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This car has always been good to me for some reason. I have more troubles with other white cars. :confused That may be because of the paint and finish on them.

This car is a Maisto 1:18. I think the fact that it does not have a particularly glossy finish is a good thing when it comes to photographing it. I have never had any issues with glare off it. I have used both halogen and sunlight to light it up. The results are pretty similar in my eyes.

I think the way I angle the glossy black baackground is important because that affects the way light is NOT bounced into the light meter on the camera. You can see below that it is sloped up gradually, and not at a constant slope.



The idea is to not reflect ANY light from the halogen light back to the camera. That way, the backgroudn is as dark as possible. At the same time, the car gets all the "attention" (for lack of a better term).

Here's how things look when things are set up well.


Here's an example when it's not set up quite right and the background is too bright.


On my camera, I use spot metering (
) That seems to work pretty well for myself. See Light Metering Post

I hope this helps you out Boedan.
 

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Wow, thanks so much for creating this thread! You made a good point about the 'slope' of the background, that never entered my mind, and I can't forget the light metering - never knew exactly what that did until now :lol

Thanks again, I'll have to do some testing tomorrow and see how it goes :cheers
 

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Discussion Starter · #3 ·
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My pleasure entirely. It's all in the spirit of us helping one another "kick it up a notch" (i.e. collectively get better in photographing our diecasts) :giggle
 
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The pics came out nice! :nicejob

We're taking the same approach because I was thinking of using white bg for this car myself.

Truth be told - I think white bg is boring. That's why you almost don't see my shots with white bg. But in this case, I believe it's the best one for this car.
 
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Felix,

Thanks for this post as I think I learned the errors of my ways :giggle

My lean angle was too great when using gollsy backgrounds.
 

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Discussion Starter · #7 ·
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That car looks good! I also see what you mean by the challenge that the curvy body, black color and chrome rims presents. I think when a car has sharp edges, they catch the light to show "definition" of the car. A smooth rounded surface means you have to use a gradual change in light intensity to reveal the depth of the body panels. Without that gradual change, the surface looks 1-dimensional. For me, that's my problem in photographing dark cars. The challenge with the Bugatti is probably that you need a lot of light to make the colors punch out. But when you do that, the chrome wheels will reflect off more light and result in glare spots.

Does that make sense? :feedback

I really like the 2nd photo for the way the light accentuates the fender flares. :nicejob :nicejob
 

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I like your latest shots boedan. :coolpics The contorus and more subtle details are much more visible. I too notice with some of my photo that when I try to bring out subtle features of a dark car, the contrast drops as does the "punch" behind the car's colour.

Have you tried shoothing this car using sunlight, maybe diffused through a window?

Red cars are particularly evil to me...and I just plain suck with black cars.
 

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Great shots boedan :nicejob , the pictures look much brighter then the first ones, and of course the model is amaizing too :yahoo
 

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Ugh, I like the 'punch'. Oh well, atleast I've gotten rid of the mirrior like quality from the first set of photos.

I've brought the model outside for some shots, but didn't really work out. I need a cloudless day. I haven't tried using sunlight from a window, but will whenever the sun comes out. Have you had any good results with that? Direct or indirect sunlight through the window?

Yeah, a red and black glossy car, no fun :lol

--

Thanks Car Lover! :)
 

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Discussion Starter · #15 ·
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I'm trying to wrap my head around understanding the lighting issue with the sun. How is a cloudless day better than a cloudy day. For some reason, I thought a cloudy day might be better as the light is more diffused. But hey, I really don't know one way or another.

All the sunlit shots I've taken are done with light coming in through my kitchen. I have a eat-in kitchen with a lot of glass on three walls. I will raise or lower the blinds to reduce glare off the diecast's windows.

Here are a couple examples of what worked:



And a couple photos of what didn't. With this one, the lighting is not even. This photo was shot early one morning when the sun was low to the left.


Here, the silver paint reflects too much light and the windows are curved so much it's hard to find an optimal angle to eliminate glare. I can't recall where the sun was relative to the car. :confused
 

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It depends on the car's shape and color. Some models came out better with direct sunlight, while others needed an overcast day. With the Veyron, the clouds show up on the car too much. I'm not sure if a cloudless day will be better or worse, but there's only one way to find out!

Hmm, your window sunlight talk just gave me an idea. Most likely won't work, but worth a try :tempted :lol

What white balance did you use for those kitchen sunlight shots? You didn't use any artificial lighting? Those kitchen shots came out great, but I can see what you mean with the CLK GTR and the Nissan.
 

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Discussion Starter · #17 ·
For me, figuring out the lighting is a LOT of trial and error. What works on one car doesn't neccesarily work on another. Even if the body shape is identical, the paint type/scheme affects the photos' outcome big-time. I still wrestle with any car that's got silver on it. :badidea ...and dark blue......and you might was well throw in red too. :lol

I think I used center-weight for lighting. I sometimes toggle between the options and decide based on what I see through the LCD screen on back of my camera.

To this day, I still don't have one shot I'm really happy with for my Nissan R390. :pullhair
 
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