Here’s wishing you safe travels and the freedom to do what you want today.
Some American quotes:
“The United States are essentially the greatest poem.” - Walt Whitman
“Each generation of Americans has to face circumstances not of its own choosing, by which its character is measured and its spirit tested.” - Jimmy Carter
“United we stand, divided we fall.” - John Dickinson
“The great social adventure of America is no longer the conquest of the wilderness but the absorption of fifty different peoples.” - Walter Lippmann
“Energy in a nation is like sap in a tree, it rises from the bottom up.” - Woodrow Wilson
“In every community, there is work to be done. In every nation there are wounds to heal. In every heart there is the power to do it.” - Marianne Williamson
“This monster of a land, this mightiest of nations, this spawn of the future, turns out to be the macrocosm of microcosm me.” - John Steinbeck
The September 2010 issue of Outdoor Photographer magazine will present a five page article with my photographs titled “50 Years After Travels With Charley.” This feature will cover my twelve year, 150,000 mile journey following John Steinbeck’s route from his 1962 travelogue. My book agent is contacting prospective publishers about my work-in-progress project, which celebrates the publication of Steinbeck’s Travels with Charley in Search of America fifty years later.
Here’s a wonderful commercial of vintage racing machinery shot in beautiful light. Included are a series of F1 Ferraris photographed in Rome, New York, China, Brazil and Monaco. There is more to life than Porsches after all. Enjoy!
I’ve had some inquiries on how to decipher the small markings in the vinyl next to the label on UK Beatles LPs. You can deduce the numbering system for early EMI pressings by looking at the label and going to 6 o’clock in the dead wax (run off groove) area of the vinyl. The following holds true for all records pressed by EMI during the 60’s and 70’s. What’s called a lacquer number can be found to the right of the matrix number, which is an indication of the particular album title, side, and whether it is mono or stereo. For example, on Side One of a first pressing mono Rubber Soul LP, there is the machine stamped matrix number XEX 579 followed by the lacquer number –1, which means this LP originated from the 1st lacquer made using the mono master tape with this matrix number (stereo is YEX). At 9 o’clock is the metal mother number which on my LP is 3, indicating that this pressing came from the 3rd metal mother made via a metal master from that lacquer. At 3 o’clock is the code for which particular metal stamper actually produced this pressing (stampers are made from mothers). For UK EMI, the stamper coding works like this: G R A M O P H L T D (Gramophone Ltd), where G=1, R=2, A=3, M=4, O=5, P=6, H=7, L=8, T=9, and D=0. In my example, the stamper code on the pressing is GP. This means that this LP was pressed from the 16th stamper of the 3rd mother of the 1st lacquer. The lower the lacquer number on an LP, the earlier it was made. A common assumption is that the earlier a record is made, the better it should sound. However, this is not always the case as stampers do wear out and other anomalies can occur. It’s all part of the wonderful world of vinyl.
After a three year absence from the podium at Le Mans, Porsche returned with a GT3RSR winning its class at the worlds greatest 24 hour endurance race. Factory drivers Marc Lieb (Germany), Richard Lietz (Austria) and Wolf Henzler (Germany) piloted their German Felbermayr-Proton Porsche to a two-lap GT2 win over the second-place Ferrari. With this victory Porsche bested some very strong opponents, including BMW, Chevrolet Corvette, Jaguar and Spyker. The latest GT3RSR currently holds the championship lead for both the European and American Le Mans Series, and was the most successful GT race car of 2009.
For a look at the 911 race car that is one step below the RSR, check out this Porsche Experience TV video of the GT3 Cup Car:
In my travels I sometimes come across a slice of Americana so remote and hard to get to that it remains essentially unchanged from earlier times. As you might imagine, locations like this are becoming increasingly scarce. The only thing that keeps these communities isolated from progress are roads so treacherous that transport along them is ill-advised. I recently came across such a location on my last trip to California. If ever there was a hamlet that idealizes these qualities most clearly it is Forks of Salmon. The narrow crumbling road to and from this tiny village borders a river that runs hundreds of feet below without any guard rails to protect you. It is magnificent country.
