1941 Chevy Special Deluxe - Compas Southeast

At the Los Angeles Bombs car show in Santa Fe Springs, California, we had the opportunity to engage in conversation with several members of the Compas Southeast car club. Among the impressive vehicles on display, a 1941 Chevrolet Special Deluxe stood out as a remarkable specimen. The distinctive design and aesthetics of these cars are truly captivating when viewed in person.

The car culture prevalent in Los Angeles County is evident in the appreciation of these vehicles by the local community. While stock versions of these cars may lack the distinctive accessories that enhance their visual appeal, such as fog lights, spotlights, cigarette pack holders, hat racks, and dashboard-mounted compasses, these accessories contribute to the cars’ unique character.

The black paint job on the vehicle in question particularly caught my attention, exuding a deep and reflective quality. The interior, which I rarely photograph, was equally impressive considering its age of 84 years. 

 

Old Memories - 1948 Fleetline

During the Los Angeles Bombs car show in Santa Fe Springs, California, I had the opportunity to photograph a remarkable 1948 Fleetline. The body style of the 1947-1948 Fleetline has always captivated me, and when I spotted this particular vehicle across the parking lot, I knew I had to capture its image before another car parked nearby, potentially obstructing the shot.

After completing my photography of the vehicle I was standing in front of, I made my way over to take this shot. I have always been drawn to the two-tone Fleetline paint schemes, as they impart a vintage and period-correct appearance to the car. It is uncertain whether these paint schemes were originally produced by the factory or if contemporary owners simply recognized their appeal and had them applied.

This particular car belongs to the Old Memories Car Club. I have attended several of their car shows, and they consistently showcase exceptional vehicles. As mentioned in my previous post, the car show took place on a pleasant, overcast day, which is ideal for photography. The lighting is exceptionally even, akin to using a very large soft box light. Additionally, it is more comfortable for the photographer to avoid standing outside on a hot asphalt parking lot, enduring heat waves and the potential for heat stroke. Car clubs have meticulously planned for such conditions, which is evident in the presence of pop-up tents in the background. These tents provide much needed shade and their well stocked ice chests provide hydration, ensuring the comfort of club members.

While we are typically pulling a rolling camera bag and a tripod with a camera mounted on top, we do keep some water in the car. Some car clubs offer us water on hot days, which is always appreciated.

Although we were not directly affected by the heat on this particular day, I could sense the approaching heat of summer. Consequently, attending car shows in July and August will require early morning arrivals, assuming that the cars have already arrived and we are permitted to enter the show early. The lighting is always superior at dawn, which is one of the reasons we arrive at the Pomona Auto Swap Meet so early.

 

Moises's '39

In June of this year, Kathy and I attended a car show hosted by the Los Angeles Bombs car club in Santa Fe Springs, California. We had previously previewed the club’s cars at the Rialto car show held earlier this year. At that event, the club members were courteous and inquired about our photography. They informed us of their upcoming car show and extended an invitation for us to attend.

We arrived at the show around 6:30 a.m. and discovered approximately 20 cars already in attendance, including 10 or so parked on the street in front of the industrial lot where the car show was held. We photographed the cars on the street first and then entered the show proper. By that time, there were likely 30 cars parked in the lot. So many impressive cars to photograph! The weather was pleasant and cool with overcast skies. It was essentially an ideal day for photography. We spent some time wandering around and capturing photographs. I alternated between the two cameras I brought and swapped lenses as well. I found a charming 1939 Chevrolet Master Deluxe tucked away in the front left corner of the parking lot, adjacent to the club’s popup tents where several club members were sitting. I took several sets of photographs of this car, moving my tripod from one location to another. The club members did not approach me but observed me closely. The 1938 and 1939 Chevrolet Master Deluxe is one of my favorite vehicles, so I was delighted to have the opportunity to capture this particularly fine example.

America by Air

Below is a photograph of the recently renovated “America by Air” gallery on the first floor of the National Air and Space Museum in Washington, D.C. It had been at least two years since my last visit to Washington, and given that the Museum was undergoing a substantial and much-needed renovation, I was eager to visit if any portion of the museum was open to the public during my stay. After conducting some research, I discovered that while only certain areas of the museum were currently accessible to the public, a limited number of timed tickets would be distributed daily. Consequently, I made reservations and secured tickets for myself and Kathy.

Here is a brief overview of my personal connection to this museum. Back in 1975, approximately one year prior to the United States’ bicentennial, a news article caught my mother’s attention. It reported the construction of a dedicated national air and space museum, with Mike Collins, a former astronaut, serving as its inaugural director. Among his numerous accomplishments, Collins was the backup pilot for Gemini 7, the pilot of Gemini 10, and the command module pilot for Apollo 11, the historic first attempt to land humans on the moon.

Given my passion for space and aviation, my mother informed me about the museum. Recognizing my enthusiasm, she suggested that I send a letter to Mr. Collins. Despite my initial apprehension, as I believed that ordinary individuals did not correspond with such a prominent figure, my mother persisted, and I reluctantly agreed to write the letter.

