Images & Observations

Posts tagged “chevy

A Pair Of Coupes

American Classics Car Show, NHRA Museum, Pomona, California 21-Oct-2012

Purchase a fine art print here.


Reminds Me Of Chocolate Milk

Nikon D7000 18-200mm @ 32mm ISO 125 1/60 f/16 Lr4; PsCS6

It must be the color scheme of this 1940 Chevrolet pickup truck, the cream and brown tones make me think of chocolate milk, and I can see in my mind milk crates with old glass bottles of chocolate milk stacked in the bed of the truck.  This beautiful machine was captured at the Pasadena Police 2012 classic car show in Pasadena, California on June 17, 2012.  This year’s Pasadena Police show was a bit of a disappointment, though, not as many cars as last year, and fewer, in my opinion, distinctive vehicles.  I also thought last year’s venue on Colorado Boulevard was a better showcase in front of Paseo Pasadena rather than this year’s venue on Green Street, behind Paseo Pasadena.

Prints available here: goo.gl/iPFsg


Clean Chevy: 1956 Chevrolet Bel Air Two Door Hardtop

Spring Car Show Season

Nikon D7000 18-200mm @ 38mm ISO 200 1/100 f/18 Lr4, TpzSim; PsCS5

Standing its ground among superior numbers of Corvettes at the Corvettes West/Ronald McDonald House car show, April 1, 2012 in Rancho Cucamonga, California.


Chevy Front Quarter

Nikon D7000 10-24mm @ 24mm ISO 800 1/320 f/16 Lr3

This image is for my friend Sheila Creighton who is a photographer and an automotive lover, Sheila blogs at Imagery of Light.  This classic piece of automotive art was on display at the Pasadena Police Department Classic Car Show, June 17, 2011 and was parked on Colorado Boulevard where the Rose Parade takes place every New Years Day.


Vintage Chevy Low Rider

Car Show Fortnight

Nikon D7000 17-135mm @ 31mm ISO 640 3-bkts @ f/22 Lr3, HEP1, TpzSmp; PsCS5

This silver bullet of a circa 1950 Chevrolet is one of my favorite automotive images to date.  The car itself if a fairly straight forward HDR image, I did take some liberty and tinted the windows in post processing.  I also added an underpainting effect to the foreground and background using Topaz Labs’ Simplify plug-in in Photoshop.  This is the kind of image that keeps me going, wanting to capture more and more automotive frames.


Detroit Iron

Nikon D80 10-135mm 40mm ISO 320 1/30 f/16 Lr3 PMX4 Viveza2

You can find more than one car show any weekend in Southern California.  This past Saturday, even though we got a late start, we swung by three car shows, all within three miles of our house.   The only issue you have to consider if you want to capture images of the cars is to come early, the automotive aficianados showing their cars tend to disperse as soon as judging is completed, best to get to any car show well before noon.  I did not speak to he owner, I am guessing that the car in the image above may be a Chevrolet Fleetline circa 1946.

Nikon D80 18-135mm 32mm ISO 320 1/60 f/16 Lr3 PMX4 Viveza2

This line up was at the first show we stopped at, and by then probably 3/4 of the participants showing had taken off. In this line up is the pink Chevy and a green Cadillac, both circa 1950’s, and two other older cars that I did not get a good look at.

Nikon D80 18-135mm 58mm ISO 320 1/125 f/16 Lr3 PMX4 Viveza2

He is the pink Chevy with it’s minimalist grill as opposed to the other vintage cars we saw.

Nikon D80 18-135mm 35mm ISO 320 1/60 f/16 Lr3 PMX4 Viveza2

This is a circa 1947 Chevrolet being shown by a member of the Vielitas Car Club.

Nikon D80 18-135mm 22mm ISO 320 1/45 f/16 Lr3 PMX4 Viveza2

There were also a few vintage pick-up trucks. I was attracted to the intensely violet paint job on this one. What appears to be bad paint or body work is actually shadows being cast by some trees that were behind and to the left of me. The actual paint job was flawless. You can also see some of the adjacent objects reflected in these vehicles’ bodies.


Melvin Get’s A Glamour Treatment: An exercise in HDR, tone mapping & using the adjustment brush

Nikon D80 18-135mm 52mm ISO 200 1/200 f/7.1 PSE8

Melvin is one of the family cars.  His glamour treatment started with a spa day when he got a good washing.  Today the “photo-cosmetologist” did his “make-up”.  This was an opportunity for me to practice my skills creating quasi-HDR images. doing tone maping, and using the adjustment brush in Lightroom.

The set of images in this blog posting came from three single exposure camera raw files, converted to DNG by Photoshop Elements (when originally processd earlier this year), then imported to Lightroom today, then exported to and converted to quasi-HDR images by Photomatix (4) which created three variations of each individual DNG file at 2.5 EV separations as part of the process, Photomatix also offered up tone mapping pre-sets which were selected before the final images were returned to Lightroom as TIF’s

Nikon D80 18-135mm 38mm ISO 200 1/400 f/10 PSE8 PMX4 Lr3

Within Lightroom I used one of its tone mapping pre-sets as a starting point and then made slight changes in overall saturation and brightness for the image above.  I also began practicing my adjustment brush technique by darkening the car hood and grill which were blown out.

Nikon D80 18-135mm 62mm ISO 200 1/200 f/5.6 PSE8 PMX4 Lr3

On the next image, above, I also applied a Lightroom tone-mapping preset, and tweaked overall saturation and  brightness.  I practiced more with the adjustment brush, but I went a little too far burning in the hood where it meets the grill, it almost looks like someone put a bad paint job on a body patch.  I started getting the hang of the adjustment brush when I dodged the tire, wheel well, and wheel hub behind the wheel cover. I also burned in the headlight, brightened and increased saturation on the side lights, and dodged the GM logo on the door to highlight it.

In the third image I got really carried away with dodging out highlights in the background with the adjustment brush as a technique to isolate Melvin from the distractions behind him, I also burned in Melvin’s windshield to de-emphasize the car behind him, and dodged his wheel cover with the adjustment brush. I think the ultimate result, though, was a failure of conception and execution.  As I progress in learning my new tools I expect to master masking techniques so that I could more “cleanly” just eliminate all background image, or evenly desaturate the background elements or, with the right tool, easily throw all of the image elements in the background out of focus.

None of the images in today’s post would be considered exceptional by any experienced and skilled user of these tools, but these exercises have resulted in my becoming more skilled and comfortable with the Lightroom tool kit.  My work can only get better as I practice my craft.