This 1936 Ford hot rod was yet another car shot at the 2016 Fleetwood Country Cruize-In. This would be considered more of an ‘old school’ rod, as the engine used is a Ford flathead, as opposed to one of the more modern 1950s OHV engines. As Autoweek noted…
“hot rodders loved this relatively simple engine. Hundreds of manufacturers offered speed equipment for flatheads. Bored and stroked, with wilder camshafts and multiple carburetors, hot flatheads ruled street and strip until the mid-’50s, even holding their own against bigger, heavier Cadillac and Chrysler overhead-valve designs”
With the engine compartment open, the red flathead drew you to the car. The flathead engine was introduced in 1932 and offered consumers V8 power but at an affordable price. The first version was 221 cubic inches and is identified by it’s 21 studs that hold the head to the block. This version, however, would be the later 24-stud model, introduced in 1939 for the Mercury line (and factory-installed in Ford beginning in 1946). The chrome nuts on the studs is a popular hot-rod style, as is the aftermarket Offenhauser heads. These finned-aluminum heads helped performance in different ways, not the least of which was the fins which allowed for slightly better cooling to alleviate the flatty’s notorious penchant for overheating. Of course, the chromed air cleaner assembly and ignition coil are also popular ‘bright parts’, and keen viewers will notice the addition of a modern electric fan ahead of the radiator to further aid cooling.
The Ford itself featured a piano-like mirror finish in black, with pinstripes in red to match those heads and engine.
As with all photos taken that day at Fleetwood, this was shot with my Nikon D3200, and my 18-55mm lens. The settings were ƒ4.5, 1/80 sec exposure and ISO 400. Topaz Adjust was instrumental in the post-processing to bring up the details in this image. The original shot is below.
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The Packard Story: The Car and the Company by Robert E. Turnquist Published 1965 by A.S. Barnes and Company, Inc. (Third Printing 1969) 286pp., hardcover
Library of Congress No.: 65-14240
Purchased with other books from a collection posted on Kijiji.ca
It was this post on Disaffected Musings that had me selecting The Packard Story: The Car and the Company as my next read. I had recently purchased this book, along with some others. I hadn’t researched this book before I bought it (I rarely do), but the title had me excited. I somewhat naturally thought a book called The Packard Story: The Car and the Company would be a decent history, and explain the story of why Packard, healthy at the end of World War II, would exit the scene in the mid 1950s. That was the hope. I found Robert Turnquist’s book to be at times informative about Packards, at other times it wandered off onto related though maybe less relevant subjects.
So, let’s start with some obvious things. Chapter 1 is titled ‘The Second Series Eight and the Third Series Six’, and begins ‘The year is 1925…’ Considering the Packard brothers’ company was founded and produced a car in 1899, it seems an odd place to start ‘the story’ of Packard a quarter-century late. Turnquist does touch on the company’s beginnings — including the famous story of how dissatisfaction with a Winton drove the brothers to build their own car — but in truth, it’s only about 2 and a half pages of text to cover 25 years of history, and also touches on some of the company’s racing history.
The chapter continues with 5 paragraphs describing the Packard Six and Eight, followed by a couple paragraphs about the automotive landscape of 1925, and finally a description about Packard’s hallmark of releasing cars in ‘Series’ rather than by model year (at least until 1935).
Most chapters are generally like this. Chapter 2 (the Third Series Eight and Fourth Series Six) begins with a listing of the executive suite at Packard mid-1920s, and a half page about the advertising agency and in-house newsletters. There’s almost a page describing the National Auto Show, and finally 4 pages of text about the cars of the 2 series. The point is that chapters do not always limit themselves the car or the company, which means chapters get filled quickly.
The chapters are all around 10 pages, and in each, space is devoted to an overview of the National Auto Show and what competitor automakers were offering. Interspersed within chapter are topics including correct restoration tips for Packards, the details of correct paint on classic cars, the process for how fine leathers are selected and processed, and many pages about the custom coach and body builders of the era. Many coachbuilders including Dietrich, Derham, Rollston and Darrin (who was featured in this edition of Automobile Quarterly) are profiled. (For more information about the custom body builders, Coachbuilt.com is a good resource, though not a secure website.)