I am pleased to announce that I have been honored with a 40 print photography exhibit at the National Steinbeck Center in Salinas, CA during this year’s Steinbeck Festival weekend August 5-8. In addition, I will be presenting a multimedia video that will also be playing in the Center’s theatre during this time until October 22nd. My humble thanks go to the Center’s Executive Director, Colleen F. Bailey, and Curator, Deborah Silguero-Stahl, for their support of my project. Hope to see you there!
So why do those who cling to artifacts from the past continue their quest for experiential freedom? Well, for one there is a considerable amount of “feel” connected to these arguably archaic hobbies of vintage sports cars, film and vinyl. The pursuit of these involvements is more art than science. It’s not pure instrumentation and technology that will get you all the way there. Intuition and a willingness to be open to a non-black and white world are often necessary to achieve that elusive bliss these fans strive for. The pay off is a feeling of satisfaction when the visceral pleasure of playing a great LP, using a mechanical rangefinder, or driving an early Porsche 911 well is truly experienced. Even ordinary tasks become part of the appeal of caretaking something so old, unique and inherently valuable.
Some would say that it is in the actual use of the vintage Porsche where the largest differences become apparent. The mechanical fuel injection of a ’72 911S allows for throttle response that a drive-by-wire modern day Porsche can only dream of. Want to rotate the car mid-corner? Simply lift off the accelerator pedal and the back end comes around. Then it’s back on the throttle for a power slide that’s not inhibited by a computer chip that thinks it’s smarter than you are. With the latest offerings from Porsche, there are so many automated drivers aids that the pilot is left with little to do except ponder grand touring and the accompanying modern day conveniences - like GPS systems and cup holders. In reality, these current day “sports cars” are so capable it’s hard to notice that they weigh over 3,000 pounds! In contrast, an Early 911 allows one to revel in its handling limit while still remaining under the speed limit. A new GT3 needs to be taken to the track to experience what is possible with that car, but if the driver’s skill is not up to the task and they run out of grip… well the car will probably be traveling too fast to stop a major off.
In the vinyl world much of the above rings true. A high-end turntable allows for many performance advantages and upgrades over even the best CD players. LPs continue to be the high-res medium of choice for many audiophiles. For them, there is a warmth, richness, and presence to vinyl playback that eludes most 16-bit CD mastering. Feel like tweaking a CD player? Not that easy I’m afraid. How about viewing the album’s artwork? Bring your magnifying glasses out if you want to read a disc’s booklet. In my experience, the visceral experiences of analog are simply lacking in the digital realm. When you consider the focus required to properly set up a table, research the best sounding vinyl and really extract all that’s hidden in the grooves of a well crafted LP, the subtle variations of this hobby are simply amazing.
Extraordinary in their flexibility, simple in design and execution, yet incredibly rich in potential – vintage cars, rangefinder film cameras and analog playback are actually closer to one another than you might imagine. Temporal mediums all, these old-school pursuits have a tangible “in-the-moment” charm that’s undeniable. It’s not surprising then that many developers of the best turntables available today favor older sports cars. These folks believe that retro designs are simply more organic and reward the senses in a way that newer technologies cannot quite approach. Debating whether this viewpoint is right or wrong is missing the point. While exploring these leisure time pleasures can be challenging, it’s hard to argue that the experiences lived along the way can bring a joy and fulfillment that’s unmatched by more convenient paths. For some it still remains the journey that counts. Maybe you too have found that getting there can be half the fun – heck for some it’s the only thing that matters. Enjoy a blast from the past if you can!
Randy Wells
This article appeared in the Spring 2010 issue of the enthusiast magazine ESSES. For more on the early Porsche 911, you can visit their site: http://www.early911sregistry.org/
My history with cameras is remarkably similar to that for early 911s. I learned to photograph and develop my own black and white film in 1977 with a German made Leica M3. That first rangefinder camera led to the use of numerous film-based Leica cameras and lenses, which have a smoothness and mechanical precision missing from many other models. I still love using the Leicas for their purity, quiet shutter and silky film advance lever. However I’ve made Canon digital SLRs my choice for most subjects since photography has become my profession.
My audio hobby had taken a similar course. By the mid 80’s, original LPs were occupying my interest - The Beatles, The Who, The Rolling Stones, Pink Floyd, Led Zeppelin, you name it – I was buying whatever LPs the new CD converts were selling. My turntable and audio system continued to improve over time, and eventually I ended up with a top-of-the-line Rega turntable matched to VTL tube electronics and big planar speakers. For everyday listening, CDs fit the bill. But for the times when I really want to savor my audio system, vinyl rules the roost.
