An American Shooting-brake?

The shooting-brake is a distinctly European concept of a coupe-based station wagon. It’s a practical adaption of a sporty car, and not an ideal fit with what Americans think of as a sports coupe. However, is one of the most famous American cars of the 1950s actually a shooting-brake?

The 1955 to 1957 Chevrolet Nomad was created and marketed as a combination of their sporty Bel Air hardtop and a station wagon. Sound familiar? The concept, and name, originated as a Motorama Corvette variant. A Corvette wagon most certainly sounds like a shooting-brake, so does the idea make the leap to the Bel Air? I say absolutely. The Nomad was more than just a 2-door wagon. Chevy made that too—they called it the Handyman. The Nomad was its own body style with frameless door windows, angled b-pillars, and at least in 1955, distinctive full rear wheel openings, like a Corvette. 

I admit my bias. I think the Nomad is the sportiest of all the tri-five Chevys. To me, it’s without a doubt a shooting-brake, but a very American take on the theme. Don’t agree? Think I’m nuts? Give me a shout. I’d love to hear another point of view.

Remember, if you'd like any of my photos to hang on your wall, visit my store.

History and thoughts on the vinyl roof

Starting in the early to mid-sixties, American automotive “stylists” decided to gild their hardtop models by adding the option of a vinyl covering to the roofs. Eventually, the material made its way onto coupe and sedan models. The trend took different turns with padded vinyl, partial vinyl, and even blatant ersatz convertible roofs complete with fake roof “bows.” The trend faded in the eighties, but has been kept alive by the aftermarket and some car dealers of questionable taste.

There were some interesting applications of the vinyl roof. C2 and early C3 Corvette convertibles were available with vinyl covered removable hardtops. That always seemed ironic to me since the vinyl was meant to mimic the look of a convertible top. In 1969 and 1970, Chrysler corporation offered some outrageous vinyl options like the floral “Mod Top,” “Gator” grain, (bottom two examples above) and even a paisley grain. 

On some cars of the late sixties, the vinyl roof works. 1966-1967 GM mid-size hardtops (middle left example above) and 1968-1970 Dodge Chargers have rooflines that work well with a vinyl wrap. My personal opinion is that it can work in terms of the styling history, but from an aesthetic point of view, better to keep the look clean and stick with steel. I’m not gonna lie. My old Challenger had a vinyl roof, but If I were restoring it today, I’d go unoriginal and pull it off.

Remember, if you'd like any of my photos to hang on your wall, visit my store.

A Picture a Day

This month marks the third month of the eighth year of my 365 project. That means that as of yesterday, I've contributed to this project every day for the past 2,620 days. Not to brag, but wow! I think now is a perfect time to reflect on what I've done. It's also time to think about what it will take to evolve this open-ended process.

The best thing about the project is that even on my least creative days, I'm always responsible for creating something. It keeps me connected with something that motivates me. It's also great exercise for my brain. Plus, it's helped my memory. On the other hand, I'm finding that like with anything else in life, repetition can create a rut. This year's theme is somewhat open-ended, but I try to make sure each photo contains a story about that day. The problem is that as I look back over the past year or so, I think I've stagnated creatively. There are very few images from over the past 12-15 months that I'm really proud of. The project has become so habitual that I can't stop, so I need to figure out how to move things forward.

So, is it a matter of getting out of my comfort zone, like in 2012? I chose to focus on people and faces. It was a huge challenge, but very rewarding. Is it a matter of changing my routine? If I'm seeing the same things every day, it gets harder to see new things. Maybe I need to look at things more thoughtfully? If you're reading this and have your own thoughts, I'd love to hear them through comments below, or via email. Thanks!

Note: If you've been following this blog, you've noticed that I no longer post my 365 photos here, and removed the posts from past years. I feel that Instagram and flickr are better channels for this, and I'm using this blog as a way to dive deeper into the stories behind the photos.

