- 3,615
- Liverpool
- leeislee
Ok, so before I start I want to make clear that this isn't a tutorial per se, It's not a do or die, definitive guide to photography in GT5 nor real life. It's just some of the processes I go through with my actual real life photography that can translate well into creating more polished work with your photomode photos from GT5. (If you really want to learn about the many aspects of Composition there are plenty of tutorials online)
I'm not going to go into detail about how the "Camera" in GT5 works. There is a great guide to it HERE. It's well worth taking a look at if you're not sure what all the jargon on screen means.
I don’t claim to be great at this GT5 photo lark but I hope some of you can read this and at least apply something to your own photos.
I'm not going to go into detail about how the "Camera" in GT5 works. There is a great guide to it HERE. It's well worth taking a look at if you're not sure what all the jargon on screen means.
I don’t claim to be great at this GT5 photo lark but I hope some of you can read this and at least apply something to your own photos.
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
Anyway I’m going to go through a few things that I don't do and don't like to see others do.
Of course, we all know that composition is one of the ways to make or break a photo and because I come from a Photography background, I do like to spend a few moments in my photography, real or in GT5 to at least try to get it as good as I can.
This section should highlight one of my pet hates that I see crop up so much in Photography and especially here on GtPlanet. It does bug me I’m afraid, so much so that I wanted to point it out to anyone who wants to listen.
Ok, let's get going...
1 - Compositional separation
Try and separate the subject, in this case a car from it's background. One way I do this is to obviously, shoot a shallow depth of field but the main thing that people don't do is to watch out for lines, shapes and flow that suck the car into the background.
Example 1 - Highlighted by the dotted line...
Have a look at the line of the wall. Notice how the line of the wall flows directly into the Beetle's wheel arch and on across the reflection line. This has the affect of forcing the car and wall together, and obviously, they aren't, they are some distance apart.
----------------------------------------------------------
Example 2...
See how the wall flows into the A-pillar across the top of the bonnet/hood and on into the side window line. Again, your eye may not realise it but it forces the two together so the car looses separation.
In the same picture, look at the blue circle, see how the wing mirror is lost in the middle of the tunnel support?
----------------------------------------------------------
Example 3...
Here the shadow on the floor sweeps around the A-Pillar and almost mimics the roof shape, again it may not be immediately noticeable to the casual viewer but it ruins the photo for me.
----------------------------------------------------------
Example 4...
Now on the final example using the Beetle you can see how I’ve avoided most of the above problems by making sure no major lines flow into the car, that way the car should look as though it stands alone which of course, it does.
However highlighted in the blue circles, you'll notice that the angle where the wheel and wheel arch meet, and the indicator/turn signal on the wing sits in the shape of the tunnel support. Kind of breaking my own rules I guess but those small things are ok to do that because the main elements that the eye will be drawn to in the photo are not merging into each other thus retaining more separation.
Of course, this isn't always possible, sometimes it's unavoidable to keep everything separate, but by keeping the main features of a car away from distracting background elements, eye catching background shapes, merging lines and shadows etc, it can start to improve matters.
----------------------------------------------------------
Example 5...
See the way the steel structure in the background looks like its part of the LFA because they share the same line.
----------------------------------------------------------
Example 6...
These two examples show the Armco barrier lines flows into the lines of the LFA adding weight to the car that doesn't need to be there aswell as forcing the two together.
----------------------------------------------------------
Example 7...
Watch what happens by moving the camera slightly, it has the instant effect of separating the LFAs' lines from the barriers' lines. I’ve highlighted the shape of the car in yellow and the barrier line in blue, see how they can’t flow into one and other.
----------------------------------------------------------
Remember...
The same principle goes for walls, trees, street lighting etc. Don't let things touch if you can help it, the background is separate from the car so try and keep it that way if you can.
Now that we have seen the value of separation, lets move on to how to create an interesting visual.
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
2 - Drawing the eye in
Next is a small section on Eye flow, how to draw the eye in. It's a good way to make people look at a picture in a certain order thus seeing things in a linear way.
Think of it like a path through your photo. You start at point A, the eye is drawn to point B then on to C, D and so on.
