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Color

The color rendering of Kodachrome films was unique in color photography for several
decades after its introduction in the 1930s. Even after the introduction of other
successful professional color films, such as Fuji Velvia, some professionals continued
to prefer Kodachrome, and maintain that it still has certain advantages over digital.

Contrast
Kodachrome was a reversal film - the film used in the camera was processed and
returned as a positive print, intended for direct projection. As such, it possesses a
relatively high contrast.

For professional uses, where duplication is expected and required, a special version,
Kodachrome Commercial (KCO), was available in 35 mm (exclusively through
Technicolor) and in a 16 mm base (exclusively through Eastman Kodak's professional
products division). In both cases, Eastman Kodak performed the processing.

Kodachrome Commercial has a low-contrast characteristic that complements the
various duplication films with which it is intended to be used: silver separation
negatives for 35 mm (controlled exclusively by Technicolor) and reversal duplicating
and printing stocks for 16 mm (controlled exclusively by Eastman Kodak).

From a film collectors’ perspective, Kodachrome offered mixed blessings. During the
1950s, some 16mm color features were released on Kodachrome. Whilst they have
retained their color well, they are often seen to have too much contrast. This results in
darkish areas appearing mostly black with little of no detail.

Mike Trickett, with the help of Wikipedia.
Credits: All images from the author’s collection.

Thanks to Rodney Bourke for the idea.
Below: Other brands of Super 8 film soon offered competition to Kodachrome

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