1927 T-Bucket

[Gary Silverstein]

http://feelfreefoto.com/27 T_Bucket.jpg Here's an image I have been working on . . .

This amazing car is actually driven and has a license plate. It belongs to a former racer.

Gary Silverstein

http://feelfreefoto.com
http://weshoot.com

[John Thawley]

Cool car.

[Daniel Buck]

indeed, nice car :-)

I think the photoshop processing is a little strong, to me the harsh difference between the neutral grey background and the very saturated colors on the car (blue especially) looks odd, I'd maybe bring down the intensity of the saturation some on the car? Or you could maybe try to get some color from the environment into your background (warmer color overall from the sun, with cooler shadows from the fill of the blue sky, as if it were shot outside on a grey background). Might work, might not. :-)

I think it would look much better if the soft white air-brush pattern behind and above the car were significantly reduced, or removed all together.

[John Thawley]

indeed, nice car :-)

I think the photoshop processing is a little strong, to me the harsh difference between the neutral grey background and the very saturated colors on the car (blue especially) looks odd, I'd maybe bring down the intensity of the saturation some on the car? Or you could maybe try to get some color from the environment into your background (warmer color overall from the sun, with cooler shadows from the fill of the blue sky, as if it were shot outside on a grey background). Might work, might not. :-)

I think it would look much better if the soft white air-brush pattern behind and above the car were significantly reduced, or removed all together.

Agreed.

[Dominic Anthony]

Gary, I've played with this "cut" or "false studio" style for a long time - one of the reasons I wanted to join this forum - and can add that the number of environmental elements that need to be addressed on a car photographed on-site keeps getting longer the more you look. The solution is layers, layers, layers, fabricating what you need over the original.

In other words, it's a slippery slope. Once you digitize the environment, you're locked in to going all the way as far as the subject is concerned. Otherwise, any small remnant of the original - reflections, stickers, grass, et cetera - corrupts the whole image.

I should probably post a few things to get a decent professional opinion, as I'm not sure how a half-photo, half-illustration approach would go down here. But anyway, that's where you're headed with this technique.

- Dominic

[Daniel Buck]

any update on this image? I'd love to see some new versions :)