An open community for car photographers to show their work.
It the moment, I quite like the Nikon D5000
I am unsure as to how to improve my photography skills. Does anyone have any tips? I love the quality of the photos on Drivetribe
Hey Jack! I just had a look at your photos, and I think they are great! It looks like you play around with different perspectives when you're out shooting, which is great. Definitely keep doing that! I've linked a great post by where I'm sure you will find some great tips!
No problem! I hope you find what you're looking for. If not, feel free to ask again!
you're always welcome to shoot me a message and ask questions if you have any.
I’m not sure if this is the right place to go to ask this.... but do any of you have iPhone wallpaper sized pictures?
Glucklich E28 | DriveTribe
🇩🇪1967 BMW 1600 📸Credit: @misscourtneymae , @lisa.02p via Instagram - This is probably the most beautiful example of a BMW 1600. The 1609 was produced from 1962-1977 and sported the small M10 inline 4 that would be the basis for nearly ever BMW engine including the S14 found in the famous E30 M3 which would establish the brand a the king's of performance sedans. The body style of the 1600 is found with the 1800 and well known 2002 which was one of BMW's first turbo charged engines. - #germany #european #euro #1960s #BMW #1600 #1800 #2002 #retro #photography #2002tii #manual #m10 #4cylinder #s14 #compact #horsepower #oldschool #classiccars #car #fall #autumn #e30 #m3 #deutschland #OEM #apwpens #Autobahn - @glucklich_e28 @oem_classica
Does anyone here has a NikonD5000 and can kind of teach me some tips with it?
Hello! I don't own a Nikon camera, but is there anything in particular that you need help with?
What are you looking to know? I can tell you that most of the "tricks" are done with the lenses. What are you working with?
The D5000 is a capable crop sensor DSLR with an excellent dynamic range. Being a crop senor, any lenses you have with have a narrower field of view then than the focal length of the lens normally has. That means the angle in degrees between the right side to the left side of the frame is less. To get a full car in the frame, you will use a shorter focal length than normal. Or you can get further away to the car looks smaller and fits within the viewfinder. If you are using a zoom lens, that came with it, the widest angle lens focal length is probably 18mm, which on your camera, has the field of view of a 27 mm lens. Lens focal length and field of view are opposite in number, higher focal length numbers means a narrower field of view. For that camera, whatever it focal length number, that number is for a full frame 35mm sensor. Your camera will present an image that is the same as 1.5 times the as much as the the same lens presents if mounted on a 35 mm full frame sensor camera.
Continued: This all sounds complicated but it isn't except to know that when you see a image data that shows the date, shutter speed, ISO, and camera model, it also shows the lens focal length. Trying to duplicate the same framing require multiplying the listed focal length time 1.5 to get the same framing because the data is alway assuming the camera is a full frame 35 mm sensor.
Continued I am writing on my phone so when it scrolls off, I can't see what spelling mistakes so these are seperate posts. With a crop camera they 1.5 multiplier means you can get better reach for distance subjects like on a race track. The photographer shooting a professional 35mm sensor camera will need a longer telephoto lens than you do by that 1.5 factor, a good thing. But it also means getting a full car in the frame when taking a close up, means you need a shorter focal length lens. And that is a problem because the widest of general-purpose zoom lenses is 18 mm and a better wide-angle image would call for 20-24 mm on a full-frame, and on your camera, a 10-to12mm lens which is a more specialized landscape lens. Or get back 1.5 times as far. But getting back further changes the perspective, and runs into the second most common problem, getting back further means people are more likely to be in the way like in car shows or on the paddock. A common factor in the wide-angle shot is perspective distortion. All the angles will look distorted unless you pay close attention to lining up the camera parallel with the ground, and shooting down or up, of side to side will exaggerate the distortion. Most cell phone shots are poor because of that distortion holding the camera at eye level and shooting down to a car that is shorter. A good solution is to use a tripod. For a light camera like yours, a tripod can be light and inexpensive. A tripod is a great tool that can improve everything from motion blur to improving low light performance and color saturation by slowing down the shutter speed to allow the steady camera on a tripod to take a longer exposure. This a game changer for low light situations, allowing low ISO(camera light sensitivity, lower numbers are lower sensitivity but wider dynamic range, Dynamic range is the captured lowest light to brightest light in the scene that detail is preserved...lower the better).
Continued: By shooting longer exposures, color saturation is improved and a wider dynamic range is possible. Your camera can shoot in low light because it has an ISO adjustable over a wide range, but just consider, dynamic range become poor the more sensitive you set the ISO. Yes, it can take images at 50,000 ISO at night but the detail will be lacking, shadows will have noise specs, and colors will not be true. That is not the fault of the camera but a nature of vision and lack of photons reflected from the subject. At night our vision suffers the same away. If you are holding the camera instead of on a tripod, you need to set the shutter speed higher, which can require a higher ISO number, so the resulting image might look good but have less dynamic range so less post-processing is effective. If you intend to display images large, keeping as much dynamic range as possible is important. If they are going to be Instagram size, they can look good even with a limited dynamic range.
