Art & Inspiration Film Photography & Hotrods

Not really~ Refer to rule number 4. HRP

4. We cover traditional '65 and older American cars only. All other threads will be deleted. We don't cover rat rods, muscle cars, mustangs, or VWs.

 

Right on.

 

I don't yell at other photographers, unless they are were they shouldn't be and might be in a dangerous spot. I even give up a shot for other photographers, unless it is Danny Thompson talking to George Potee about who should run first, and I did 'nudge' one or two other photographers.
I try to be a little incognito,,because I want the teams to be 'natural' in the shot, and only so many vehicles can make it in the calendar. I can avoid the "Will my car be in the next calendar"??
Next week is World Finals and the word is the salt is better than SpeedWeek and I am short images. I have a RB67 and a bunch of film,,, but with digital I have instant gratification and film is a bit the nails wait and see. If we were taking the motorhome, I would set up a lab in the bathroom,,, but,,,,,

 

What about fights over who gets the last toaster strudel?

 

A couple more attempts to catch some low light pictures of the local cruising scene in my neck of the woods in the late 70's. Again, no tripod. These aren't scanned either, pictures of pictures if you know what I mean.

 

a what???
Hello,

Do you wonder why we were always outgunned? Despite the challenges of competition, we always took a back seat to those Life Magazine photographers and their unlimited budget. Not only did they have the best equipment, but access to the best places for those shots.

The early 1960s 35mm cameras were nice, but the images from those cameras that the Life Magazine photographers was way beyond the “common” folks cameras. Leicas were favored, but the larger images from the Hasselblad 2.25x2.25 cameras made the photographic images just stand out like no other.

When we used to see the images in Life Magazine, we thought they came from similar 35mm cameras that we all knew. They did use similar 35mm cameras, but take a look at that super, super long telephoto lens. That in itself would be yearly salaries of several workers at Douglas Aircraft in this time period. The Life photographers had access to not just 35mm cameras, but the Hasselblad larger format cameras and those huge Graflex photo studio cameras.

We never saw someone from Life Magazine anywhere close to the starting line with cameras at Lions. There were tons of pro photographers from Drag News, Hot Rod, Car Craft, etc. But, none from Life Magazine. They could have been past the spectator’s bleachers down the 1/2 way mark and still shot quality photos at the starting line action. (or anywhere along the quarter mile, other than right in front of his camera/lens.)

Jnaki

Actually, for those photos right in front, he probably had several other cameras ready to take close up shots. Either way, we stood no chance to get telephoto shots with our dinky lens set ups vs. the “Godzilla” of all telephoto lenses. “Money talks…” and we all took a back seat to the photo results and admired the clarity of each shot.

When the money situation allowed for more upgrades to the camera arsenal, the Hassleblad was still out of range. But, those Mamiya RB67 pro cameras were becoming more affordable. These new 6x7 cameras had the clearest negatives and color slides on the market, with the super large size. The newest Pentax 6x7 cameras were "spot on" for perfect 8x10 prints and felt like holding a slightly larger 35mm camera. That last one was on order through my dad's photo friend, but we decided to go a different way with our lives.

Thanks for spurring most of us to get better photos telephoto or not.

https://www.jalopyjournal.com/forum/threads/cool-rear-view-mirrors.193998/#post-11950456


https://www.jalopyjournal.com/forum/threads/car-photography.1037804/#post-12571352

 

Here's some film shots I took at TROG on my medium format Hasselblad. Click the link.

https://www.jalopyjournal.com/forum...-never-t-r-o-g-on-film.1121667/#post-12733203

Andy

 

DALLAS MARTINSON 1959 FED
GRANZER, PALMQUIST, WEEKS A/R

Hello,

When we were just getting started with cameras, we only had my dad’s huge press camera and his 16mm movie camera. One took too long to set up for ordinary photography, despite the great results that came from a large film format camera. But, it was not the moment action photo of ordinary photographs as we all know of them. The point and shoot era cameras just happened to bypass our family until the 35mm SLR cameras came on the scene.

So, what is a teenager to do, why borrow our dad’s movie camera for our own enjoyment. That worked out ok as the end result is/was historic for both our family and people who like drag racing/hot rods. I learned a new skill and that blossomed, later on in the 20s time period. I have always been fascinated by double exposure photos and it is a way to stop time.

But, sometimes the result of a planned photo shoot amazes us with its own perspective of that instant the camera is adjusted. Sometimes, I even placed two 35mm negatives on top of each other for a different perspective in our darkroom. But, through experimentation, it was rewinding the 35mm film or color slides, one frame back and re-shooting the scene.

Or in this case, in more modern times, digital editing of old drag racing vehicles provides a double exposure shot in between each frame that is normally not seen with the naked eye.

Jnaki

Weeks Granzer Palmquist Riverside Raceway 1959

35MM Ektachrome Color Slide Film: one frame back reshoot…

Newport Fashion Island “Big Newport Theater” driveway... Nick Macaluso 1940 Ford Sedan Delivery

 

Ricky Timms in La Veta CO is doing an online class for Smart Phone Photography. There are several books on the subject on Amazon. My avatar was an exercise in editing for the class.

 

I am glad that this thread popped up again. I have shot thousands of slides in past years with my old Nikkormat FT3 , it was a simple, mechanical camera with no bells or whistles, it was easy to use and easy to bracket with, and the Nikon 2.8 24 MM lens and the Nikon 2.8 105 MM portraiture lens I had back then was a joy to use. I was really bummed out when it got stolen, luckily for me, they didn't get the slide collection or the projector. This shot was back in 1975, on the day I bought this camera. I had the camera for about two years.

