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ROUTE 66
14 FEBRUARY 2010, SUNDAY
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12    13    14    15    16    17  February 2010     contact sheet     tech data

 

First stop: trunk junk down the street. Ryan calls construction equipment "doo-dah trucks," and I will use his terminology.

 

DO-DAH TRUCK SPLINES, BARSTOW

DOO-DAH TRUCK SPLINES, BARSTOW. (Canon S90)

 

DO-DAH TRUCKS, BARSTOW

DOO-DAH TRUCKS, BARSTOW. (Velvia 50, 67mm Tiffen 812 filter, 1980s Tamron 28-200mm f/3.5-5.6 at 28mm, 1980s Minolta MAXXUM 7000, NCPS scan.)

I flipped the film so the photo reads from left to right.

 

DO-DAH TRUCKS, BARSTOW

DOO-DAH TRUCKS, BARSTOW. (ILFORD PAN-F 50, 39mm LEITZ 1 yellow filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, 1950s LEICAMETER MC selenium-cell meter set to ASA 25, NCPS scan.)

Since I was shooting at ASA 25 and probably about f/5.6 at 1/30, you can see that the background isn't in focus. I would have used the orange filter to darken the sky further, but that would have put me at about f/4. I also flipped the negative.

 

TAIL LIGHTS, DO-DAH TRUCK, BARSTOW

TAIL LIGHTS, DOO-DAH TRUCK, BARSTOW. (ILFORD PAN-F 50, 39mm LEITZ 1 yellow filter, 1957 50mm f/2 LEICA SUMMICRON used in near-focusing range with included viewfinder attachment, 1963 LEICA M3, 1950s LEICAMETER MC selenium-cell meter set to ASA 25, NCPS scan.)

 

VOLVO DO-DAH TRUCK, BARSTOW

VOLVO DOO-DAH TRUCK, BARSTOW. (ILFORD PAN-F 50, 39mm LEITZ 1 yellow filter, 1957 50mm f/2 LEICA SUMMICRON mit near-focusing range, 1963 LEICA M3, 1950s LEICAMETER MC selenium-cell meter set to ASA 25, NCPS scan.)

This again was shot on frame 38 of a 36-exposure roll. It's just in a day's work for a roll of film, but God bless you if you can cram this much onto a memory card. If a memory card ever did this, we'd be celebrating it as a holiday for the next thousand years.

 

BARSTOW

BARSTOW. (Kodak T-Max100, Kodak Brownie Hawkeye, flash model, NCPS scan.) contact sheet.

 

Casa del Desierto

CASA DEL DESIERTO, BARSTOW. (Kodak T-Max100, Kodak Brownie Hawkeye, flash model, NCPS scan.) contact sheet.

 

Casa del Desierto

CASA DEL DESIERTO, BARSTOW. (Kodak T-Max100, Kodak Brownie Hawkeye, flash model, NCPS scan.) contact sheet.

 

Casa del Desierto

CASA DEL DESIERTO, BARSTOW. (Kodak T-Max100, Kodak Brownie Hawkeye, flash model, NCPS scan.) contact sheet.

 

Casa del Desierto

CASA DEL DESIERTO, BARSTOW. (Kodak T-Max100, Kodak Brownie Hawkeye, flash model, NCPS scan.) contact sheet.

 

BOTTLE TREES

BOTTLE TREES. (Kodak T-Max100, Kodak Brownie Hawkeye, flash model, NCPS scan.) contact sheet.

 

BOTTLE TREE FARM

BOTTLE TREE FARM. (Kodak T-Max100, Kodak Brownie Hawkeye, flash model, NCPS scan.) contact sheet.

 

DAVE WYMAN AT THE BOTTLE TREE FARM

DAVE WYMAN AT THE BOTTLE TREE FARM. (Kodak T-Max100, Kodak Brownie Hawkeye, flash model, NCPS scan.) contact sheet.

 

These were the first seven out of twelve shots on one roll in my Kodak Hawkeye Brownie. I finished the rest of the roll tomorrow. Not that they're all great, but it's not too bad when you can publish every shot on a roll. I don't think anyone ever did that back in the days of digital.

We regrouped, and headed back to Tom's for the afternoon.

 

RAL ELECTRIC , BARSTOW

RAL ELECTRIC , BARSTOW. (Velvia 50, B+W MRC 39mm 81A filter, 1957 50mm f/2 LEICA SUMMICRON mit near-focusing range, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, NCPS scan.)