Again, it's not always needed but it's something to try when you're running low on artistic inspiration. It can make a seemingly average photo seem alot better.
Of course, there will always be people who look at point C then go to point A and mess everything up so this is a general rule of thumb, it's not set in stone because everyone is different...there are always those annoying idiots who mess everything up!
The ABC way...
This is the method I mention above. Making the eye see things in a certain sequence, well that's the goal anyway!
Bare in mind though that in the examples below many of you will look at letter B first, but this technique works either way, A-B or B-A but i tend to think of the main detail in a photo as A.
Example 1...
Notice how your eye sees the Corvette the moves left to the cars ahead in the distance?
----------------------------------------------------------
Example 2...
Because of the drifting Vette your eye follows the smoke across the image to the Vette at the back.
----------------------------------------------------------
Example 3...
The wet Ferrari 458 here should be the first thing you look at then your eye will be draw off into the distance.
----------------------------------------------------------
Example 4...
This is an example showing how it can work both ways, It depends what you see first the Camaro or the light at the end of the tunnel?
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
3 - Keeping the eye on the subject
This is a method of using negative space, lines and composition to stop the eye moving around the photo.
Even if the eye strays from the subject it is guided back by the various elements mentioned above.
It's easier to show you rather than to explain it, this next photo is rubbish but it's here to illustrate how your eye can be pushed back to the subject and kept on it.
Example 1...
Instinctively you see the giant yellow 'Zero' on the floor but because it's out of focus and narrows at the top, it acts like a big arrow forcing your eye to the Aston. Crap photo but I’m sure you see my point. Your eye wants to look at the big yellow 'Zero' but every time it looks at it, your gaze moves up towards the car. unless you force yourself to look at the big yellow 'Zero' on the floor that is.
----------------------------------------------------------
Example 2...
This Samba bus shot uses the road markings and street light shadow to draw your eye back to the bus if it wanders off.
----------------------------------------------------------
Example 3...
The same applies to the Civic photo. The sky, wall, road and white line pushes your eye to the car.
----------------------------------------------------------
Example 4...
The lines and perspective in the Lambo picture keep your attention on the car because everything points to it your eye wants to see what everything is pointing at.
----------------------------------------------------------
Example 5...
Back to the Beetle shot from earlier, you can see how using the tunnel you can force the eye to the car. This one is more subtle because it's not as obvious as the Aston shot but you can see what I mean.
----------------------------------------------------------
This is an example of both ABC and use of negative space...
The red Beetle here is speeding along up the hill. The negative space as indicated by the arrow on the right instantly guides your eye to the car, You then you see the crest of the hill and you almost want to look over the hill.
The light coming through the trees helps push the eye down and over the crest so for this picture you have to imagine there is a Letter 'C'.
Just to confirm that Negative Space is the use of nothing, blank areas in a photo that don't draw the eye so it forces the eye to look at more interesting things.
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
4 - How to bounce the eye around
Example 1...
This Enzo is speeding through the tunnel at Monaco here, your eye sees the car (A) then wants to look into the picture and around the corner (B) but the focus pushes your attention back towards the car (as indicated by the arrow)...back and forth and so on.
----------------------------------------------------------
Example 2...
Similar photo to the tunnel Enzo this one but now the Enzo is taking a fast right hander, so by having the car pointing right and the barrier in the background shooting off the right side of the image, your eye wants to see where the car is going.
The eye is then drawn back to the car by the Curb acting as an arrow. then you start all over again looking right then back to the car, then off to the right and back and so on.
Not only does the curb push you eye around the corner, it drags the eye back to the car.
----------------------------------------------------------
However...
You can of course, have cars in the middle of the photo, with lines blending into the body work, no flow to the picture, it's up to you. If you like it then do it. i'm a big believer in making up your own rules if it results in a picture you like.
The previous examples are just things I look out for. Hopefully you can take what you like from them and apply them to your own shots...or not!
If you can't be bothered thinking so much about your photos then obviously, just click away. There will always be people who like them and as long as you like the photos you take then that is all that matters. You can still get amazing photos by ignoring everything I’ve said here!
By the way, I’m not saying my way is the right way. you can make your own mind up and discover your own way of shooting.
