1. Denial — "Photography feels fine."; "This can't be happening, not to Kodak."
Denial is usually only a temporary defense for the film photographer. This feeling is generally replaced with heightened awareness of analog cameras and equipment that will be left behind after Kodak's death. Denial can be a conscious or unconscious refusal to accept facts, information, or the reality of the situation. Denial is a defense mechanism and some film photographers can become locked in this stage.
2. Anger — "Why Kodak? It's not fair!"; "How can this happen to Kodak?"; '"Who is to blame?"
Once in the second stage, the film photographer recognizes that denial cannot continue. Because of anger, the film photographer may be very difficult to speak with due to misplaced feelings of rage and envy. Anger can manifest itself in different ways. Film photographers can be angry with themselves, or with others, and especially those who are close to them. It is important to remain detached and nonjudgmental when dealing with a film photographer experiencing anger from grief.
3. Bargaining — "I'll do anything for a few more rolls."; "I will give my life savings if Kodak makes just one more run of Kodachrome."
The third stage involves the hope that the film photographer can somehow postpone or delay the death of Kodak. Usually, the negotiation for an extended film product life is made with a higher power in exchange for a reformed non-digital shooting lifestyle. Psychologically, the film photographer is saying, "I understand Kodak will die, but if I could just do something to buy more Kodachrome..." Photographers facing fewer losses of their favorite films can bargain or seek to negotiate a compromise. For example "Can we still be customers if we just keep purchasing..?" when facing Kodak's bankrupcy. Bargaining rarely provides a sustainable solution, especially if it's a matter of the life or death of a film company.
4. Depression — "I'm so sad, why bother with anything?"; "Kodak's going to die soon so what's the point?"; "My work is done. Why wait?"
During the fourth stage, the film photographer begins to understand the certainty of Kodak's death. Because of this, the film photographer may become silent, refuse visitors and spend much of the time crying and grieving. This process allows the film photographer to disconnect from things of love and affection. It is not recommended to attempt to cheer up a film photographer who is in this stage. It is an important time for grieving that must be processed. Depression could be referred to as the dress rehearsal for the 'aftermath'. It is a kind of acceptance with emotional attachment. It's natural to feel sadness, regret, fear, and uncertainty when going through this stage. Feeling those emotions shows that the film photographer has begun to accept the situation.
5. Acceptance — "It's going to be okay."; "I can't fight it, I may as well prepare for it. Where's Ilford's number?"
In this last stage, film photographers begin to come to terms with Kodak's mortality. This stage varies according to the film photographer's garage freezer situation. Film photographers can enter this stage a long time before the films Kodak has left behind, who's employees must also then pass through their own individual stages of dealing with the grief.
Most people here seem to be somewhere between the second and third levels, slowly moving higher. A significant number, however, have already reached level five.
N.B. With generous apologies to Elisabeth Kübler-Ross and Wikipedia...