Whites could easily clip in the sun so the exposure was biased 2 stops darker for this capture. Greens and yellows were toned down a bit in post as the shrubs were getting too much attention. And then the ground was separately darkened a little as it was rather bright because of the sun.
Well, not really … but the background did make me think of the canyon. Captured with the camera placed almost on the ground and tilted for that little extra drama.
This was taken in harsh sunlight. As this particular angle of view was key to the composition, the reflection of the sun could not be avoided.
This proved to be quite problematic especially when I wanted to lift the shadow of the car front a little. It might’ve been less of a problem if a wider dynamic range were available but not with the EM1 used here. The result was noise and artefacts when viewed at actual size but happily this wasn’t a real problem at this size.
The owner had obviously taken the trouble to polish it and it was looking good.
It was however in harsh sunlight but at the same time that was also a good opportunity to see how the Sigma would perform here and the Ferrari wasn’t moving in this instance.
So a stop of underexposure was applied to keep highlights from clipping and the Sigma had done the rest.
The Leica compact used for this shot wasn’t my preferred gear for sports/action. But when caught in such a situation, I would fall back on zone focussing and panning to get my shot.
I’ve no means of measuring that but it’s said that it could hit 60 mph (or 100 kp/h) in 2.8 seconds. Wow!
In the film era, one way I, like many others, enhanced the sense of movement of an approaching vehicle was to mount the camera with a zoom lens on a tripod, pull back the zoom barrel (telephoto zoom lenses worked like pumps then) and hit the shutter simultaneously. In the digital age, I work a bit differently. The zooming effect gets introduced in the post processing stage.
This was taken with the 17-year old Leica Digilux 3 and a 10-20mm lens. Zoom blur based on the actual background was added in post.
I would break out in cold sweat photographing such a scene in the film era. It entailed placing the camera on a tripod in the path of an approaching car, pumped the zoom lens, snapped and quickly jumped out of the way. Thankfully, it’s now the digital era. Things could be done more leisurely. You would even have the time to try a more dramatic composition. Here, the camera was held low and tilted to add a little drama. The spoiler: zooming blur was added in post.
ALTA McLaren Artura in the city centre in Singapore. Photo credit: Jonathan Chua.
This white McLaren was in the sun and so I had biased the exposure darker by 2/3 stop to keep the white chassis from clipping. Lens flares were added in post for some extra drama.
Helluva Times 