Continued: Light is what you paint with, it is all important to the results. And cars are some of the hardest subjects to photograph because they reflect a wide range of levels of light compared to someone easy like a face. The darker areas, the curves reflecting light less to the camera, the specular lights(shiny reflective surfaces that are bright enough to contain no color detail and only clip highlights in the censor, specks of light that contain no color or detail information, where having high dynamic range is important to tame those specs of light), and very dark area, different textures, all responding to light differently. When the sun is out, high in the sky, a car is really a difficult shot because the brightest highlights and darkest shadows exceed the dynamic range of any human eye and any camera sensor. The saving grace mid day when crowds are great at shows, you can't really get good shots anyway so waiting until dusk or getting there early can help. If you want to shoot some close up detail in mid-day sun, you have more options because you can shoot small areas that have a narrower dynamic range that can be captured with high shutter speed or adding a Neutral Density Filter, a very useful item for landscape, city scape, ocean etc...and cars. It is a glass filter to put on the front of your lens that cuts light at all wavelengths a specified amount, measured in "Stops" a stop is a relative term of 1/2 or double light intensity. All the camera settings are coordinated in stops. If you want to lower the ISO 1 stop, you get the same exposure if you lengthen the shutter speed 1 stop, or change your lens aperture 1 stop. Such filters come in 3, 5 10 etc stops and can tame the very bright reflections but cutting light across the spectrum.
A better way to get great car photos is to shoot when there is diffused light, like a portrait photographer does. Diffused light is light that has no strong directional component. Shadows and contrast is exaggerated with there is a single light source and even more with the size of the light source is small relative to the size of the subject. We think of the sun as very large but for light, on a mid day cloudless sky, it is very small in relation to the size of the subject. On a cloudy day the whole cloud cover is the source of the light, hard shadows disappear, it is very flattering for portraits and allows great car photos, the light is considered to be soft, meaning large in source area compared to the subject being photographed. Photographers will talk about soft light and they are not describing the intensity of light but the relative size to a subject. A light bulb 12 inches from a face is much "softer" than a sun 93 million miles away. In studios you have seen diffusion light modifiers, to create softer light, large softboxes, umbrellas, strip lights, scrims etc all to take the intense narrow light of a strobe light and convert that to a wide surface area relative to the subject. The sky is your Softbox on an overcast day, which lowers the dynamic range of the brightest light and filling in some of the shadows.
Continued For detail shots like a grill or light cluster, the small subject cross-section area means a diffusion light modifier between the subject and bright sun can serve the same purpose as clouds of softboxes in a studio. You can do that by simply having someone hold a white panel of cloth between the subject and sun, and you can but them in a form that folds up small but has a frame that snaps open to create a larger self-supporting surface. scrims come in all sizes and just having a 2x2 foot piece of white nylon is large enough for faces or car detail. If you ever compared your vacation snapshots on a sunny day at the beach and the pro bikini photos or suntan lotions photos in adds, where the model and colors are perfect where your beach snapshots have very hard shadows on parts of the face and are frankly not very good. The difference is simply using scrim to diffuse the light so the whole surface of the scrim held just out of the frame over the model. So the only difference between your images and a pro shot with thousands of dollars to a client is control of the nature of the light. Your camera has better light sensitivity, low noise, wider dynamic range and higher resolution of any professional digital camera made before 2000.
Continued Indoor shooting of cars or at night is a challenge but easy to solve if you keep in might the relative size of the light source is key. Indoors light levels are lower and often there are mixes of color of light temperatures. The light intensity of different light types have different light Temperature. Your camera is good at capturing color accurately over a wide range of color temperatures. That is good....but bad if there are light sources that had different color temperatures, the colors will be way off. If they are off with one type of light source, say, incandescent lamps, it is easy to adjust to having the perfect color. But if two or more light sources are of a different types, say LED and Florescent lights, it is really hard to correct when combined but automatically correct if all the light is one or the other type. There ways of limiting the problem, for example having one of the sources be much stronger than the other. One way to be in more control of the lighting is to use your own flash built into the camera. But don't use it. The tiny light source bright but relative to the size of the subject is is tiny meaning hard shadows will be created. Flash mounts flash shoe on top of the viewfinder allow attaching an external more powerful flash called a Speedlight that is very versatile and with practice can really change your images for the better. One rule is to not have a small source light the sun relative to the subject size. One way of using the shoe-mounted flash is to point it towards a reflective wall. A white wall is best but any wall up and away from the subject, to the light hights the ceiling and rear wall and bounce back as the light source. The whole rear ceiling and wall become the light source and that is much larger than the subject.
Continued Another way to kill hard shadows is to have several remote control speedlights illuminating the subject from different angles as to fill in the shadows of each other. Speedlights now are very effective and can be cheap. They can be controlled by remote control or even from that model camera. Buying the excellent speedlights from Nikon are expensive but for 1/6th the price you can buy the very popular speedlights from Chinese brands like Yonguno or Godox and they are great buys. I have 6 speedlights, 3 SB900 Nikon that cost $1800 for the 3, and 3 Yonguno with almost identical specs, for $160 total. I use them almost every day for 8 years and for 90% of my shooting for clients, I leave the $3000 strobes at home. If you have any questions or want a critique of your photos, just post and I ill try to answer. Bottom line is , you have a very effective camera, do not be tempted to upgrade since it is not going to improve the images. Photos are good or bad because of poor use of light, poor composition and not camera specs. 99% of photographers are not as good as their camera. But the industry depends on people getting frustrated and upgrading assuming that a $2500 camera will get better photos. The difference between a $500 camera now and a $5000 camera is amazingly minor. The difference between good use of light and composition and poor is 10000times more important in the quality of the image. The best return investment are a decent, $100 tripod, a few $50 speedlights, a few homemade light modifiers, gaffers tape, patient friends who do not mind being your models, and spending some time in art galleries to see how the great masters of the 17th and 18th century handled light. Good Luck and most of all have fun.