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#1001 Alan Cox

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Posted 30 April 2012 - 08:37

Is that a new one or an old one, Alan?

A mere 31 years ago. VSCC Silverstone. Even then he was a bit out of kilter with the general style asopted by track photographers.

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#1002 TimRTC

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Posted 02 May 2012 - 10:42

Hi all, just discovered this thread. Having watched it on TV for years, I am just getting into motorsports photography and so still learning the best settings to use on my camera, a 2nd hand Canon 350D with the entry level Canon 70-300mm lens. Can't contribute any older pictures sadly, but I am very conscientious about labelling and geo-tagging all my photos so that hopefully in a few decades time they will have a touch of nostalgia value and be useful for searching through.

A few pics of mine:

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Fred Hanssen's Black and White dragster racing by Tim R-T-C, on Flickr

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Jet dragster Fireforce 3 races to 266 mph by Tim R-T-C, on Flickr

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Barry Teasdale scorches down the straight at Croft by Tim R-T-C, on Flickr

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Jazeman Jaafar scorches past the marshall's post over Hilltop by Tim R-T-C, on Flickr

Edited by TimRTC, 02 May 2012 - 10:43.


#1003 Option1

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Posted 02 May 2012 - 16:50

Nice start Tim! One small criticism, if I may, your first picture seems to be somewhat under-exposed by about half to a full stop. To balance that, I love the last picture because it's a similar image to one I often try to capture when trying to change things up as it were.

Neil

#1004 E1pix

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Posted 02 May 2012 - 19:31

I agree, you're off to a good start, Tim. You're especially wise in keeping up with labeling and the like straight away, that job only gets worse over time!

Nice images! :up:

#1005 NC Ghost Hunter

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Posted 03 May 2012 - 01:54

I shoot dirt short track racing mostly. I have shot a couple of short course USAC TORC races for thier PR guy, but I love the Saturday night short track action. My normal kit is 2 D7000 bodies matched with Nikkor 24-70 & 70-200mm f/2.8 glass. I normally only carry a single SB-900 for the dust usually precludes me from using any flash during the features.
Here are a few of my better shoots from 2011.
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Edited by NC Ghost Hunter, 03 May 2012 - 01:55.


#1006 philhitchings

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Posted 03 May 2012 - 05:09

Plenty of drama in those pics. :up:

#1007 David Beard

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Posted 03 May 2012 - 11:37

Pushing my luck a bit....Lotus 12 in a spin.

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#1008 David Beard

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Posted 04 May 2012 - 19:01

Moss parade at Goodwood, 2009.

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#1009 Alan Cox

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Posted 04 May 2012 - 20:34

Love the last one, David.

#1010 E1pix

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Posted 04 May 2012 - 23:44

Me, too! :up:

I don't know if you had control of the models, but if not you sure fooled me. Great effects as well. :eek:

#1011 Arese

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Posted 06 May 2012 - 14:49

It is the "thrill of motorsport" without showing a moving vehicle.

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#1012 elansprint72

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Posted 06 May 2012 - 20:59

Moss parade at Goodwood, 2009.

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Remember when we had to move the enlarger head to achieve this effect? Try telling that to the kids of today...  ;)

#1013 kayemod

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Posted 06 May 2012 - 21:31

Remember when we had to move the enlarger head to achieve this effect? Try telling that to the kids of today...  ;)


It would be quite a feat to find 'a kid' who even knew what an enlarger is, or rather was.


#1014 E1pix

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Posted 06 May 2012 - 23:03

Yep, you are correct. Sad as that is for all us old-time film guys, we can't go back and the advances were produced by generations coming before the kids. It ain't the younguns' fault.

I for one would rather we were still "back there," working the hands-on challenges. For my part I intend to keep large-format film shooting alive as long as I can, hoping for a nostalgic return of the craft.

#1015 Marc Sproule

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Posted 07 May 2012 - 00:06

I've finally gotten around to uploading some non-racing stuff that's been taking up space on my hard drive.

The first 20 are digital, taken with my little Nikon pointandshoot. The next 17 are KChrome. All of them were taken here in good ol' surf city.

