The Jalopy Journal
Discussion in 'The Hokey Ass Message Board' started by CBurne7, Feb 1, 2016.
Here ya go:
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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.
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.
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.)
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.
Here's some film shots I took at TROG on my medium format Hasselblad. Click the link.
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