Home Donate New Search Gallery How-To Books Links Workshops About Contact ROUTE 66 12 13 14 15 16 17 February 2010 contact sheet tech data
First stop: We early-risers went to the Space Junk Graveyard at dawn. We found a place that Visitors had used as a repair parts and supply depot. When they left the earth about 1,000 years ago, they left this behind. SPACE JUNK GRAVEYARD. (Canon S90.) Next stop: Back to Kingman for breakfast with the rest of the group at Mr. D's.
MR D'S, ROUTE 66. (Velvia 50, B+W MRC 39mm 81A filter, 1964 90mm f/2.8 LEICA ELMARIT, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.)
OPEN. (Canon S90.)
PINK. (Canon S90.)
STOOLS. (Velvia 50, B+W MRC 39mm 81A filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.)
BIG HEAD, ROUTE 66. (Velvia 50, B+W MRC 39mm 81A filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.)
DETAIL, BIG HEAD, ROUTE 66. (Velvia 50, B+W MRC 39mm 81A filter, 1964 90mm f/2.8 LEICA ELMARIT, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.)
CIG, ROUTE 66. (Velvia 50, B+W MRC 39mm 81A filter, 1964 90mm f/2.8 LEICA ELMARIT, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.)
66, ROUTE 66. (Velvia 50, B+W MRC 39mm 81A filter, 1964 90mm f/2.8 LEICA ELMARIT, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.)
OIL PANS, HACKBERRY, ROUTE 66. (Canon S90.)
HACKBERRY. (Velvia 50, 39mm LEITZ CF (A3 warming) filter, 1957 50mm f/2 LEICA SUMMICRON with near-focusing range, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.)
RED TRUCK, HACKBERRY. (Velvia 50, 39mm LEITZ CF (A3 warming) filter, 1957 50mm f/2 LEICA SUMMICRON with near-focusing range, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.) enlargement. Is this 1957 lens sharp enough for you, from windshield to bumper?
HAND TRUCK, HACKBERRY. (Velvia 50, 39mm LEITZ CF (A3 warming) filter, 1957 50mm f/2 LEICA SUMMICRON with near-focusing range, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.)
SHELL, HACKBERRY. (Velvia 50, B+W MRC 39mm 81A filter, 1959 21mm f/4 LEITZ SUPER-ANGULON, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.) enlargement. I love how the 1950s LEITZ 21mm takes the same tiny 39mm filters as every other real LEICA lens, and especially also that it has no distortion as too often newer LEICA 21mm lenses have. Therefore, my straight lines parallel to the edges of the print stay ruler-straight as they must. See the wood along the right? It wouldn't be that straight with a newer, more expensive 21mm lens.
OBLIGATORY CORVETTE, ROUTE 66. (Velvia 50, 39mm LEITZ CF (A3 warming) filter, 1957 50mm f/2 LEICA SUMMICRON with near-focusing range, 1963 LEICA M3, largely ignored 1950s selenium LEICAMETER MC light meter, NCPS scan.) We saddled up and headed the rest of the way to Seligman, Arizona.
HOUSE FLAG. (Velvia 50, 39mm LEITZ CF (A3 warming) filter, 1957 50mm f/2 LEICA SUMMICRON with near-focusing range, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.)
YUMMY CHARCOAL-BROILED STEAKS . (Velvia 50, B+W MRC 39mm 81A filter, 1960 135mm f/4 LEICA ELMAR, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.) Frame 38 of a 36-exposure roll. Again and again, Film is the Way.
DELGADILLO'S SNOW-CAP DRIVE-IN, SELIGMAN, ARIZONA. (Canon S90.) Digital: boring. It's all the same color. I got warm colors in the foreground, but the sky went from blue to gray.
COPPER CART, SELIGMAN, ROUTE 66. (Velvia 50, B+W MRC 39mm 81A filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.) Film: Alive. I got my warm colors, and the sky stays deep blue.
WALL, SELIGMAN, ROUTE 66. (Velvia 50, B+W MRC 39mm 81A filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, 1950s selenium LEICAMETER MC light meter, NCPS scan.)
B&B AUTOMOTIVE, SELIGMAN, ROUTE 66. (Velvia 50, 39mm LEITZ CF (A3 warming) filter, 1957 50mm f/2 LEICA SUMMICRON with near-focusing range, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter light meter, NCPS scan.)
B&B AUTOMOTIVE, SELIGMAN, ROUTE 66. (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.)
SUPAI MOTEL, SELIGMAN, ROUTE 66. (Velvia 50, no filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, f/8 at 1 second, atypical use of tripod, NCPS scan.) enlargement.
SUPAI MOTEL, SELIGMAN, ROUTE 66. (Canon S90.) Here's a digital capture for comparison. They are very close, but digital still has the problem that highlights blow-out to white, instead of color. The digital shot has slightly less exposure of the neon, yet while the film capture retains color in the tubes themselves, you'll see that the digital capture is already losing the red in the tubes that spell-out VACANCY. If I had given more exposure to the digital capture to get the big outer arrow to fill-in, I would have lost color in the tubes of VACANCY.
ROAD KILL CAFE, SELIGMAN, ROUTE 66. (Canon S90., hand-held, f/2 at 1/13, Auto ISO chose 1,600, +1-1/3 exposure compensation, grab shot as we walked around.)
ROAD KILL CAFE, SELIGMAN, ROUTE 66. (Canon S90, hand-held, f/2 at 1/25, Auto ISO chose 800, no exposure compensation, grab shot as we walked around.)
LILO'S, SELIGMAN, ROUTE 66. (Velvia 50, no filter, 1965 35mm f/2 LEICA SUMMICRON, 1963 LEICA M3, 1980 LEICAMETER MR-4 CdS light meter, f/2 at 1/8 second, no stinking tripod, NCPS scan.) I forgot how easy it is to shoot in available-light with a fast (f/2) lens on slow film. While I was shooting with a real camera, you can see the problem in the lower right of this image that many digital shooters had back in the day:
DIGITAL DILLY-DALLYING. (Canon S90) Some of the smarter shooters simply left us and went out shooting instead.
WORLD'S BIGGEST CINNAMON ROLL (must have escaped from Texas). (Canon S90)
12 13 14 15 16 17 February 2010 contact sheet tech data
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