Celebrate the 100th Anniversary of Infrared Photography with Digital Infrared

By Diane Berkenfeld

Are you looking for a new direction to venture in with your photography? Want to get more creative with your images? If you could photograph the invisible, why wouldn’t you? Or do you simply miss shooting with Infrared film? You can shoot B&W and even color Infrared (IR) photography with digital cameras that are converted to be able to record the Infrared portion of the spectrum. Infrared photography captures the near-Infrared portion of the spectrum.

This year is the 100th anniversary of the first B&W Infrared film photographs taken by Robert W. Wood, to illustrate a paper for the Royal Photographic Society Journal in 1910. The Wood effect, named after Robert Wood is the dreamy appearance seen in B&W IR photographs and false-color characterized by color IR photographs.

Precision Camera offers more than just camera repair services—they’re also experts in Infrared (IR) Conversions. Unlike the days of shooting film, when you could put a roll of Infrared film in practically any camera, attach the requisite filter to the lens and begin shooting, digital IR needs a dedicated body. Most folks will use an older camera—P&S or interchangeable lens—that they’ve put aside when they upgraded, for this use. Mark Soares, Sr. Strategic Markets Manager, Precision Camera, says this isn’t always the case though. “We do have customers who specifically buy cameras for the purpose of converting them to IR (especially true for the Micro 4/3 format).”

mark soares infrared image for picture-soup.com article

"Tracks" taken with a camera at the 665NM Conversion. Photograph © Mark Soares.

Folks are converting all sorts of cameras, from Point & Shoot models to DSLRs. High-end P&S cameras such as the Canon G series or Micro 4/3 cameras like the Panasonic Lumix G and GF series are popular cameras being purchased by photographers specifically to be converted for IR photography.

DSLR and EVIL IR Conversions

If you check out the Precision Camera website (www.precisioncamera.com), you’ll see that the company requests a lens be sent along with the DSLR body that is being converted. This is because they calibrate the focusing of the lens to the IR focal plane of the camera.

“We typically recommend a lens with a focal range of 14-80mm, as we find that we can perform focus adjustments that will work within that range. Most photographers report being able to use the camera with numerous lenses with no problems whatsoever, however, we have seen slight focus shifts when an oddball lenses is mounted on the camera,” Soares notes.

Remember when we shot IR film, most lenses had the IR marker on them that we would use when focusing? Well lenses don’t have that marker anymore, so the body has to be calibrated to the lens. Soares says, “We will do this service as part of the conversion at no extra charge because we want to ensure the camera is ready to shoot when the photographer gets it back in their hands.”

This is only necessary for DSLR cameras. P&S models and most of the Micro 4/3 type cameras are made so their imaging sensors control the AF and can compensate for these small focus shifts.

mark soares infrared image for picture-soup.com article

"Tree" taken with a camera at the 715NM Conversion. Photograph © Mark Soares.

“A new trend is the conversion of Micro 4/3 cameras or ‘EVIL’ (Electronic Viewfinder, Interchangeable Lenses) cameras. The reason they are so well suited for this modification is because the imaging sensor in the camera actually controls the autofocus (contrary to a DSLR’s separate AF assembly) and as such a wider range of lenses can be used with them without affecting the focus. The lenses produced for these cameras are also fantastic for IR. We recommend these cameras to anyone serious about IR who is willing to invest in a dedicated IR body,” adds Soares.

Which Wavelength Do I Want?

visible spectrum from nasa.gov website for picture-soup.com

The visible light spectrum. At one end is the invisible Ultraviolet light, and at the other end is the invisible Infrared light. Image courtesy NASA.gov.

“We offer several types of filters—Full Spectrum (clear), 665nm, 715nm and 830nm. By far the most popular one is the standard 715nm filter, which is reminiscent of the typical IR filter used in the film days (R72 filter). The 715nm allows for authentic IR images to be produced, however, it lets through just enough light to allow the user to produce low saturation color images with it. The end result is a converted camera that can produce low saturation color IR images, and can be used for the more traditional B&W IR look. It is a very versatile conversion,” explains Soares.

