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A commercial shot for a supercar client of the recent Ford GT
| Title: | Detroit Thunder |
| Username: | 
AmbientLife |
| Uploaded: | 4 Mar 2009 - 12:17 PM |
| Camera: | Nikon D3  Check out Nikon Nation! |
| Lens: | 35mm |
| Recording media: | JPEG (digital) |
| Tags: | Flash / lighting, Transport |
| Votes: | 55 |
Comments
Very neat shot. I love the lines of perspective from the buildings on the left to the track on the right.
The coloured car really stands out well from the dark, gloomy clouds too.
Chris
Superb image, would like to try some shots like this myself, but alas, I don't have the access to such fabulous machinery.
Ian
Thanks guys for the kind feedback, it was a difficult shoot to light however I think the results were worth it.
A similar shot has been shortlisted recently for the commercial photographer of the year award through bowens so its all fingers crossed for that one as business it quite tough right now with the car industry so depressed.
Cheers
Tim
Sorry Tim, I've just read my comment again and it sounds a little demeaning, as though shots like this are ten-a-penny when you have access to the cars, and we all know they are'nt, so apologies.
I know you probably get it all sorted at the camera stage, I'd have to rely on multiple exposures and heavy use of CS3, and can totally appreciate the difficulties of getting a shot as good as this first time around.
Ian
Ian, no worries at all
I get a lot of mails off people who say that its all CGI and not real photography, sure some retouch work does occur as it does in any commercial shot but not too much as I don't often have the time. Its always strange how some 'tradionalists' say that any work in CS means that its not a 'proper' piece of photography. I started my career as a printer in the darkrooms of the Daily Mail, a few years later I was printing for many great photographers and I don't remember ever printing a neg on grade 2 only, straight with no burning or dodging and on a set 8 secs at f5.6... I think you probably get what I'm saying here.
The shot above has had the shy dropped 1.5 stops and a small curve adjustment made. Lighting on the shot came from 3 Elinchrom heads. First to the top left with a 1.5m postbox shape diffuser (you can just make out the reflection on the edge of the bonnet), the second was directly behind me and elevated to about 15ft with a large octa softbox. The last light is off the the far right with a reflector and wide grid fitted aimed at the side rear of the car. A large 'sunbounce' reflector was also used at the front right of the car to bounce some light back in to the front wheel.
Hope this helps and cheers for the comments, always great to hear from you.
Cheers
Tim
Hi Tim,
I know what your saying, I've worked in graphics now for the best part of 20 years and done a few darkroom stints of my own, I have also manipulated many an image on the Mac and I can see the work thats gone into getting this shot right in camera, the retouching work after the image is really just the finishing touches, the cherry on the cake. Unfortunately you will always get those people who think the camera is capable of capturing 20 f-stops in one image all at the same time, and perfectly! In the real world its somewhat different as we both know.
Once again, stunning work.
Ian
Great shot and very informative commentary on how it's done. I think it's a good balance of doing it 'for real' with lighting, combined with good editing skills.
Quote: Ian, no worries at all
I get a lot of mails off people who say that its all CGI and not real photography, sure some retouch work does occur as it does in any commercial shot but not too much as I don't often have the time. Its always strange how some 'tradionalists' say that any work in CS means that its not a 'proper' piece of photography. I started my career as a printer in the darkrooms of the Daily Mail, a few years later I was printing for many great photographers and I don't remember ever printing a neg on grade 2 only, straight with no burning or dodging and on a set 8 secs at f5.6... I think you probably get what I'm saying here.
The shot above has had the shy dropped 1.5 stops and a small curve adjustment made. Lighting on the shot came from 3 Elinchrom heads. First to the top left with a 1.5m postbox shape diffuser (you can just make out the reflection on the edge of the bonnet), the second was directly behind me and elevated to about 15ft with a large octa softbox. The last light is off the the far right with a reflector and wide grid fitted aimed at the side rear of the car. A large 'sunbounce' reflector was also used at the front right of the car to bounce some light back in to the front wheel.
Hope this helps and cheers for the comments, always great to hear from you.
Cheers
Tim
It does make me mad when people say Oh its p/shoped to death blah blah blah, what do people think happened to the massive negs that most classic pics come from THEY HAVE BEEN RETOUCHED and if Photoshop was around back then the retouchers would have loved it, This is the new generation of photography boys and girls, get used to it please and I still shoot on film whenever I can.
Paul
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