Displaying items by tag: post processing workflow https://www.motivelife.com Wed, 26 Jul 2017 17:34:51 -0700 Joomla! - Open Source Content Management en-gb Post Processing: Lexus LFA https://www.motivelife.com/topics/knowledge/222-post-processing-lexus-lfa https://www.motivelife.com/topics/knowledge/222-post-processing-lexus-lfa Final Image | © John Zhang

This image of a Lexus LFA driving along the coast in Big Sur, CA was shot at the beginning of the year. The kicker here is that I didn't shoot the car at that particular location at all. What I am about to show you goes against the photographer's code and I may be banned from the...... Nah I'm only joking. Image compositing is not a new technique and has been around for years. The trick with image composites is piecing the images together seemlessly so it does not look forced. Perspective, angle, lighting, and composition all play a major role here. 

The original shot below is what I took hanging out of a car window on the highway with the sun setting. As you can see the image is nothing special and the abundance of other cars on the freeway, light poles and electric lines detract the eye from the overall flow. However the intent of this shot was to capture the car in a moving state, while keeping it sharp and in focus, wheels in motion (at ISO 400 from a 1/80 shutter speed at 60 mph) and limit the overall reflections in the paint. From this image, the car itself would be masked out in Adobe Photoshop and composited into a completely different environment.

8533912429 Be6a76d661 BNikon D800E w/ Nikon 24-70mm f/2.8 | 1/80 – ISO400 @ 60mph | © John Zhang

I had originally planned for this shot to be composited into an "endless" parking lot with mountains in the background along with some epic clouds. However, after a few hours post processing, I was just about ready to give up on this image as a whole. I set this image aside on my desktop for a week until one day I happened to be talking to Richard Thompson of Richard Thompson Photography and he told me he had the perfect background image for my rolling shot. On his recent trip to Big Sur, CA, he photographed numerous images of road environments to be used for this exact purpose. He was kind enough to let me use one as a base background. With this new-found hope, I ventured back to compositing the original shot of the Lexus LFA.

During the post processing workflow, one problem right off the bat was the overall lighting did not match both photographs so while I was putting the two images together, I had to be conscious of that and do my best to not bring attention to it. The motion of the background was added with Bleex. It is also important to note that when creating a composite image it is best to keep things as simple as possible. As the final image gets more and more complex it may detract from your overall subject. In this case the car. Hopefully this example gives readers some insight into my approach to automotive composite photography. If you have any questions feel free to comment below.

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Above is a step by step explanation of the post processing process.

* Use your arrow keys on your keyboard or use swipe touch gestures on the image to navigate.


jzhang1013@gmail.com (John Zhang) Knowledge Thu, 07 Mar 2013 10:31:41 -0800
Post Processing: Matte Black Lamborghini Aventador https://www.motivelife.com/topics/knowledge/216-post-processing-matte-black-lamborghini-aventador https://www.motivelife.com/topics/knowledge/216-post-processing-matte-black-lamborghini-aventador Final Image | © Johan Lee

Photographing exotic cars is always a unique challenge. They usually maintain very dramatic lines, shapes and surfaces that must be highlighted in the final image. I was recently commisioned to shoot a matte black Lamborghini Aventador for Perillo Collision Center and it was no exception. 

It was shot at their garage with the intention of compositing it into a black background. The car was shot in multiple exposures and lit with a single Alien Bees B800 strobe in a standard reflector and overhead flourescent light. My lighting assistant and also an accomplished automotive photographer, Jeremy Cliff positioned the strobe for each exposure. Afterward I used photoshop to blend all the images together, replaced the background with black, and added in smoke and light flares from seperate images to polish it off.

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Above is a step by step explanation of the post processing process.

* Use your arrow keys on your keyboard or use swipe touch gestures on the image to navigate.


johan@driven-media.com (Johan Lee) Knowledge Wed, 27 Feb 2013 23:29:47 -0800
Creating a RIDES Magazine Cover https://www.motivelife.com/topics/work/215-creating-a-rides-magazine-cover https://www.motivelife.com/topics/work/215-creating-a-rides-magazine-cover © Andrew Link

Shooting a magazine cover involves many things, sleep not being one of them. Planning the shot, packing the camera/lighting gear, traveling to the location, spending hours on end moving cars around, tweaking lighting and camera angles, and let us not forget the time spent retouching after the shoot is over. Here is an animated gif of one of my recent cover shots for RIDES Magazine which walks you through the 56 layer image build process leading to the final result.

Packed Suv The Ford Explorer packed full of camera and lighting equipment.

My assistant for the day, Mr. William Stern, aka the Beard, helped move all the cars into position while I looked on through the camera at the top of a 16ft tripod. Once the cars were where we needed them we fired off an ambient lit shot tethered to an iPad and sent the image back to the offices in NY for approval. The Art Director in NY quickly mocked up a cover with the image to see if everything fit and looked right. Once we had the thumbs up, we locked off the camera and shot a series of 56 individual photos. Each photo lit a different part of the car and the images were later assembled in photoshop like a puzzle to create the final cover. Below shows the post processing workflow in a step by step process.


314799 10150934941271218 596233330 N Final RIDES Magazine Cover Tearsheet | © Andrew Link

link@xclusvautosports.com (Andrew Link) Work Sat, 23 Feb 2013 15:34:06 -0800
CLS Shooting Brake: Post Processing https://www.motivelife.com/topics/knowledge/211-cls-shooting-brake-post-processing https://www.motivelife.com/topics/knowledge/211-cls-shooting-brake-post-processing Final Image | © Thomas Larsen

Wanted to share an image build from a recent CLS Shooting Brake shoot I just finished. One of my valued clients needed images of this car for an upcoming promotional / marketing campaign, and fast. With bad weather forecast for the coming days I decided to try a shot I've been wanting to do for some time – a tunnel rigshot.