What if you want to shoot across the IR spectrum? Soares recommends getting the Full Spectrum conversion and investing in filters to place in front of the lens. “This would be far cheaper and more versatile then converting several cameras. The only drawback is that if you are using a DSLR without live view, the viewfinder would be black since the IR filter placed in front of the lens would be blocking all the light.”

“An 830nm conversion for example may produce high contrast and pure IR images, however, the difference when looking at the images is essentially in the amount of contrast in the picture,” he says.

Soares adds: “It takes very simple post processing to make a 715nm image look like an 830nm image (just desaturate and increase the contrast). In fact, one of the advantages of the 715nm is that because it lets in a little visible light, it actually fills in the highlights enough to have detail in them, whereas the 830nm, as punchy and captivating as it may be, would often have information in the highlights lacking.”

mark soares infrared image for picture-soup.com article

"Wedding" taken with a camera at the 715NM Conversion. Photograph © Mark Soares.

“The 665nm image would be at the other end of the spectrum where there is quite a bit of visible light hitting the sensor, and as such it is primarily used for color IR work—attempting to emulate a 715nm or 830nm conversion from these 665nm images would not be successful because there is too much visible light to remove from the image in order to match a higher wavelength conversion.”

Digital or Film

Contrary to popular belief, most of the people who are having IR conversions done these days, had never shot IR film. Soares notes that they have seen examples of Infrared photography and want to try it themselves. “Most customers are simply captivated by the IR look and surprised by the ease of use of these converted digital cameras,” he adds.

mark soares infrared image for picture-soup.com article

"Car-Comp" taken with a camera at the 665NM Conversion. (l. to r.) custom white balance, false color effect done in post processing, B&W effect done in post processing. Photograph © Mark Soares.

In the days of shooting B&W Infrared film, you had extremely long exposures, usually needed to shoot with the camera on a tripod, which might have been limiting to where you could shoot. And if you’ve had any darkroom experience with B&W Infrared, you’ll remember the loading and unloading of film into the camera and developing tank in complete darkness, as well as very, very dense negatives, which required long exposure times in the enlarger. The outcome was always beautiful, but took a lot of work to accomplish.

Digital IR photography on the other hand is much simpler and less labor intensive to do. It is also more convenient.

According to the Wikipedia page (http://en.wikipedia.org/wiki/Infrared_photography) about Infrared Photography, by 1937 there were 33 different Infrared films available to photographers. Eastman Kodak discontinued its B&W Infrared film in 2007, due to a lack of sales.

Freestyle Photographic, (www.freestylephoto.biz) specializing in all things B&W, imports Maco and Rollei brand true Infrared films from Germany. They also import an extended sensitivity film from Ilford Photo, based in England. The Maco B&W Infrared film has a sensitivity up to 850nm. The Rollei B&W Infrared film has a sensitivity up to 820nm, and is also produced by Maco. The Ilford SFX200 B&W film is not considered a true Infrared film, but has an extended red sensitivity of up to 740nm.

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February Has Been a Good Month for New Photo Product Announcements

By Diane Berkenfeld

A bounty of photo products have been introduced recently, including wide format printers, film, lenses, concept cameras and more. Many of the announcements were made at or surrounding the annual PMA convention and tradeshow, being held in Anaheim, CA this week, known as the place for product and technology announcements. And even some of those companies not exhibiting at PMA announced exciting new products for the professional photographer in recent days.

Wide-Format Printers

Two new 24" and one 44" Canon printers. (Images not to scale)

The biggest news announced today is three new wide-format printers from Canon: the the 44-inch imagePROGRAF iPF8300, 24-inch imagePROGRAF iPF6350 and the iPF6300. Each model features Canon’s new, 12-Color LUCIA EX pigment ink set; a newly developed Media Configuration Tool; and bundled with a new Print Plug-In for Photoshop, Digital Photo Professional and support for the Adobe Color Management Module.

The Canon iPF8300 and iPF6350 are equipped with an 80 GB HDD for faster spooling of large files and the ability to reprint jobs directly from the printer. All three new models are equipped with a standard gigabit Ethernet network interface and an automatic dual-blade cutter.

Expect new ICC profiles from a number of companies to be available on their respective company websites upon release of the new Canon printers. Updated printer RIP drivers will be available for download from those respective company websites upon release of the printers as well.

