i think the workers don't have a chance.
the bonuses are already a done-deal ...
its too bad that GEastman doesn't do
a dickens novel sort of thing and scare the
daylights out of the current execs for wrecking
the company he built with his own sweat and blood.
its hard to believe GE paid the roll film-minister something like 11milliion
in damages back in 1910 or so and then went on to build kodak ...
i guess that's the difference between a visionary and a ceo ...
Consider this. If Kodak's management team's goal was to extract as much money out of Kodak while winding down the company into nothing, what would they do different than they are now?
Kodak is more than just the top rungs of the ladder, I know the future looks uncertain to bleak and the notion of hosing employee benefits by giving out fat bonuses to execs is at the very least baffling and more like infuriating, but....
It just seems like one of the most popular things on this forum to do lately is not put forward great imagery using modern Kodak film, but instead use a red hot branding iron on every possible piece of hide that might be showing...I mean really, look how many posts these lousy threads get, this place is becoming the film only version of dpreview.
It's really sickening man, seriously...
I think we are all going to be pretty disgusted if this whole bonus thing happens, but....page after page of this bashing and speculation stuff is just no good for anyone...
1. Denial — "Photography feels fine."; "This can't be happening, not to Kodak."
Denial is usually only a temporary defense for the film photographer. This feeling is generally replaced with heightened awareness of analog cameras and equipment that will be left behind after Kodak's death. Denial can be a conscious or unconscious refusal to accept facts, information, or the reality of the situation. Denial is a defense mechanism and some film photographers can become locked in this stage.
2. Anger — "Why Kodak? It's not fair!"; "How can this happen to Kodak?"; '"Who is to blame?"
Once in the second stage, the film photographer recognizes that denial cannot continue. Because of anger, the film photographer may be very difficult to speak with due to misplaced feelings of rage and envy. Anger can manifest itself in different ways. Film photographers can be angry with themselves, or with others, and especially those who are close to them. It is important to remain detached and nonjudgmental when dealing with a film photographer experiencing anger from grief.
3. Bargaining — "I'll do anything for a few more rolls."; "I will give my life savings if Kodak makes just one more run of Kodachrome."
The third stage involves the hope that the film photographer can somehow postpone or delay the death of Kodak. Usually, the negotiation for an extended film product life is made with a higher power in exchange for a reformed non-digital shooting lifestyle. Psychologically, the film photographer is saying, "I understand Kodak will die, but if I could just do something to buy more Kodachrome..." Photographers facing fewer losses of their favorite films can bargain or seek to negotiate a compromise. For example "Can we still be customers if we just keep purchasing..?" when facing Kodak's bankrupcy. Bargaining rarely provides a sustainable solution, especially if it's a matter of the life or death of a film company.
4. Depression — "I'm so sad, why bother with anything?"; "Kodak's going to die soon so what's the point?"; "My work is done. Why wait?"
During the fourth stage, the film photographer begins to understand the certainty of Kodak's death. Because of this, the film photographer may become silent, refuse visitors and spend much of the time crying and grieving. This process allows the film photographer to disconnect from things of love and affection. It is not recommended to attempt to cheer up a film photographer who is in this stage. It is an important time for grieving that must be processed. Depression could be referred to as the dress rehearsal for the 'aftermath'. It is a kind of acceptance with emotional attachment. It's natural to feel sadness, regret, fear, and uncertainty when going through this stage. Feeling those emotions shows that the film photographer has begun to accept the situation.
5. Acceptance — "It's going to be okay."; "I can't fight it, I may as well prepare for it. Where's Ilford's number?"
In this last stage, film photographers begin to come to terms with Kodak's mortality. This stage varies according to the film photographer's garage freezer situation. Film photographers can enter this stage a long time before the films Kodak has left behind, who's employees must also then pass through their own individual stages of dealing with the grief.
Most people here seem to be somewhere between the second and third levels, slowly moving higher. A significant number, however, have already reached level five.
N.B. With generous apologies to Elisabeth Kübler-Ross and Wikipedia...
Oh good grief. It's precisely because we like Kodak products and would like them to continue that we are infuriated by the way Kodak management, not the rank and file, have handled the company. I don't think anyone is in denial (or whatever stage of a death and dying sort of process) that Kodak is in dire straights, but neither do I think ANYONE can know for sure that Kodak film and related products will not survive. We just don't know. The prognosis is serious but no one knows or can know at this stage if it is truly terminal. Look at the rabbit Ilford pulled out of their hat.
There's nothing surprising here and I really don't remotely understand PKM-25's point, or points, or whatever he's getting at. We're bashing upper management, not rank and file, and as far as I can see they deserve all the bashing we're dishing out and then some.
And finally, most of us don't link the future of film photography in general to the survival of Kodak. I'd frankly be a lot more worried if Ilford were on the ropes. Color, yes - Fuji doesn't really seem committed to film anymore though at least they seem like they will survive as a company so as long as there's a demand they can make film, but might not see it as sufficiently profitable at the scale they are equipped to manufacture it. Color is in danger but far from facing certain demise in the immediate future. Black and white looks pretty healthy to me. Even without Ilford - I'd hate to shoot only Foma and Efke film but if that's all there was, I would rather than give up film photography. I wouldn't want to face a world without Ilford in my darkroom, but I could do that much easier than face a world without their film or Kodak's.
Just so nobody mistakes a little late night attempt to lighten things up as something more sinister, I forgot these two carefully selected guys...
(Page down at the Wikpedia link.)