Please have a look through my gallery and Flickr page to see more examples of this approach.
Thanks
Oh, by the way. Here's another tip for everyone out there who want to improve your shots....
If you like putting loads of camber on your wheels then please stop it. It instantly makes a car look ridiculous and makes all photos look stupid!
The only car ever that looks good with mad wheels is the Delorean from Back To The Future II...that is all 👍
----------------------------------------------------------
----------------------------------------------------------
Anyway I’m going to go through a few things that I don't do and don't like to see others do.
Of course, we all know that composition is one of the ways to make or break a photo and because I come from a Photography background, I do like to spend a few moments in my photography, real or in GT5 to at least try to get it as good as I can.
This section should highlight one of my pet hates that I see crop up so much in Photography and especially here on GtPlanet. It does bug me I’m afraid, so much so that I wanted to point it out to anyone who wants to listen.
Ok, let's get going...
1 - Compositional separation
Try and separate the subject, in this case a car from it's background. One way I do this is to obviously, shoot a shallow depth of field but the main thing that people don't do is to watch out for lines, shapes and flow that suck the car into the background.
Example 1 - Highlighted by the dotted line...
Have a look at the line of the wall. Notice how the line of the wall flows directly into the Beetle's wheel arch and on across the reflection line. This has the affect of forcing the car and wall together, and obviously, they aren't, they are some distance apart.
----------------------------------------------------------
Example 2...
See how the wall flows into the A-pillar across the top of the bonnet/hood and on into the side window line. Again, your eye may not realise it but it forces the two together so the car looses separation.
In the same picture, look at the blue circle, see how the wing mirror is lost in the middle of the tunnel support?
----------------------------------------------------------
Example 3...
Here the shadow on the floor sweeps around the A-Pillar and almost mimics the roof shape, again it may not be immediately noticeable to the casual viewer but it ruins the photo for me.
----------------------------------------------------------
Example 4...
Now on the final example using the Beetle you can see how I’ve avoided most of the above problems by making sure no major lines flow into the car, that way the car should look as though it stands alone which of course, it does.
However highlighted in the blue circles, you'll notice that the angle where the wheel and wheel arch meet, and the indicator/turn signal on the wing sits in the shape of the tunnel support. Kind of breaking my own rules I guess but those small things are ok to do that because the main elements that the eye will be drawn to in the photo are not merging into each other thus retaining more separation.
Of course, this isn't always possible, sometimes it's unavoidable to keep everything separate, but by keeping the main features of a car away from distracting background elements, eye catching background shapes, merging lines and shadows etc, it can start to improve matters.
----------------------------------------------------------
Example 5...
See the way the steel structure in the background looks like its part of the LFA because they share the same line.
----------------------------------------------------------
Example 6...
These two examples show the Armco barrier lines flows into the lines of the LFA adding weight to the car that doesn't need to be there aswell as forcing the two together.
----------------------------------------------------------
Example 7...
Watch what happens by moving the camera slightly, it has the instant effect of separating the LFAs' lines from the barriers' lines. I’ve highlighted the shape of the car in yellow and the barrier line in blue, see how they can’t flow into one and other.
----------------------------------------------------------
Remember...
The same principle goes for walls, trees, street lighting etc. Don't let things touch if you can help it, the background is separate from the car so try and keep it that way if you can.
Now that we have seen the value of separation, lets move on to how to create an interesting visual.
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
2 - Drawing the eye in
Next is a small section on Eye flow, how to draw the eye in. It's a good way to make people look at a picture in a certain order thus seeing things in a linear way.
Think of it like a path through your photo. You start at point A, the eye is drawn to point B then on to C, D and so on.
Again, it's not always needed but it's something to try when you're running low on artistic inspiration. It can make a seemingly average photo seem alot better.
Of course, there will always be people who look at point C then go to point A and mess everything up so this is a general rule of thumb, it's not set in stone because everyone is different...there are always those annoying idiots who mess everything up!
The ABC way...
This is the method I mention above. Making the eye see things in a certain sequence, well that's the goal anyway!
Bare in mind though that in the examples below many of you will look at letter B first, but this technique works either way, A-B or B-A but i tend to think of the main detail in a photo as A.