The imagePROGRAF iPF8300/6350/6300 will start shipping in March for with MSRPs of $5,995, $3,995 and $3,695, respectively. The new imagePROGRAF models will be unveiled for the first time at WPPI in Las Vegas, March 8-11, 2010. Go to www.cusa.canon.com for more details.

Film and A Film Camera

The Fujifilm GF670, a folding, medium format film camera.

While digital has been the de facto camera choice for most professional photographers these days, there are still film and film camera introductions being made.

Early this month we covered the announcement of Fujifilm’s folding film camera, the GF670, which will take rolls of 120 and 220 film, with the versatility to shoot either 6×6 or 6×7.

The camera features a Fujinon EBC 80mm lens, coupled rangefinder, exposure compensator, and aperture-priority automatic and manual exposure modes. Other features include a hot shoe, PC sync connection socket, electronic Leaf shutter with shutter speeds ranging from 4 seconds to 1/500 of a second including Bulb. Because the camera uses a Leaf shutter, flash sync is available at all shutter speeds. (see full article here) Go to www.fujifilmusa.com for more information.

Ektar 100, a color neg emulsion is now available in sheet sizes: 4x5 and 8x10.

Eastman Kodak has announced the addition of sheet film sizes of its Kodak Professional Ektar 100 film to its line. Ektar 100 is now available in 4×5 and 8×10 sheets in addition to 35mm and 120 roll film formats. Ektar 100 is a fine grain color negative film. Check out the website at www.kodak.com for more details.

New Lenses

Earlier this weekend, at the PMA show, Samsung, announced several new additions to its NX system lens line. The original line up of a standard zoom (18-55mm OIS / F3.5-5.6), tele zoom (50-200mm OIS / f/4.0-5.6) and pancake lens (30mm / f/2.0) launched with the Samsung NX10 earlier this year will be complemented by the introduction of five additional lenses through 2010.

The new lenses include: a compact zoom lens (20-50mm f/3.5-5.6), a wide pancake lens (20mm f/2.8), the tele zoom (50-200mm OIS f/4.0-5.6), macro lens (60mm f/2.7), standard zoom lens (non OIS (optical image stabilization) 18-55mm F3.5-5.6), and zoom lens (18-200mm OIS f/3.5-6.3).

Availability will be as follows: 30mm pancake lens, 18-55mm zoom, and 50-200mm zoom available as of January 2010; 18-55mm non-OIS lens during the first half of 2010; the 20-50mm zoom and 20mm pancake lens during the second half of 2010; and the 18-200mm and 60mm Macro lenses TBD. Visit the website at www.samsung.com/us for more details.

And More Lenses

(l. to r.) New 24mm and 16-35mm Nikkor lenses. (Images not to scale)

Earlier this month, Nikon announced two new lenses, the AF-S NIKKOR 24mm f/1.4G ED lens and the AF-S NIKKOR 16-35mm f/4G ED VR. Both lenses are designed for use with Nikon DSLRs that utilize the FX-format, full frame image sensor, however they can also be used with DSLRs that use the smaller DX-format sensor. The duo also utilize Nikon’s exclusive Silent Wave Motor technology for fast, yet quiet autofocusing.

The AF-S NIKKOR 16-35mm f/4G ED VR is scheduled for availability in late February with an estimated selling price of $1,259.95. The AF-S NIKKOR 24mm f/1.4 G ED lens is expected to be available in late March for an estimated selling price of $2,199.95. Go to www.nikonusa.com for more details.

Yet More Lenses and a DSLR

Sigma Corporation of America expanded its line with the addition of five new lenses and a DSLR at PMA this past weekend. The new lenses are: 8-16mm f/4.5-5.6 DC HSM, 17-50mm f/2.8 EX DC OS HSM, APO 50-500mm f/4.5-6.3 DG OS HSM, APO 70-200mm f/2.8 EX DG OS HSM, and 85mm f/1.4 EX DG HSM; and the SD15 DSLR. Exact availability dates and pricing are pending. All of the lenses will be available this spring, in Sigma, Canon, Nikon, Sony and Pentax mounts. The OS lenses offer the use of shutter speeds approximately four stops slower than would otherwise be possible; and can be used with Sony and Pentax DSLRs even if the camera bodies feature an image sensor shift anti-shake system.

