Photography by Colin Wood
I sit on my perch, trying to take in the last of the fleeting warmth offered by the setting sun, when I hear my target approaching.
My chilled fingers scramble to their positions, as my narrow focus sweeps the terrain.
There. I spot the glint I’m looking for.
It’s moving quickly, so I have little time to ready the shot.
Closer. Closer. Hold on.
I hold my breath to steady my aim, my finger hovering over the trigger.
Almost. Almost. Now.
I take the shot. The target continues on its high-speed trajectory.
While most hunters would be disappointed that their target got away, I’m really just in it for the hunt–the hunt for the perfect photograph of a race car, of course.
Why not just spray and pray that I get the perfect shot?
Because I’m shooting with film, and I only get 24 or 36 shots, depending on the film used, before I have to reload a new canister. And, unlike the old saying, film is not cheap–not anymore, at least.
On top of that, it will be a week or two before I know if any of these shots even come out correctly, as that’s how long it can take to get my film negatives back from the developers (Shout out to Harmon Photo), but I’m cool with that.
In fact, the delayed gratification of shooting with film is the primary reason why I even bother to go through the added time, effort and expense.
It’s kind of like reaching into a pair of pants you haven’t worn in a while and finding $20 in your pocket or going to an extended family member’s house after Christmas for even more presents or thinking you are all done eating and discovering that there’s still another enchilada on the plate. (Okay maybe that last one is just me.)
At any rate, the Rolex 24 at Daytona is one of my favorite events to photograph, especially on film, simply because there are so many great opportunities to capture some truly fantastic photos–whether you are shooting down into the pits from the top of the garages, pressed up against the fence lining the International Horseshoe or even high up in the stands with a near-perfect view of the entire track.
[IMSA Rolex 24: What you need to know | Schedule & Entry Lists]
Since the green flag is fast approaching, it’s time to decide what cameras, lenses and film I’ll be taking with me this year–and I'd like you to help me decide.
First up is the ever-trusty Pentax K1000. While I need to set everything manually–which can add an extra layer of difficulty when photographing fast-moving cars–I at least have a light meter that helps me key in an aperture and shutter speed setting that will at least get me a half-decent shot.
[Vintage cameras: the most accessible way to experience the past?]
Then, I have my Canon Rebel T2. Unlike the K1000, the T2 has settings for automatic focus, exposure and shutter speed, all of which are really nice to have when I don’t feel like fiddling with the settings or I don’t have the time to do so–because, you know, race cars. Another added benefit of the T2? The plastic construction of the camera means it’s very light and much lighter in comparison to the K1000.
As for what lenses I have on hand, here’s the current lineup:
What film do I have? Not much. Currently, I have only two rolls of Cinestill 400D, a roll of Fuji 200, and an expired roll of Lomography Berlin B&W 400. So, I have some film shopping to do.
While I plan on bringing both cameras and already have a loose plan of what lenses and film I plan on taking (the 135mm is more than likely staying home and some 800-speed film is already in my cart for nighttime shooting), but I’d love to hear your thoughts before I commit to anything just yet.
If you are also heading to the Rolex this year, feel free to share what cameras, lenses and film you're taking (if applicable).
View all comments on the GRM forums
You'll need to log in to post.