She provided me with a general address for the Smithsonian Institution, and to my astonishment, the letter was routed to Mr. Collins or his secretary. Approximately eight weeks later, I returned home from school to discover a nine-by-eleven manila envelope addressed to me from the Smithsonian. Upon opening the envelope, I found a signed photograph of Mr. Collins in his Apollo space suit, accompanied by approximately ten pages of information regarding the museum’s plans. Additionally, there was a handwritten note expressing gratitude for my reaching out and encouraging me to visit the museum after its scheduled opening on July 4, 1976.

Despite my limited financial resources and upbringing as the child of a single, hardworking mother, I harbored a strong desire to visit the museum. However, the obstacles that stood in the way of fulfilling this desire seemed insurmountable. My mother was an ardent advocate for museums and lifelong learning, emphasizing the broadening of one’s horizons through experiential encounters. Consequently, my sister and I had had the privilege of visiting numerous museums in California at a relatively young age.

In the mid-1990s, I was employed by General Electric, where I worked with a group of engineers who shared a common passion for airplanes and aviation. They were somewhat surprised by my ability to contribute substantially to their discussions about aviation, and when I expressed my desire to visit the National Air and Space Museum, they inquired about my lack of a visit. One of them informed me about the affordability of flights to Washington, D.C., which ignited a sense of excitement within me, as it seemed that my dream of visiting the museum was finally within reach. I promptly communicated my intentions to my then-wife, and we proceeded to secure airplane tickets and hotel reservations. 

Upon arriving in Washington, D.C. early in the morning, I had a single destination in mind. I boarded the subway to the Smithsonian metro station and ascended the escalator to street level, arriving at the station in the heart of the National Mall. To my right, the capital building stood tall, while to my left, the Washington Monument, with the Lincoln Memorial visible in the distance, and various Smithsonian museums lined the mall, including the National Air and Space Museum, which I could discern in the background.

Despite the museum not opening for approximately three hours, I began walking briskly towards it. As you can observe from the photograph, the museum boasts expansive glass walls, and upon my arrival, I was greeted with an awe-inspiring display of artifacts. These were the same objects I had been captivated by for years, having encountered them through books and television documentaries.

As I approached the windows of the milestones of flight gallery, I finally had the opportunity to witness with my own eyes the Wright brothers’ flyer, the first heavier-than-air powered aircraft to achieve flight in human history. I also spotted the Apollo 11 command module, which had carried men to the moon, and the X-1 “Glamorous Glennis,” the pioneering aircraft that first broke the sound barrier. The further I progressed along the museum’s glass walls, the more remarkable and captivating the exhibits became.

Enthralled by the tangible presence of these historical artifacts, I felt a profound sense of fulfillment. While this experience may seem peculiar to those who do not hold a deep appreciation for history or the significance of these milestones, my upbringing in an environment that fostered a love for learning and history made this moment truly unforgettable. My heart was filled with emotion as I remembered the words of my mother whenever a something I had long desired came to pass “There’s your dream out now.” She later informed me that she became quite emotional when I was speaking to her on the phone later that day.. As for me, I endeavored to maintain my composure. The moment was both emotionally charged and filled with joy.

Since my initial visit, I have returned to the museum numerous times. Shortly after my first visit, I fulfilled another dream and brought my mother to Washington, D.C., for approximately ten days. We visited the museum together, and she thoroughly enjoyed it, as she did everything we encountered in Washington. She passed away in 2020, and while I still miss her presence in my life, I carry on her the insatiable thirst for knowledge and strive to transmit this passion to my extended family.

On the day this photograph was captured, I experienced for the first time in years a newfound perspective on these familiar galleries. The antiquated exhibits that once explained the artifacts had been replaced by contemporary, interactive displays. Furthermore, the lighting had been significantly enhanced, making the entire space even more captivating, even for an ardent enthusiast like myself.

1948 Pontiac Streamliner - Silver Streak

During an early April morning at the Pomona Auto Swap Meet, I encountered a remarkable automobile. Coincidentally, this discovery occurred just prior to the due date for taxes in the United States. Having filed my taxes several months earlier, I was able to devote my attention to this exquisite vehicle, which I believe to be a 1948 Pontiac Streamliner Silver Streak convertible. Notably, some early 1948 Pontiacs were equipped with engines and transmissions sourced from Italy. While I cannot ascertain whether this particular car possesses this type of engine or transmission, I surmise that convertibles were likely relatively uncommon. My research indicates that, in addition to the convertible model, buyers had the option of selecting a sport coupe with a rumble seat, a business coupe, or a touring sedan.

1951 Pontiac Chieftain

Kathy and I had a good time at the Pomona Auto Swap meet in late June. My nephew was in town and told me he and his significant other were planning to join us. Kathy and I arrived at the fairgrounds just after 5 am. It was a bit overcast and chilly, which was perfect for us. We usually steer clear of hot days when we’re out taking photos. We found a parking spot quickly and got our cameras out of the trunk. We made our way into the swap meet and even though it was still dark, we managed to spot around 20 cars of the type we’d like to take photos of. Many more cars arrived in the next two hours.

