The math can seem baffling: Many car shows take place at beautiful, park-like locations, yet oddly, the photos don’t always come out attractive.
We’ve likely seen the issues–or at least I notice them: poor lighting, stuff in the way, awkward composition, cut-off heads, people ha…
Trial and error is a big part of photography. I look back at photos from when I first started out and think, "Oh goodness, what was I thinking?" But hey, I was learning. It may take a bit to find your style, but these tips definitely make it easier.
Junk:
Lotta stuff on the showfield, right? In addition to cars and people, you have signs, golf carts and portable toilets. Before clicking that shutter, can you adjust your composition to eliminate those distractions?
Is there a light pole growing out of the car's roof? A folding chair or drink cooler that’s not helping? Maybe taking a step to the left–or the right–will help hide the junk behind the car.
My usual reality: I try to place as much stuff behind the car while working to make the subject dominant enough that you don’t notice any remaining distractions.
With all due respect, if the point is highlighting the car, the bike on the roof and the plane in the background are distractions I think you could go without.
In reply to stuart in mn :
Good feedback–thanks. To me, at least, the bike and the plane tell part of the story–and, personally, I love photos that tell a story.
But, as always, it’s totally up to the photographer.
So, stories. Personally, I love photos that tell a story. That story might not be evident, however.
This is a personal fave. Even though I made the photo and know the people in the shot, I still don’t know the story. First date gone awkward? Does she want to kill again, and he’s trying to talk her out of it? Who knows?
So, a PS to this.
A little while back, a friend who does some modeling pinged me: Can you take photos of me with the 911?
Sure. Love working with her. Plus she’s also into cars.
The assignment, so to speak: I wanted it look like she owned the car. Nothing cheesecake.
We shot color, too. Still not sold on this film stock as it’s very black or white. (Kinda looks like it’s from an old issue of R&T, maybe.)
I do like the composition, though.
The location is in downtown Sanford, Florida. I have made photos here before–plus been to concerts across the street. I knew that the brick road and old warehouse would look cool. Plus I knew there wasn’t a curb at the end of the road. I just like the no-curb look.
In reply to David S. Wallens :
Ha. I knew exactly where that photo was taken before you even said it.
FYI, Magnolia Street has a few sections of brick roads, plus beautiful old houses and big arching trees. Could make for a neat background.
In reply to Colin Wood :
Oh, yeah, several cool places in downtown Sanford for car photos. In front of the forthcoming Ace Cafe also works great.
Great points!
I developed more patience by finding my shot then waiting until all the "Moving Parts" were outside of the frame. It's also fun to get a shot free of "Moving Parts" by changing positions/angles; was anyone there if we do not see them?
Also, LOL, film ain't cheap now!
I started shooting film this year after treating myself to a camera for my birthday. As expected, manual focus is the love of my life. If I thought of it sooner, (Nearly 30 years ago?), I would have many more shots of the subject in focus rather than the perfectly focused weeds behind the brightly colored blob in the center of my shots. (I love flowers.)
All the best.
In reply to JustinSchroder :
I hear you on film. I usually bite the bullet and try to buy a multipack or two at a time and then slowly whittle away at them until I need more.
Expired film can also be a more affordable way to stock up on film, if you don't mind the look.
And I also hear you on film. I shot several rolls this weekend. Now to drop them off. (It’s mostly black and white, too, which costs more than color.)
I saw a photographer friend this weekend. I want to shoot more like you, he said. You slow down and work to get it all in the camera.
Glad to see someone notice.
I am not a great photographer, but I have worked dilligently on my skills the past few years. Simply picking up the camera more often has definitely help–and it doesn’t have to be cars. I still find myself learning something each time I take the camera out of the bag.
And, here, a quick photo chat.
Where does your eye go? Her lips, her chin.
Why? I think the shadow on the left of the frame helps direct your view. This is my friend Valerie. We had already been out making photos for several hours yesterday. By now, we were tired, thirsty and ready to head home. This was like her fourth outfit of the day.
We were just chatting when I saw this all start to come together.
“Don’t move,” I told her. I saw the scene but needed a few to get the exposure right so her face wasn’t overexposed. This is right out of the camera (Fuji X-Pro3 with a 50mm lens).
This could have just as easily been part of a car or a scene at the track.
Here’s the wall. It’s nothing special–but with the right light and subject....
David S. Wallens said:So, a PS to this.
A little while back, a friend who does some modeling pinged me: Can you take photos of me with the 911?
Sure. Love working with her. Plus she’s also into cars.
The assignment, so to speak: I wanted it look like she owned the car. Nothing cheesecake.
We shot color, too. Still not sold on this film stock as it’s very black or white. (Kinda looks like it’s from an old issue of R&T, maybe.)
I do like the composition, though.
I do like this shot, but I can't get past the sea of white that is the background. You need to go back into the darkroom and print that again, maintaining the same level of exposure on the car but burning the background to get a little detail there. 
Yeah, the background is very white. That film stock (Flic Ultrapan 100 which is respooled Fomapan) seemed very black or white with little in between.
From the same roll.
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