Dec 29, 2011, 15:44
I know, it just had to happen.
Here's a pic I took a day or so ago of my new vehicle, a Subaru Forester 2.0L diesel. How I did it is underneath:
Here's what I did:
There's some roads near me that are lined with beechwoods; I chose a bit that was catching some of the afternoon light and parked it facing uphill. I ensured I turned the wheels a little toward the camera to try and suggest a feeling of movement from such a static object.
On the opposite side of the road(where I am to take the shot), the land dips down below road level. It is thus possible to hunker down and get "below" the car... I did this to achieve what is called in, er, portrait photography as the "heroic" angle: see where the light is, and the camera in relation to the profile of the subject.
Trying still to convey an impression of "movement", I ensured that in the frame, the car has a distance to "travel" to the right; its engaged wheels suggest(to me anyway) a sense of purpose and movement.
To augment this, I knew I needed a wide aperture...the wider the better at the longest length I could get with the 70-200.
I in fact ended with f4.5, to try and offset a bit of vignetting...though this didn't matter to the final shot.
At this distance, I could see that the road surface was rendered blurred given the depth of field.
I underexposed for that moody look and to avoid blown highs.
A high-saturation conversion in pp, duplicating the background as a second layer;
then I added motion blur to the layer, then using a soft brush on "erase" selectively. Of course, muggins here doesn't have a graphics tablet, so I'm quite happy with the mouse as I'm used to it.
Flatten the image, smart sharpen at output rez, add the sig and we're done.
Here's a pic I took a day or so ago of my new vehicle, a Subaru Forester 2.0L diesel. How I did it is underneath:
Here's what I did:
There's some roads near me that are lined with beechwoods; I chose a bit that was catching some of the afternoon light and parked it facing uphill. I ensured I turned the wheels a little toward the camera to try and suggest a feeling of movement from such a static object.
On the opposite side of the road(where I am to take the shot), the land dips down below road level. It is thus possible to hunker down and get "below" the car... I did this to achieve what is called in, er, portrait photography as the "heroic" angle: see where the light is, and the camera in relation to the profile of the subject.
Trying still to convey an impression of "movement", I ensured that in the frame, the car has a distance to "travel" to the right; its engaged wheels suggest(to me anyway) a sense of purpose and movement.
To augment this, I knew I needed a wide aperture...the wider the better at the longest length I could get with the 70-200.
I in fact ended with f4.5, to try and offset a bit of vignetting...though this didn't matter to the final shot.
At this distance, I could see that the road surface was rendered blurred given the depth of field.
I underexposed for that moody look and to avoid blown highs.
A high-saturation conversion in pp, duplicating the background as a second layer;
then I added motion blur to the layer, then using a soft brush on "erase" selectively. Of course, muggins here doesn't have a graphics tablet, so I'm quite happy with the mouse as I'm used to it.
Flatten the image, smart sharpen at output rez, add the sig and we're done.
All my stuff is here: www.doverow.com
(Just click on the TOP RIGHT buttons to take you to my Image Galleries or Music Rooms!)
My band TRASHVILLE, in which I'm lead guitarist: http://www.youtube.com/watch?v=Z6mU6qaNx08