks, pigments, or filters to absorb some wavelengths of light and not others. The color that a surface displays comes from the parts of the visible spectrum that are not absorbed and therefore remain visible. Without pigments or dye, fabric fibers, paint base and paper are usually made of particles that scatter white light (all colors) well in all directions. When a pigment or ink is added, wavelengths are absorbed or "subtracted" from white light, so light of another color reaches the eye. If the light is not a pure white source (the case of nearly all forms of artificial lighting), the resulting spectrum will appear a slightly different color. Red paint, viewed under blue light, may appear black. Red paint is red because it scatters only the red components of the spectrum. If red paint is illuminated by blue light, it will be absorbed by the red paint, creating the appearance of a black object. Further information: Structural coloration and Animal coloration Structural colors are colors caused by interference effects rather than by pigments. Color effects are produced when a material is scored with fine parallel lines, formed of one or more parallel thin layers, or otherwise composed of microstructures on the scale of the color's wavelength. If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce Tyndall effect colors: the blue of the sky (Rayleigh scattering, caused by structures much smaller than the wavelength of light, in this case air molecules), the luster of opals, and the blue of human irises. If the microstructures are aligned in arrays, for example the array of pits in a CD, they behave as a diffraction grating: the grating reflects different wavelengths in different directions due to interference phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness. Structural color is studied in the field of thin-film optics. A layman's term that describes particularly the most ordered or the most changeable structural colors is iridescence. Structural color is responsible for the blues and greens of the feathers of many birds (the blue jay, for example), as well as certain butterfly wings and beetle shells. Variations in the pattern's spacing often give rise to an iridescent effect, as seen in peacock feathers, soap bubbles, films of oil, and mother of pearl, because the reflected color depends upon the viewing angle. Numerous scientists have carried out research in butterfly wings and beetle shells, including Isaac Newton and Robert Hooke. Since 1942, electron micrography has been used, advancing the development of products that exploit structural color, such as "photonic" cosmetics. Find more aboutColorat Wikipedia's sister projects
Color PrinterFor other uses, see Kodak (disambiguation). The Eastman Kodak Company (referred to simply as Kodak) is an American technology company that produces imaging products with its historic basis on photography. The company is headquartered in Rochester, New York and is incorporated in New Jersey. Kodak provides packaging, functional printing, graphic communications and professional services for businesses around the world. Its main business segments are Print Systems, Enterprise Inkjet Systems, Micro 3D Printing and Packaging, Software and Solutions, and Consumer and Film. It is best known for photographic film products. Kodak was founded by George Eastman and Henry A. Strong on September 4, 1888. During most of the 20th century, Kodak held a dominant position in photographic film. The company's ubiquity was such that its "Kodak moment" tagline entered the common lexicon to describe a personal event that was demanded to be recorded for posterity. Kodak began to struggle financially in the late 1990s, as a result of the decline in sales of photographic film and its slowness in transitioning to digital photography. As a part of a turnaround strategy, Kodak began to focus on digital photography and digital printing, and attempted to generate revenues through aggressive patent litigation. In January 2012, Kodak filed for Chapter 11 bankruptcy protection in the United States District Court for the Southern District of New York. In February 2012, Kodak announced that it would stop making digital cameras, pocket video cameras and digital picture frames and focus on the corporate digital imaging market. In August 2012, Kodak announced its intention to sell its photographic film, commercial scanners and kiosk operations, as a measure to emerge from bankruptcy, but not its motion picture film operations. In January 2013, the Court approved financing for Kodak to emerge from bankruptcy by mid 2013. Kodak sold many of its patents for approximately $525,000,000 to a group of companies (including Apple, Google, Facebook, Amazon, Microsoft, Samsung, Adobe Systems and HTC) under the names Intellectual Ventures and RPX Corporation. On September 3, 2013, the company emerged from bankruptcy having shed its large legacy liabilities and exited several businesses. Personalized Imaging and Document Imaging are now part of Kodak Alaris, a separate company owned by the UK-based Kodak Pension Plan. On March 12, 