Chapters focus on specific series up to chapter 17 on the Twentieth Series of 1942, which was truncated by the change to wartime production. Chapter 18 is titled ‘The Postwar Packards’ and summarizes the 1946-1957 period in only 12 pages. The remaining 88 pages of the book are an appendix of charts detailing year-by-year (or rather series-by-series) production of Packards from 1899 up to the Twentieth Series before World War II production began. This includes production dates, engine bore and stroke, and a listing of body styles available with shipping weight and base price.
It turns out, Robert Turnquist was a respected automotive historian, and a Packard expert. He was a founding member of the Classic Car Club of America (CCCA), and a noted restorer. He championed car collecting and restoration. In that light, The Packard Story, as it’s written, makes a little more sense. Turnquist was certainly quite focused on ‘the Classics’, that is, Approved Classics as defiined by the CCCA. That explains why the post-WWII cars seem an afterthought, though it’s a little confusing why the pre-1925 cars were not included. It also helps explain why restoration information is included, and why so much attention is given to the custom body builders as well as Packard’s place among automakers.
In terms of ‘the Packard story’, I found Turnquist did, to some extent, offer ideas on how the end came to be. He argues the mid-priced Packards were not a major factor in the demise of the company. To the contrary, Turnquist asserts that the high-end luxury market, and especially the custom-bodied luxury market, was always a small piece of the market as a whole, and declined as a result of the nation’s economic circumstances in the 1930s. Rather than tarnishing the Packard image, the introduction of the mid-priced Packard One Twenty provided a needed income source as fewer expensive senior Packards were built.
Turnquist then summarizes his beliefs about the company’s failure, mostly in the post-war chapter. Firstly, Turnquist says that following the Twentieth Series, the dies for the 160 and 180 cars were sold cheaply to Russia at the urging of the US Government. This left Packard with only the Clipper series to sell as the Twenty-First Series when the war ended. Secondly, despite winning accolades for design, the automotive press reacted very negatively to the Twenty-Second Series Packard, the ‘upside down bathtubs/pregnant elephants’, which did not help public opinion. Thirdly, while sales of Packards were very good in 1949, Turnquist suggests many of those sales were to people of lower income levels who used post-war bonus money to buy better cars. This meant few of them would become repeat buyers as their income simply wouldn’t allow for another new car in the same range. Finally, Turnquist lays much of the blame on James Nance, who became president of Packard in 1952. It’s Turnquist’s belief that Nance embarked on a far-too ambitious diversification and expansion program. Nance revamped management, forcing many long-term employees into retirement. He apparently also introduced a program to break with the past, destroying many historic corporate files as well as the store of obsolete parts Packard had on hand to sell to owners of older models. At the same time, Nance committed the company to debuting a completely new car by 1954 (which was ultimately pushed to 1955), as well as building a new engine plant in Michigan. Not only was capital stretched very thin at this point, but a plan to supply AMC with engines backfired. Packard was to purchase parts made by AMC, but when Packard didn’t actually purchase much, AMC stopped buying Packard-made engines, leaving the brand new engine plant operating at a much reduced capacity. The final blow was the merger with Studebaker. In that alliance, Packard was actually more sound financially, and Studebaker was in much worse shape. When the 1955 Packards came out, they soon developed quality issues in large part because the all-new chassis had not been thoroughly tested. While sales of the 55s were good, the quality issues seriously hurt sales the next year. Due to crippling financial issues, and that Studebaker management had more control, much of Packard’s production was moved to Studebaker’s facilities. A deal with Curtiss-Wright also hurt badly, as Curtiss used Packard-Studebaker as a tax loss vehicle, selling off assets or converting them to Curtiss-Wright production. In the end, the Packard name was grafted onto Studebaker shells as the company focused on the small car market, and eventually faded from the landscape.