Since we lacked a budget for proper location permits, it was impossible to set up and shoot the car in the tunnel, so the car and backplate were shot seperately, then combined in photoshop.

Below are my initial reference shots for the second image in this set.


Only one light (AlienBees B1600) was used to light the car – the first image in the slideshow below shows 11 different exposures masked together for the desired starting point. This process takes some experimenting with brush sizes, hardness and opacity before you get the hang of it. Once you do though, it's a really nice and time efficient way to create images otherwise only possible with more lights – and assistants – than you could possibly fit in your car.

Once the seperate exposures were combined the car was seperated from it's background and aligned with the tunnel backplate. Notes were made of tripod height, angle and distance between car and camera to make sure the two images would fit together. During the post processing workflow, a lot of time was spent drawing a new shadow under the car, adding spinning wheels, cleaning up the body panels and adjusting highlights, removing snow and unwanted reflections using various brushes, clone tool, patch tool, healing brush and curves adjustments. Global and local contrast and color adjustments were then made to complete the image.

{loadposition tl_cls}

Above is a step by step explanation of the post processing process.

* Use your arrow keys on your keyboard or use swipe touch gestures on the image to navigate.


larsen-thomas@hotmail.com (Thomas Larsen) Knowledge Fri, 22 Feb 2013 13:45:08 -0800
Z3 LS1 Swap: Post Processing https://www.motivelife.com/topics/knowledge/209-z3-ls1-swap-post-processing https://www.motivelife.com/topics/knowledge/209-z3-ls1-swap-post-processing Final Image | © Dale Martin

Had a chance to photograph a LS1 Swapped BMW Z3 with my buddy Brandon Lajoie at Vorshalg in Plano Texas.  We originally decided to light the car with strobes.  After the first few test shots we decided to scrap the strobes and break out an LED light from my light bag to light "paint" the car. It turned out pretty well. More info on the light being used after the break.

Light painting involves taking a long exposure in relative darkness anywhere from 10 seconds and up(normally) and using one light source to then "paint" light into your photograph. It can take a few tries to get the overall look you are going for. I suggest experimenting with different lengths of exposures and light intensity. Afterward through post processing it's a matter of combining the different exposures in photoshop.

With 126-LED lights for optimum illumination and diffuser.

Neewer CN-126 LED Video Light for Camera or Digital Video Camcorder

The light above was intended for use with video as it comes with a built in shoe mount to sit a top of your camera however it works great for long exposure photography too. There is a built in dimmer switch to allow for brightness adjustment. The color temperature is rated for 5400k which provides a pure white light although there are additional filters that come with the kit to modify this. Most of all it's affordable and provides a good quality light source. A special thanks to Ste Ho of shutterlit.com for introducing this light to me. I bought three of them. =)

{loadposition dm_bmw}

Above is a step by step explanation of the post processing process.

* Use your arrow keys on your keyboard or use swipe touch gestures on the image to navigate.


dalemartin@dalemartin.net (Dale Martin) Knowledge Fri, 15 Feb 2013 21:50:45 -0800
Post Processing: Fiat 500c / Alfa Romeo Mito - Battle of the Buggies in Dubai https://www.motivelife.com/topics/knowledge/207-post-processing-fiat-500c-alfa-romeo-mito-battle-of-the-buggies-in-dubai https://www.motivelife.com/topics/knowledge/207-post-processing-fiat-500c-alfa-romeo-mito-battle-of-the-buggies-in-dubai Final Image | © Arun M. Nair

Dubai is a beautiful place. There is no doubt about that. From some of the biggest buildings to a rich night life, who could ask for more? But for some reason when it comes to photography, it is not allowed in the entire Middle East without permits and this law is strictly enforced.

So, when it comes to editorial/magazine shoots in Dubai, with little to no money for permits, guerilla photography is the only way to go.  I found this beautiful location at the top floor of Dubai mall's parking garage (near Burj Kalifa). With only a thirty minute window before the security would arrive to kick us out, I managed to shoot just one image.

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Above is a step by step explanation of the post processing process. The Alfa Romeo Mito and Fiat 500c were given to us by Chrysler Group for a TopGear long term review segment.

* Use your arrow keys on your keyboard or click the circles below the image to navigate.


arunmnair55@gmail.com (Arun M Nair) Knowledge Wed, 13 Feb 2013 22:11:18 -0800
Photoshop Timelapse: Ferrari 458 https://www.motivelife.com/topics/work/201-photoshop-timelapse-ferrari-458 https://www.motivelife.com/topics/work/201-photoshop-timelapse-ferrari-458

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.

realromus1984@gmail.com (Roman Lavrov) Work Tue, 12 Feb 2013 01:49:06 -0800
Photoshop Timelapse: GT-R & 458 https://www.motivelife.com/topics/work/200-photoshop-timelapse-gt-r-458 https://www.motivelife.com/topics/work/200-photoshop-timelapse-gt-r-458


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!

pepper@pepperyandell.com (Pepper Yandell) Work Mon, 11 Feb 2013 10:17:14 -0800
Demonstration in Photoshop - GT86 in a Hangar https://www.motivelife.com/topics/work/197-demonstration-in-photoshop-gt86-in-a-hangar https://www.motivelife.com/topics/work/197-demonstration-in-photoshop-gt86-in-a-hangar


g@gfwilliams.net (GF Williams) Work Sat, 09 Feb 2013 02:26:15 -0800