2014, it announced that the board of directors had elected Jeffrey J. Clarke as chief executive officer and a member of its board of directors. The Kodak factory and main office in Rochester, circa 1910 From the company's founding by George Eastman in 1888, Kodak followed the razor and blades strategy of selling inexpensive cameras and making large margins from consumables – film, chemicals and paper. As late as 1976, Kodak commanded 90% of film sales and 85% of camera sales in the U.S. Japanese competitor Fujifilm entered the U.S. market (via Fuji Photo Film U.S.A.) with lower-priced film and supplies, but Kodak did not believe that American consumers would ever desert its brand. Kodak passed on the opportunity to become the official film of the 1984 Los Angeles Olympics; Fuji won these sponsorship rights, which gave it a permanent foothold in the marketplace. Fuji opened a film plant in the U.S., and its aggressive marketing and price cutting began taking market share from Kodak. Fuji went from a 10% share in the early 1990s to 17% in 1997. Fuji also made headway into the professional market with specialty transparency films such as Velvia and Provia, which competed successfully with Kodak's signature professional product, Kodachrome, but used the more economical and common E-6 processing machines which were standard in most processing labs, rather than the dedicated machines required by Kodachrome. Fuji's films soon also found a competitive edge in higher-speed negative films, with a tighter grain structure. In May 1995, Kodak filed a petition with the US Commerce Department under section 301 of the Commerce Act arguing that its poor performance in the Japanese market was a direct result of unfair practices adopted by Fuji. The complaint was lodged by the United States with the World Trade Organization. On January 30, 1998, the WTO announced a "sweeping rejection of Kodak's complaints" about the film market in Japan. Kodak's financial results for the year ending December 1997 showed that company's revenues dropped from $15.97 billion in 1996 to $14.36 billion in 1997, a fall of more than 10%; its net earnings went from $1.29 billion to just $5 million for the same period. Kodak's market share declined from 80.1% to 74.7% in the United States, a one-year drop of five percentage points that had observers suggesting that Kodak was slow to react to changes and underestimated its rivals. Although from the 1970s both Fuji and Kodak recognized the upcoming threat of digital photography, and although both sought diversification as a mitigation strategy, Fuji was more successful at diversification. The Kodak 'K' logo was introduced in 1971. The version seen here – with the 'Kodak' name in a more modern typeface – was used from 1987 until the logo's discontinuation in 2006, but later used again in 2016 Kodak logo from 2006 to 2016 Although Kodak developed a digital camera in 1975, the first of its kind, the product was dropped for fear it would threaten Kodak's photographic film business. In the 1990s, Kodak planned a decade-long journey to move to digital technology. CEO George M. C. Fisher reached out[clarification needed] to Microsoft and other new consumer merchandisers. Apple's pioneering QuickTake consumer digital cameras, introduced in 1994, had the Apple label but were produced by Kodak. The DC-20 and DC-25 launched in 1996. Overall, though, there was little implementation of the new digital strategy. Kodak's core business faced no pressure from competing technologies, and as Kodak executives could not fathom a world without traditional film there was little incentive to deviate from that course. Consumers gradually switched to the digital offering from companies such as Sony. In 2001 film sales dropped, which was attributed by Kodak to the financial shocks caused by the September 11 attacks. Executives hoped that Kodak might be able to slow the shift to digital through aggressive marketing. Under Daniel Carp, Fisher's successor as CEO, Kodak made its move in the digital camera market, with its EasyShare family of digital cameras. Kodak spent tremendous resources studying customer behavior, finding out that women in particular loved taking digital photos but were frustrated in moving them to their computers. This key unmet consumer need became a major opportunity. Once Kodak got its product development machine started, it released a wide range of products which made it easy to share photos via PCs. One of their key innovations was a printer dock, where consumers could insert their cameras into this compact device, press a button, and watch their photos roll out. By 2005, Kodak ranked No. 1 in the U.S. in digital camera sales that surged 40% to $5.7 billion. Despite the high growth, Kodak failed to anticipate how fast digital cameras became commodities, with low profit margins, as more companies entered the market in the mid-2000s. In 2001 Kodak held the No. 2 spot in U.S. digital camera sales (behind Sony) but it lost $60 on every camera sold, while there was also a dispute between employees from its digital and film divisions. The