I have neither the desire nor the $ for a full blown digital rig so everything after '97 will be low-q digital. Still many 10s of thousands of chromes and b&w negs to go through.

http://www.flickr.co...57629871009941/

One of my favorite old "street" photography is our local seaside boardwalk. This is one that shows why I liked to hide out and take candids of the beach side tourists. The message is in the ink....

http://www.flickr.co...157629871009941







#1016 E1pix

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Posted 07 May 2012 - 00:14

Nice work, Marc.

Per scanning, I hear you!!! Wondering... what are you scanning with and do you have bulk-load capability?

#1017 Marc Sproule

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Posted 07 May 2012 - 00:35

Nice work, Marc.

Per scanning, I hear you!!! Wondering... what are you scanning with and do you have bulk-load capability?


Thanks E.

Scanning with a Nikon Super Coolscan 4000 ED. Don't need bulk-load capability as I'm not doing them in bulk and frequently going straight into PShop to resize them and get them looking better than I can with the Nikon software.


#1018 Frank S

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Posted 07 May 2012 - 01:02

Marvelous stuff, Marc. Goes to show there's no substitute for an artist's eye.

#1019 Marc Sproule

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Posted 07 May 2012 - 01:58

Marvelous stuff, Marc. Goes to show there's no substitute for an artist's eye.


Thanks Frank.

Just wish I weren't a starving artist.

:eek:


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#1020 E1pix

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Posted 07 May 2012 - 02:23

Thanks E.

Scanning with a Nikon Super Coolscan 4000 ED. Don't need bulk-load capability as I'm not doing them in bulk and frequently going straight into PShop to resize them and get them looking better than I can with the Nikon software.

You're welcome, and that's why I asked... I cannot begin to tell you the benefits of the bulk loader for my Nikon 5000ED. It scans 50-70 images, depending on mount thickness, while I sleep (perfect! :) ). I get up and start an Action in Photoshop and head to the shower. The Action opens each newly-scanned photo, converts it from NikonAdobeRGB to ProPhotoRGB (which can capture and reproduce far more color gamut), and saves as an LZW.tif. Maybe 20-30 minutes later, the photos are ready for cropping and cleaning. That takes about three minutes per photo (for the newer Fuji slides that can use DigitalICE in NikonScan). Then I run another Action that auto-creates Layers for Curves, Hue/Saturation, and Selective Color, and saves the image at 11" on the narrow end, at around 330 ppi. Color corrections take 3-5 minutes per slide. Once scanned, in the end I can prep 50 images a day at full-res, print-ready save for minor tweaks, to a very high quality. It's taken me a solid decade of Poe-like madness to streamline all this and my assistance offer's always open to you if I can save you some nightmares.

For the Kodachromes, I scan with Silverfast using a specific Kodachrome profile and those take 20 minutes each to clean approx. The color profiles that recognize each film type are worth their weight in gold, I have four IT8 targets for Ekta, Koda, Velvia 50, and Provia 100.

Thanks Frank.

Just wish I weren't a starving artist.

:eek:

You and me both, Friend. I used to never starve, but I am convinced there's future Glory Days for us both.

Best to You.

#1021 philhitchings

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Posted 08 May 2012 - 14:51

It would be quite a feat to find 'a kid' who even knew what an enlarger is, or rather was.


Oh enlargers :) I loved the darkroom days.

Yep, you are correct. Sad as that is for all us old-time film guys, we can't go back and the advances were produced by generations coming before the kids. It ain't the younguns' fault.

I for one would rather we were still "back there," working the hands-on challenges. For my part I intend to keep large-format film shooting alive as long as I can, hoping for a nostalgic return of the craft.


I honestly think that large format will still be around for some time to come, if only for people of the fine art crowd such as landscape artists like yourself.



#1022 David Beard

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Posted 08 May 2012 - 19:54

I'm slowly amassing a collection of prime lenses. Bigger apertures than yer zooms.

Sigma 30mm at f1.4...

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#1023 TimRTC

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Posted 08 May 2012 - 19:56

Slightly OT, but don't want to start a new thread. Where would the experienced shooters recommend heading for at Brands Hatch (Indy) for the best photos of the DTM in a fortnight?

