Sharbat Gula, Afghan Girl, at Nasir Bagh refugee camp near Peshawar, Pakistan, 1984.
SEE SLIDESHOW OF THE GREAT MOMENTS CAPTURED BY - KODACHROME KODAK
© Steve McCurry THE PERSON WHO TOOK THE BEAUTIFUL CAT LIKE EYES OF AN AFGHANI GIRL which he met again and took pictures after 10 YEARS.
PETER AND STEVE MEMORIES ARE IN THESE WORDS:
"Before digital, Kodak was already shifting gears--moving away from the boundaries of KODACHROME (long lab times, fewer labs, a more environmentally friendly, as well as constrained, chemistry)" said Meola. "E100SW and E100VS were a natural evolution of the KODACHROME look, and made my life a lot easier. And they kept all the great things about KODACHROME --long latitude, fine grain, great color--and made it easier for me to get processed anywhere. In some ways, those films were natural predecessors to the digital age. "
"The early part of my career was dominated by KODACHROME, 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. In fact, when I returned to shoot the 'Afghan Girl' 17 years later, I used Kodak's E100VS film to create that image, rather than KODACHROME Film as with the original."
Josh Root of photo.net
Stephen Schaub of Figital Revolution
Daniel Bayer of The Kodachrome Project
- Audrey Jonckheer, Kodak Worldwide Pro Photographer Relations
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