Great article from The Economist on what mistakes Kodak made and what led them to bankruptcy compared to Fujifilm:
http://www.economist.com/node/21542796
There's been a lot of wink-wink nudge-nudge over the years to the effect that Fujifilm was subsidized by the Japanese government; to what extent this was the favorable tax deals Kodak also got and to what extent it was real was and is hard to assess, but it is certainly the case that Fuji was not burdened by the antitrust pressure that led Kodak to divest itself of its camera-making arm in the middle of the 20th century. There's a lot of claims to the effect that Fuji piggybacked on the pioneering Kodak research work, and this is very difficult to refute, but if they did they at least equaled Kodak in quality. When people talk about "cheaper film" it was, but not that much cheaper and at least the equal in quality, sometimes better; I found Fuji's consumer films to be far preferable to that turd Kodak called Gold 400.
No one in the industry was really prepared for the nose dive film sales took; essentially only die-hards like me still buy it. Film was and is to some degree still capable of more resolution, more dynamic range, better color fidelity and less prone to weird errors in the way that a Bayer sensor does (almost every Bayer ever sold to consumers had a detail destroying filter attached to it because the alternative is horrific Moire effects), but the speed of editing digital caused it to take off like a rocket. I suppose the lesson to be learned there is that Kodak spent a century making the very best film it possibly could (for the professional lines, anyway) when it turns out the market is perfectly happy with a 4 MP digital with a mediocre lens and chromatic abberation out the arse if it cuts the feedback loop down from days to seconds.
I have mixed feelings about Kodak in general--they had a tendency to make bizarre decisions that led the few film enthusiasts remaining to believe that it was simply a matter of time before everything got the shaft and they would have to switch to something else anyway. They also made a lot of really bad digital cameras, which was strange considering the superb reputation their press lenses and the Retina had back in the day. Fujifilm never divested itself of its cameramaking arm and continues to make some of the best lenses in the business to this day, and I think that has been a very important strength for them.
I'd also expect the storage convenience to have had an impact, you can store dozens to hundreds of pictures in a memory card the size of a nail (a pretty huge nail for CF cards, but most of the market will be consumers shooting on SD anyway) and you can offload them into a computer or a bigger storage system at the end of the day, instead of having to lug around cases of film.
There's also the ability to quickly remove "failed" or extra shoots on the spot without wasting a valuable spot in the card, where film... a photo taken is a spot taken, no going back.
> I suppose the lesson to be learned there is that Kodak spent a century making the very best film it possibly could (for the professional lines, anyway) when it turns out the market is perfectly happy with a 4 MP digital with a mediocre lens and chromatic abberation out the arse if it cuts the feedback loop down from days to seconds.
I'm not sure your argument is much helped by you comparing professional film with consumer point-and-shoot from 5 years ago.
"Kodak spent a century making the very best film it possibly could (for the professional lines, anyway) when it turns out the market is perfectly happy with a 4 MP digital with a mediocre lens and chromatic abberation out the arse if it cuts the feedback loop down from days to seconds."
Which is exactly the same phenomenon that occurred with music. The industry kept moving to better and better formats, only to be confounded that people didn't mind lower quality lossy compressed mp3s with swishy sounding hi-hats.
gchpaco|14 years ago
No one in the industry was really prepared for the nose dive film sales took; essentially only die-hards like me still buy it. Film was and is to some degree still capable of more resolution, more dynamic range, better color fidelity and less prone to weird errors in the way that a Bayer sensor does (almost every Bayer ever sold to consumers had a detail destroying filter attached to it because the alternative is horrific Moire effects), but the speed of editing digital caused it to take off like a rocket. I suppose the lesson to be learned there is that Kodak spent a century making the very best film it possibly could (for the professional lines, anyway) when it turns out the market is perfectly happy with a 4 MP digital with a mediocre lens and chromatic abberation out the arse if it cuts the feedback loop down from days to seconds.
I have mixed feelings about Kodak in general--they had a tendency to make bizarre decisions that led the few film enthusiasts remaining to believe that it was simply a matter of time before everything got the shaft and they would have to switch to something else anyway. They also made a lot of really bad digital cameras, which was strange considering the superb reputation their press lenses and the Retina had back in the day. Fujifilm never divested itself of its cameramaking arm and continues to make some of the best lenses in the business to this day, and I think that has been a very important strength for them.
masklinn|14 years ago
I'd also expect the storage convenience to have had an impact, you can store dozens to hundreds of pictures in a memory card the size of a nail (a pretty huge nail for CF cards, but most of the market will be consumers shooting on SD anyway) and you can offload them into a computer or a bigger storage system at the end of the day, instead of having to lug around cases of film.
There's also the ability to quickly remove "failed" or extra shoots on the spot without wasting a valuable spot in the card, where film... a photo taken is a spot taken, no going back.
> I suppose the lesson to be learned there is that Kodak spent a century making the very best film it possibly could (for the professional lines, anyway) when it turns out the market is perfectly happy with a 4 MP digital with a mediocre lens and chromatic abberation out the arse if it cuts the feedback loop down from days to seconds.
I'm not sure your argument is much helped by you comparing professional film with consumer point-and-shoot from 5 years ago.
bane|14 years ago
Which is exactly the same phenomenon that occurred with music. The industry kept moving to better and better formats, only to be confounded that people didn't mind lower quality lossy compressed mp3s with swishy sounding hi-hats.
joshu|14 years ago