Reflections

[pesto]

Given that these were shot with a Leica S (006), I customarily would post this on the Leica channel but, as this is a more active group, I thought that there might be more responses here. I shot this car a few days ago and because of the prominent window reflections, dumped the entire set. Today I tried again, this time with a polarizer and shooting each perspective at different rotations of the polarizer and aperture settings. The view through the finder revealed that while the reflections in one area were removed, other parts were either unaffected or made worse and when those areas were corrected the previously improved sites were once again reflective. I have attached two examples. I do understand that I would do well to put the car in a better setting but should I not be able to see some benefit from a polarizer in these situations?
Any advice, guidance, or criticism would be greatly appreciated…Thank you.

 

[voidshatter]

Maybe the easiest way is to rotate the polarizer and take multiple shots for blending in Photoshop?

 

[thrice]

Polarisers are typically ineffective at removing reflections from metallic surfaces. They work the best on matte or highly scattering surfaces.
Reflections on glass, metal, gloss paint etc aren't as affected.

A professional car shooting set will usually have a large black shade propped above the car out of frame (or in frame to be later composited out) which helps avoid the problem you are experiencing.

 

[Egor]

You could try painting with light technique using multiple exposures and a largish softbox or hex box. You work your way all around the object with the softbox on a stick (even in front of the camera it doesn't matter because you are going to composite)

That would work, but in my opinion too much work for this shot. I would just shoot it at same angle under magic hour sky without all those trees around and composite into that background if its important for some reason.
I gues I am not a fan of the background, too many trees, leaves, greenish casts...etc. My eye doesn't go to the car.
My 2 cents

Oh, and no, polarizer won't help you on this one, only huge diffusion panels (PWL gives you that without needing a 20 foot scrim)

e

 

[fotohouse]

Polarisers are typically ineffective at removing reflections from metallic surfaces. They work the best on matte or highly scattering surfaces.
Reflections on glass, metal, gloss paint etc aren't as affected.

A professional car shooting set will usually have a large black shade propped above the car out of frame (or in frame to be later composited out) which helps avoid the problem you are experiencing.

This.

 

[bab]

The sky is one big soft box especially on that overcast day, the angle U choose for the first image does reflect the skybox light grossly. U could either use a very dark set of exposures and multiple flashes to accentuate the right edges of your car or if you want the same shot you saw in a magazine the car was most likely dropped in the scene after being shot in a controlled eviorment or lastly Several images were made flags were used and then hours post production applied?

 

[pesto]

Thank you one and all for sharing your knowledge and thoughts. While this was at most a casual attempt and nothing that I plan to persue in depth, I certainly have learned some things.
Thanks again.

 

[cunim]

Wait a minute. Has no one noticed the lovely machine? Hard to take a bad shot of that.

 

[Egor]

wait a minute. Has no one noticed the lovely machine? Hard to take a bad shot of that.

db11?

 

[pesto]

Wait a minute. Has no one noticed the lovely machine? Hard to take a bad shot of that.

Difficult indeed, but I managed to do it :banghead:

Nope, not a DB 11, they will not be here until the end of the year. This one is a Vanquish.

 

[cunim]

Difficult indeed, but I managed to do it :banghead:

Nope, not a DB 11, they will not be here until the end of the year. This one is a Vanquish.

I don't think those are bad at all. I am looking forward to seeing more. I like the second shot and would love to see it with shallow DOF. Maybe start at the rear plate and take a stack series running to about where the body detail is hidden by the rear structure. Then let the background foliage go into bokeh. I think that would be very interesting.