沒有 Fuji 的市場化、花俏
Kodak 的菲林真的除了“專業”,就只剩下“專業”了
柯达的一个遗产
我有幸拥有这幅胶片的副本。
这是一幅没有版权的胶片。由美国摄影师Palmer, Alfred T拍摄于二战时期。4x5 英寸Kodachrome iso25 胶片。
对这幅照片的介绍：Palmer, Alfred T, photographer.Lieutenant "Mike" Hunter, Army pilot assigned to Douglas Aircraft Company, Long Beach, Calif.1942 Oct. Color.
联想到摄影师的职业，也是因为柯达的技术而产生和巩固了。“你按下快门”，而后柯达的口号是“把剩下的交给我们”。背后的隐喻就是：柯达是专业的，你是业余的。
最近看到英国专栏作家Jonathan Jones对Kodak的评论，其中有一段对“正牌摄影师”的描述，很有意思：
对我们中大多数人来讲，冲洗照片意味着你要把胶卷带到冲印店，然后再等上几天。当你打开那明亮鲜艳的信封，上面通常印着一个海滩边拿着气球的欢乐儿童，那感觉，就好像你在打开一份礼物。里面是24张光彩照人的照片，还有那些底片。这所有的一切听起来都十分庸常而复杂，但那个时候的柯达技术如同今天的数字技术，带来巨大的革命：廉价、易用的相机，而彩色胶片使任何人都可以拍摄家庭快照。不需要专业的摄影工作室。“你按下快门”，而后柯达的口号是“把剩下的交给我们”。
这种把胶卷冲印出来的仪式性行为带来两个后果。它让照片变得更为珍贵，但同时又让人们各施其职。我们不是“摄影师”，只是一些拍照片的。要成为一个正牌摄影师，你要有自己的暗房，你要研讨光圈，你得有一台非常昂贵的相机，而且当然，你还要有一支三脚架。
（By Jonathan Jones：For the vast majority of us, getting your photos developed meant taking the film along to the chemist and waiting a few days. When you opened the brightly coloured envelope, usually adorned with a happy kid playing with a balloon on a beach, it felt like you were opening a present. Inside were 24 shiny prints, together with their negatives. It all sounds so cumbersome now, so agonisingly slow, but at the time Kodak was almost as big a revolution as digital: cheap, easy-to-use cameras and colour film meant anyone could take treasured family snapshots. No studio was required. "You push the button," ran its slogan, "we do the rest."
The ritual of getting the film developed had two effects. It made the photographs more precious; but, at the same time, it put us in our place. We were not "photographers", just people taking snaps. To be a proper photographer, you needed your own darkroom. You needed to be able to talk about apertures. You needed a very expensive camera. And you definitely needed a tripod.）
我研讨光圈，有几台非常昂贵的相机，二支三脚架......我没有自己的暗房！
我不是正牌摄影师（a proper photographer），这是柯达给我的一个遗产。