Amazing to have still all these negatives from the 70s! Great captures - means the portrayed persons must be well in their 60s/70s now. There are no negatives from the 70s in my family - only photo prints from negatives which are in photo albums. But negatives weren't kept at the time - I don't know anyone who kept negatives in archival sheets for storage, they were all thrown out latest when no larger prints from specific frames were needed. Unfortunate since many of the color photo prints in albums have decayed and got an ugly yellowish cast to them. The color negative would likely still be okay today.
retrofocus wrote:
Amazing to have still all these negatives from the 70s! Great captures - means the portrayed persons must be well in their 60s/70s now. There are no negatives from the 70s in my family - only photo prints from negatives which are in photo albums. But negatives weren't kept at the time - I don't know anyone who kept negatives in archival sheets for storage, they were all thrown out latest when no larger prints from specific frames were needed. Unfortunate since many of the color photo prints in albums have decayed and got an ugly yellowish cast to them. The color negative would likely still be okay today. ...Show more →
In February of 1985, I packed the trunk of my 1973 Dodge Dart with what I felt were important belongings and began my journey from Warrington, Pennsylvania to Portland, Oregon. There were books, including a 1979 unabridged version of the Webster Dictionary. Camera gear, plus the usual assortment of clothes and other items. One of the things that was packed was a three ring binder full of Print File sheets of negatives. I didn’t know if I was going to stay in Portland. I didn’t have a job waiting and didn’t know anyone there. This was predicted by a dinner conversation with a long time ex girlfriend who was married at the time. My thirtieth birthday had been a few weeks before and during dinner I griped about my job, the house I had lived in most of my life and the friends who had been the same group for as long as I could remember. Her answer was I was in a rut and needed a change. My retort was, “Yeah, I should quit my job and move to Oregon.” She made me a bet I wouldn’t do it. February 21st will be thirty nine years since I pulled the car out of the driveway and headed west. Met the woman I’m with to this day a few months after arriving, had a great career and fell in love with the city. The only regret was I didn’t grab the bag of exposed but undeveloped film. Would have been great to see what was on those.
Here are a couple from the 1995 Formula One season.
I took a few months off from my job at the local camera store and spent the summer in Europe following the F1 circuit, shooting around five races, starting in Monaco and ending in Hungary, for a small racing magazine here in Canada. It was really just to get into and shoot the races. Anyway, it got me trackside access, but because it was a small, unimportant publication, I never got proper pit access at any of the races. Except at Silverstone and the British GP below. The local race marshals apparently didn't like the F1 people telling them who could and couldn't access the pits, so they would let some of us unimportant photographers in when the F1 people weren't around. Which was the case here when the drivers were getting ready for the start of the race (I guess the F1 people were distracted with the approaching start).
Shot with either an EOS-1 or a 1N with on-camera flash (which you'll notice everyone else in the photos doing similarly) and the EF 20-35/2.8L on probably Fujichrome 100. First is Michael Schumacher and second is arch rival Damon Hill. The two crashed later in the race when Hill tried to overtake Schumacher for the lead.
Not knowing what to expect in Europe (it was my first ever overseas trip), I brought something like 200+ rolls with me. Yeah, seriously. I had a whole separate bag full of film in ziplocks as my carry-on, back when I guess it was easier to abuse the carry-on limits. I seem to recall the Air France flight attendants trying to figure out where to put my stuff for my first flight leg... A lot of that film was amateur Fujichrome 100 I was able to buy cheap in Canada. After a few weeks in France, I moved to Germany as my home base, and there discovered the local department stores stocked the same Fujichrome, with processing, for even cheaper, because for some reason back then, the German market loved to shoot slide film.
Dude, where have you been?? (Obviously not posting on FM for a while.)
