A video timelapse of my post processing process of a Ferrari 458 from FIA GT1 and GT3 during staging in Moscow. The example is a bit blurry but still plenty useful to learn from.
One of the most important characteristics for a commercial photographer to possess is a strong understanding of how to control light. We use light to add shape to the objects we are photographing, whether that be people, cars, or products. The quality of the images we produce largely depends on our ability to light that object to show its shape effectively. Take for example - a sphere.
It's always interesting to see different post processing workflows, after seeing GF Williams post up his post processing process of the GT86, I thought to share a time lapse of one of my edits as well. This shot is from a shoot I recently did with a Jotech Motorsports widebody Nissan GT-R painted in Lamborghini green (Verde Ithica) and a ridiculously awesome Ferrari 458 Spyder. I took several different exposures with different lighting setups, combined them, and did a couple more things. Enjoy!
I just wanted to blog this "beginning to end (sorta)" post because I rarely see posts like these around anymore. So to start it off, I want to give a brief intro on myself and my car. Many of you may know me as a car photographer since my photo shoots get posted all over the place, however, you might not know that my photography "career" is closely intertwined with my car build. You might not know that it was because of my car that I got into automotive photography in the first place.
Last summer while rummaging through the attic I ended up finding a Helios 44-M lens. It`s an old russian lens first made in 1958 in Soviet Union.
When I first started seriously photographing for demanding clients, I quickly discovered that saving PSD files became a daunting and prolonged task. In my mind I thought, "man, there has to be a way to save every photo set I do more efficiently". So I did some searching online and found out about Photoshop "actions". Actions would help me simplify the process without me having to go through File > Save As, however, I would still have to press play on every photo from the set to get them to save. As a result, with further research, I found out about one of the most helpful tools that Photoshop has to offer.
I started using my first DSLR, a Nikon D70, back in September 2004. It was Nikon's first consumer-level DSLR, with a whopping 6 megapixels and breakthrough high ISO performance. Since then, I've relied on the high quality of DSLRs to produce print-worthy photos, along with the use of the RAW file format to process photos to my own liking.
Hurricane Sandy struck my hometown of Staten Island, New York around 8PM on Monday, October 29, 2012. I wasn’t home. I had left home on Sunday, on the last flight that would leave NYC until Wednesday, October 31, 2012. For those three days I spent every free moment I had while not working covering the SEMA auto show in Las Vegas in my hotel room watching the devastation unfold on TV. However, every news station I watched had left out any details about what was going on in Staten Island. The little news I got came from phone calls to my mother and girlfriend whenever they could find power to plug in cell phones and hope for enough service to get a call out. The news I got form these calls was vastly different from what was being shown to me on the news.