Sunday, September 16, 2012


For the fourth and final post of my visit to the MACC Fund Car Show on Sunday, September 9th, I thought I would include a few of the more "artsy" shots that I took.  These were potentially instructive in that I wish that more of the photos that I took had been of this nature, and I am trying to analyze how they were different from some of the others that I took.

One of the cars that caught my eye had grille that was heavily laden with extremely highly polished chrome.

What I liked about it was the abstract pattern that the chrome made in the center of the grille.  Here is a close up of that feature.

And here is another shot of the passenger side of the grille.

Again, what I liked were the abstract patterns that the chrome was making.

I also liked the hood ornament on this Ford.

What made this shot work was the shallow depth of field, with crisp definition in the foreground fading out of focus toward the back.  This was taken at a mid-range aperture of f/9, like most of the other shots that I took.  The difference here was that I had positioned the camera very close to the ornament, and that served effectively to reduce the depth of field.

Here is another shot that I liked on a compositional basis.

It helped that I had included the radio antenna in the shot.

Then there was the 1953 Studebaker.  This car had a streamlined design that was probably many years ahead of its time.  It was too radical to be popular in its day.  The key was to choose an angle that would emphasize that design.  Straight-on shots didn't seem to show off the design as well as this, taken at an angle.

Finally, I have included a couple of shots of rearview mirrors.  What made these shots was not that the mirrors were particularly special--although their polished chrome was pretty nice--but that I was able to isolate them from the background by reducing the depth of field.

Both of these were shot at an aperture of f/4.

Taken with my Nikon D7000 with Nikkor 24-120 mm f/4 lens.

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