So, ultimately The Packard Story: The Car and The Company is an interesting if somewhat wide-ranging book that tells at least a decent portion of the Packard history. Turnquist does provide a good amount of information about the Packard series he does cover. The extra info, about competitors and coachbuilding and restoration work, is useful in helping one understand where Packard fit in the automotive landscape. While I would have preferred more ‘inside baseball’ info, such as how and why corporate decisions were made, this book provides a sense of Packard and what the brand stood for. That is important when one considers that the last Packards were built over 65 years ago, and many have little to no firsthand memory of the marque. And while chapter covering the final years is greatly abbreviated, there is some very good information and pictures of Packard prototype cars and what might have been future production.
Notable in this book is the inclusion of 8 colour plates. Long time readers will know that every ‘older’ book I’ve reviewed has contained only black and white images. There are numerous black and whites throughout, but these 8 pages provide a great look at some classic Packards in their period correct colour schemes. In face one of the plates is the Eight Color Combination offer ring from what seems to be the Sixth (or possibly Eighth) Series.
Pros: A good deal of information about the classic Packards, written by an acknowledged expert on the marque, and written relatively soon after the company collapsed Cons: wide-ranging information means less space devoted to full, detailed exploration of the cars and the company Where to find it: Amazon, used bookstores, private collections
One of the iconic American classic is the 1957 Chevy. Known as one of the ‘shoebox’ or ‘Tri-Five’ Chevies (along with the 1955 and 1956 models), it is among the most recognized and popular cars ever. General Motors introduced the new longer, lower and wider models in 1955, and when Chevrolet offered the new 265 cubic inch V8 (in addition to the old stovebolt 6 cylinder engine) in its handsome cars, it scored an instant hit. Chevrolet sold 1,775,952 of their full-size line (models 150, 210 and Bel Air) in the first year, followed by 1,623,376 for 1956. For 1957, Chevy sold a total 1,555,316 cars that year for well over 4,000,000 cars over 3 years (numbers taken from here). The old 6 engine was still the base offering, but the small block V8 was now 283 cubes, and the hottest ticket was the optional fuel injection which made 283 horsepower – 1 for each cubic inch!
This particular coupe was found in the hotel parking lot when I attended the 2014 Syracuse Nationals car show. Clad in primer and showing a number of scars from age, it fit in with a number of other rat rods and ‘unfinished’ cars that showed up. The crest has been shaved from the front of the hood, and much of the chrome on the grille and headlight bezels is rough, but the hood windsplit ornaments looked pretty fresh, and the 3 trim ‘D’s on the fender show this to be a top of the line Bel Air.
I shot this car with my Fuji FinePix S1500, which has a fixed lens. The settings were ƒ/5.0, 1/300 second shutter speed using ISO 64. It was an overcast evening, so there wasn’t much in the way of the normal June evening sunset. The original image capture is below, and you can see how using adjustments in Topaz Adjust really helped to bring out the details in the paint and chrome that the camera seemed not to show at first. The cracks and runs in the paint, the amount of pitting in the chrome, even the uneven quality of the primer is revealed in post processing.
Illustrated GTO Buyer’s Guide by Paul Zazarine Published 1994, by Motorbooks International Publications 128pp., softcover
Purchased used from a collector ad on kijiji.ca
I try to vary my blog offerings, as much as I can based on the books in my collection. I mean, I acquire what I like from what I see offered, so there’s often some overlap and repetition. That is the case with a recent acquisition, the Illustrated GTO Buyer’s Guide.
The second book I reviewed for this blog was the Illustrated Camaro Buyer’s Guide, also published by Motorbooks International. And it wasn’t very long ago that I had reviewed both GTO: A Source Book and GTO Volume II: A Source Book. You see how this review might seem like rehashing stuff I’ve read already. But, there actually is some value here, because this book isn’t just a copy of either of those previous books.
Let’s take the Illustrated Camaro Buyer’s Guide first. These books are pretty identical in physical dimensions, save that the Camaro book is 32 pages longer. Both are written by known experts on the car in question – in this case, the late Paul Zazarine who specialized in Pontiacs and was a leading authority on the GTO. The general layout is the same in these books – chapters cover a few years of the model, with cars rated in terms of desirability at the chapter start. Both books have many pictures, all in black and white. But, there are certainly differences between the 2 books.
