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.