Having lived with Early 911s, Leica rangefinders and a vinyl based audio system for over a decade; I can tell you that each of these require more commitment and care than their modern day equivalents. For example, a Porsche 997 demands much less maintenance, and when parts do wear out new factory parts are easily available. Similarly, CD players are essentially plug and play requiring little attention, and digital cameras are inevitably replaced every few years due to rapid advances of technology. Yet for many enthusiasts, especially those from the “baby boom” generation, continuing to use vintage technology has proven more satisfying than living within the confines of a world determined by convenience.
There is a built-in ritual to enjoying these artifacts from the late 60’s that is ultimately engaging. Unlocking the car door by hand, loading a roll of film, and preparing a turntable are just the beginning. Pull up the hand throttle, advance the shutter with your thumb, clean the stylus – then warm up the motor, manually focus the lens, and cue up an LP. These old school pastimes are quick to let you know when you are doing something wrong and are equally ready to reward you when you are doing it right. At times it seems like these “dinosaurs” from the past defy the laws of physics. How does a rear-engined air-cooled sports car stay on the road without oversteering into the bushes in a hot molten mess? How does a shard of diamond trace the grooves of a fragile vinyl record without ruining it? And how does a camera that fits in your jacket pocket take pictures that rival or surpass those made with the best full size 35mm SLRs?
Still, there is no denying that “hassle free” is not an adjective applied to these pursuits. Old Leica cameras need to be exercised and periodically lubricated. Vinyl records have to be cleaned and handled carefully. The turntable you play them on needs to be aligned and leveled, and the phono cartridge needs to be periodically set properly or replaced. Just the right suspension is needed to allow for the fullest performance and experience – as is true for the Early 911, which needs periodic alignment and suspension service. Parts wear out, can be hard to find, and NOS stuff can get expensive. Not to mention non-galvanized metal rusts badly when it gets wet. It sometimes seems like it never ends…
You’ve probably read enough analogies of sports cars, fine cameras and luxury audio equipment in high-end lifestyle magazines to get the idea that journalists are passionate about these in a big way. I’m not immune and vinyl records, Leica rangefinders and Porsche 911s have been a primary fascination of mine since 1964. That’s when I bought my first LP, was gifted a camera, and was introduced to the early 911. I immediately fell in love with the feel and sound of the long playing record, the shutter advance of the film camera, and the Porsche 911’s hooligan nature with its air-cooled flat six barking a nasty exhaust note. School and financial obligations kept me from fulfilling my dreams of ownership for a long time, but I promised myself that someday I would have a top notch analog stereo system, a Leica M series rangefinder, and a pre-‘74 911.
Let’s turn our attention first to the Early 911. Just to review what you undoubtedly already know: These fabled Porsches were hand built by craftsmen in Stuttgart Germany between 1964 and 1973. They are exquisitely formed, simple to work on, very functional and lack the smog regulation of later sports cars. They also have a power to weight ratio that was not surpassed until the 1976 Turbo. At less than 2200 lbs and up to 210 HP available, they are both quick and nimble. Accelerating out of an uphill bend with all that mechanical intake noise behind you is a hoot, and the simple exhaust system’s raspy wail is an added bonus. The pure aesthetics, chrome trim and dainty bumpers of Butzi Porsche’s original design are traditional features that make Early 911s the preference of many enthusiasts. They are arguably among the best of the late 60’s and early 70’s automotive icons - true sports cars, not the civilized grand touring types that many marques would later become.
It wasn’t until 1997 that I purchased my first Early 911 - a 1972 911S coupe in metallic blue. It had 48,000 originals miles and had been well maintained by three previous owners. In the words of another Porsche enthusiast, I wanted a “light, visceral, scary, nasty, feels-like-an-accomplishment-to-drive sports car without anything to interfere with my sensory experience” and that’s what I got. No power steering, no ABS, no stability management, no traction control, and minimal sound deadening. I drove this ‘72S to dozens of track events, competed at numerous autocrosses, and toured from Seattle to California via back roads four times over the next eight years. Along the way I also learned how to repair it and find original parts when they needed replacing.