Example 1...
Notice how your eye sees the Corvette the moves left to the cars ahead in the distance?
----------------------------------------------------------
Example 2...
Because of the drifting Vette your eye follows the smoke across the image to the Vette at the back.
----------------------------------------------------------
Example 3...
The wet Ferrari 458 here should be the first thing you look at then your eye will be draw off into the distance.
----------------------------------------------------------
Example 4...
This is an example showing how it can work both ways, It depends what you see first the Camaro or the light at the end of the tunnel?
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
3 - Keeping the eye on the subject
This is a method of using negative space, lines and composition to stop the eye moving around the photo.
Even if the eye strays from the subject it is guided back by the various elements mentioned above.
It's easier to show you rather than to explain it, this next photo is rubbish but it's here to illustrate how your eye can be pushed back to the subject and kept on it.
Example 1...
Instinctively you see the giant yellow 'Zero' on the floor but because it's out of focus and narrows at the top, it acts like a big arrow forcing your eye to the Aston. Crap photo but I’m sure you see my point. Your eye wants to look at the big yellow 'Zero' but every time it looks at it, your gaze moves up towards the car. unless you force yourself to look at the big yellow 'Zero' on the floor that is.
----------------------------------------------------------
Example 2...
This Samba bus shot uses the road markings and street light shadow to draw your eye back to the bus if it wanders off.
----------------------------------------------------------
Example 3...
The same applies to the Civic photo. The sky, wall, road and white line pushes your eye to the car.
----------------------------------------------------------
Example 4...
The lines and perspective in the Lambo picture keep your attention on the car because everything points to it your eye wants to see what everything is pointing at.
----------------------------------------------------------
Example 5...
Back to the Beetle shot from earlier, you can see how using the tunnel you can force the eye to the car. This one is more subtle because it's not as obvious as the Aston shot but you can see what I mean.
----------------------------------------------------------
This is an example of both ABC and use of negative space...
The red Beetle here is speeding along up the hill. The negative space as indicated by the arrow on the right instantly guides your eye to the car, You then you see the crest of the hill and you almost want to look over the hill.
The light coming through the trees helps push the eye down and over the crest so for this picture you have to imagine there is a Letter 'C'.
Just to confirm that Negative Space is the use of nothing, blank areas in a photo that don't draw the eye so it forces the eye to look at more interesting things.
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
4 - How to bounce the eye around
Example 1...
This Enzo is speeding through the tunnel at Monaco here, your eye sees the car (A) then wants to look into the picture and around the corner (B) but the focus pushes your attention back towards the car (as indicated by the arrow)...back and forth and so on.
----------------------------------------------------------
Example 2...
Similar photo to the tunnel Enzo this one but now the Enzo is taking a fast right hander, so by having the car pointing right and the barrier in the background shooting off the right side of the image, your eye wants to see where the car is going.
The eye is then drawn back to the car by the Curb acting as an arrow. then you start all over again looking right then back to the car, then off to the right and back and so on.
Not only does the curb push you eye around the corner, it drags the eye back to the car.
----------------------------------------------------------
However...
You can of course, have cars in the middle of the photo, with lines blending into the body work, no flow to the picture, it's up to you. If you like it then do it. i'm a big believer in making up your own rules if it results in a picture you like.
The previous examples are just things I look out for. Hopefully you can take what you like from them and apply them to your own shots...or not!
If you can't be bothered thinking so much about your photos then obviously, just click away. There will always be people who like them and as long as you like the photos you take then that is all that matters. You can still get amazing photos by ignoring everything I’ve said here!
By the way, I’m not saying my way is the right way. you can make your own mind up and discover your own way of shooting.
Please have a look through my gallery and Flickr page to see more examples of this approach.
Thanks
Oh, by the way. Here's another tip for everyone out there who want to improve your shots....
If you like putting loads of camber on your wheels then please stop it. It instantly makes a car look ridiculous and makes all photos look stupid!
The only car ever that looks good with mad wheels is the Delorean from Back To The Future II...that is all 👍
Last edited:
You pointed out a few things that I didn't really pay attention to before. 👍