The Sigma 8-16mm f/4.5-5.6 DC HSM was designed specifically for DSLRs with APS-C size image sensors. This lens has an equivalent 35mm angle of view of a 12-24mm. The lens has a minimum focusing distance of 9.4 inches throughout the entire zoom range.

The Sigma 17-50mm f/2.8 EX DC OS HSM incorporates Sigma’s Optical Stabilization (OS) function. The lens also allows photographers to utilize the f/2.8 aperture through the entire zoom range. The lens has a minimum focusing distance of 11 inches throughout the entire zoom range and a maximum magnification ratio of 1:5.

(l. to r.) Five new Sigma lenses just announced: 8-16mm, 17-50mm, 50-500mm, 70-200mm, and 85mm. (Images are not scaled to size)

The Sigma APO 50-500mm f/4.5-6.3 DG OS HSM also incorporates Sigma’s original OS function. This lens has a maximum magnification ratio of 1:3.1 (at the focal length of 200mm). The addition of the optional 1.4x EX DG or 2x EX DG APO Tele Converters produce a 70-700mm f/6.3-8 or a 100-1000mm f/9-12.6 MF zoom lens, respectively. This lens can be used on DSLRs with full frame or APS-C sized image sensors.

Also introduced at PMA last weekend, the Sigma SD15 DSLR.

The Sigma APO 70-200 f/2.8 EX DG OS HSM also incorporates Sigma’s original OS function, and allows the use of the f/2.8 aperture through the entire zoom range. The lens has a minimum focusing distance of 55.1 inches throughout the entire zoom range and a maximum magnification ratio of 1:8. The lens can be used with both APS-C and full frame sensors.

The Sigma 85mm f/1.4 EX DG HSM lens, when used on digital cameras with an APS-C size image sensor, effectively becomes a 127.5mm f/1.4 lens. Minimum focusing distance is 33.5 inches with a maximum magnification 1:8.6.

The SD15 DSLR is the latest model in Sigma’s SD series of DSLR cameras, and is powered by the 14-megapixel Foveon X3 direct image sensor. The Foveon sensor can capture all primary RGB colors at each and every pixel location arranged in three layers. The new SD15 incorporates the “TRUE II” image processing engine, which processes the large amount of data from the 14MP sensor. Other features include SD card compatibility, a 3-inch LCD, 77-segment AE sensor, and shutter mechanism with a life of over 100,000 actuations.

For more information, go to www.sigmaphoto.com.

Concept Cameras

Sony announced concept cameras: (l.) a compact DSLR that will accept interchangeable lenses; and (r.) a replacement for the Alpha A700 DSLR and two prototype lenses.

Yesterday at PMA, Sony announced a concept model of a new compact Alpha DSLR camera system. The system will employ the Sony Exmor APS HD CMOS sensor, and provide full AVCHD video capture. The concept camera, which is an ultra compact model, will utilize interchangeable lenses, Sony also showed a mid-range concept DSLR camera, successor to the Alpha A700, and prototypes of two lenses: a Sony branded super telephoto 500mm f/4 G lens and Carl Zeiss Distagon T 24mm f/2 ZA SSM lens. Check the website at www.sony.com for more.

Accessories

New accessories introduced last week include the Joby Ballhead X for Gorillapod Focus, the latest addition to its Professional Line of photographic equipment. The portable yet sturdy Ballhead X supports 11.1lbs and allows photographers the ability to pan, tilt, and rotate their camera. The Ballhead X is lightweight and compact, yet still robust enough to support pro SLR cameras with substantial zoom lenses and sizable camera rigs.

The Joby Ballhead X can be used with the Gorillapod Focus or any other tripod.

While it is optimized for use with the Gorillapod Focus, the Ballhead X can accommodate both 3/8” and 1/4” threads, for compatibility with any tripod. The Ballhead X will be available both separately and bundled together with the Gorillapod Focus, and is expected to hit store shelves in April. Go to www.joby.com for more information.

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Momma Say it Ain’t So! Kodachrome Discontinued After 74 Years

35mm Kodakchrome 64 – the last ISO/size of Kodachrome film – available while supplies last.

