Summary
Highlights
Photographer Steve McCurry is chosen to shoot the very last roll of Kodachrome film ever produced. After 75 years of rich color and durability, Kodak ceased production of Kodachrome in 2009. McCurry, who started his career with Kodachrome in India and used it for most of his iconic National Geographic work, felt it was important to document its final chapter.
McCurry loads the last roll of Kodachrome, a nostalgic and strange experience after thousands of times. With only 36 frames, he decides to photograph subjects that speak to him personally, without a fixed plan. He begins in New York City, exploring iconic locations like Washington Square Park, Chinatown, the Brooklyn Bridge, Times Square, and Grand Central, using a digital camera for test shots before committing a precious Kodachrome frame.
After struggling to find compelling street shots in rainy New York, McCurry shifts his approach, deciding to create a series of portraits. He secures a rare opportunity to photograph actor Robert DeNiro, capturing three frames from the session. This encounter solidifies his decision to focus on portraits, understanding the need for careful and judicious shooting with very limited frames.
To commemorate his reunion with Kodachrome, Steve returns to India, a place where his career began and known for its vibrant colors. In Mumbai, he scouts for faces, including those in the Dharavi slum, emphasizing the importance of connecting with people before photographing them. He then captures portraits of Bollywood legends like Amitabh Bachchan and other significant actors and a director, continuing his series of iconic figures.
McCurry then travels to Rajasthan to photograph the nomadic Rabari shepherds, whose traditional way of life is rapidly disappearing due to modernization. He sees this as a poignant parallel to Kodachrome's demise. Despite initial challenges like an unexpected reception and the intense heat, he successfully integrates with the community, capturing compelling portraits of entertainers and villagers, focusing on the stories told in their faces.
After six weeks and 30,000 kilometers, Steve shoots all 36 frames. He then takes the last roll to Dwayne's Photo in Parsons, Kansas, the only lab left in the world that can process Kodachrome. The 40-minute development process is filled with anticipation. Upon seeing the film emerge from the dryer with images, he expresses immense relief and satisfaction. The slides are then mounted, with a brief machine jam providing a moment of humor.
Steve McCurry reviews his developed Kodachrome slides, expressing deep pleasure with the diverse range of images, from Robert DeNiro to the Indian magician. He reflects on his photographic philosophy, seeking to communicate what he sees and learns through his imagery. While most photos were unscripted, he allowed for one self-portrait. He also notes the bittersweet feeling, longing for Kodachrome's unique colors and tones, acknowledging that all good things must end.
While photographing in Rajasthan, Steve attempts to capture a portrait of a Rabari woman with traditional bangles and tattoos. However, during his test shots with a digital camera, she is called away to tend to her buffalo and does not return. This moment becomes the symbolic 'frame that got away', a testament to the challenges and unpredictability inherent in street and documentary photography, even with the last roll of Kodachrome.