Shooting outside in harsh sunlight

M

Matthew Smith

Active member
Hi,

Was wondering if someone can help. I am doing a few videos at work and will be shooting car reviews outside.

I practiced on one yesterday and noticed that to get a good shot of the car the background blows right out and is way too bright (This happened with a grass background and water).

If anyone has any tips on how to shoot a car outside (I will be shooting a few models throughout the day so full sun exposure will be unavoidable) it would be great. For example should I
- Have the sun behind me where possible? Or on the side/infront up high?
- Lower ISO to its lowest possible level and adjust brightness with the f-stop?
- Will a polarising filter make much difference? I bought a Hoya HD and it doesnt seem to change the background blowout with tests Ive done?
Any other tips would be greatly appreciated, I'm a noob so help is very much needed

I have an AF100 with Ziess ZF prime lenses.
 
It's a dynamic range issue -- the brights outside are too far away from the darks for the camera to capture them all in the same image.

You either need to darken the background, or increase the light on the car. Chances are, it will be easier to increase the light on the car -- through reflectors, bounce, etc.

A polarizing filter will do nothing to help; that's not what it's for. But a graduated neutral density filter might if the background can be kept "above" the car.

Placement of the sun can done a couple of different ways -- you can use it as your key (would be behind you, over your shoulder), or you can use it as your rim light and reflect/bounce it for your key. You most likely don't want it directly behind you or directly in front of you.
 
David Jimerson said:
It's a dynamic range issue -- the brights outside are too far away from the darks for the camera to capture them all in the same image.

You either need to darken the background, or increase the light on the car. Chances are, it will be easier to increase the light on the car -- through reflectors, bounce, etc.

A polarizing filter will do nothing to help; that's not what it's for. But a graduated neutral density filter might if the background can be kept "above" the car.

Placement of the sun can done a couple of different ways -- you can use it as your key (would be behind you, over your shoulder), or you can use it as your rim light and reflect/bounce it for your key. You most likely don't want it directly behind you or directly in front of you.
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Thanks David, that all makes alot of sense and gives me new ways to approach it, really appreciate your help
 
Rectangular grad filters will allow you to slide them up and down for adjustment, as opposed to the screw-in type, in case you're going that route. Singh Ray makes good filters. You'll get two or three or maybe four stops of nd.

If the camera isn't moving and you're willing to allow the filter to largely dictate your composition, there are filters that change from clear to nd much more abruptly, hard step is what they're sometimes called. Typically, these are used for sunset shots over the ocean. These will probably not be of much use to you with car shots but it's worth knowing about them.

Yet the tradeoff with grads is that rarely will each gradient of nd match to what your needs are in the comp. I mean, when do you really need to darkest area to be at the top? For that, they have reverse nd grad filters, wherein the horizon line is handled but the sky above is still captured.

Simple solution: wait for a cloudy day.
 
Thanks Jordan, I was looking at screw-in filters until I read an article which mentioned the same thing you described about moving them.

About 2 years ago I bought a heap of gear and remembered I bought the Matte Box kit which included the grad filters (I believe they can be adjusted) and I'm going to give them a go (Redrock Micro kit).

I appreciate all the advice, has made me understand it all really well.
 
I +1 on all of the above. To add to this, I am of the opinion that the first, best, tools to getting good looking exterior shots are a calender, a watch, a compass, a weather report and patience. I understand, fully, that the demands of a production force us all to shoot under conditions that are not ideal, but careful planning, and an understanding of the lighting conditions at the time of year, the time of day, from the geographic orientation of the set, under the anticipated weather conditions you will face will go a long way towards getting the best looking images. Then, sometimes, it is just a matter of waiting for the right light.
 
I was dealing with this this weekend. I got the best results by getting more light inside the car... whatever you can get. I used a battery powered LED taped to the dash to get more light on the far subject. If you can bounce light in, try that. I shot most of this stuff inside with a green screen for just the reason you describe. ... now to match them ;)
 
Gary Huff said:
Completely agree, but would like to place my emphasis on that very last point.
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I really ought to revise that to say, "...The first, best, tools to getting good looking exterior shots are a calender, a watch, a compass, a weather report, patience and PLANNING.
 
I agree about planning for time of day, where the sun is, but the OP asked about shooting car stuff in bright sunlight. The solution can't be wait for a cloudy day.
 
hscully said:
I agree about planning for time of day, where the sun is, but the OP asked about shooting car stuff in bright sunlight. The solution can't be wait for a cloudy day.
Click to expand...

I understand and concurred with the advice previously provided, just adding some additional info.
 
I see.. well to that I might add scouting the location with an eye to where the sun is when is a big help too.
 
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