Mini Cooper

[Astramael]

Just to dissuade people from the idea that I only take telephoto shots of things.



25mm, 1/250th sec, f/5.6, ISO200
Olympus OM-D E-M5, Panasonic/Leica Summilux 25mm f/1.4


I have found myself to be really bad at shooting wider angles. I have this 25mm prime (50mm equivalent) and I run around with it struggling to take good photos. Trying to develop the skill...

[ionian]

Hey Julian - I'll add some thoughts below but what do you like/dislike about this picture? What did you want to capture that you didn't?

For me, I'd have wanted to open the lens up and try to blur some of that background. From that distance, I would guess that f2 would have achieved this a little better, and considering the crop factor and lens length, you could have possibly opened it up further (as long as you can keep the car sharp). The dappled light is nice but make it a feature - shoot from higher up. This would have reduced the reflections in the car body. Speaking of which, do you have a cpl for the lens? I don't own any filters for my m43 gear but it may have helped here. Or, shoot a full body profile, in fact shoot many different images from different perspectives and try to get away from just the standing height composition.

Wrt processing. I'd clone out the k&n sticker and go for a more bleached look, try to give it a timeless appearance - but that wouldn't be to everyone's taste I realise, and processing is very subjective.

Lastly, i wonder if you took any alternative images? A car like this is all about the details, and interestingly composed close ups of a headlight /badge/reg plate etc may make for some nice shots. It'd also let you use your telephoto skills!

I hope some of this helps - I hope it doesn't come across as too critical. There is nothing wrong with the image per se, it just needs some inspiration!

[Astramael]

Simon,

This is one of the first images I ever took with my m43 camera. I haven't really improved at taking 50mm equivalent shots since. However, I am better at fundamentals. As you say, there is no reason whatsoever to be stopped down this much. I did not at the time have a polarizer for this lens, but I do now and it certainly would have helped the colors pop. The stickers add nothing. Absolutely valid points all.

The goal at the time was to try to capture the cute car in its cozy little habitat. In person it was a very mellow feel, and the yellow enhanced that warmth and laze. This is the kind of image I could almost see putting into Sepia for the same reason you suggested the bleached look. Problem is I love that yellow and don't want to ruin it. I took it standing at normal height at this focal length because proportionally the car is correct. If you were standing there this is what you would see, perspectives are not flattened or exaggerated, and you are looking down at it because it is small.

The scene was vastly more dramatic in person than in the image. Which probably had something to do with spring smells, bird song, and warm breeze. All things you don't get to see here. The image also lacks a bottom framing device. The top has branches and leaves framing the shot, but the bottom right especially is bare.

I agree completely that the image lacks any kind of flavor. And while you could gain some by reframing on the details, I suppose what I'm asking with this photo is how to get still life shots from a human perspective to resonate.

[ionian]

I suppose what I'm asking with this photo is how to get still life shots from a human perspective to resonate.

It's a this point I bow out - that has to be one of the toughest questions I've ever seen asked on here! I wonder if it's the right question - a camera captures light, and you are talking about capturing mood. For me, unless you are using all of the compositional tools at your disposal, you are limiting the options available to you. I'd also say that, for me, photography is about paring down a scene to the key elements that tell the story or relate the mood you want to give. What the eye sees (and the other senses experience) is often different to what you need to capture in the lens to tell the same story.

I'm not sure that's very helpful, sorry! I'll be curious as to other people's thoughts. I'd also encourage you to look at Tejal's posts, as this is one of her particular strengths IMO, although she often uses people.

[JBW]

I agree completely that the image lacks any kind of flavor. And while you could gain some by reframing on the details, I suppose what I'm asking with this photo is how to get still life shots from a human perspective to resonate.

If I may? The shot was taken because it resonated with your emotions. Forget about all of us and listen to your muse. Walk around, click away, go back to your computer and see what one pops for you.

Sit back with your favorite beverage and figure out how to make the pop turn into POP.

have fun.
Brian

[Shadowman]

Try shooting the subject from multiple angles, different positions. One thing that can be stale about still life is to capture the same image that everyone else has done. This particular shot has dappled lighting, so either eliminate with flash or emphasize the shadowy patterns with contrasting exposure.

[zen]

The previous posters may be correct - or not - regarding the technique and technicalities of the shot. But for me, it brings back memories of the mid to late 70's when I raced a '63 Mini Cooper S in SCCA C-Sedan class competition. It was converted to full race mode, not for street use at all - and I loved that little car! So small inside that when I sat in the fitted race seat, I could reach across and touch the opposite door frame just by extending my arm!

Every time I see an original Mini now, I "see" my little blue racecar. Thanks for bringing the memories back.

And thanks for sharing your photo.

Zen

[Saorsa]

I think it would be better from a lower angle.

There used to be something called the Rollei look because the Twin Lens Reflex (TLR) cameras were generally shot with the camera at waist level which changed the perspective.

[Astramael]

I wonder if it's the right question

Absolutely it was not, it was a cheap question. What I am asking is complex, and trying to distill it into a single sentence was unwise. I spent an hour or two browsing street photography on various photo sites. A lot of photographers are grappling with fitting an entire street scene into the lens and making it great. Most of it I find to be not very evocative at all because it quite simply contains too much stuff. This must be one of the reasons many street photographers love to play in black and white so much. They are desperate to remove information from the scene to provide as much focus as possible in a chaotic environment.

Being a photography forum this discussion would not be complete without some visual aids...



Here is a photo I did struggling to express motion of my mother's dog chasing a ball. Three frames stitched together. It looks like something by Eadweard Muybridge. It is poor work, too busy, not focused enough, and also kind of cheaty.



Here's a significantly more mature way to tell this story.


Despite seeming like a bit of a meandering discussion, it has prompted me to think a lot. What I've taken away from this is that I do much better with telephoto because it's easier to reason with and set up smaller chunks of space. Finding or creating a moment at larger scale is much harder. You have to increase your awareness, think bigger, see more. Then be merciless about where you put the edges of the frame... I will continue to try!

Thank you all for all the advice, once again. This is a great place to be.

Edit: Would just like to throw in that this image by Tejal is insanely great: Team work - C&C are welcome !!