It is, essentially, the same concept as those monster Kodaks from the 1990s. Only this week came the launch of I’m Back, a digital back that can be bolted on to a whole range of film cameras (provided you take the back door off first. Which makes it odd to see that, more than 20 years after I first saw those bottom-heavy Kodaks, we’re seeing the re-emergence of the film/digital hybrid. Now, all that stuff that helps take a digital image is so small it can fit inside a mobile phone. No longer did you have to cart around something that looked like a prop from a 1980s sci-fi film.
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These giant hybrids died out by the turn of the century, camera makers having solved how to miniaturise the sensors needed to take a pic so they could fit inside the body of an SLR.
A click of a button, and you have a picture – no trip to the photo shop, no waiting for the prints to come back. No more films to buy and load, no more costly processing. This, I realise now, was my first glimpse into the future of mainstream photography. Steve had borrowed one for a few days to see what it was capable of.
It was a Kodak DSC, a film SLR with a special digital back that allowed it to take 1.4 megapixel shots. Steve Double was one of the paper’s leading snappers, and he was sporting something that looked like a Nikon with a black-coloured housebrick underneath. There was, however, one photographer doing something a little different. Couriers were on hand to take bags of films back to London for overnight developing. Most of the NME’s photographers were shooting on high-end Nikons or Canons. We had a Portacabin backstage, where reviewers and bands doing webchats would troop in and out of. In 1996, I was reporting for the NME’s website at that year’s Reading Festival, one of the biggest events in the UK’s music calendar. KF article top The I’m Back digital back for film cameras (Pic: I’m Back)
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