How common is post processing...
Discussion
in magazine shoots?
What I mean is, are all the shots we see in magazines like Evo altered in photoshop? I know they will have had some treatment, saturation, sharpness etc, but I'm refering to the "camera never lies" type stuff.
I was under the, perhaps naive, impression that the shots in Evo were caught purely in the camera but having seen threads like the ones where camera rigs are photoshopped out and extra blur is added I'm not so sure now.
I'm really just wondering as I want to know whether those kind of shots are repeatable or achievable without doing the PS work.
I'm aware that Andy Morgan and Kenny P at Evo both still use film for the main but I am also aware that there shots will be scanned and so they there is nothing to stop them being processed.
I'm not aganst the processing if it does go on but it will make it harder for me to replicate things if they rely upon a repo chap changing the shots from what was caught by the camera.
Anyone got an ideas?
What I mean is, are all the shots we see in magazines like Evo altered in photoshop? I know they will have had some treatment, saturation, sharpness etc, but I'm refering to the "camera never lies" type stuff.
I was under the, perhaps naive, impression that the shots in Evo were caught purely in the camera but having seen threads like the ones where camera rigs are photoshopped out and extra blur is added I'm not so sure now.
I'm really just wondering as I want to know whether those kind of shots are repeatable or achievable without doing the PS work.
I'm aware that Andy Morgan and Kenny P at Evo both still use film for the main but I am also aware that there shots will be scanned and so they there is nothing to stop them being processed.
I'm not aganst the processing if it does go on but it will make it harder for me to replicate things if they rely upon a repo chap changing the shots from what was caught by the camera.
Anyone got an ideas?
graham@reading said:
The funniest "secret" I've come across is the method most mags use to do "fast" blurred shots.
They stick the camera on a tripod, 30 second exposure and push the car past.
Seriously
They stick the camera on a tripod, 30 second exposure and push the car past.
Seriously
Edited by graham@reading on Tuesday 15th August 00:10
In Popular Hot Rodding, there was an article about one of the shots in the magazine. They would have started it, turned the engine off, and coasted it to get the shot, but the car didn't have an engine yet. So they had to have a few guys push the car while squatting behind it...
To me it depends what I'm doing, if I'm submitting photos of a show which is documenatry footage I try not to change reality too much. If it is for a feature then I will happliy clone out unwated items in the background, create motion or change the skies, to me I'm trying to present the best/most interesting image I can.
The simple answer is to learn photoshop then you can happliy recreate the images from any magazine you like
The simple answer is to learn photoshop then you can happliy recreate the images from any magazine you like
BTW recently I've submitted a feature for Classic American magazine which I probably spent about 60 hours in photoshop working on 20 shots. My mission from the start was to give them the feel of 60s dodge adverts which themselves had unrealistically blue skies and could well have had objects in the background painted out. This isn't a new thing, it's just more accessable now
I remember an issue of Fast Car about 10 years ago that had a shot of a 205gti flying through the air on the cover. Inside the mag they explained how they got the shot - by setting the car on axle stands then taking the shot, before editing the stands out and creating an impression of motion!
So it been going on for years!
So it been going on for years!
graham@reading said:
The funniest "secret" I've come across is the method most mags use to do "fast" blurred shots.
They stick the camera on a tripod, 30 second exposure and push the car past.
Seriously
They stick the camera on a tripod, 30 second exposure and push the car past.
Seriously
Edited by graham@reading on Tuesday 15th August 00:10
or stick the tripod to the car - as in Matts pic below ... (me with the engine off and bugger all steering/brakes available, and him running along like an idiot behind
) 
Cheers for the replies.
Matt, it was your stuff that made me think about this really. You've shattered my illusions
Kenny and Andy were still shooting film on the FWD group test a couple of weeks ago btw but it wouldn't surprise if they use both film and digital nowadays.
Seems I might have to start learning a bit more about PS. I was hoping that I could work up to getting those types of shots in the camera but it seems I might have been setting myself an impossible target.
Matt, it was your stuff that made me think about this really. You've shattered my illusions
Kenny and Andy were still shooting film on the FWD group test a couple of weeks ago btw but it wouldn't surprise if they use both film and digital nowadays.
Seems I might have to start learning a bit more about PS. I was hoping that I could work up to getting those types of shots in the camera but it seems I might have been setting myself an impossible target.
matthew_h said:
Cheers for the replies.
Matt, it was your stuff that made me think about this really. You've shattered my illusions
Kenny and Andy were still shooting film on the FWD group test a couple of weeks ago btw but it wouldn't surprise if they use both film and digital nowadays.
Seems I might have to start learning a bit more about PS. I was hoping that I could work up to getting those types of shots in the camera but it seems I might have been setting myself an impossible target.
Matt, it was your stuff that made me think about this really. You've shattered my illusions
Kenny and Andy were still shooting film on the FWD group test a couple of weeks ago btw but it wouldn't surprise if they use both film and digital nowadays.
Seems I might have to start learning a bit more about PS. I was hoping that I could work up to getting those types of shots in the camera but it seems I might have been setting myself an impossible target.
Its not possible without photoshop old bean. Terribly sorry. The bolt on king was Stuart Collins at Car IMO (he's left now) also their repro guys make it impossible to tell where its been covered up. Amazing really. You can always tell with the evo ones because they never take the tripod reflections out of the bodywork.
The honest answer is not that much really. Haven't been out and taken any proper shots for a while.
There is one I have posted on here before that used my small, twin Hague mount.
Here:
I like it but the drawback of the low reach of the mount I have means it is dificult to get much car in the shot. I also need a longer remote release. (speaking of which, did you get my random email Matt? I think it might have been while you were on holiday)
There is one I have posted on here before that used my small, twin Hague mount.
Here:
I like it but the drawback of the low reach of the mount I have means it is dificult to get much car in the shot. I also need a longer remote release. (speaking of which, did you get my random email Matt? I think it might have been while you were on holiday)
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