#1024 philhitchings

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Posted 09 May 2012 - 08:51

TimRTC, it depends on your kit. If you have a long lens the high(ish) minimum focussing distance would let you shoot "through the fence" as it were. My lens has a minimum focussing distance of just under seven metres and the fence is not a problem (unless it's wet :well: ) The apex of clearways down to the entrance to the pits has given me some pleasing results in the past (if you are there on Friday there is a photo hole near the Marshalls post which doesn't always have a Camera unit installed until Saturday) Then there's the outside at Druids which always gives a good result, as you have them from the top of the hill into the hairpin; so face on, turn in and parallel images are easily captured. The former will have Paddock in the background too which I always think is a nice touch.

If you don't have that kind of set up you might need to get a bit more creative. Needless to say all of these spots get very busy. The outside at Paddock is good and you can shoot from above the fence there. Then you have the inside at druids. They've installed a high fence on the inside of the run up to the hairpin so the apex and then the run down to Graham Hill can be good. Whilst you're on the "island" walk down to the fence and you can get some good shots of Paddock from the other side. On the outside at Druids there's a low fence behind the Marshalls post which will let you get rear shots of the cars as they come through Druids

I've never got any really decent pics from South Bank but it's worth wathing from there even if you don't take any pictures. If you stand on the outside of Surtees/Mclaren (near the medical centre) you can get two options. Firstly, Mclaren itself and secondly the run out of Clearways onto the Brabham Straight.

Crossing over the bridge and onto th banking overlooking clearways gives you the chance to capture the "S" of Surtees and McLaren.

Don't forget that you can buy a paddock ticket on top of your entry price and although you'll get moved on fairly quickly you can get some nice shots of Graham Hill and the start of the Cooper Straight as well as having the chance to see the team personnel and the support events coming along the support road to compete.

hope that helps :wave:

#1025 TimRTC

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Posted 09 May 2012 - 09:57

Thanks for the tips, I am using a 300mm lens so shooting through the fence is okay, but I prefer shooting over-the-top. Is the Clearways banking high enough to see over the fence?

On the plus side, I will be there on the Saturday too so should get some time to find the best spots.

#1026 philhitchings

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Posted 10 May 2012 - 05:52

From the bridge towards the apex of clearway is the old style low fence but it's high fencing from about the point where the indy and GP circuit merge again

#1027 kayemod

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Posted 12 May 2012 - 19:45

For anyone who thinks that new Leicas are overpriced...

http://www.telegraph....7-million.html

#1028 elansprint72

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Posted 13 May 2012 - 19:41

For anyone who thinks that new Leicas are overpriced...

http://www.telegraph....7-million.html



No comment.  ;)

#1029 E1pix

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Posted 14 May 2012 - 05:25

Geez, same price as 500 Nikon D800s. :)

#1030 TimRTC

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Posted 21 May 2012 - 13:23

A quick camera focusing question. After a month of using my Canon 350D with a 70-300mm lens in a variety of motorsports settings, I have found two main problems:

1) When shooting through a fence, event when quite close-up, the camera has an endless habit of trying to focus on the fence and not what is going on behind.
2) When shooting from overhead towards a large patch of roadway, the camera struggles to focus and will often scan all the way out and then back in before focussing which can take two or three long seconds to do properly.

Are there any settings I am missing that might help this, or is it just a limitation of this camera and worth updating. Cheers.

#1031 Tony Matthews

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Posted 21 May 2012 - 13:52

If your lens has a focus-limiting switch, use it. It may not stop the lens hunting completely, but it should help. It will give you something like infinity-to-halfway and halfway-to-closest focus, so you can choose which portion to activate. If you haven't got a limiting switch - manual focus! It's not as hard as you think.

#1032 kayemod

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Posted 21 May 2012 - 13:57

If you haven't got a limiting switch - manual focus! It's not as hard as you think.


I still do that quite often with my Nikon D300, as you say, it really isn't difficult, and of course in olden times, we didn't have any choice in the matter, but you tell that to the kids of today...


#1033 TimRTC

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Posted 21 May 2012 - 14:11

Thanks, don't think my lens has a limiting option - it is the entry level Canon telephoto, just has a manual/auto switch.