35mm Kodakchrome 64 – the last ISO/size of Kodachrome film – available while supplies last.

By Diane Berkenfeld

Kodachrome film, beloved by pro and enthusiast photographers alike, was the first commercially successful color film for Eastman Kodak, (www.kodak.com) introduced in 1935. It will just slide into its 75th anniversary by the time the last of the rolls are sent for processing. [no pun intended]

Kodachrome is a unique emulsion, technically a B&W film until the Cyan, Magenta and Yellow dyes are introduced during the development process.

On June 22, 2009 Eastman Kodak announced it would retire the film. Kodak estimates that current supplies of Kodachrome film will last until early this fall at the current sales pace. If the many Kodachrome devotees purchase large amounts of film, the available inventory may disappear sooner.

What was once the most popular and successful film for Kodak now represents “just a fraction of one percent of the company’s total sales of still-picture films” the company reports.

During its heyday, Kodachrome filled a special niche in the imaging world. Photographers and magazines alike revered the film—for the fine detail it offered with no visible grain. It was used to capture some of the best-known photographs in history, while also being the film of choice for family slide shows of the Baby Boomer generation.

Kodachrome was immortalized not only in the millions of photographs captured on the film, but through song as well. Singer/musician Paul Simon immortalized the film in his 1973 hit “Kodachrome”. [See Lyrics Below] Simon sang the praises of the film’s unique, brilliant colors. There’s even a park in Utah named after the iconic film: Kodachrome Basin State Park (http://stateparks.utah.gov/stateparks/parks/kodachrome) was given its name by the leaders of a National Geographic expedition in 1948 who used the then relatively new film.

“Kodachrome film was probably the finest film ever produced. It was used by every major photographer over the past 70 years; and has enjoyed a cult-like following amongst consumers,” says Jonathan Sweetwood, chairman of the board/CFO, Unique Photo (www.uniquephoto.com).

According to Patrick DelliBovi, senior VP of Sales and Marketing for Freestyle Photographic (www.freestylephoto.biz), “Twenty-three years ago, Kodachrome was a key product that we sold. Other films made up a small portion of our sales.”

“Kodachrome film is an iconic product and a testament to Kodak’s long and continuing leadership in imaging technology,” said Mary Jane Hellyar, president of Kodak’s Film, Photofinishing and Entertainment Group. “It was certainly a difficult decision to retire it, given its rich history,” she added.

History alone does not bring in the profits needed to keep any film emulsion, or photographic or other product for that matter, in production. As photographers over the past decade migrated to digital, film use declined. Kodak remains committed to providing both film and digital products to meet the needs of photographers, According to the press release sent out on June 22, while Kodak now derives about 70% of its revenues from commercial and consumer digital businesses, it is the global leader in the film business. Kodachrome is simply no longer financially viable for the company to produce.

For all of its magic, Kodachrome is a complex film to manufacture and an even more complex film to process. Unique Photo’s Sweetwood notes, “The emulsion for this film was essentially mixed by hand by a group of highly experienced chemists.  As they have retired, the difficulty of manufacturing this product is compounded.”

Freestyle Photographic’s Eric Joseph, VP of Merchandising, explains, “Film doesn’t start out the manufacturing process at the width of a roll of film. [Large] master rolls are made, and coated. Production lines are then run as needed.” The film is most likely not produced on a daily basis. The equipment that Kodachrome is manufactured on probably sits idle for much of the year. Joseph adds, “You also have to do a full production run of the film every time, there’s no way for them to cut the recipe and make it in batches either.”

Then there’s the processing. Dwayne’s Photo (www.dwaynesphoto.com) in Parsons, Kansas is the only lab left in the world that processes Kodachrome. There were few labs dedicated to the complicated K-14 process that’s used for Kodachrome, even in the film’s heyday. It is suggested that only 36 labs processed the film during that time.

According to Grant Steinle, co-owner of Dwayne’s Photo, the fundamental difference between Kodachrome and other films is that while the dyes are incorporated into other films during the manufacturing process, this is not done with Kodachrome. “Its just a B&W film until its processed. Then the dyes are introduced. That’s why it is so stable and archival in dark keeping. No extra dyes are present that may become unstable,” explains Steinle. “The K-14 chemistry doesn’t come preprocessed like E-6 chemistry does. All of the chemicals come in their raw forms. They have to be weighed, measured and mixed from scratch,” he says. This requires the quality control standards to be much tighter as well. “And unlike E-6 which utilizes two developers, Kodachrome has four developers, because each of the dyes—cyan, magenta, and yellow are introduced during the developing process,” he adds.

