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Thread: Subaru WRX....

  1. #21
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    Do you find that the lights and flash have different colour temperatures, or isn't the difference really visible when you produce your pictures? I can source some red heads from a place called Qpix, and they charge around $75 per day. I can probably afford that if I know I have my framing right. Any hints or advice on lighting the shots for the angles I chose? Or should I just use a head light, fill light and back light like usual?

  2. #22
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    The site for Qpix, is here

  3. #23
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    Quote Originally Posted by Tangles112
    Do you find that the lights and flash have different colour temperatures, or isn't the difference really visible when you produce your pictures? I can source some red heads from a place called Qpix, and they charge around $75 per day. I can probably afford that if I know I have my framing right. Any hints or advice on lighting the shots for the angles I chose? Or should I just use a head light, fill light and back light like usual?
    Normally Redheads have a CT of 3200 Kelvin, ie: Tungsten balanced, so it's best to invest in some 80a gel's from the likes of Lee or Rosco to balance them to daylight for location use. Just be aware that the Gel's aren't cheap but are re-usable. Can't give you an exact cost though as I buy mine in bulk in large sheets.

    Don't forget you can't move a Redhead while it's running or you'll blow the lamp and probably your deposit too.

    As for angles, I don't use any fixed ratios for location work with cars, as it largely depends on the angle of the car relative to the background, ambient lighting conditions and what I'm after artistically. I do recommend the use of reflectors (large) and softboxes for tricky scenarios.
    The Ang Moh from Hell
    Professional Photography - many are called, few are chosen!

  4. #24
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    Yeah, I have used colour gels heaps before. I'm pretty sure I could pick some up from the pro camera store near me. I was also thinking of getting some old steel barrels to add to the pics for props. Have some fire in them, to give a nice agressive feel to the shoots. I like to match the scenery with the nature of the car. I didn't really in my first one...because I couldnt access the sites I wanted so I had to go with what I had. There is a huge shipping port about 15 minutes away from me...and i was hoping to get some huge grain shutes and very industrial backdrops for my friends car. But I was told off by the port authority, and had to go with a quick choice before the sun went down. My father has a very dark coloured blue car, nearly black in colour. What would be the colour that makes the colour and character of the car stand out most? As you can see, I'm full of questions :P...i hope you dont mind me tapping your brain hehe

  5. #25
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    Default Are you a pro in shooting cars?

    Quote Originally Posted by Ian
    New they are quite expensive, around 1500-2000 bucks each by the time you add barndoors, diffusers etc. Your best bet is to hit the yellow pages and call up some lighting hire joints (look for PA hire etc as well) or TV/film hire companies. Just remember they use a lot of power and you'll need a large genset to power them as well as light stands (very heavy duty poles), power leads and dimmers etc as well (2kw dimmers).

    Other valid choices are HMI lighting (smaller, expensive and very nice), as well as flash.

    I use mostly HMI/Flash on static car shots by the way.
    Hi Ian,

    Just out of curiousity, are you a pro in shooting cars only? Do you shoot others as well like interors, exteriors, portraiture or lanscapes? What do yo specialized in? By the sound of your comments, it seems you have been around at least a minimum of 8-10 years in the market.

    thanks!

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