I used manual focus most of last year at airshows - the lens simply would never focus on planes in the air - however with the small (and increasingly grubby) viewfinder on the 350D, it can be hard to properly judge when an image is going to be sharp and while with planes you usually got several passes to get it right, with the cars it is usually once or never to get a good overtaking move or gravel trap visit.

#1034 E1pix

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Posted 21 May 2012 - 16:31

Manual focus. With practice the gains might well outshine the misses.

#1035 Frank S

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Posted 21 May 2012 - 18:53

Manually pre-focusing on an object at about the same distance as your patch of roadway will help. The Canon machines use contrast as points of auto-focus, as I understand it. If there is nothing on your macadam stage, the camera will try to help you by looking in and out. I don't recall if the 350D has follow-focus as an option, but depending on the target's direction of travel, that might be useful.

In a more discouraging vein: if the auto-focus on your lens is not well-matched to the focal plane of your camera, auto-focus might well yield consistent too-near or too-far focus. The cure is a service-depot visit for the pair; not really expensive, but far from convenient for most.

#1036 rr0cket

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Posted 22 May 2012 - 21:17

I just came across this thread, some great photographs in here.
Here are a few I have handy from several years ago....I never really ended up shooting very much motor racing, even though it's one of the main reasons I wanted to become a photographer in the first place. :(

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#1037 elansprint72

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Posted 22 May 2012 - 21:40

Is it me, or are these cars the best ever? :smoking:

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#1038 philhitchings

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Posted 23 May 2012 - 05:19

Manual focus. With practice the gains might well outshine the misses.


IMO that should say definitely. I use auto focus but when I use manual and the subject comes into focus it always gives me a buzz :)

#1039 E1pix

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Posted 23 May 2012 - 05:44

:) Just commenting on boring "keep rate," and presuming that cheaper cameras don't auto focus all that well.

And of course that all photographers new or old should learn to focus with their eyes.


But I like your style of thinking better. :up:

Edited by E1pix, 23 May 2012 - 05:54.


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#1040 elansprint72

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Posted 23 May 2012 - 07:04

I still do that quite often with my Nikon D300, as you say, it really isn't difficult, and of course in olden times, we didn't have any choice in the matter, but you tell that to the kids of today...


Focus? We (with our Ensign box cameras) used to dream of focus... and variable shutter speeds. :rolleyes:

I have to admit to being a very late convert to auto-focus but now I use it all the time; having a fancy camera with an excellent view-finder (Nikon D700) does help of course. The follow-focus (or whatever it is called) is absolutely astonishing; I set the focus point to a tiny area in the centre of the 'finder, lock on to the target and as the car moves towards or away from me it stays in focus all the time. I would not have believed it, had I not used it for myself.
When the mood takes me the old Nikon F comes out and it's back to focussing on a point on the road and waiting for the decisive moment.

I did once try to shoot at an airshow with a slow-focussing auto "bridge" camera, it clearly wasn't up to the job, so manual focus on near to infinity was the only way to go.

#1041 droopsnoot

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Posted 23 May 2012 - 10:01

I've been trying to improve my photography at motorsport events, though to be honest I haven't really been to that many recently. I also find focussing to be the main issue, with the auto-focus struggling to keep up, though that varies from lens to lens. Manual focus is ideal, but my eyesight isn't always good enough to handle it - I wear glasses for driving but they're pertty weak, so I'm not terribly short-sighted and don't wear them the rest of the time.

My old film SLR had a split-focus area in the centre of the viewfinder which used to be quite helpful. I have also found a feature on my Pentax dSLR called "catch in focus", designed for using manual lenses, which has been very useful - just fix focus on the manual lens in a specific point, hold down the shutter release, and the autofocus circuit won't take the picture until it sees the image is sharp. Ideal for shooting single vehicles travelling quickly towards you, or groups of vehicles where you can be pretty sure at least one of them will be pin-sharp, almost like a radar-trap.

Still, I keep coming here for inspiration as much as anything else.