Marque Highlight: Studebaker

One of my “rules” of car show photography is, if I come across a Studebaker, I must shoot it. Of all the orphaned American automotive brands, Studebaker is probably my favorite. In the post-war era, their tension between budget and innovation was the force behind some very impressive cars. They worked with designers such as Brooks Stevens and the genius that was Raymond Lowey, who gave their cars of the ’50s and early ’60s an almost european sensibility, combined with a dash of American optimism. Unfortunately, without the resources of GM, Ford, or Chrysler, they just couldn’t compete on price or product volume. It’s too bad, because they left some brilliant ideas on the drawing board and were very smart regarding the american automotive market of the time. When the first american small car trend started at the end of the ’50s, the Studebaker Lark was probably the most sophisticated of all the domestic offerings. It also made for an excellent platform for Studebaker’s swan song, the Avanti, but I’ll save that for another blog entry.

If you’d like to see what I see in vintage Studebakers, check out my flickr album dedicated to the marque.

Remember, if you'd like any of my photos to hang on your wall, visit my store.

Putting Hustle in my Side Hustle

My new year's resolution was to put some hustle in my side hustle. Well, I'm finally doing it! I've added a store to this site. I'm selling a selection of 12 photos as prints, plus an option to choose any image from over 9,000 on my flickr site. I'll also be getting back into the swing of things and posting more stories on my blog. Keep in mind, if you see an image on the blog that you like, It's available as a print.

Lamenting the long gone vent window

The automotive vent window started to disappear in the late ’60s, and by the ’80s it had gone the way of the passenger pigeon. It’s been said that the ubiquity of air conditioning made the vent window obsolete. In my opinion, it never truly became useless.

Yes, I understand that it adds cost to the production of a car, it creates another chance for weather sealing issues, and adds clutter to the car’s design. But, think about it—on a chilly or rainy day, if you want to let in just a little fresh air, instead of cracking the window, you flip a lever and give a nudge. There’s no air blowing in along the entire length of your window, just a small amount by your left hand. It’s a simple, elegant, and functional feature.

On my Miata, the side windows have small quarter glass panes. They don’t open. They’re fixed in place, teasing me…

Elements: 1955 Chrysler Imperial phantom

Another “car of note” from this year’s Goodguys PPG Nationals is this award winning “one of none” 1955 Chrysler Imperial convertible. It looks like a factory stock restoration, but Chrysler didn’t build an Imperial convertible in 1955. Because of that, this is actually a custom. Well, that and the hidden bits. Underneath the stunning stock sheetmetal is a bespoke frame, and a fuel injected 6.4 liter Hemi that’s disguised to look like an original 354 Hemi. 

I’m not just a huge MoPar fan, I’m a big fan of the Virgil Exner penned cars from 1955 to 1964. This is where it all started, when Chrysler Corporation broke out of the dowdy, upright look of the early ’50s, to the “Forward Look” of the late ’50s. The fins had yet to appear, but the long, low look began, and with the full wheel openings and egg-crate grille, it almost had a European look. This is no accident. Virgil Exner was a big fan of Italian coach builders, and the Chrysler concept cars of the early fifties were built by Carrozzeria Ghia of Turin, Italy.

Elements: 1956 Nash Ambassador Super

Another “car of note” from this year’s Arthritis Foundation car show in Dublin, OH, is this 1956 Nash Ambassador. This is one of those cars that isn’t particularly beautiful, but has loads of character. After 60 years, it has finally come into its own.

In the 1950’s Nash developed a relationship with Pininfarina, who styled their higher end models. I have to admit, the cars that they designed for Nash, are not exactly what I think of when I think of Pininfarina. They seem to be from a different world than some of the most famous Farina penned Ferraris, Alfas, and even Fiats. What this 1956 Pininfarina styled Ambassador Super lacks in elegance, it makes up for in ’50s flash. Another admirer of the car commented as I took these shots, “There’s a lot going on with this one.” Yes, yes there is!

