In this Slanted Lens lesson we are going to show you how to create background motion by moving the camera and subject together on something with wheels. I was shooting at a warehouse for one of my clients, trying to come up something different, when putting the camera on the fork lift load came to me. Its hard sometimes to come up with something fresh when your shooting the same location and subject over and over again. I placed the camera and lights on the fork lift and took shots as we drove around the warehouse. It turned out great and my client was very happy. Take look at this photographic technique. Good luck and Keep on click'n!
Jay P. Morgan.
Recommended Reading:
- Mastering Studio Strobe Lighitng: Beginning to Advanced Photography Instruction by Jay P. Morgan
- Understanding Flash Photography: How to Shoot Great Photographs Using Electronic Flash
- Speedliter's Handbook: Learning to Craft Light with Canon Speedlites
- On-Camera Flash Techniques for Digital Wedding and Portrait Photography
- Off-Camera Flash Techniques for Digital Photographers
- Sketching Light: An Illustrated Tour of the Possibilities of Flash
- Kevin Kubotas Lighting Notebook: 101 Lighting Styles and Setups for Digital Photographers
#1 This is our first image with just the available light in the room. The camera is set at f8 and 1/5th of a second. The color balance is set to 3900 degrees.
#2 We added a grid on the drivers face form the passenger side of the fork lift.
#3 The head had a 2 stop ND on it because it was to bright even on the lowest setting on the Hensel Porty pack.
#4 Here is the head form the reverse side.
#5 The Hensel head was rigged with a bogan clamp on the fork lift. Its very easy to place heads using this clamp.
#6 The Hensel porty pack was placed on the floor and will ride along.
#7 We added a small Photoflex soft box as a fill on his face.
#8 Thee was not place to attach it on the fork lift that worked so we hand held it. My assistant would follow the fork lift.
#9 I'm using a canon remote trigger to shot the camera. I walked next to the fork lift and triggered the camera.
#10 Around and around we went for quite some time. My assistants got tired so they traded off.
#11 The hardes thing was that the camera was upside down. Its harder than you might think to run a camera upside down. I got over it.
#12 You can see that we simply laid the camera on the crate and sandbagged in in place. This keeps the camera and the fork lift locked to each other
so the focus is constant.
#13 Here is the image without any work on on it.
#14 I took it into photoshop and used Nik Color Effects Pro to add contrast to the image.
#15 Still in photoshop I went to Nik software Viveza and upped the structure. its adds great texture to the crate in the foreground. Here is the final image.