film business, where Kodak enjoyed high profit margins, fell 18% in 2005. The combination of these two factors resulted in disappointing profits overall. Its digital cameras soon became undercut by Asian competitors that could produce their offerings more cheaply. Kodak had a 27% market-leading share in 1999, that dwindled to 15% by 2003. In 2007 Kodak was No. 4 in U.S. digital camera sales with a 9.6% share, and by 2010 it held 7% in seventh place behind Canon, Sony, Nikon and others, according to research firm IDC. Also an ever-smaller percentage of digital pictures were being taken on dedicated digital cameras, being gradually displaced in the late 2000s by cameras on cellphones, smartphones, and tablets. The decline of camera film to digital greatly affected Kodak's business. Kodak's main headquarters in Rochester, New York Kodak then began a strategy shift: Previously Kodak had done everything in-house, but CEO Antonio Pérez shut down film factories and eliminated 27,000 jobs as it outsourced its manufacturing. Pérez invested heavily in digital technologies and new services that capitalized on its technology innovation to boost profit margins. He also spent hundreds of millions of dollars to build up a high-margin printer ink business to replace shriveling film sales. Kodak's ink strategy rejected the razor and blades business model used by the dominant market leader Hewlett-Packard in that Kodak's printers were expensive but the ink was cheaper. As of 2011, these new lines of inkjet printers were said to be on verge of turning a profit, although some analysts were skeptical as printouts had been replaced gradually by electronic copies on computers, tablets, and smartphones. Home photograph printers, high-speed commercial inkjet presses, workflow software, and packaging were viewed as the company's new core businesses, with sales from those four businesses projected to double to nearly $2 billion in revenue in 2013 and account for 25% of all sales. However, while Kodak named home printers as a core business as late as August 2012, at the end of September declining sales forced Kodak to announce an exit from the consumer inkjet market. Kodak has also turned to litigation in order to generate revenue. In 2010, it received $838 million from patent licensing that included a settlement with LG. In 2011, despite the turnaround progress, Kodak rapidly used up its cash reserves, stoking fears of bankruptcy; it had $957 million in cash in June 2011, down from $1.6 billion in January 2001. In 2011, Kodak reportedly explored selling off or licensing its vast portfolio of patents in order to stave off bankruptcy. By January 2012, analysts suggested that the company could enter bankruptcy followed by an auction of its patents, as it was reported to be in talks with Citigroup to provide debtor-in-possession financing. This was confirmed on January 19, 2012, when the company filed for Chapter 11 bankruptcy protection and obtained a $950 million, 18-month credit facility from Citigroup to enable it to continue operations. Under the terms of its bankruptcy protection, Kodak had a deadline of February 15, 2013 to produce a reorganization plan. In April 2013, Kodak showed its first Micro Four Thirds camera, to be manufactured by JK Imaging. On September 3, 2013, Kodak announced that it emerged from bankruptcy as a technology company focused on imaging for business. Its main business segments are Digital Printing & Enterprise and Graphics, Entertainment & Commercial Films. On March 12, 2014, Kodak announced that Jeffrey J. Clarke had been named the new CEO. On January 1, 2015, Kodak announced a new five business division structure; Print Systems, Enterprise Inkjet Systems, Micro 3D Printing and Packaging, Software and Solutions, and Consumer and Film. An original Kodak camera, complete with box, camera, case, felt lens plug, manual, memorandum and viewfinder card An advertisement from The Photographic Herald and Amateur Sportsman (November 1889) Advertisement for a folding "pocket" Kodak camera (August 1900) A Brownie No 2. camera Eastman Kodak Non Curling 116 Film (Expired: 1925) Kodak Camera Center, Tennessee, ca. 1930-1945 Kodachrome II - Film for color slides Main article: List of products manufactured by Kodak Kodak provides packaging, functional printing, graphic communications and professional services for businesses around the world. Its main business segments are Print Systems, Enterprise Inkjet Systems, Micro 3D Printing and Packaging, Software and Solutions, and Consumer and Film. Kodak provides high-speed, high-volume commercial inkjet, and color and black-and-white electrophotographic printing equipment and related consumables and services. It has an installed base of more than 5,000 units. Its Prosper platform uses Stream inkjet technology, which delivers a continuous flow of ink that enables constant and consistent operation, with uniform size and accurate placement, even at very high print speeds. Applications for Prosper include publishing, commercial print, direct mail, and packaging. The business also includes the