The genius of Kodak

Vertical integration at its best.

The rapid demise of Kodak, which filed for bankruptcy protection in 2012, is well known. So much so that it is a Harvard Business School case study. While hindsight tends to be 20/20, it was Kodak, through its scientist Steven Sasson, who invented the very cause of its demise, digital imaging. “There will never be a time where film does not have dominant market share”, a board member opined. Kodak was in such deep denial that months before its demise it was still proclaiming the superiority of film in full page ads in the Wall Street Journal.

But for most of the 125 years leading up to its death, Kodak did almost everything right.


Was there ever a more accurate advertising jingle?

From its earliest days, Kodak’s business model was focused on vertical integration. They wanted to own every step of the process, from camera manufacture to film manufacture to the making of the print. Indeed, those early Kodak ads which proclaimed “You press the button …. we do the rest” could not have been more accurate, as you bought the camera pre-loaded with film then handed in the whole thing at the photo store to get the film developed and printed with the results returned to you with a newly re-loaded camera. Brilliant. Kodak succeeded in demystifying the arcana of chemistry and process in exchange for a one-stop shopping experience, devoid of techno mumbo jumbo.

Kodak always concentrated on keeping things simple. When competitors came up with reloadable film cameras Kodak saw to it that the required roll film came wrapped in a lightproof leader along with a like trailer, allowing the camera to be loaded and unloaded in daylight. Yes, Kodak was there to invent the 35mm film cassette in 1934 making small cameras reloadable in daylight. And Kodak’s focus on simplification was never greater than with the introduction of the Instamatic in 1963.


The first Instamatic.

Cleverly named, there was no film to load. Instead the film came installed in a cartridge, along with an integral pressure plate, which was simply dropped into place, the camera back then snapped shut. It took less time to do than to write about. And while, as a student working photo retail to put myself through college, I witnessed many attempts, even the most cack-handed gave up trying to force the cartridge into the body the wrong way around as there was no way it would fit, though they did try. While the camera had a face only a mother could love it was probably the most sold brand of camera until smartphones came along in 2007 with the iPhone. In seven short years Kodak sold over 50 million Instamatics. Capitalizing on its success Kodak introduced the even smaller Pocket Instamatic in 1972, promptly selling another 25 million. And, as always, you pressed the button and Kodak did the rest. They made the cameras, the film, the chemicals, the lab gear and the printing paper. Total vertical integration.

No big, dominant company survives in the long term. Look at GE. It went bankrupt early in its life being kicked out of the (then) Dow 20, and today is a fraction of its peak size having been kicked out of the Dow 30, lost without direction and a mess of unrelated parts. One day, Apple will follow suit, suffering the same pattern of a brilliant founder followed by a bunch of MBA automaton managers to whom fresh ideas are alien and for whom political correctness trumps innovation. Eastman, Edison and Jobs do not repeat.

So while Kodak as we knew it is no more, it would be churlish indeed to deny its business genius in the era of film.

Paolo di Paolo

A 1950s photographer from Italy.

The Guardian has an illustrated piece featuring the work of 1950s Italian photographer Paolo di Paolo.

Suffused with lightness and wit, his images show an Italy recovering from the depredations of fascism to become once more the mecca of style and beauty.


Piazza Navona, Rome. 1960.

His biography appears here. Use Google’s Translate feature for an English version.

Andreas Feininger

One of the great documentary photographers.

Andreas Feininger (1906-1999), though born in Paris, was a German Jew whose parents made the wise decision to move to Sweden in 1936. Feininger then immigrated to the United States in 1939. Had these moves not been made he would almost certainly have died in the German killing machine.

And Feininger’s timing could not have been better with regard to his profession of photojournalist, for LIFE magazine was in its heyday and photographs were actually of monetary value. His association with LIFE lasted almost two decades through 1962.

Feininger is noted for his city and industrial scenes as well as close-ups of plants. It’s the former which are illustrated here.

Enjoying a tremendous consumer boom, New York was never more vibrant than in the 1950s. A victorious Eisenhower was soon to be president (1952-60) after a stint fixing what ailed Columbia University as its Dean. All that mighty military production was turned to churning out cars and houses for newly affluent, young Americans and while domestic and foreign conflicts continued, America was mostly at peace with itself and with the world.


The bustle of thriving Manhattan. 1950.

Steam still dominated long distance travel, and while it may have taken a while to get to Chicago or points further west, never was long distance travel more civilized.


Union Station, Chicago. 1948.

Watch the Stanley Donen directed 1949 musical ‘On the Town’ with dancing and singing by Frank Sinatra and Gene Kelly and you will see some of the last images of the elevated east side subway, soon to be torn down. New York and nostalgia have never been bedmates. Doubtless, were the movie remade today, the protagonists would be homosexuals with an opioid habit. Feininger shows the EL at its best.


Beneath the EL subway, NYC, 1948.

If steam trains were the way to cross the continent, it was the great Cunard liners, joined by the SS France and the steamship The United States, which saw to it that you would cross the Atlantic safely to the new world. Never was the atmosphere better illustrated than in Stanley Donen’s (again) 1951 Royal Wedding where Fred Astaire crosses the Atlantic (going the wrong way). The movie features the famous ‘dancing on the ceiling’ number, as breathtaking today as it was over a half century ago. Feininger’s image of the west side docks shows a New York before the invasion of ghastly steel and glass buildings. Here all is united in the neo-classical style which dominated architectural high rises.


The Queen Elizabeth docked in Manhattan. 1958.

While Feininger was rarely to be found in the studio, his best known image is of Dennis Stock, one of the early members (1951) of the Magnum photo agency. This collective of photographers, whose founders (1947) include Henri Cartier-Bresson, was the gold standard in reportage.


Dennis Stock of Magnum with a Leica IIIC.

We live in a world of Instagram and Pinterest. The value of a photograph is zero unless it shows the Oval Office pig cavorting with a whore. So it’s a pleasure to share these images from a time when photography ruled reportage.

The garden now

30 months later.


Abundant growth may dictate repositioning of some of the spotlights.

An overhaul of the irrigation system, much planting and diligent fertilization have gone on during the past 30 months and the results are starting to show.


One goal is to have color most of the year around.
Newly planted Hibiscus are at the base of the Mobius loop sculpture.


The Krauter Palm is surrounded by Bottle Brush shrubs.
A symphony of Oleanders is starting to cover the south wall of the home, behind the BBQ.


The east passageway was completely barren 30 months ago.
It’s now replete with Yellow Bells and Oleanders


Yellow Lantana fill this planter. The drop down shades shield the patio area from the blast of southern sun.


The west wall will soon be hidden by these Oleanders.


The west passageway, once barren, is now filled with Star Jasmine and red Oleanders.


The foreground Oleander was just 18″ tall when planted and now rises 8′.
My neighbor’s Bougainvillea spill gorgeously over the east wall.

Here’s the barren, cheapskate misery I acquired 30 months ago – after 20 years this is the best previous owners could do:


Tacky solar landscape lighting included. Immediately recycled and replaced with wired LEDs.

Nikon D700/20mm AFD Nikkor for the night image.
Panasonic GX7/12-35mm pro zoom for the others.

Notre Dame in paintings

Some standouts.

Not surprisingly, the Basilica of Notre Dame has featured in many paintings, most of them simply execrable.

The three which follow are by special, all by famous painters who were famous for a reason. They could paint.


David’s infamous portrait of Napoleon being crowned emperor, 1805.


Maximillien Luce made a pointilliste rendering in 1900.


Maurice Utrillo, famed painter of Montmartre, had a go in 1909.