Kodachrome has lived a long and fruitful 75 years, but the end is inevitably at hand. Entitled “Kodachrome is dead – long live the legend” is a very interesting report and obituary that Arte TV has prepared for all of us analogue fans.
Arte presents another heartwarming eulogy to one of our favorite analogue films:
The legendary photo color film Kodachrome 64 finally died – of all things on its 75th Birthday. Since 1935 the sharpness and brilliant color quality of Kodachrome 64 has been unmatched by any other slide film. The musician Paul Simon even penned the song “Kodachrome” as a declaration of love – a tribute to the memories of his youth: “Mama, do not take my Kodachrome away!” Kodak sadly, has now made Paul Simon’s song reflect the bitter reality.
But what happens when photography is no longer storing material and information into something concrete, such as inscribed in the three layers of Kodachrome 64? What if they are made up similar to video or television of images of digitally generated dots? Metropolis explores the impact with the giant in the field of “theory of photography,” the publicist and curator Klaus Honnef.
Would we still see the same Afghan girl’s piercing, green-eyed stare, the Press Photo of the Year in 1985 by Steve McCurry, without the magic of Kodachrome? Steve certainly deserves the great honor to have the last roll Kodachrome 64 to expose and develop, as he is one of the greatest photographers of our time and still swears on the emulsion with the eye-popping color and the coarse grain. But making it work today? Can people see the difference between analog and digital photography? Lise Sarfati aims to give us their answer: The portraits of young women in search of their own identity to solidify the moment and boast a unique color – thanks to Kodachrome.