The Camaro book features a single production number for the complete year (all Camaro production), describes significant points for each model year such as engines and options, and includes a box detailing options and colours, and another that gives overall specs for the year, including base engine specs and dimensions. However, the GTO book breaks each year’s production numbers out by body style, engine and transmission. Compared to the Camaro book, there’s significantly more detailed info on the various GTO offerings.
While there are no option code charts, Zazarine provided charts denoting engine and transmission codes, as well as paint, convertible and vinyl roof colours, and interior codes. The GTO book is quite a bit more detailed in terms of how to spot real (versus cloned) GTOs as well as drilling down into the more rare engine and transmission combinations. Also, where the Camaro book had appendices with some valuations, the GTO book avoids this, which makes sense as those valuations can quickly become irrelevant as time passes.
Similar to the Camaro guide, there is a significant amount of detail on each year of GTO. Each model year section goes over things such as engine revisions, tape stripe differences, body design updates, changes to interior panels, upholstery, and other year-to-year revisions. Details such as the fact that 1971 GTOs have plain round front turn signals, while 1972 has the same signals but with added crosshairs design, help the potential buyer figure out what they’re looking at. Also important, Zazarine provided examples of cars that can’t be figured out by looking at the car alone. For example, some The Judge models have no identifier in their VIN, and while the presence of some items may suggest a true Judge, the only way to determine authenticity is through order forms and other paperwork.
Unfortunately this little book is not without a few minor flaws. These are mostly minor, generally confined to production charts in terms of inconsistent line spacing and in the instance of 1973, a duplicate production number chart. I did not find any numbers that seemed out of whack, it really came down to formatting issues.
In some respects, the Illustrated GTO Buyer’s Guide is very much of its era. Compared to the Camaro guide, it seems much more geared towards the person looking at an old car as part investment. The Camaro guide does this too, but my copy was published in 1985. The GTO book is from 1994, when the muscle car investment craze was a little more heated up, and cloning of rare models from more common cars presented itself as an issue. As such the GTO book shows itself as a decent resource when it comes to explaining how to go about identifying true GTOs, and the difficulties involved for years when GTO was merely an option on the Lemans.
Really, this GTO Buyer’s Guide is a great companion book. Certainly it’s a good stand-alone that can introduce one to the GTO. This Buyer’s Guide fills a niche within a collection of books. I reviewed The Standard Catalog of Pontiac 1926-2002, which gives an overview of each year’s offerings from Pontiac. It features specifics, but is not detailed enough in terms of the GTO itself. The GTO Source Books that were reviewed provide some great period-correct literature in terms of ads and brochures, though they do not provide any analysis or explanation in context of the later collector car market. But, when adding the Buyer’s Guide to the Standard Catalog and the GTO Source Books, one starts to build a library that can lead to being a learned individual where it comes to GTOs (of course this method works with whatever cars you fancy).
It should be noted that this edition of this GTO book is complete for the 1964-74 run of production. It does not include any reference to the reborn GTO which debuted some 8 years after this book was published.
So, was adding the Illustrated GTO Buyer’s Guide worthwhile? I think so. It’s a great fact-filled reference about one of the most revered muscle cars. It’s the book you grab when that guy at cruise night says your ‘71 Goat never came with those Honeycomb wheels or that no GTO ever came with a 2 barrel carb. If Pontiacs are your thing, it’s a great one to pick up.
Pros: a significant resource on a key muscle car; extensive and detailed information one each model year Cons: as always, coloured pictures would have been nice Where to find it: Amazon, used bookstores, private sales
The final 1930s Dodge I was able to shoot over the years was this 1937 Dodge hot rod. It was actually shot a few yards away from the 1931 and 1934 Dodges, at the 2015 Fleetwood Country Cruize In.
Compare the 1937 ornament to the previous years. It’s easy to see how much more streamlined the ram has become. The ridges in the horns are gone, everything from the head to the forelegs through the body has been stylized. This is much more ‘ornamental’ rather than a realistic portrayal of a charging ram. Notice also how the figure seems to lean further forward – there is more movement through the body by comparison.