Fast forward to present day, The Olympus system I have used for years in shooting slides mainly for aviation to do projected line drawings, that would turn into camera ready artwork for the purpose of making the images into T-shirts. It was a great work horse and it was dependable. A couple of line drawings from the Olympus.


Sadly, the Olympus film camera, hasn't been out of its bag for years now, the Cannon power shot ELPH 6.0 mega pixel digital got me by for a while, but 5 years ago, I had saved up my money and got a very cool Nikon D-600 body and a AF-S Nikkor 28 mm/ 300 mm 1:3.5-5.6 G . This is an amazing heavy machine that is way more camera than I will ever need, but its amazing to shoot with. It will wear your neck out lugging it around all day at car shows, swap meets and such, but the results are well worth it. If you would have told me back in 1975, that in the future I would invest this much money in a single camera body and a single lens, I would have told you that you are crazy. But if you are going to compete and be current, this is a diverse machine. This one lens does it all for me.

A lot of the shots that I post each week in the Friday Art Show ( FAS ) are with this camera, and sad to say, a lot are with my I-phone. I know that sounds so common to use the I-phone, but it has its advantages and its quick and it can be dealt with through the computer and the computer filters and the ability to crop in the computer. This Studebaker shot is with the I-phone. The second nose shot is seriously being considered to make into a 4 color process, for Silk screened T-shirts, it has a haunting peaceful/evil grin to it, and it almost looks like it was painted rather than photographed. The digital rabbit hole is deep and getting deeper, which I find fascinating!

I had to smile when I read that Squirrel started out with an Argus C-2 , my parents had bought an Argus C-3 back in the 50's, it sat in a box for decades till I found it in the top of their closet when I was going into the military at age 19, they gave it to me and it was the start of my money finding a new home weekly for film and processing. Sadly that cool, vintage machine was stolen, and the idiot thieves that took the camera, had left the original flash attachment behind, it was literally worth more than the camera, pawn shops nation wide were full of the C-3 cameras, but not so with the original flash attachment, which used the old school bulbs. Amazing how the journey from the Argus C-3 has evolved all the way to the Nikon D-600 I now use.

 

Howard Cam Twin FED


Hello,

Photographers always look at the sun to see where the best angle will be for the photo shoot. Back in those early days, no reflection, no tricks, no blurs, were allowed for the editors to see what could be found in our old movies and photos. Then Hollywood began to show their own photos and movies with some of the natural sunshine peeping in some of their displays. Now, it was called artistic photography.

1959 Riverside Raceway

Jnaki

But, at the time I showed everyone my sunspot drag racing film. It was laughs as the sun played havoc with the clear exposure and racing. The racing was the same, I recorded the best that I could with the 16mm color film camera. Plus, those cliff side seats were premium during the eliminations. Many older drag racing folks have said that they are across the dragstrip where I was, as they watched the new digital films.

This is 1959 at Riverside Raceway in the cold month of December. But, technology has improved so much that pointing into the sun for a photograph is a common place thing these digital days. You can always delete the 100 photos taken by the auto advance. In our 35mm film days and movie film days, it was expensive to experiment. So, we just waited for the films and slides to get developed to see what it was that we took. Some hits and plenty of misses... that is/was standard.

P.S. Digital developing and editing makes some unusual results. But, in your photography, using a polarizing lens gives off some odd photos from different angles to the sun. Then take off the polarizing lens and see the difference. One thing the polarizing lens does is that it protects your valuable lens from scratches and bad dust. If you don't have access to a polarizing lens, use your sunglasses and shoot a photo or two through them to see the difference. YRMV

 

Hello,

We have come a long way with adapting to the new digital technology. I have been trying to identify the above 5 window coupe since 1959 to no avail. The right side steering should have been a giveaway. There were not very many, if any coupes/sedans that had right side steering . But, it was a mystery then and now. (or could it be some kind of strange hose to the engine? )

I used to do the same thing back in 1959 with my dad’s 16mm movie editor. I put the old metal reel into the left side, threaded the holes so they matched. Then slowly as surely, cranked the right hand to make the movie progress. The faster I cranked, the faster the image moved. But, if I wanted details, I used the crank to go frame by frame.

The film cutter and adjustment tool is the split, silver plate in front of and below the screen. The film is put on the track with the holes aligning. Then the other side of the silver plate is brought down to cut the film in place. A liquid glue is placed on the roughed up tiny edge and the waiting for the other similarity prepared edge. Once the glued sides are on top of each other, the silver drop down door is lowered to seal the deal. For as minimal the glue is to the surface, it still holds up through heavy usage.

For those that have phones with the modern 3 inch wide screen, this was as large as one could get for an editing screen. Because of the hood, I could work at my desk in the daylight and still see the clarity on the small screen.

Jnaki

These days, with the films digitized, the 17 inch laptop or the 31 inch desktop monitor is used to modify and set up the clear images from the digital film copies. The digital camera takes movies, as well as the old film set up and provides instant viewing or reviewing. But in order to edit, the same process happens, go frame by frame to increase the detail and imagery from the computer photo processors.

Plus, instant viewing after taking the film shots is wonderful. It was hard to wait at least a week to see the results from the weeks filming.

1959 Lion’s Dragstrip, Red Altered Coupe, right side steering

So, two questions remain:

1. Who was the driver, builder and type of hot rod?

2. What is that thing in front of the grille, a spoiler or oil tank? (connected to the strange line coming out of the door?) The blurry image is not a Moon Tank. That law was still another year away from implementation, in September 1960.