For the first time, people could actually take a picture of a rainbow and see all the beautiful vivid colors in the print itself. It was a technological triumph similar to how it must have been when the first color TVs were released.
A colorful future When Kodachrome first launched in it was first sold as a 16mm movie format. A history worth capturing Up until its discontinuation in , Kodachrome was the oldest selling brand of color film in existence. Continue Reading. How Long do Photo Negatives Last? Kodak Throwback. It accompanied Edmund Hillary to the top of Mount Everest in Abraham Zapruder was filming with 8-mm Kodachrome in Dallas when he accidentally captured President Kennedy's assassination.
National Geographic photographer Steve McCurry used it to capture the haunting green-gray eyes of an Afghan refugee girl in in what is still the magazine's most enduring cover image. For 20 years, anyone wishing to develop Kodachrome film had to send it to a Kodak laboratory, which controlled all processing. Kodachrome's popularity peaked in the s and '70s, when Americans' urge to catalog every single holiday, family vacation and birthday celebration hit its stride. Kodachrome II, a faster, more versatile version of the film, came out in , making it even more appealing to the point-and-shoot generation.
Eventually, with backing from an investor, the pair was able to convince Kodak of the value of their discoveries. In , they moved to Kodak's Rochester headquarters, and within three years they developed the technique of three-color emulsion on which Kodachrome was based.
Kodachrome 16mm movie film was released for sale in , and in Kodachrome 35mm still and 8mm movie film were released. The exposed film was first developed to give a negative silver image in the three layers, the silver then being chemically bleached out, together with the yellow filter layer, which was a form of very finely divided silver. The film was then re-exposed to light, and all the remaining silver salts were developed in a solution containing the colourforming couplers to produce positive cyan dye images in all three layers.
Next, a bleaching solution, the penetration of which could be accurately controlled, was applied to the film until the cyan dye in the top two layers was removed, but leaving that in the bottom layer intact. The bleaching solution also converted the silver image in the top two layers back into developable silver bromide. A second colour development followed, using a magenta coupler, to produce a magenta dye image in the top two layers.
Another bleaching stage removed the magenta dye from the top layer, which was then redeveloped in a yellow dyeforming developer. Now, the film had positive images in both silver and dye in each layer. The silver was removed by bleaching, leaving three clear dye images only. The new process was released first in the form of 16 mm movie film, announced in April Because of the very complex processing involved, the Kodachrome films had to be returned to the manufacturer for processing, and the film was sold with the cost of development included.
It sold for 12s 6d for an eighteenexposure film, including the cost of processing, which compared not unfavourably with the cost of a black and white film together with developing and printing charges. At first the films were returned in an uncut strip, for the customer to mount as slides, or to project in a film strip projector. In February a ready-mounting service was announced and the transparencies were returned to the customer in 2 x 2 inch 5 x 5 cm card mounts. The Kodachrome film was the first commercial integral tripack film, and with its great transparency favourably contrasted with the rather dense additive screen plates and films.
However, the processing cycle was very complex, and the stability of the dyes was not very good. Both problems were resolved with the introduction of an improved process in The film, of the same construction as before, was first developed to a black and white negative.
Then, the film was re-exposed through the back to a red light, which affected only the bottom layer, which was then developed in a cyan dye-forming developer. Then the film was re-exposed from the top to blue light, and the top layer was developed in a yellow dye-forming developer. Finally, a magenta dyeforming developer, containing a chemical fogging agent, was used to develop the middle layer.
Now, the film had both negative and positive images in silver in each layer, and positive dye images. It remained only to bleach out the silver images, and the yellow filter layer, and a colour transparency of dye images only was left. The basis of the Kodachrome film process has remained unchanged ever since.
The improved process was still complex enough that the processing of the film could only be carried out by the manufacturer, or by a laboratory equipped with the necessary complex machinery. Kodachrome Professional film remained on the market until , when it was superseded by Kodak Ektachrome film, introduced in , which could be processed by the professional user.
Coe, Brian : Colour Photography. The First Hundred Years Surface emulsion side, raking light. Film: Regular 8mm home movie, anonymous Ball, J. Arthur : Quality in Color Reproduction.
In: Hollywood Quarterly , 2,1, pp. View Quote. Davies, E. Colour Kinematography. In: The Photographic Journal , 76, pp. Keene, G. Mannes, L. Miller, T. Ross, Rodger J. Anonymous na : The New Kodachrome. Rochester, pp. Anonymous : Das neue Kodachrom-Verfahren. In: Die Kinotechnik , 17,10, May, pp. Ashton, George; Leslie Thomson, C.
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