We can also see the refinement in the Dodge Brothers logo. The wings are now yellow to match the center crest, and the overall shape is refined slightly.
The 1930s were a time of great transition in automotive design. The ability to create more complex curves in metal allowed manufacturers to design more aerodynamic profiles. Cars were becoming less square and upright, fenders were incorporated into the car’s body as they become wider and lower. In every way, automotive design was being modernized, including mascots such as the Dodge ram.
This photo was shot with a Nikon D3200, 18-55 mm lens at 24mm, set to ƒ/6.3, 1/160 sec shutter and ISO 100. Editing was done in Photoshop and Topaz Adjust. The original image is below.
Today I’m posting the third of the Dodge ram hood ornaments I have managed to photograph over the years. I had previously posted the 1931 Dodge and the 1936 Dodge, which are also shown here.
As you may notice, the 1934 version of the hood ornament is very similar to the 1931 version, almost identical. The updated design consists of changes from the old upright, nickel=plate radiator shell with slats to a rounded, painted sheet metal grille housing, and a fine mesh vee-shaped grille. That grille design would evolve dramatically in just 2 years to 1936’s 3-piece design with varying vertical bars.
Note also that there were subtle changes in the Dodge Brothers winged logo, as the 1934 version incorporates more yellow and a slightly refined shape (in addition to matching the contours of the grille), but not yet as ‘modern’ as the 1936 version.
The 1934 Dodge was shot at the 2015 Fleetwood Country Cruize In, using my Nikon D3200 and 18-55mm lens. The lens was at 34mm, ƒ/8.0, 1/250 second shutter and using ISO 100. The original (below) was quite subdued in terms of colour and detail, so post-processing was done predominantly in Topaz Adjust. This allowed me to show off more detail in the chromed ornament as well as exposed the dazzling flecks in the dark green paint.
I recently posted about a hot-rodded 1936 Dodge, focused mostly on the ram hood ornament. Hood ornaments were often a large part of a manufacturer’s identity. One can think not only of the Dodge ram, but also the Mack Truck bulldog, or Jaguar’s leaping cat, or the Rolls-Royce Spirit of Ecstasy. While the mascots themselves may have remained consistent to the brand, that is not to say that at least some of these miniature sculptures went unchanged over the years. In fact, many received frequent redesigns. The Dodge ram seems to be one that was updated often.
I apologize for the fact that I didn’t post these in a proper chronologic order (poor planning on my part). It seems the ram mascot came about some time after the Dodge brothers had died, and under the ownership of Chrysler, some time in the 1920s. Our example here is the 1931 Dodge car. As you see, the ornament is mounted on what was originally a nickel-plated radiator shell, with a large base. The ram itself is fairly detailed (though badly pitted due to age). The ridges of the horns, the separation of the horns from the neck, the forelegs tucked in front, are all noticeable. There’s a sort of realism to the design, an attempt to faithfully reproduce a ram.
Compare this to the 1936 car, and it seems apparent that auto design was becoming much more aerodynamic. The radiator shell had now evolved into a 3-piece grille, integrated into a rounder design of the car overall. The ram sits on a much smaller base. The ornament itself has been smoothed a little, with deeper, but shorter and fewer horn ridges, the horns tucked closed to the neck, and the forelegs reduced in size.
Note too the Dodge Brothers winged logo. Comparing the 1931 version to the 1936, we definitely see the influence of streamlining and aerodynamics at play. The wings are less feathered and more what you’d see in an air service insignia.
This is the type of thing that got me interested in cars as a kid. I used to notice the differences in design, how elements of the car’s shape and details would be refined (or wouldn’t in some cases) from year to year. It caught my interest enough to start looking for images of cars and reading about different makes and models. Of course, for many people, those minute details are too subtle to warrant more than a passing nod, but for some car people, these things can spark hours of discussion.