Elements: Flame paint jobs

Presented without commentary. Enjoy!

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Elements: Custom 1940 Mercury

Another “car of note” from this year’s Goodguys PPG Nationals, is this award-winning, Rob Ida built 1940 Mercury. It might just be the most elegant custom I’ve ever seen in the steel. This build embraces the european coach-built aesthetic of the ’30s and late ’40s. The bespoke roofline and hood give the car such a distinctive, streamlined look. There’s a lot of Talbot -Lago, Delahaye, and Delage influence in both the lines and the detail.

Oh, the details! Not only does it sport full wheel skirts on all four corners, the front skirts are articulated and move when the wheels turn. The custom hardware and trim elements are just too numerous to list. It even has custom luggage!

The power plant is just as impressive as the sheetmetal. It’s a supercharged modular Ford mill producing around 660 horsepower, and it’s detailed as beautifully as the rest of the car. The one thing that had me scratching my head was that it had a column-mounted gear lever and three pedals. So I had to ask, “is it a three-on-the-tree?” Nope, turns out is uses a modern auto box and has tandem brake pedals. Like I mentioned, the details!

Thank You

This past Saturday, I rode 50 miles in my first Pelotonia. The experience was better than I could have imagined. I’d like to use this post as an open letter of thanks.

Thank you…

…to the Pelotonia volunteers. With a team of 4,000 strong, you made everything so easy. I never waited in a line longer than two people, and I was always treated like a VIP. The organization and logistics of the whole event was nothing short of amazing.

…to the law enforcement officers. You did a fantastic job of keeping cyclists and cars separate and served as perfect guideposts. A couple of you even provided some classic rock tunes from your patrol vehicles. Nice touch!

…to my employer and co-workers. You were such a generous sponsor, and great team to be a part of. You made the lead up to the ride, and the ride itself, just that much more fun.

…to my wife, Judy. From your support and fundraising coaching, to your “bike logistics” management for the event, I couldn’t have done it without you. It’s just another reason why I love you so much.

…to my donors. You’re the most important part of this. It’s every one of your dollars donated that will go to research dedicated to ending cancer. I don’t think that I can thank you enough. Unless we end cancer within the next twelve months, I’ll do it all again next year, and with even more motivation!

Elements: 1972 Schwinn Sports Tourer

I’m doing something a little different for this week’s Elements post. It’s a vintage piece of transportation, but this one only has two wheels, and is “sandwich-powered.”

It’s a 1972 Schwinn Sports Tourer, and it’s very different from the hugely popular Varsity model. The Sports Tourer was the top-of-the-line Schwinn road bike below the Paramount series. While it looked like the other Schwinn “lightweights,” Its construction was much different. The frame was fillet-brazed, chrome molybdenum alloy, and built by hand in the same area of the Chicago factory where the Paramounts were built. It was then assembled alongside the Varsities, Continentals, and other 10-speeds. It also used a lighter, European three-piece crank, as opposed to the heavy, one-piece Ashtabula crank that was common on Schwinns of the same era.

I rebuilt this bike five years ago, and I call it a “resto-mod” of sorts. I tried to retain the 1970’s touring look, while updating components, like wheels with sealed bearing hubs, and updated brake pads. The finish is a two-step powder coat “candy copper.”

The reason for featuring the bike now, is that this week is “Pelotonia Week” in Columbus, and I’ll be riding this bike 50 miles on Saturday to raise money for Cancer research. Please consider donating, and thank you.

Elements: 1960 Plymouth Fury

My second “car of note” from this year’s Goodguys 19th PPG Nationals is item one in my argument that the most outrageously designed car of the 1950s was actually a 1960 model.

