CATCHING THE DRIFT

Alpha Whiskey Photography

Mu-43 Top Veteran
Joined
Sep 5, 2013
Messages
621
In between pandemic lockdowns life still carried on and I optimistically surmised that the freezing winter outside would be rather tricky for microorganisms to thrive. I therefore agreed to endanger my life in other ways to capture photos of these vehicles drifting.

The most difficult aspect of obtaining these shots was, of course, manoeuvring oneself into rather precarious positions, whether it was hanging out of the door or sitting on the bonnet of a fast-moving vehicle. As I didn’t have access to the large camera rigs or platforms employed by film crews, I had to resort to more guerrilla techniques that are probably more appropriate to the purview of professional stuntpersons. I certainly cannot recommend or endorse putting yourself in such danger, but as you all well know, photographers will rarely be dissuaded by any obstacle that might prevent them getting the shot they want. We scale mountains and sink to ocean depths in pursuit of our art, and that idea is really what motivated me to risk being thrown and run over multiple times in the biting cold.

Fortunately, however, I was able to snipe many shots lying on the ground from some distance using a zoom lens. A thick coat and waterproof blanket are a must but thankfully, and more important than my actual body, all my micro-four-thirds camera gear is weather proof and can’t catch influenza.

I quickly realised the virtue of not capturing the vehicle in its entirety for the typically lascivious glamour shots that pull the gaze the over every curve and line. Having the vehicle partially out of the frame (admittedly more by accident than by design) actually helped to convey the sense of speed, as did the various close-ups and oblique angles. Flying dust, mud or snow also contributed their part.

Highly recommend using filters on all your lenses for protection from flying debris. Also, a polarizer will cut down on haze from the sky and reflections on the vehicle bodies. A teleconverter will offer you the protection of a safer distance but will impact your widest aperture and thus your shutter speed, so depending on the light levels you may need to raise your ISO. The snow, however, should negate that and I would even recommend increasing the exposure compensation to prevent the camera making the snow looking too grey and dull. Such things can also be also adjusted in post, of course.

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And meet the stars of the shoot, 1/18 scale BMW M3 E36 and Nissan R34 GTR. 😁

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These cars were actually too heavy for my fishing line so I used floss. Easy enough to spot-heal out.
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And of course it wouldn't be a project of mine without some explosions :laugh1:
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Sorry about the deception, but I have a feeling the twist was somewhat predictable, if not wholly obvious. But I would humbly submit that the above recommendations are still valid.


MORE HERE

Video with music and editing sequences can be seen here. Play it loud!
 
Last edited:

emudojo

Mu-43 Regular
Joined
Apr 30, 2020
Messages
77
I'm more interested in a behind the scenes and the fx part of this
 

jrsilva

Mu-43 All-Pro
Joined
Nov 1, 2012
Messages
1,598
Location
Portugal
Real Name
Jaime Silva
Fantastic workl!! 👏👏👏
Always surprising us with breath taking actions scenes.
 
Joined
Jun 23, 2017
Messages
1,648
Loved the story...if I wasn't already familiar with your photography, I'd have been easily fooled! I especially love the shots with the Nissan, it really looks convincing to my eye. Well done, as always.
 
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