TBH Ron, once you persuaded me (heheh) to switch to an all Leica-branded lens lineup, I lost interest in gear discussions (before long I had every Leica lens I'd ever dreamed of owning) and consequently the depressingly repetitive content of the Leica & Alternative Gear forum started to get me down. So I opted out. But I found myself shooting some film and felt like engaging with this community. Wise decision because the collegial spirt in general and this thread in particular is really rewarding.
genji wrote:
TBH Ron, once you persuaded me (heheh) to switch to an all Leica-branded lens lineup, I lost interest in gear discussions (before long I had every Leica lens I'd ever dreamed of owning) and consequently the depressingly repetitive content of the Leica & Alternative Gear forum started to get me down. So I opted out. But I found myself shooting some film and felt like engaging with this community. Wise decision because the collegial spirt in general and this thread in particular is really rewarding.
rscheffler wrote:
Here are a couple from the 1995 Formula One season.
I took a few months off from my job at the local camera store and spent the summer in Europe following the F1 circuit, shooting around five races, starting in Monaco and ending in Hungary, for a small racing magazine here in Canada. It was really just to get into and shoot the races. Anyway, it got me trackside access, but because it was a small, unimportant publication, I never got proper pit access at any of the races. Except at Silverstone and the British GP below. The local race marshals apparently didn't like the F1 people telling them who could and couldn't access the pits, so they would let some of us unimportant photographers in when the F1 people weren't around. Which was the case here when the drivers were getting ready for the start of the race (I guess the F1 people were distracted with the approaching start).
Shot with either an EOS-1 or a 1N with on-camera flash (which you'll notice everyone else in the photos doing similarly) and the EF 20-35/2.8L on probably Fujichrome 100. First is Michael Schumacher and second is arch rival Damon Hill. The two crashed later in the race when Hill tried to overtake Schumacher for the lead.
Not knowing what to expect in Europe (it was my first ever overseas trip), I brought something like 200+ rolls with me. Yeah, seriously. I had a whole separate bag full of film in ziplocks as my carry-on, back when I guess it was easier to abuse the carry-on limits. I seem to recall the Air France flight attendants trying to figure out where to put my stuff for my first flight leg... A lot of that film was amateur Fujichrome 100 I was able to buy cheap in Canada. After a few weeks in France, I moved to Germany as my home base, and there discovered the local department stores stocked the same Fujichrome, with processing, for even cheaper, because for some reason back then, the German market loved to shoot slide film. ...Show more →
These are just great! One of the things that was left behind when I moved were boxes of Agfachromes taken at various drag strips and raceway's close to where I lived. Atco in New Jersey and Maple Grove were favorites for the drags. Pit passes and standing behind the thundering cars doing warm up (using bleach before they change to plain water) Pocono International was about eighty miles and we would go to watch the Indy cars and motorcycle races.
1972. Tri-X. Friend struggles to come to terms with the external viewfinder of a Super-Angulon 21mm F3.4 lens.
By the beginning of 1972, I'd augmented my Nikon system with a Leica M2 plus 35mm & 50mm Summicrons and a 90mm Elmarit. Back then the biggest retail store in Sydney was Fletcher's Photographics where one of the display windows was filled with used camera gear. One Saturday morning I was surprised to see a Super-Angulon 21mm F3.4, designed and manufactured for Leica by Schneider. The price tag said AUD325 which was way more than I could afford but I went inside and asked the owner, Neil Fletcher, if he'd hold on to it for me until I'd paid it off at $50 per fortnight. I was pretty confident he'd agree because I'd bought the M2 and a couple of lenses from him already. Much to my surprise he replied: "You can take it with you now. I know you're good for the money." Adjusted for inflation, AUD325 is equivalent to about AUD4150 now. Those were the days.
rscheffler wrote:
Here are a couple from the 1995 Formula One season.