customer base of Kodak VersaMark products. The NexPress platform is used for printing short-run, personalized print applications for purposes such as direct mail, books, marketing collateral and photo products. The Digimaster platform uses monochrome electrophotographic printing technology to create high-quality printing of statements, short-run books, corporate documentation, manuals and direct mail. Kodak designs and manufactures products for flexography printing. Its Flexcel line of flexo printing systems allow label printers to produce their own digital plates for customized flexo printing and flexible printed packaging. The company currently has strategic relationships with worldwide touch-panel sensor leaders, such as the partnerships with UniPixel announced on April 16, 2013 and Kingsbury Corp. launched on June 27, 2013. Enterprise professional services offers print and managed media services, brand protection solutions and services, and document management services to enterprise customers, including government, pharmaceuticals, and health, consumer and luxury good products, retail and finance. In 1997, Heidelberg Printing Machines AG and Eastman Kodak Co. had created the Nexpress Solutions LLC joint venture to develop a digital color printing press for the high-end market segment. Heidelberg acquired Eastman Kodak Co.'s Office Imaging black and white digital printing activities in 1999. In 2000, they had launched Digimaster 9110 - Black & White Production Printer and NexPress 2100 Digital Color Press. In March 2004, Heidelberg transferred its Digital Print division to Eastman Kodak Co. under mutual agreement. Kodak continues to research and develop Digital Printing Systems and introduced more products. At present, Kodak has commercial Web-fed presses, commercial imprinting systems - Prosper, VersaMark and commercial sheet-fed press - NexPress digital production color press, DIGIMASTER HD digital black and white production printer. Kodak entered into consumer inkjet photo printers in a joint venture with manufacturer Lexmark in 1999 with the Kodak Personal Picture Maker. In February 2007, Kodak re-entered the market with a new product line of All-In-One (AiO) inkjet printers that employ several technologies marketed as Kodacolor Technology. Advertising emphasizes low price for ink cartridges rather than for the printers themselves. Kodak announced plans to stop selling inkjet printers in 2013 as it focuses on commercial printing, but will still sell ink. Kodak's graphics business consists of computer to plate (CTP) devices, which Kodak first launched in 1995 when the company introduced the first thermal CTP to market. In CTP, an output device exposes a digital image using SQUAREspot laser imaging technology directly to an aluminum surface (printing plate), which is then mounted onto a printing press to reproduce the image. Kodak's Graphics portfolio includes front-end controllers, production workflow software, CTP output devices, and digital plates. Kodak’s Global Technical Services ("GTS") for Commercial Imaging is focused on selling service contracts for Kodak products, including the following service categories: field services, customer support services, educational services, and professional services. Kodak's Entertainment Imaging and Commercial Film group ("E&CF") encompasses its motion picture film business, providing motion imaging products (camera negative, intermediate, print and archival film), services and technology for the professional motion picture and exhibition industries. E&CF also offers Aerial and Industrial Films including KODAK Printed Circuit Board film, and delivers external sales for the company’s component businesses: Polyester Film, Specialty Chemicals, Inks and Dispersions and Solvent Recovery. The Kodak company played a role in the invention and development of the motion picture industry. Many cinema and TV productions are shot on Kodak film stocks. The company helped set the standard of 35mm film, and introduced the 16mm film format for home movie use and lower budget film productions. The home market-oriented 8mm and Super 8 formats were also developed by Kodak. Kodak also entered the professional television production video tape market, briefly in the mid-1980s, under the product portfolio name of Eastman Professional Video Tape Products. In 1990, Kodak launched a Worldwide Student Program working with university faculty throughout the world to help nurture the future generation of film-makers. Kodak formed Educational Advisory Councils in the US, Europe and Asia made up of deans and chairs of some of the most prestigious film schools throughout the world to help guide the development of their program. Kodak previously owned the visual effects film post-production facilities Cinesite in Los Angeles and London and also LaserPacific in Los Angeles. Kodak sold Cinesite to Endless LLP, an independent British private equity house. Kodak previously sold LaserPacific and its subsidiaries Laser-Edit, Inc, and Pacific Video, Inc., in April 2010 for an undisclosed sum to TeleCorps Holdings, Inc. Kodak