First stop: trunk junk down the street. Ryan calls construction equipment "doo-dah trucks," and I will use his terminology.
DOO-DAH TRUCK SPLINES, BARSTOW. (Canon S90)
I flipped the film so the photo reads from left to right.
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, 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 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.
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.
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.
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.
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.
BLUE, GREEN AND RED, BARSTOW. (Canon S90)
While waiting to head to dinner, my shadow turned very blue at 5:50PM.
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. (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. (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. (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. (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. (Canon S90, Program Auto, +2/3 exposure compensation, hand-held at 1/15 second at f/2, ISO 1,600, Tungsten White Balance.)