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Arthur & His Twin Turbo Bentley | by dustinsapenga
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Arthur & His Twin Turbo Bentley

This was a long process but i finally finished it. when i first met Arthur this thing was sitting in front of his auto shop with a nice coat of primer on. i dont even think it had door knobs on it yet. when he bought the car it was "totaled". by that i mean the whole passenger side had been smashed in by a guard rail or somthing, and he repaired the whole thing himself. every part is hand made in england so each door panel alone is $13,000 dollars. this bad boy has about 650 horses and feels like airforce one on the inside.

 

This image was a composite of about 25 different photos. 1 for arthur, 1 for the background, and like 23 for the car. i used a mixture of bare stobes, diffused strobes, and continuous lights. the trickiest part about shooting a composite photo like this is lining up your perspective correctly. i made sure before i went out and did this i figured it out which ill share with you.

 

1. shoot at the same focal length - this is true especially with wide angle lenses. at different focal lengths lenses distort differently. the depth of field can also play a role in this. if you shoot a portrait with a 50mm at 1.4 where the background is completly blurry dont try to drop a picture of someone where they would normally be out of focus. just make sure if you shoot a backround photo at 20mm, shoot the portrait at 20mm.

 

2. bring a tape measure - this is important because it makes sure you maintain your perspective. if you shoot a picture of someone standing straight up and then try to drop their image into a background image that you shot kneeling down its going to look like theyre leaning back, or foreward. this is unbelieveably true for cars. because the have all four wheels on the ground its easy to make one float by shooting at the wrong perspective.

 

3. maintain consistent contrast - this is where it starts to get tricky. this is true untill you have the image all stitched together. contrast is what draws your eye to an area. raise it if you want to draw someones eye to the area, lower it if you dont want them to notice it. when shooting with strobes you can really wash out the contrast and have super bright highlights as well as bright shadows. you need to make sure all your shadows are as dark as all the other shadows in the photo otherwise its going to look like theres fog surrounding it. now the reason i saw this is true until you get the photo stitched together is because if you notice in this photo i lowered the contrast in the background photo of the end of the tunnel to draw your eye away from it and on the arthur and his sweet ride.

 

4. maintain consistent colors - this is pretty straight forward. dont shoot a portrait at 5600k and try to drop it into a photo shot at 2600k. its just going to look funky. the best way i found to do this is shoot in raw, auto white balance in the photoshop raw editor, and then color balance your stitched photo.

 

5. dont resize part of the image in photoshop the fit it where you want - like i said before your lens warps it a certain way at different parts of the image and if you resize transform it to be bigger or smaller youre moving the area that that part of the image was in. for example i had to actually shoot the car that far away, i didnt fill up the screen with the car and then size it down to fit behind arthur because if i did the distortion would make it look fake.

if anyone has any questions or suggestions feel free to drop them by. i can always use some input.

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Taken on July 31, 2011