I found this 1931 Dodge at a show I have mentioned many times, the 2015 Fleetwood Country Cruize In. I actually found 2 other Dodges at the same show, which I will feature in upcoming posts. I shot this with the same Nikon D3200, 15-55mm lens set at 52mm, ƒ/10, 1/400 sec shutter and ISO100. As you’ll see by the original below, the shot came out quite dark, and required quite of bit of adjustment in Photoshop and Topaz Adjust to bring up the green grass reflection in the shiny radiator shell.
Mustang Classics by Randy Leffingwell, with photography by David Newhardt Published 2014 by Crestline 384 pp., hardcover
Purchased new from a retail bookstore.
I have always been a Mustang fan. Growing up, a neighbour I hardly knew had a 1972 coupe, and a 1968 coupe briefly occupied our garage while dad did some repairs for a friend. My cousin had a 1969 coupe but traded it on a new 1972 Charger when I was a toddler. Yet, somehow I became enamoured of Ford’s ponycar. Years later, Dad saw an ad from a now defunct Ford dealer, saying they had about 100 new 1988 Mustang LX notchbacks equipped with the 5.0L and 5 speed, all at the same low price. He bought one, and after a few months he told me it was killing him on gas, and I should drive the Mustang while he took back his Honda Civic. I was one very lucky teen.
Given my admiration for Mustangs it’s no surprise Randy Leffingwell’s Mustang Classics is a favourite in my library. It hits many of the sweet spots I tend to look for in books on cars. It’s well-written, and packed with great photos. And there’s a wealth of info not just about the cars, but about management decisions and product development surrounding the generations of Mustang. I’ve reviewed another of Leffingwell’s books, Legendary Corvettes, and I found it enjoyable and very informative. This is also true of Mustang Classics.
The story begins in the immediate post-WWII years. GIs returned from the service, jobs were plentiful, and families became more prosperous. As explained in Fifties Flashback: The American Car, people began driving for pleasure, taking long road trips as their vacation. Some returning soldiers had brought British and European sports cars back home, and American manufacturers took notice there was a market for cars that weren’t simply ‘transportation’.
At the same time, Henry Ford II took over at Ford Motor Company, an organization in dire straits. Hiring Ernie Breech, an experienced auto man from GM, as well as a group of former military men who came to be known as the Whiz Kids, Henry Ford II managed to transform company. Ford was now better managed and started producing better products.
Leffingwell then documents the pre-Mustang years. Included is information about the Ford Total Performance program, designed to put Ford at the forefront of auto racing worldwide. There’s coverage of the Mustang I concept, the corporate decision to create a smaller Thunderbird-like vehicle, and the company’s partnership with Carroll Shelby, both in support of the Cobra cars and his role in Ford’s GT40 program. There’s so much background on what led to the Mustang, it’s 68 pages into the book before we see the debut of the car that would set sales records beginning April 17, 1964.
The chapters break out the Mustang into groupings by years: 1964.5-1966, 1967-1968.5, 1969-70 and so on through to 2003-present (being 2005, when first published). The early years are interspersed with the Shelby cars getting their own chapters (1965-66, 1967-68, 1969-70). The mid-1980s SVO Mustang also has its own chapter. Most of the focus is, as the title suggests, on ‘classics’. The featured vehicles tend to be of the high-performance variety. There are California Specials, Mach 1s, and Boss Mustangs. There are some rarely seen models, such as the 1969 Shelby de Mexico (306 produced), the 1970 Twister Special (a regional variant, 96 made) and the Monroe Handler, a Mustang built as a promotional vehicle for Monroe shock absorbers (1 originally built, 6 others built afterwards). I appreciate the inclusion of these uncommon Mustangs, especially as they’re photographed beautifully.
Throughout this book, Leffingwell drops info of all kinds. The SVO chapter is an example. After describing how Special Vehicle Operations developed the SVO Mustang differently from the 5.0L GT to create more of a driver’s car, the author moves to how SVO’s success as a small group influenced decision-making throughout Ford at the corporate level. Similarly there’s paragraphs about Lee Iacocca‘s Fairlane Committee, the reign of Bunkie Knudsen at Ford, the re-entry to racing in the late 1970s. There’s mention of John Coletti’s Skunk Works that designed the 1994 Mustang. In fact, many people are named including designers such as Gene Bordinat, Larry Shinoda and Jack Telnack, engineers like Bob Negstad who spent over 20 years working on the Mustang. All of these speak to the culture of the company, and ties in to the Mustang’s development.