also sold Pro-Tek Media Preservation Services, a film storage company in Burbank, California, in October 2013. Aside from technical phone support for its products, Kodak offers onsite service for other devices such as document scanners, data storage systems (optical, tape, and disk), printers, inkjet printing presses, microfilm/microfiche equipment, photograph kiosks, and photocopiers, for which it despatches technicians who make repairs in the field. Kodak markets Picture CDs and other photo products such as calendars, photo books and photo enlargements through retail partners such as CVS, Walmart and Target and through its Kodak Gallery online service, formerly known as Ofoto. A Kodak Instamatic 104 On January 13, 2004, Kodak announced it would stop marketing traditional still film cameras (excluding disposable cameras) in the United States, Canada and Western Europe, but would continue to sell film cameras in India, Latin America, Eastern Europe and China. By the end of 2005, Kodak ceased manufacturing cameras that used the Advanced Photo System. Kodak licensed the manufacture of Kodak branded cameras to Vivitar in 2005 and 2006. After 2007 Kodak did not license the manufacture of any film camera with the Kodak name. After losing a patent battle with Polaroid Corporation, Kodak left the instant camera business on January 9, 1986. The Kodak instant camera included models known as the Kodamatic and the Colorburst. Polaroid was awarded damages in the patent trial in the amount of $909,457,567, a record at the time. (Polaroid Corp. v. Eastman Kodak Co., U.S. District Court District of Massachusetts, decided October 12, 1990, case no. 76-1634-MA. Published in the U.S. Patent Quarterly as 16 USPQ2d 1481). See also the following cases: Polaroid Corp. v. Eastman Kodak Co., 641 F.Supp. 828 [228 USPQ 305] (D. Mass. 1985), stay denied, 833 F.2d 930 [5 USPQ2d 1080] (Fed. Cir.), aff'd, 789 F.2d 1556 [229 USPQ 561] (Fed. Cir.), cert. denied, 479 U.S. 850 (1986). Kodak was the exclusive supplier of negatives for Polaroid cameras from 1963 until 1969, when Polaroid chose to manufacture its own instant film. As part of its move toward higher end products, Kodak announced on September 15, 2006 that the new Leica M8 camera incorporates Kodak's KAF-10500 image sensor. This was the second recent partnership between Kodak and the German optical manufacturer. In 2011, Kodak sold its Image Sensor Solutions business to Platinum Equity, which subsequently renamed it Truesense Imaging, Inc. Main articles: Kodak DCS and Kodak EasyShare A Kodak Easyshare Z1015 IS digital camera Many of Kodak's early compact digital cameras were designed and built by Chinon Industries, a Japanese camera manufacturer. In 2004, Kodak Japan acquired Chinon and many of its engineers and designers joined Kodak Japan. The Kodak DCS series of digital single-lens reflex cameras and digital camera backs were released by Kodak in the 1990s and 2000s, and discontinued in 2005. They were based on existing 35mm film SLRs from Nikon and Canon and the range included the original Kodak DCS, the first commercially available digital SLR. In July 2006, Kodak announced that Flextronics would manufacture and help design its digital cameras. Kodak first entered the digital picture frame market with the Kodak Smart Picture Frame in the fourth quarter of 2000. It was designed by Weave Innovations and licensed to Kodak with an exclusive relationship with Weave's StoryBox online photo network. Smart Frame owners connected to the network via an analog telephone connection built into the frame. The frame could hold 36 images internally and came with a six-month free subscription to the StoryBox network. Kodak re-entered the digital photo frame market at CES in 2007 with the introduction of four new EasyShare-branded models that were available in sizes from 200 to 280 mm (7.9 to 11.0 in), included multiple memory card slots, and some of which included Wi-Fi capability to connect with the Kodak Gallery—that gallery functionality has now been compromised due to gallery policy changes (see below). Main article: Kodak Gallery In June 2001, Kodak purchased the photo-developing website Ofoto, later renamed Kodak Gallery. The website enables users to upload their photos into albums, publish them into prints, and create mousepads, calendars, etc. On March 1, 2012, Kodak announced that it sold Kodak Gallery to Shutterfly for $23.8 million. Kodak provides scanning technology. Historically this industry began when George Eastman partnered with banks to image checks in the 1920s. Through the development of microfilm technology, Eastman Kodak was able to provide long term document storage. Document imaging was one of the first imaging solutions to move to "digital imaging" technology. Kodak manufactured the first digital document scanners for high speed document imaging. Today Kodak has a full line of document scanners for banking, finance, insurance, healthcare and other vertical industries. Kodak also provides associated document capture software and business process services. Eastman Kodak acquired the Bowe