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I like that this photo makes it feel like you’re sat in the back of the Mk1 Transit. I chose to scan this with the film borders to frame it as if you’re inside the camera as well. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.
Miles Myerscough-Harris Avatar
Miles Myerscough-Harris
13.07.25

Goodwood 2025: Through a Vintage Lens (Part One)

I specialise in using old film cameras to photograph sporting events all around the world.

I liked this shot because it was taken on a camera from the same year as the Mk1 Transit – 1965. I shot a very similar image to this one earlier in the day, but preferred this one because of the late evening glow adding warmth. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.
I remember spending hours and days making home videos with my brother and sister using this very camera.
Miles Myerscough-Harris
It’s the lens flare that makes this photo for me. (The album version of this image makes this more visible). The sun was peeking through the trees at just the right angle to hit the film and frame the SuperVan. I didn’t know it would come out so well when I was shooting it, but that’s the beauty of film. You never quite know what you’re going to get. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.

Expired Film Club is a passion project that grew out of the Covid lockdown. I like to look at the world through a vintage lens, documenting my life on old film cameras and posting the results on social media for the world to see.

For this one I tried to intentionally leak some light onto the film by opening the back of the camera for a split second. This causes “film burn”. You can see the effect across the “Cus” of “Custom” and directly below. I took this shot because I loved the old-style font of the badge. I tried to include a tiny bit of the wing mirror to add some context of where on the van the badge was. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.
If you look closely, you can see that this shot got a bit scratched in the development process. The signature belongs to Bill Ford, Ford Motor Company’s Executive Chair and the great-grandson of Henry Ford, who signed SuperVan 1 at the event. I like that there’s a synergy in the signature making the van even more special, and the scratches making the image unique. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.

I’ve been amazed at how quickly it’s turned into a fulltime job for me, and how quickly the analogue photography community is growing.

This is a panning shot, which is achieved by using a slow shutter speed. It meant I needed to closely follow the SuperTruck as it moved – and I was surprised by how fast it was moving for a vehicle this big. This is a difficult photo to achieve on film, because you can’t immediately see whether you’ve nailed it. That makes it even more satisfying when you get the scans.  License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.
This was another panning shot. I really like how the flagpoles frame the SuperTruck giving it an almost three-dimensional effect. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.
This is the interior of the SuperTruck. The “film burn” is even more extreme. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.
I liked that the mechanics were still hard at work after the SuperTruck had been up the hillclimb. I wanted to give a behind the scenes look at a post-race paddock. At the top of the picture you can see a white thread that had got onto the negative when scanning. Real proof, if needed, that this shot was developed and scanned in my hotel room at midnight. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.

I was honoured to be asked by Ford to shoot at the Goodwood Festival of Speed. Across the event I used a range of cameras – from a 130-year-old panoramic box camera, all the way up to some (fairly) modern 35 mm film cameras.

These two shots side by side are a great example of the unpredictability of shooting film. Same subject, same location, same lighting – but shot at different moments on two different brands of film. In one shot the Mustang GTD looks more cinematic and green, and in the other it’s more punchy and bright. I much prefer the former. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.
License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.

One that I was most excited to use was an old hi-8 camcorder. This camera is special to me for a number of reasons.

This is another example of a panning shot. I really like how the colours of the Puma Hybrid Rally1 pop against the hay bales. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.

It’s the exact same camcorder that made me fall in love with the medium as a young child. I remember spending hours and days making home videos with my brother and sister using this very camera, and it sparked in me a love that has never left me, so I was buzzing to be using it again this weekend.

I was filming on the camcorder when the Red Arrows fly over began, so I handed the reigns of my 35 mm camera to my wife Catherine who snapped this shot. She nailed it. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.

I distinctly remember taking it to a Goodwood Festival of Speed as a ten-year-old, and so to bring it back and film some content in 2025 feels very special to me.

I also shot stills on film across the whole weekend, and I chose to bring a number of cameras that span the decades of some of the vehicles on show.

This set of photos encapsulates the highs and lows of sports photography. The opportunity to capture five beautiful vehicles on an iconic hillclimb track, but not quite picking the right position to get them all in frame as the spacing of the vehicles caught me by surprise. I did manage to get them individually, and I got SuperVans 1 2 and 3 together, which was nice. License valid for earned editorial, press releases, press kits. All non-broadcast digital and online media Region: Global. This content is solely for editorial use and for providing individual users with information. Any storage in databases, or any distribution to third parties within the scope of commercial use, or for commercial use is permitted with written consent from Ford in Europe GmbH only.

From a 1960s medium format Pentacon, to a 1970s Canon, a 1990s 16-lens Fujifilm and everything in-between, it was a lot of fun using all of these different cameras to give a unique perspective on the weekend.

Miles Myerscough-Harris is Expired Film Club, looking at the world through a vintage lens.