Allow me to present a 1960 Plymouth Fury 2-door hardtop. When everyone else in Detroit was reeling in on chrome and fins, Virgil Exner and the folks at the Chrysler Corporation design studio weren’t done with their excess yet. The fins on the 1960 Plymouth were every bit as tall as on the 1959 model, and maybe even a bit taller. The wide side trim of 1959 was gone, but the rear skirt extension trim and front wheel well sculpting more than made up for what was deleted. It was even outrageous under the hood, with a dual-quad, cross-ram 383 V8 under the hood. This example also has owner upgrades that include Chrysler 300 style front seats that swivel out when the door is opened.

In 1960, this car was considered dated when compared to offerings from Ford and GM. But after 56 years, this is the car that will turn more heads than it’s competitors.

Elements: 1940 Packard 120 Coupe

My first “car of note” from this year's Arthritis Foundation Classic Auto Show in Dublin, Ohio, is my first featured Packard. The 120 model was created as a lower-priced eight cylinder model that was to expand Packard’s offerings during the difficult years of the Great Depression. The marketing idea helped the company weather the 1930’s, but some say it “diluted” the brand and hurt them in the long run.

This beautiful 120 coupe in white gives no hint of being a “lesser” model. Packards always have a dignified, elegant look. They aren’t as flashy as comparable Cadillac models, but I tend to prefer their more restrained style. I think what really sets this example off for me was the white finish, white wheels, and whitewall tires. It looks like it’s dressed for a mid-summer croquet tournament.

I realize this week’s post features the second white car in a row. This one was just too pretty not to present. I promise that next week, I’ll add some color!

Elements: Double Bubble

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My first “car of note” from this past weekend’s Goodguys 19th PPG Nationals in Columbus, Ohio, may be familiar to those of you that follow the custom car scene. It’s a 1961 Chevy Impala custom built by Greening Auto Company, and it’s known as “Double Bubble.”

This award winning radical custom combines two of my favorite Chevy body styles—the early sixties “bubble top” coupe, and the ’50s Nomad sport wagon. The concept is so great that I’m a bit upset that I didn’t think of it. If you think the idea is nuts, then the execution will blow your mind.

No detail was spared with this build. They included a ribbed roof in the style of the ’55–’57 Nomad, but made it flow perfectly with the 1961 sheetmetal. The upside-down Vette taillights fit so well, you’d think it was Bill Mitchell’s idea. The interior is equal parts 21st century and 1961, without looking cliché. The engine is a traditional 409, but with electronic fuel injection. It all just works. The balance between throwback and contemporary is perfect. The throwback aspects are never sentimental or ironic, and the modern touches are never heavy handed. It might be the best designed post-war custom I’ve ever seen…so far.

Elements: 1954 Hudson Hornet

The “finale” of the car show season in Central Ohio is Colo’s Car Show in October at The Columbus Zoo. My car of note from last year’s show is this 1954 Hudson Hornet convertible. I picked it for three reasons. One: it’s a Hudson, which is one of my all-time favorite “orphan” American marques. They were stout, over-built machines, with a great NASCAR pedigree. It was the first dominant car of the series. Two: this is a 1954 model, which was the last year that Hudson was an independent marque. At the end of the model year, they merged with Nash and formed American Motors. Subsequent Hudsons were good cars, but they didn’t have the style or over-engineering of the originals. Three: it’s a true driver with great owners. The car has 67,000 miles on it since it was restored. The couple that owns it even drove it up Pikes Peak! I really enjoyed talking to them about the car. They even invited my to have a seat behind the wheel. It’s a place I could really get used to.

Elements: Space age Oldsmobiles

Nearly every american car company exploited the jet and space age in the 1950s and ’60s, but I’m not sure any other brand was as overt about it as Oldsmobile. When they introduced their new “high tech” overhead valve V8 in 1949, they branded it the “Oldsmobile Rocket”. From there, they ran with it. There were globe badges, jet flourishes, and names like Starfire and Jetfire. Here are some of my favorite “jet age” Olds details from that era.

