|Window to the Soul|
The sky wasn't cooperating with me, but I was wanting to get out for a bit with the camera and do a little bit of photography. Landscapes wasn't going to be it though. The overcast skies was giving me some nice diffused light, and with the day coming to a close, it was giving a good enough quality of light to do something...but what was I going to shoot. Well, there were a bunch of cars about 10 miles North of the house that I have tinkered with a time or two before, but never with the intention of getting isolations on them. The lighting was good for that type of photography since it did not require a sky to be included, and really needed diffused light to keep shadows under control. I figured "why not? might as well give it a quick go."
I loaded up the camera and set off on the massive road trip that Walnut Cove represents. I wasn't sure what I was going to be able to get since most of the cars there were pretty much stripped, but I knew of a black and gold Trans Am that might be promising, as well as some Mustangs. When I got there, I was less than excited. The remaining bones of these cars didn't really offer much to photograph. Those that did, were black and did not have the color and contrast to make good pictures. The exceptions were a '50's Pontiac that I had shot as a light painting exercise back in the Spring. The other was the black and gold Trans Am, but I wasn't sure what really caught my attention on this car.
I pulled out the camera and started to look at the cars. Nothing was really capturing my attention like I would have wanted. I kept looking and looking. I finally asked myself what about Trans Am had brought me out here with a camera? The iconic grill was my answer, and that became my photograph. I picked out a composition that captured everything about the grill that I thought was important.
I was looking at how everything fit together and really liked the way I had the Pontiac nameplate in the grill to the right. There was a nice balance of elements thanks to that. However, I saw a different balance from this composition, one that was based on symmetry. I pulled the camera back and started to work the other composition as I had previsualized it.
I walked down the line of Mustangs and found that none of them had the necessary ingredients that I was looking for in a photograph. Over on the other side of the parking lot were another bunch of cars, some of which were similar model Trans Ams, but they were white and rather bland. They carried very little interest for me visibly. It was down to the '50's Pontiac at the edge that I had done light painting with which still caught my eye.
The reason that I had photographed it at night and used a flashlight was to reduce the impact of the background which was rather cluttered. This time, I went into it deciding to to shoot isolations on different elements of the car. For that, I can ignore the background almost completely. I started to set up the camera in areas where I saw visual interest.
One of the aspects of this shot that I really like is that the actual disk is in such good condition showing all of the details of "Pontiac" and the three stars below. The chrome wing in the middle is pitted and shows the age that matches with the metal of the car. That simple detail in contrast helps to make sure that the disk is the focal point of the entire photograph. Then it is all about looking at the textures and patterns.
|Badge of Decay|
Hey, that rear quarter panel gave me an idea. I could do a similar composition on the front of the car with the headlight. My opening picture was the one that really captured this car. It was up on blocks, and was in pretty sad shape, but there was still something special about the car. It still looked like it was driving down the road with the windows down and the music playing. I could almost put myself in the driver's seat. They also say that the eyes are windows to the soul. In this case, the headlights are the eyes, and in the composition, they mimic the shape of the steering wheel. This links the car and driver, and hopefully puts the viewer in the driver's seat of this classic.
Speaking of exposures, with eight images here in the blog, you would think that I had shot 80 frames. Typically speaking, I keep about 10% of what I shoot. I was actually really surprised that I had only tripped the shutter a total of 18 times. That is nearly 50% hit rate which is pretty darn good. For only being out there for about 30 minutes, I had a pretty good collection to show from it.