Jon Fauer, ASC - Imago

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4 George Eastman House Apr-Jul 2009 The mosaic of George Eastman on our cover is composed of 2500 images selected from over 50,000 images in the George Eastman House collection in Rochester, New York. It uses computer technology developed at the MIT Media Lab by Robert Silvers to map a collection of photographs, assigning each to a particular location by their individual colors and shapes. Most of the images we capture, store, print or project are mosaics of silver crystals, pixels, ink dots or points of light. The smaller the dots, the sharper the image appears. When we talk about 2K or 4K images, we’re describing 2000 or 4000 points of light. As my colleague John (JJ) Johnston has pointed out, the genius of George Eastman is that he developed a universal, flexible matrix, a worldwide standard that did many things: it was the sensor, the recorder, the storage medium (all uncompressed), and could be used to copy and project. Did the picture of Eastman and Edison, below, lead to the warning on all Kodak film labels: “Open in Total Darkness”?
George Eastman House is not to be missed if you have anything to do with still or moving images. An easy one and a half hour flight from New York City or five hour scenic drive, it is the world’s oldest photography museum and archive, and houses the world’s largest collections of photographic and cinematographic equipment. The house, gardens and estate are a valuable National Historic Landmark. It’s a curious thing about Latitude. Degrees of Longitude are variable, but distance from the equator is a constant 69 miles per degree. I have a theory about the Industrial Revolution. Technology was fueled not only by water power and coal, but also by parallel thought processes that coincided, around the world, with similar degrees of Latitude. Rochester, New York is 43.19° North. And it was here, in 1880, that George Eastman opened a photographic dry plate manufacturing company. Lyon, France is 45.75° North, a mere 177 miles apart in Latitude (but 3895 apart in Longitude) from Rochester, NY. In the same year that George Eastman worked by day in a bank and by night in his workshop, Louis and Auguste Lumière were engaged in similar painstaking work from 5am to 11pm in their father’s failing photographic plate company. Two years later, both were prospering, and the rest was photographic and cinematographic history. Today, you can visit the houses, now wonderful museums, of these entrepreneurial geniuses. The Lumière Villa was completed in 1902. George Eastman’s Estate was built between 1902 and 1905. Although the Lyon house is Art Nouveau and the Rochester house is Colonial Revival, both share the owners’ passion for light and abundant use of wide expanses of mullioned windows. George Eastman’s 35,000 square-foot house, with 50 rooms, 13 baths and central clock system, sits on eight and a half acres at 900 East Avenue in Rochester. In 1919, he decided to renovate, and to improve the acoustics in the conservatory, cut the house in half to move it nine feet, four inches. It is a beautiful room, filled with light from the skylights above a model elephant. The name “Kodak” was invented in 1888. Eastman liked the letter “K” because it was “strong and incisive...firm and unyielding.” Elizabeth Brayer’s definitive biography, George Eastman, quotes him, “First: It is short. Second: it is not capable of mispronunciation. Third: It does not resemble anything in the art...it is euphonious and snappy.” To market the Kodak camera, he came up with the slogan “You press the button, we do the rest.” The Eastman Kodak Company revolutionized photography through simplification, standardization, and products that almost everyone needed or wanted. The flexible film that was 35mm wide with perforations along the edges helped launch the motion picture industry, and later converted it to color. The museum displays an extensive collection of historic cameras. But for a special treat, let’s visit the huge underground collection. Apr-Jul 2009 5
Page 1 and 2: Jon Fauer, ASC April-July 2009 Issu
Page 3: In this Issue George Eastman House
Page 7 and 8: Universal Standard Sensors 1 2 3 4
Page 9 and 10: Dr. Winfried Scherle (below, left)
Page 11 and 12: New Blue ZEiSS Compact Prime 25 mm
Page 13 and 14: ZEISS Master Primes and Ultra Prime
Page 15 and 16: New Fujinon PL Mount Zooms I’m cu
Page 17 and 18: Fujinon PL 18-85 Apr-Jul 2009 17
Page 19 and 20: First Look: Cooke Panchros Like the
Page 21 and 22: Cooke S4/i Comparison Specs Cooke S
Page 23 and 24: Cameras Left to right: with a beard
Page 25 and 26: Aaton Penelope Specifications Aaton
Page 27 and 28: Turns camera menus ON and OFF in th
Page 29 and 30: LDS Lens Data System status LED: Gr
Page 31 and 32: JVC’s GY-HM700 is a compact shoul
Page 33 and 34: JVC GY-HM100 • • • • •
Page 35 and 36: SONY EX3 with ZEISS DigiPrime 28 mo
Page 37 and 38: Chrosziel, Canon: The Shape of Thin
Page 39 and 40: Abel’s Phantom Handheld Rig & Bre
Page 41 and 42: The Curious Case of Slumdog Million
Page 43 and 44: the first take, a lightmeter was us
Page 45 and 46: Lentequip Breaks Out RED Lentequip
Page 47 and 48: Kata One Man Band Bags at Bogen OMB
Page 49 and 50: 4. Daddy Long Legs (aka HiPod). The
Page 51 and 52: New OConnor 2575 D Tilt Lock Safety
Page 53 and 54: New from Cartoni DELTA ROSSO Tilt 3
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Transvideo: “President Directeur
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French cinema was well represented
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Litepanels 1x1 Bi-Focus, rear 1x1 B
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photo: Marek Czarnecki In addition
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Series 200, Daylight, Tungsten, Sof
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in a much sharper cosmos. I can now
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IN-N-OUT Burners IN-N-OUT Burgers i
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Image stability has also been impro
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Once you become enmeshed in the wor
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viewer’s face. A good example of
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else (7 years for architecture plus
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P+S Technik 3D Rig Apr-Jul 2009 77
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3D Calculator 3D Workshops Florian
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Side-by-Side Rig Mirror Rig 2 impor
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Preston Wireless 3D Preston MDR Mot
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For file-based formats, the left an
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This Close to Heaven: Bring a Long
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Bill Frick, left, in charge of came
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L to R: Alex Wengert, Otto Nemenz,
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Arriflex 16SR and 35 Books Back in
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The Journal of Art, Technique and T
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Jon Fauer, ASC - Imago

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