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Elements: 1958 Facel Vega HK 500

Every Father’s Day, the Stan Hywet Hall & Gardens, in Akron, OH hosts a classic car show that’s one of the oldest in the country. I attended it (with my Dad, of course) for the first time two years ago and discovered this gem. After seeing it a second time this past weekend, I just had to feature it.

I don’t know whether to call it the most muscular French car I’ve ever seen, or the most French MoPar. All I know is it’s French-built, Chrysler-powered, and amazing. The car was built by the Facel Vega company of Paris, which went from making pressed steel components, to special bodies for other French automotive manufacturers, to building their own limited edition cars utilizing power plants from Austin, Volvo, and in this case, Chrysler. To be specific, it uses a 354 cubic inch Chrysler FirePower Hemi. That’s right, beautiful French coachwork, wrapped around a Hemi! It doesn’t get much cooler than that. 

Elements: 1960 Edsel “unicorn”

Too many stories have been written about Ford’s infamous Edsel. It’s been called one of the ugliest cars ever built. This is mainly due to its “horse collar” grille, with opinions about it ranging from “characterful” to “obscene.” The truth is, it wasn’t any worse than most of the “over-the-top” designs that came out of Detroit in 1958. Then there are the deeper stories of Ford’s poor release timing and poor marketing to a niche market that, as it turned out, didn’t exist.

What most people don’t know about is the last chapter of the Edsel story. Since most cars are developed 3 years out. The plans for a 1960 model Edsel actually came to fruition, but it didn’t last. Ford pulled the plug on it in November of 1959, so by New Year’s Day of 1960, the Edsel was already a memory to the Louisville KY factory. In the end, less than 3,000 1960 Edsels were built.

You may have come across one or two without even knowing. They looked, for the most part, like an upscale Ford Galaxie with a different nose and tail. In my opinion, the differences made it a better looking car than its sister Ford. The grille had a more refined, horizontal look, and the tail was more “jet age” without being over the top. Speaking of the tail, there’s a fun fact about the taillights. They were also used on the 1960 and 1961 Mercury Comet in a canted position. Part of the reason, was that the Comet was originally created to be a compact Edsel. So if you’ve ever owned a Comet, you’ve been closer to being an Edsel owner then you probably could’ve imagined.

Favorite photography tools: The polarizing filter

If I’m shooting outdoors, during the day, I almost always use a polarizing filter. I once had a fellow photographer say to me, “You’re using a polarizing filter on cloudy day!?!” Yes, yes I am. For shooting cars, I find the filter essential no matter the type of sky.

For me, it’s not about bluer skies. It’s all about minimizing reflections on those wonderful, old, shiny car finishes. The following examples were shot under typically cloudy Central Ohio spring skies.

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Without the filter, I’m seeing way too much of the parking lot and landscaping reflected on the fender and door of this amazing 1955 Chevy Nomad. All that visual noise takes away from the lines of the car.

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With the filter “dialed in” that great Gypsy Red paint really pops, and you can see how nice and straight the sheetmetal is.

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The B5 Blue of this SRT8 Challenger is such a great color, but without my polarizing filter dialed in, the color looks washed out, and I’m seeing way to much of the trees above the car. I love the trees, but I didn’t come to this Cars and Coffee to shoot trees.

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Much better! With the filter dialed in, the vibrance of the Challenger’s paint really comes through.

One of the disadvantages of using the filter is it doesn’t eliminate reflections at all angles, especially if you’re shooting straight-on. This is frustrating when I want to eliminate the unintentional “selfie.” Also, you have to shoot at a higher ISO, and when it’s really cloudy, I can find myself shooting at up to ISO 800. This is less of an issue with newer cameras that do a much better job of handling noise than cameras of several years ago. It’s never been an issue with either my Nikon D90 or D7000.

Technical note: all photos were shot in RAW format, and comparative images were processed in Adobe Camera Raw using identical settings.