Bell & Howell scanner division in September 2009. Kodak continues to produce specialty films and film for newer and more popular consumer formats, but it has discontinued the manufacture of film in older and less popular formats. Kodak is a leading producer of silver halide (AgX) paper used for printing from film and digital images. Minilabs located in retail stores and larger central photo lab operations (CLOs) use silver halide paper for photo printing. In 2005 Kodak announced it would stop producing black-and-white photo paper. A Kodak NexPress 2500 digital printing press Kodak is a manufacturer of self-service photo kiosks that produce "prints in seconds" from multiple sources including digital input, scanned prints, Facebook, the Kodak Gallery and orders placed on-line using thermosublimation printers. The company has placed over 100,000 Picture Kiosks in retail locations worldwide. Employing similar technology, Kodak also offers larger printing systems with additional capabilities including duplex greeting cards, large format poster printers, photobooks and calendars under the brand name "APEX". 1900 Kodak ad The letter k was a favorite of Eastman's; he is quoted as saying, "it seems a strong, incisive sort of letter." He and his mother devised the name Kodak with an anagrams set. Eastman said that there were three principal concepts he used in creating the name: it should be short, easy to pronounce, and not resemble any other name or be associated with anything else. The Kodak Research Laboratories were founded in 1912 with Kenneth Mees as the first director. Principal components of the Kodak Research Laboratories were the Photographic Research Laboratories and then the Imaging Research Laboratories. Additional organizations included the Corporate Research Laboratories. Over nearly a century, scientists at these laboratories produced thousands of patents and scientific publications. George Eastman In 2005, Kodak Canada donated its entire historic company archives to Ryerson University in Toronto. The Ryerson University Library also acquired an extensive collection of materials on the history of photography from the private collection of Nicholas M. & Marilyn A. Graver of Rochester, New York. The Kodak Archives, begun in 1909, contain the company's Camera Collection, historic photos, files, trade circulars, Kodak magazines, price lists, daily record books, equipment, and other ephemera. It includes the contents of the Kodak Heritage Collection Museum, a museum established in 1999 for Kodak Canada's centennial that Kodak closed in 2005 along with the company's entire 'Kodak Heights' manufacturing campus in Mount Dennis, Toronto. See also: George Eastman House. On March 26, 2007, the Council of Better Business Bureaus (CBBB) announced that Eastman Kodak was resigning its national membership in the wake of expulsion proceedings initiated by the CBBB board of directors. In 2006, Kodak notified the BBB of Upstate New York that it would no longer accept or respond to consumer complaints submitted by them. In prior years, Kodak responded by offering consumers an adjustment or an explanation of the company’s position. The BBB file contains consumer complaints of problems with repairs of Kodak digital cameras, as well as difficulty communicating with Kodak customer service. Among other complaints, consumers say that their cameras broke and they were charged for repairs when the failure was not the result of any damage or abuse. Some say their cameras failed again after being repaired. Kodak said its customer service and customer privacy teams concluded that 99% of all complaints forwarded by the BBB already were handled directly with the customer. Brian O’Connor, Kodak chief privacy officer, said the company was surprised by the news release distributed by the Better Business Bureau: It is inaccurate in the facts presented as well as those the BBB chose to omit. Ironically, we ultimately decided to resign our membership because we were extremely unhappy with the customer service we received from the local office of the BBB. After years of unproductive discussions with the local office regarding their Web site postings about Kodak, which in our view were consistently inaccurate, we came to the conclusion that their process added no value to our own. Our commitment to our customers is unwavering. That will not change. What has changed is that, for us, the BBB's customer complaint process has become redundant, given the multiple and immediate ways that customers have to address their concerns directly with Kodak. In 2010, Apple filed a patent-infringement claim against Kodak. On May 12, 2011, Judge Robert Rogers rejected Apple's claims that two of its digital photography patents were being violated by Kodak. On July 1, 2011, the U.S. International Trade Commission partially reversed a January decision by an administrative law judge stating that neither Apple nor Research in Motion had infringed upon Kodak's patents. The ITC remanded the matter for further proceedings before the ALJ.
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