"They give us those nice bright colors"
"They give us the greens of summers"
"Makes you think all of the word's sunny day"
In 1973, there was a lyric like this in a passage of "My Kodachrome" sung by Paul Simon, but for me, like this lyrics, the only thing that comes to mind when it comes to film is Kodachrome.
I feel like everything about the wonderful color of Magenta's color and the deep color was in Kodachrome.
Therefore, it is safe to say that the 70s were the world of Kodachrome like this song.
Even when shooting underwater while surfing, he must have liked it very much because he was using IS064 and a film that was so low-sensitivity that is now unthinkable. At that time, all the acts of taking pictures were like rituals, and the camera did not allow me to take pictures so easily.
First of all, everything starts from where you put in the film. Only when everything is held like a ritual can the camera breathe life into it. And even in this series of rituals, the number "36" is a very important number, as if it were in the alchemist's secret notebook.
36 sheets.
In other words, if you finish shooting 1 roll of film, that's it.
Rewinding the film, putting in a new film, and starting to shoot again, was a primitive work that is now unthinkable, and it was a matter of course for us.
Now that I think about it, I think it's good to be able to concentrate on each one.
"One copy into the soul". I guess he was concentrating on taking 36 photos with that feeling.
I think it was a fairly non-brid era because the film I took was finally able to see it after performing a ceremony called development. The excitement of putting the newly developed film on the light table and looking at it with a magnifying glass may no longer be felt digitally.
However, 99% of my current work is in a digital environment, and there is no reason why the world is heading towards digital, which can be anything, such as "fast, cheap, and dark is OK". Especially for surfing photography and underwater photography, I think it's really great to be freed from the curse of the number "36" in the past.
A long time ago, I was like a dream when I was chasing surfers while struggling with the waves while counting one by one, packing a film in Niconos and swimming to the coast alone. Although the equipment and the environment have evolved, I may not be the only one who can't get the color of Kodachrome that I saw a long time ago.
Photo • Text / Taisuke Yokoyama
ARTICLES PUBLISHED IN "COLORS MAGAZINE.COM" (2014 CAT PUBLISHING)
The photo of Mark Richards was taken in 1983. Photographed outside a mansion that seems to be the villa of Presley (probably) on the North Shore. This deep color of skin color and red is unique to Kodachrome.
I forgot what year it was, but about 40 years ago. In a border town that enters Mexico from the United States. Kodachrome liked to take pictures with under. This atmosphere is indescribable.
A smop at a coffee shop in Kyoto. The red of the neon sign becomes irresistibly sexy. The shadow looks good. Hyoto-kun of Ocean Glide when he was in his 20s.
The market in the Philippines. When you take pictures of the colorful colors that float in the crowd with Kodachrome, the dark part will not be crushed and the highlights will not fly. Even though they are familiar with each other, they become impressive like a painting.
80s. One photo taken in an advertisement for a surf magazine. Takuji Aota, a professional surfer from Nishisho. I like the subtlety of the color reflected by Kodachrome. The yellow sweater and blue pants he wore were coordinated with my shirt and pin batch. The construction lamp I had in my hand was bought at the lunch market. I put a strobe inside and synchronized three units at the same time, with a strobe applied to the board and a strobe applied to the model. It's called Daylight Synchro.