I took a few months off from my job at the local camera store and spent the summer in Europe following the F1 circuit, shooting around five races, starting in Monaco and ending in Hungary, for a small racing magazine here in Canada. It was really just to get into and shoot the races. Anyway, it got me trackside access, but because it was a small, unimportant publication, I never got proper pit access at any of the races. Except at Silverstone and the British GP below. The local race marshals apparently didn't like the F1 people telling them who could and couldn't access the pits, so they would let some of us unimportant photographers in when the F1 people weren't around. Which was the case here when the drivers were getting ready for the start of the race (I guess the F1 people were distracted with the approaching start).
Shot with either an EOS-1 or a 1N with on-camera flash (which you'll notice everyone else in the photos doing similarly) and the EF 20-35/2.8L on probably Fujichrome 100. First is Michael Schumacher and second is arch rival Damon Hill. The two crashed later in the race when Hill tried to overtake Schumacher for the lead.
Not knowing what to expect in Europe (it was my first ever overseas trip), I brought something like 200+ rolls with me. Yeah, seriously. I had a whole separate bag full of film in ziplocks as my carry-on, back when I guess it was easier to abuse the carry-on limits. I seem to recall the Air France flight attendants trying to figure out where to put my stuff for my first flight leg... A lot of that film was amateur Fujichrome 100 I was able to buy cheap in Canada. After a few weeks in France, I moved to Germany as my home base, and there discovered the local department stores stocked the same Fujichrome, with processing, for even cheaper, because for some reason back then, the German market loved to shoot slide film. ...Show more →
Those are great! Looking for more.
re. everyone using Canon gear, we can clearly see that the person taking a photo of Schumacher's butt is using a Nikon F4.
doesn't Damon Hill look like Christian Bale? Or is it the other way round?
Desmolicious wrote:
I checked Nikon's catalogue. They did make a waist level finder for the F4 - DW-20 - but apparently not a DW-20B.
Since you're looking, was the F4 the last Nikon that they made a waist level finder for? I've been enjoying the waist level images you've been posting.
madNbad wrote:
Since you're looking, was the F4 the last Nikon that they made a waist level finder for? I've been enjoying the waist level images you've been posting.
I switched from Nikon to Canon SLRs after the F3 but I just read Ken Rockwell’s page on the F4 and was blown away by the top view photo: the layout of the controls looks almost perfect, certainly the best of any camera I’ve seen.
I went looking for some old negatives to participate and I found a set that were badly coiled up. The film was Kodak Gold 400 and taken on 7/28/03. I am still learning to use my new Epson V800 and Silverfast and I'm not thrilled with this attempt as I have newton rings all over all the images I scanned. I am going to go back and rework the scans again (third time). Regardless it was fun to go and scan these old negatives. Here my son is peaking in the kitchen window while no doubt precariously perched on the top of a piece of furniture on the back porch. He would have been around 4-years old or so at this point, I think...
I'll post more from this roll once I get the scans better. For now I'm letting the scanner run through all 12 images and I'll have to make adjustments from there.
genji wrote:
I switched from Nikon to Canon SLRs after the F3 but I just read Ken Rockwell’s page on the F4 and was blown away by the top view photo: the layout of the controls looks almost perfect, certainly the best of any camera I’ve seen.
I sold two perfect condition F4s... no dings, perfect LCDs - no bleeding. I just wasn't using them and thought as I have an F6, they won't be missed.
Now I wish I kept one and got the waist level finder for it. Interestingly, w the F4 the waist level finder is spot meter only.
Waist level + AF = perfect for skateboarding w Riley... And yes as mentioned, the F5 can be had w a waist level finder. But dang dood, for the F4 and F5 they are in the $300 range! More than the camera!
So I just loaded another roll into the F3P w waist level, slapped the CV 40 f2 on it and will slum with that.
A lot of that film was amateur Fujichrome 100 I was able to buy cheap in Canada. After a few weeks in France, I moved to Germany as my home base, and there discovered the local department stores stocked the same Fujichrome, with processing, for even cheaper, because for some reason back then, the German market loved to shoot slide film. 