“We’re sad to see Kodak’s decision to discontinue Kodachrome, its an icon of the 20th century,” says Steinle. “We understand the business decision surrounding it. Manufacturing the film, the dyes, the entire process…”

Eastman Kodak and Dwayne’s Photo have agreed to continue to offer processing of Kodachrome film until December 31, 2010. “Once we’re no longer processing [the film] the only option is to develop it as B&W.” At this point, Steinle says it is too early to tell if processing will be available after the cut off date. It will depend upon film volume and chemical availability.

Why Now?

Freestyle Photographic’s DelliBovi explains that Kodak has been saying this day was coming for the last 10 years. “We don’t like to see any products discontinued, but as technology moves forward, it is going to happen. The resources that have to be expended to manufacture Kodakchrome film and K-14 chemistry is just too large.” He adds that Kodak will be shipping until its remaining inventory is gone. And retailers are stocking up now.

DelliBovi admits that color slide film has been a casualty of digital but B&W film use still remains strong.

“I don’t think [it] is an indication of anything to come,” says DelliBovi. I don’t see a time when B&W darkroom or color photography will be eliminated. In fact we’re seeing a renewed interest over the past few years, especially in the last six months. One of the factors behind the resurgence in the use of color film is the popularity of the Toy Camera category. These include such cameras as the Holga, Diana and Lomo.”

Many schools still feel there is no match for the effectiveness of teaching B&W photography using film and the wet darkroom.

Unique Photo’s Sweetwood adds, “Film still remains a near perfect medium to capture images, and many products will be continued to be viable for the foreseeable future.  The inherent beauty of images, especially of people, captured on film remain the industry standard.”

Outcry

Almost immediately the announcement spawned an outcry by those photographers who still shoot Kodachrome. Forums and blogs were abuzz with talk—some understanding and reminiscing, while others were bitter and complaining.

Companies discontinue products because people aren’t using them, or because there’s something newer and better. Too few people are shooting film nowadays—Kodachrome in particular. For all of the outcry about Kodak’s decision, had more photographers been shooting more of this particular film, maybe it wouldn’t have come to this conclusion.

This is not the time to suggest that photography is dead—or even that film is dead—because neither is true. This was purely a business decision. Everyone we spoke with feels that Kodak knows how important Kodachrome is to photography, and if there was any other way, they would have come up with it. The film started its decline 10 years ago and Kodak has spent the last 10 years keeping it alive. For those who ask why Kodak can’t license or sell Kodachrome to another company to produce—the assumption can be made that the film is too proprietary for the company to allow that.

Daniel Bayer, photographer and founder of the Kodachromeproject.com [See Kodachrome Project Below] has seen this type of response to similar news before. “When one looks at other films that have been discontinued, there is always the initial outcry but then it calms down a bit,” he says.

Bayer says most Kodachrome shooters are very aware of the impending deadline for the last available processing by Dwayne’s Photo set for the end of next year. He hopes the buzz gets people to look around and see what they have in their drawers and refrigerators and get the processing done in time.

Once Kodachrome is no longer an option, those photographers who regularly use the film will have to make a decision whether to either use another slide film—such as Ektachrome from Kodak or Fujifilm’s Fujichrome—or make the switch to digital photography. Bayer notes that most photographers did make the switch in the late 90s, leaving Kodachrome a niche film.

As far as digital versus film, it is starting to level out a bit in that many people now shoot both. It really boils down to what you feel like using to make your images. I think those who are passionate about using Kodachrome now use it because it is a unique medium and enables a unique look right out of the lab,” he says. “As far as my use of film or digital beyond Kodachrome, I will move on to other E-6 stocks and continue to use digital for color work while ramping up my use of film only for B&W.”