#1042 rr0cket

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Posted 23 May 2012 - 16:55

My old film SLR had a split-focus area in the centre of the viewfinder which used to be quite helpful. I have also found a feature on my Pentax dSLR called "catch in focus", designed for using manual lenses, which has been very useful - just fix focus on the manual lens in a specific point, hold down the shutter release, and the autofocus circuit won't take the picture until it sees the image is sharp. Ideal for shooting single vehicles travelling quickly towards you, or groups of vehicles where you can be pretty sure at least one of them will be pin-sharp, almost like a radar-trap.

It's commonly called trap focus and is available on many cameras, there are many uses for it, but it's definitely a great way to get consistency if your looking to nail a certain composition over and over. I know several pro sports shooters who regularly use this technology and it works great.

Unfortunately, focus speed is very lens dependent since all the inner workings of the AF are built in to the lens. Find your fastest AF lens and only work with that until you become very comfortable(it's almost as if putting your AF in easy mode). Then work your way down to the lenses that are harder to deal with. Also, most dSLR don't come with split prism focus screens, but there are a few aftermarket companies out there that might possibly make them for your camera, they're known to mess with the AF system at smaller apertures, but it's another viable option if you choose that route.

#1043 elansprint72

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Posted 23 May 2012 - 22:10

It's commonly called trap focus and is available on many cameras...

I know several pro sports shooters who regularly use this technology...


Pardon me but; with the best will in the world the only type of "pro-shooter" who would use this technique is a paparazzo who had been out on the lash until dawn, woken up in the back of a taxi at the track with only his Sister in Law's point-and-shoot tucked into his underpants by way of photographic equipment about his person!

It might be a viable "work-around" (I would not know) but, please, give us a bit of credit.  ;)

#1044 TIPO61

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Posted 24 May 2012 - 22:06

All these wonderful posts and not even a mention of Jack Brady?

#1045 Tony Matthews

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Posted 25 May 2012 - 11:12

Pardon me but; with the best will in the world the only type of "pro-shooter" who would use this technique is a paparazzo who had been out on the lash until dawn, woken up in the back of a taxi at the track with only his Sister in Law's point-and-shoot tucked into his underpants by way of photographic equipment about his person!

It might be a viable "work-around" (I would not know) but, please, give us a bit of credit. ;)

I'm not sure why you condemn a function quite so vitriolically, just because you don't have a use for it. I think the paparazzi would be the least likely to use it, hungover or not. It may not have a place in motorsport photography, but Nikon introduced it with the MF23 for very good reason, not just a whim, and there are times, such as wild life photography, when is a boon.

#1046 elansprint72

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Posted 25 May 2012 - 14:11

I'm not sure why you condemn a function quite so vitriolically, just because you don't have a use for it. I think the paparazzi would be the least likely to use it, hungover or not. It may not have a place in motorsport photography, but Nikon introduced it with the MF23 for very good reason, not just a whim, and there are times, such as wild life photography, when is a boon.


Since the "facility" was mention with regard to motor-sports photography, it was in that respect which I was replying.  ;)

Our local Parazzo seems to hang about with is finger on the release waiting for any WAGs to enter his trap; it's closed season on Coleen at the moment, she's in the USA but I spotted a one of the soap babes shopping yesterday. Maybe I should take my camera into town? :rolleyes:

#1047 Option1

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Posted 25 May 2012 - 15:20

...Maybe I should take my camera into town? :rolleyes:

Shirley this thread is no place for country & western songs... ;)

Neil

#1048 kayemod

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Posted 25 May 2012 - 16:00

...I spotted a one of the soap babes shopping yesterday.


Some would say that the fact you were even able to recognise 'a soap babe', is a cause for TNF concern, we do try to maintain certain standards here you know...


#1049 E1pix

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Posted 25 May 2012 - 18:34

Shirley this thread is no place for country & western songs...;)

Neil

Correct, it's a place for rock & roll.

And don't call me Shirley.  ;)

#1050 elansprint72

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Posted 25 May 2012 - 18:51

Some would say that the fact you were even able to recognise 'a soap babe', is a cause for TNF concern, we do try to maintain certain standards here you know...


Neighbours? No. Emmerdale? No. Corry! that's the one.

Shirley? No that not her name; she's the orange one with a moustache.

Well, you picked a fine to to leave me, loose heel.



I'll get me coat.