 I noticed this green 1951 Pontiac Chieftain right away. As always, classic Pontiacs are super attractive to me. At first, it was their beautiful hood ornaments that caught my eye, but as time went on, I started to appreciate the overall style of Pontiac vehicles. So, it’s no surprise that when my nephew arrived, I was taking photos of this stunning green Pontiac. In fact, I was just finishing up the 7th set of HDR images when he showed up. I had already taken over a dozen shots of the hood ornament alone!

 

1941 Plymouth Special Deluxe Coupe

Immediately preceding the United States’ entry into World War II, the automotive industry witnessed a surge in stylistic expression and fervor.

During the Pomona auto swap meet, I had the opportunity to encounter a remarkable 1941 Plymouth Special Deluxe Coupe that epitomized this stylistic expression. This vehicle was exhibited at the show courtesy of the Memories of El Monte Car Club.

I was fortunate to locate this exceptional vehicle relatively early in the morning, before the parking area became excessively congested. Later that day, several additional members of the car club parked immediately adjacent to the coupe. I generally favor uncluttered backgrounds whenever feasible. 

Wet Dream

Kathy and I were strolling through the Chino Corn Feed car show when an unexpected downpour commenced. Seeking shelter, we found refuge in the covered parking lot of an abandoned motel. We engaged in conversation about the show, the vehicles we had captured, and observed the rain’s descent. As previously mentioned in another post, despite their high cost, our cameras and lenses lack waterproofing capabilities. Once the rain stopped, we returned to our initial location before the deluge began. In my case, my intention was to resume photographing a green 1951 Chevrolet truck. Upon returning to it, I discovered that it was covered in thousands of minuscule water droplets. While its appearance remained aesthetically pleasing, akin to a dream car, it guess it could be considered a “wet dream car”.

Overpass Gathering

Chicano Park, situated beneath the freeway overpasses leading to the Coronado Bay Bridge in the Barrio Logan neighborhood of San Diego, holds a rich history. After occupation and protests by the residents of the neighborhood, the site was reclaimed from the city. Today, the park is adorned with numerous murals and artworks that proudly showcase the unique cultural heritage of its inhabitants.

On car show days, the overpass transforms into a vibrant gathering place for automotive enthusiasts, where a multitude of exquisite vehicles converge beneath its structure. This spectacle visually embodies the duality of a hidden space that simultaneously serves as a sanctuary. This duality is particularly poignant given the contested nature of this land.

In the 1970s, simply driving a lowered car, like those displayed at the car show, was sufficient grounds for law enforcement to detain the occupants, suspecting them of committing an unknown crime.

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This image is a composite HDR vertorama composed of four sets of images, each containing ten high dynamic range exposures for a total of forty images. During the initial photography session, I experimented with both horizontal and vertical compositions. However, the horizontal shot failed to capture the overpass entirely, even with a wide-angle lens. Conversely, the vertical shot provided a glimpse of the overpass, but excessively cropped off the cars which necessitated the creation of a vertorama.

While capturing forty 61-megapixel shots did consume a significant amount of hard drive space, the I feel the resulting vertorama is worthwhile in this instance.

Reflecting on a '39 Chevy

Kathy and I attended the 2025 Chino Corn Feed car show in Chino, California, in late April. We arrived around 6:15 AM and parked my car under stormy skies that appeared highly threatening. I estimate that there were already approximately 100 or more show cars parked on the main street, which is a significant number considering the imminent threat of rain. Show car owners typically invest considerable time in preparing their vehicles for display at a show, and experiencing rain would be undesirable. We commenced photographing the cars and proceeded down the main street. We were compelled to seek shelter on several occasions due to the intermittent rain. Our cameras and lenses are of high value and not waterproof, so it would not be prudent to damage our equipment. Therefore, when rain began, we placed them in our camera bags and sought shelter. Later in the day, we decided to have lunch at a nearby restaurant. The restaurant was approximately four blocks away, and as we were walking, rain began to fall again. By the time we arrived, the rain was coming down heavily. We attempted to eat slowly to wait out a change in the weather, but soon, there were other customers waiting to be seated. Consequently, we decided to depart. We donned our jackets and resumed our walk back to the show site.

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We first saw this 1939 Chevy in a local business’s parking lot. The recent heavy downpour had left big puddles on the ground near this car. Kathy and I both had the same idea. Let’s shoot some photos of the car from a low angle to capture not just the car but the reflection of the car in the water. We met the owner who had been following Kathy on social media. I asked if he would be willing to reposition the car and turn on his headlights and fog lights to better show up in the reflection. He readily agreed. We took quite a few photos. Kathy kept her camera mounted on her tripod and I took several shots by holding my camera about 1 inch above the water.