Bored of the deluge of perfect photographs pouring out of motor shows? We’ve taken some old and strange film cameras to Geneva to show you another side of cars. Well, of supercars anyway.
Given that the Geneva Motor Show has been the birthplace of many icons of rock-and-roll fascination—both the Miura and the Countach were introduced here—it’s surprising how humorless, sanitized, corporate and depressingly adult the event is. Patterned shirts and rumpled hair did not make easy our entry past the gates, and that was before we produced our documents.
“These are a joke,” a stern lady by the name of Michelle greeted us with a smirk after inspecting our letters of editorial confirmation. No glossy magazines? No big-money advertisements on expensive paper? Then, upon my insistence, she visited
jalopnik.com, and the joke was on her. “But you look so young” was all she could come up with as we waved her goodbye.
All photography by Máté Petrány.
In a sea of navy blue suits and black pro cameras, we went prowling the showfloor with a Lomography Fisheye 2 and two old Minoltas loaded with Kodak T-MAX 3200 film to capture something of Geneva supercars which elude modern cameras with their nuclear-powered image processors and Volkswagen-perfect optics.
What we’ve collected in this gallery are not professional photographs, but they show the Pagani Zonda, the Lexus LFA, the Bugatti Veyron, the Koenigsegg Agera and the Lamborghini Murciélago SV in ways which escape perhaps the majority of modern cameras.
Like how the scoops on a Lexus LFA are obviously inspired by melting icebergs.
Even though it’s been around for a while and our Mr. Wes Siler has already driven it, it was the first time either Máté or I saw an LFA in person. It’s shocking in the way only Italian cars can be. Full of completely weird details.