The Kodachrome Project

Bayer started the Kodachrome Project in 2004 as a means to create a body of work that truly spoke of the Kodachrome era instead of seeing it pass quietly. “The outcome I hope to produce is a book/exhibit about the 75th year of Kodachrome, what the world looked like and to create a series of essays that tell clear and relevant stories at the time of Kodachrome’s passing. The main body of the work will be mine with select essays and work by other members of the project,” Bayer explains.

“The website www.Kodachromeproject.com was launched a few years ago and the forums shortly thereafter. The forums are fairly popular as far as niche film products go.” There are more than 300 members, of which over 100 are active and more than two dozen serious photographers engage in the opportunity of the project.

Additional Tributes

Along with Daniel Bayer’s Kodachrome Project, the film manufacturing giant is planning a tribute to the film as well. Eastman Kodak will donate the last rolls of the film to George Eastman House International Museum of Photography and Film (www.eastmanhouse.org) in Rochester, NY which houses the world’s largest collection of cameras and related artifacts. Professional photographer Steve McCurry will shoot one of those last rolls and the images will be donated to Eastman House.

McCurry is best known for the image of a young Afghan girl that captured the hearts of millions of people around the world as she peered hauntingly from the cover of National Geographic Magazine in 1985. Incidentally, 17 years later, McCurry sought out the young woman he had photographed almost two decades earlier; this time he captured a portrait of her using Ektachrome Film E100VS.

“The early part of my career was dominated by Kodachrome film, and I reached for that film to shoot some of my most memorable images,” said McCurry. “While Kodachrome film was very good to me, I have since moved on to other films and digital to create my images.”

Kodak has created a gallery of iconic images, including the Afghan girl and other McCurry photos, as well as others from professional photographers Eric Meola and Peter Guttman on its website: www.kodak.com/go/kodachrometribute. Photographers can also leave comments, many dozens have already expressed their feelings, both positive and negative.

Coincidentally, “Kodachrome Culture, The American Tourist in Europe,” a new photography exhibit displaying more than 100 photos from 21 countries across Europe, will be on display at the National Geographic Museum, from June 25 to Sept. 7, 2009.

From the museum’s description of the exhibit: “…The bold 1950s and 1960s Kodachrome color photographs documented an era of peacetime travel and helped shape National Geographic’s tradition of photographic excellence by offering a fresh look at distant places.

“Culled from the National Geographic archives, the images showcase the work of more than 35 legendary photographers and revisit a photographic medium that changed the way we document the world.

“National Geographic pioneered the use of Kodachrome film in the late 1930s and was among the first to recognize its advantages. The film produced a dye image without the grain found in other color processes, and the photographs could be enlarged without loss of detail. The film was also faster. Instead of requiring a tripod, color shots taken with a compact 35mm camera could be spontaneously composed.”

The National Geographic Museum is located in Washington, D.C. For information on the exhibit, visit www.ngmuseum.org.

Final Thoughts

“The discontinuation of Kodachrome production represents the end of the analog photography era. While there are still pros and enthusiast film photographers out there, it is clear that from an industry standpoint we are firmly in the digital age,” says Christopher Chute, research manager, Worldwide Digital Imaging Practice, IDC. “Now the question will be ‘how will pro and commercial photography continue to be re-shaped by changing customer tastes and social networking technology.’”

The final frames of the last roll of Kodachrome film will likely be shot and developed just days before New Year’s 2011, 75 years after the first rolls of Kodachrome film came off of the production lines. Until then photographers far and wide still have a chance to savor in the vibrant, saturated colors of their favorite slide film. Make it something special.

“Kodachrome” — Lyrics by Paul Simon

When I think back

On all the crap I learned in high school

It’s a wonder

I can think at all

And though my lack of education

Hasn’t hurt me none

I can read the writing on the wall

Kodachrome

They give us those nice bright colors

They give us the greens of summers

Makes you think all the world’s a sunny day

I got a Nikon camera

I love to take a photograph

So mama don’t take my Kodachrome away

If you took all the girls I knew

When I was single

And brought them all together for one night

I know they’d never match

my sweet imagination

Everything looks worse in black and white

Kodachrome

They give us those nice bright colors

They give us the greens of summers

Makes you think all the world’s a sunny day

I got a Nikon camera

I love to take a photograph

So mama don’t take my Kodachrome away…

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