Now, as good as this book is, I still found a couple minor things to mention.
Firstly, it’s important to note that this book is a reprint from another publisher. The first edition was published around 2005, and though this edition is from 2014, it’s not been updated. That is disappointing, as the chapter ‘2003 and Beyond’ only deals with the Mustang GT design proposal. That’s the show car that hinted strongly at the retro-themed Mustang that hit the market for 2005. It’s a shame that the 2014 edition was not updated, as by 2014 the Mustang had seen a redesign in 2010, was about to debut another redesign in 2014, had reunited with Shelby to offer special models, had seen the introduction of the 5.0 Coyote engine, as well as the rebirth of the Cobra Jet drag car.
Secondly, there are minor quibbles. I have mentioned (in a previous review) the use of the term ‘big block’ referring to the FE engines. These engines are not truly big blocks but rather medium blocks, as they are lighter than Ford’s MEL and 385-series families. I suppose, as it’s cropped up again, perhaps the matter is not agreed upon by all. The other quibble is that the author referred to ‘Ford Galaxy’ more than once. As the Galaxy is a van sold by Ford internationally, there is no doubt he meant ‘Galaxie’, the correct spelling for the full-size car sold from 1959-74. And sadly there’s a few other typos here and there.
Thirdly, I found the period of 1994-2003 was somewhat abbreviated. There are few pictures or references to the 1994-98 cars which include the last of the pushrod 5.0L GTs. There’s more emphasis on the 1999-2004 cars, and while the Mach 1 appears, there’s no pictures of the Bullitt edition. The SVT Cobra does show up. Actually it’s somewhat strange that the SVT Cobras aren’t broken out to their own chapter. These cars, built from 1993 through 2004, were the ultimate Mustangs available. That they are not treated similarly to the Shelby cars seems the wrong choice.
These things aside, Mustang Classics is a great automotive coffee table book. David Newhardt’s photos are fantastic, showing off the classic Mustang lines that have captured the hearts of so many. And Randy Leffingwell has packed the pages with stories of the Mustang that will interest history buffs as well as car nuts. There isn’t a lot in the way of pedestrian Mustangs, but what is presented is quite stunning visually and really details much of the Mustang’s high performance story. This is one book Ford fans should own.
Pros: fabulous photos; great information on the cars and company; high quality book Cons: somewhat dated, having not been updated since 2005 Where to get it: Amazon, bookstores
Hello everyone. I just wanted to throw out a quick post to let you know what’s up.
I have posted less often since the start of the new year, and that may continue for another little bit, hopefully not too long into next month. I am moving residence in the next week or so, and frankly I have been packing and realizing just how much crap I’ve accumulated. It’s taking some time between packing and purging.
Now, I do have a couple of book reviews in draft, but unfortunately I have not been able to get much done in the way of photos for those posts. I hope to get at least one done in the next little bit.
Lastly, while I do hope to have myself set up quickly after the move, the feast part of the feast-or-famine nature of my freelance graphic design work seems to have hit. Naturally, I’ll have to devote a lot of time to getting that work done.
That’s all to say that I hope my less frequent posting won’t cause my followers to forget about my little blog. I hope to find a few minutes over the next couple of days to get something posted.
I found this hot rodded 1936 Dodge at the 2014 Syracuse Nationals. Interestingly, Dodge used the ram as a hood ornament on it’s cars for many years, although now we know Ram is used exclusively on FCA’s truck line. The ram became something of a theme for me as I encountered other vintage Dodge cars and noticed how the styling of the ornament changed year to year.
In addition to the ram, I was drawn by the monochrome paint treatment on the formerly chrome grille, as well as the old-school look pinstripe work.
Shot with the Nikon D3200 and Nikkor 18-55 lens, I used ƒ/10, 1/400 shutter and ISO 100. The original image is below.