How did I meter this with an overall averaging meter? Easy: I held it to the GE sign and pressed the button. The clip-on semiautomatic coupled LEICAMETER MR-4 CdS light meter metered and locked, and I was done. With a separate meter with a locking reading, it's trivial to meter what you need instead of being constrained by TTL meters.

 

Tom's Welding

BARSTOW. (Velvia 50, B+W MRC 39mm 81A filter, 1957 50mm f/2 LEICA SUMMICRON mit near-focusing range, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, NCPS scan.)

 

Chevrolet

CHEVROLET, BARSTOW. (Velvia 50, B+W MRC 39mm 81A filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, NCPS scan.)

 

Tom's Welding

WHEEL, BARSTOW. (Velvia 50, B+W MRC 39mm 81A filter, 1957 50mm f/2 LEICA SUMMICRON mit near-focusing range, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, NCPS scan.)

 

Tom's Welding

WILLAMETTE IRON WERKE, BARSTOW. (Velvia 50, B+W MRC 39mm 81A filter, 1964 90mm f/2.8 LEICA ELMARIT, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, NCPS scan.)

 

Tom's Welding

WHERE ELSE, BARSTOW. (Velvia 50, B+W MRC 39mm 81A filter, 1959 21mm f/4 LEITZ SUPER-ANGULON, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, NCPS scan.)

 

Jesus: The Way

JESUS, BARSTOW. (Canon S90.)

Jesus is The Way, The Truth and The Life, but digital is dull.

Digital, like the Devil, is mostly variations on the same color.

 

Jesus: The Light, The Power and The Glory Forever

JESUS: THE POWER AND THE GLORY. (Velvia 50, B+W MRC 39mm 81A filter, 1959 21mm f/4 LEITZ SUPER-ANGULON, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, NCPS scan.) more glorious.

Film, like Jesus, is The Way, The Light, The Power and The Glory Forever. (Matthew 6:13, loosely.)

On Film, I get the warm colors of sunset's last light, and I get vivid blues, right on the film and on my scans.

This was shot on frame 37 of a 36-exposure roll. With digital, when your card is full, the pony's dead and the ride's over. With film, you're still pumping, typically to frame 39, without a hitch.

More Glorious.

 

BLUE, GREEN AND RED, BARSTOW

BLUE, GREEN AND RED, BARSTOW. (Canon S90)

While waiting to head to dinner, my shadow turned very blue at 5:50PM.

 

DiNAPOLI'S FIREHOUSE, BARSTOW

DINAPOLI'S FIREHOUSE, BARSTOW. (Velvia 50, no filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, about 1/8 at f/2, no stinking tripod, NCPS scan.)

On Velvia 50, the insides of the glass neon tubes themselves retain their color. Digital capture almost always loses the bright glow in the tubes and goes white, as you can see in last year's shot on digital.

 

DiNAPOLI'S FIREHOUSE ON FIRE, BARSTOW

DINAPOLI'S FIREHOUSE ON FIRE, BARSTOW. (Velvia 50, no filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, NCPS scan, 1980 LEICAMETER MR-4 CdS light meter, about 1/2 at f/4, no stinking tripod, duh.)

 

KUNG FU WHILE WAITING FOR TABLE AT DiNAPOLI'S FIREHOUSE, BARSTOW

KUNG FU WHILE WAITING FOR TABLE AT DINAPOLI'S FIREHOUSE, BARSTOW. (Velvia 50, no filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, about 1/8 at f/2, no stinking tripod, NCPS scan, green color from nasty fluorescent lights with a curves adjustment layer in Photoshop CS4.)

The crummy old lens I borrowed has no distortion, so the straight lines stay straight, unlike newer lenses. Newer lenses are just more ways camera companies try to take your money.

 

DiNAPOLI'S FIREHOUSE, BARSTOW

DINAPOLI'S FIREHOUSE, BARSTOW. (Velvia 50, no filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, NCPS scan, 1980 LEICAMETER MR-4 CdS light meter read three seconds at f/2, hand-held against railing and counted to three on Bulb, and it still worked!)

 

MOTEL 66 AND STARS, BARSTOW

MOTEL 66 AND STARS, BARSTOW. (Canon S90, Program Auto, +1 exposure compensation, hand-held at 1/2 second at f/2, ISO 1,600, Tungsten White Balance.)

MOTEL 66 AND MOTEL, BARSTOW

MOTEL 66 AND MOTEL, BARSTOW. (Canon S90, Program Auto, +2/3 exposure compensation, hand-held at 1/15 second at f/2, ISO 1,600, Tungsten White Balance.)

 

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12    13    14    15    16    17  February 2010     contact sheet     tech data

 

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