Hiding the photographer

Since I started shooting classic vehicles, I've been playing "find the
photographer" in all the shiny surfaces. I just came up with one I'd
missed, me in a hood ornament on a 1930 Ford Phaeton. That has a
perfectly round, very highly polished, chrome base, so there probably
is no way of escaping getting caught. Not long ago, when I blew a
grille/bumper segment from a '57 Chev Bel Air up, I found that I was
almost identifiable in the parking light assembly. That one wasn't bad,
but the other is annoying and ruins an otherwise good photo.

In some cases, I'm almost at my wit's end trying to place myself so I
don't show up in the photos. Sometimes, I know, that it's not possible
to stay out. Other times, I wonder.

I thought of wearing clothing that blends in. No luck. I never know for
sure whether or not I'll be shooting with trees at my back, an old
barn, a brick home, industrial buildings, a parking lot, whateve.
Angles of course, but try an angle that lets you shoot into the half
round back of a side view mirror. There are not many.

I'm wondering if I'm missing something, if someone else has some tips,
or if we just live with this and try to clone it out (or leave it for
the magazine's art director to clone it out).

Charlie Self wrote:
Since I started shooting classic vehicles, I've been playing "find the
photographer" in all the shiny surfaces. I just came up with one I'd
missed, me in a hood ornament on a 1930 Ford Phaeton. That has a
perfectly round, very highly polished, chrome base, so there probably
is no way of escaping getting caught. Not long ago, when I blew a
grille/bumper segment from a '57 Chev Bel Air up, I found that I was
almost identifiable in the parking light assembly. That one wasn't bad,
but the other is annoying and ruins an otherwise good photo.

In some cases, I'm almost at my wit's end trying to place myself so I
don't show up in the photos. Sometimes, I know, that it's not possible
to stay out. Other times, I wonder.

I thought of wearing clothing that blends in. No luck. I never know for
sure whether or not I'll be shooting with trees at my back, an old
barn, a brick home, industrial buildings, a parking lot, whateve.
Angles of course, but try an angle that lets you shoot into the half
round back of a side view mirror. There are not many.

I'm wondering if I'm missing something, if someone else has some tips,
or if we just live with this and try to clone it out (or leave it for
the magazine's art director to clone it out).



Just put a sack over your head. You could paint it to match the odd
color clothing you're wearing making the cloning process easier.

--
jer
email reply - I am not a 'ten'

Jer wrote:
Charlie Self wrote:
Since I started shooting classic vehicles, I've been playing "find the
photographer" in all the shiny surfaces. I just came up with one I'd
missed, me in a hood ornament on a 1930 Ford Phaeton. That has a
perfectly round, very highly polished, chrome base, so there probably
is no way of escaping getting caught. Not long ago, when I blew a
grille/bumper segment from a '57 Chev Bel Air up, I found that I was
almost identifiable in the parking light assembly. That one wasn't bad,
but the other is annoying and ruins an otherwise good photo.

In some cases, I'm almost at my wit's end trying to place myself so I
don't show up in the photos. Sometimes, I know, that it's not possible
to stay out. Other times, I wonder.

I thought of wearing clothing that blends in. No luck. I never know for
sure whether or not I'll be shooting with trees at my back, an old
barn, a brick home, industrial buildings, a parking lot, whateve.
Angles of course, but try an angle that lets you shoot into the half
round back of a side view mirror. There are not many.

I'm wondering if I'm missing something, if someone else has some tips,
or if we just live with this and try to clone it out (or leave it for
the magazine's art director to clone it out).



Just put a sack over your head. You could paint it to match the odd
color clothing you're wearing making the cloning process easier.

Thanks for the helpful idea.

"Jer" wrote in message
...

Just put a sack over your head. You could paint it to match the odd color
clothing you're wearing making the cloning process easier.

--
jer
email reply - I am not a 'ten'

Heheh, hadn't thought of that one...
--
Skip Middleton
http://www.shadowcatcherimagery.com

Since I started shooting classic vehicles, I've been playing "find the
photographer" in all the shiny surfaces.

Like this one?

http://www.snopes.com/photos/kettle.asp

steve

In message ,
"Steve Wolfe" wrote:

Since I started shooting classic vehicles, I've been playing "find the
photographer" in all the shiny surfaces.

Like this one?

http://www.snopes.com/photos/kettle.asp

Looks like a little flash-fill is needed in the abdominal fold in the
top picture.

--


John P Sheehy

Steve Wolfe wrote:
Since I started shooting classic vehicles, I've been playing "find
the photographer" in all the shiny surfaces.

Like this one?

http://www.snopes.com/photos/kettle.asp


Put that one at the top, and it will discourage anyone from looking
further ...

Charlie Self wrote:
Since I started shooting classic vehicles, I've been playing "find
the
photographer" in all the shiny surfaces. I just came up with one I'd
missed, me in a hood ornament on a 1930 Ford Phaeton. That has a
perfectly round, very highly polished, chrome base, so there
probably
is no way of escaping getting caught. Not long ago, when I blew a
grille/bumper segment from a '57 Chev Bel Air up, I found that I was
almost identifiable in the parking light assembly. That one wasn't
bad, but the other is annoying and ruins an otherwise good photo.

In some cases, I'm almost at my wit's end trying to place myself so
I
don't show up in the photos. Sometimes, I know, that it's not
possible
to stay out. Other times, I wonder.

I thought of wearing clothing that blends in. No luck. I never know
for sure whether or not I'll be shooting with trees at my back, an
old
barn, a brick home, industrial buildings, a parking lot, whateve.
Angles of course, but try an angle that lets you shoot into the half
round back of a side view mirror. There are not many.

I'm wondering if I'm missing something, if someone else has some
tips,
or if we just live with this and try to clone it out (or leave it
for
the magazine's art director to clone it out).

There's always the "Face it, it's a fact of life" approach:
http://www.fototime.com/F8E2D1B23BA18EC/orig.jpg or

Incorporate it into the "art":
http://www.fototime.com/8F753B2E0669B23/orig.jpg or

"Photographer? What photographer?":
http://www.fototime.com/8DB324A7FBBEC6A/orig.jpg or

"Airstream with abstract":
http://www.fototime.com/57FC72D2E17A26A/orig.jpg .

Sometimes, with the right light, colors, and angles it's not that
difficult:
http://www.fototime.com/480E92CF66AC979/orig.jpg

And there are other ways to avoid the problem:
http://www.fototime.com/B1152FF45A7BF22/orig.jpg

--
Frank ess

Steve Wolfe wrote:
Since I started shooting classic vehicles, I've been playing "find the
photographer" in all the shiny surfaces.


Like this one?

http://www.snopes.com/photos/kettle.asp

steve




This would be another helpful place for a small... uh... very small sack
covering something that *we* don't want to see, regardless of whether
the photog wanted us to see it. Kids are such scamps.

--
jer
email reply - I am not a 'ten'

Frank ess wrote:


There's always the "Face it, it's a fact of life" approach:

Sometimes, with the right light, colors, and angles it's not that
difficult:
http://www.fototime.com/480E92CF66AC979/orig.jpg


This must be one of the cheaper models that didn't come with the brake
package, considering the wheel chock at the rear wheel.

--
jer
email reply - I am not a 'ten'