What an amazingly splendidly lovely car this is, and i'm lucky enough to know the owner

Jo, I've known you since what? we were seventeen? mm

there a bouts, that long, and now it's a long time.

We're going to use this car to remake one of the first films we ever did.

The film i'm talking about is on YouTube,

go and search for 'how to photograph a fast car' and you should find a film where we make

this image.

Now this was done some time ago and this was the very first film we ever did

and i know i left out some crucial information.

If you're some one who's seen this on YouTube and you're frustrated by that,

this one's dedicated to you.

The key to getting movement into something

is your shutter speed,

you need a slow shutter speed to create movement to create the blurry effect.

But obviously we don't want to blur Jo or her car, so

the camera and the car have got to move together nice and smoothly.

If you're a proper car photographer doing it for a living, you might have a

rig made out of steel which will clamp in just underneath the car and come out here

and you can mount the camera on it, and move it to where you want it,

it'll be very sturdy and very solid.

But if you don't want to go to the expense of doing that, you can use something as simple as

a little tripod.

All i'm going to do is literally sit it on the wing of the car

you may notice i have little soft rubber feet here because the last thing we wanna do is damage the paint work.

This is original plaint work too, this car has never been restored, is that right?

yeah, never been restored.

I've got some little bits of tape on here, because i want to make sure

that none of the little

cornery bits of plastic actually touch the paint work

either.

So, i'm going to sit the tripod on those bits of tape like that, and I've already

kind of got it ready, there we go.

And you'll also notice that I've got a cable release going on here too because

the last thing i want to do is to vibrate the camera during the

exposure.

Movement is all about shutter speed,

you need a slow shutter speed in order to create movement or a fast shutter speed

in order to freeze it, to stop it, to get rid of it.

Now the alter shutter speed for this shot, i reckon is about half a

second.

so that's the first thing i'm gonna do is shoot in manual mode for this

really.

so you've got full control.

i'm going in to the camera

and i'm just gonna set

a half a second, actually i'm not i'm going to go for a one second exposure okay.

One second the shutter will open,

stuff will move and

then the shutter will close.

Now i can't tell you what aperture you're gonna need because i don't know

what light you're shooting in,

and this is crucial you've obviously got to get the exposure correct.

We're shooting in the evening

and it's a bit of an over cast sort of an evening and we're under trees,

and this tunnel here

is brilliant because it blocks some of the sky reflections

it makes it a little bit darker so we can use the slow shutter speed and it

gives us plenty of things to blur in the picture. If you try this out on an open

prairie somewhere or something like that without stuff either side of the road,

there's nothing to blur is there?

you won't get much of an effect.

Try and do it somewhere a bit quite so you don't get in everyone's way,

there's a few cars coming through here

but the crucial thing is stuff either side of the road.

so we've set our one second exposure

now i need to set

the aperture in that will work with that exposure.

so if i go

into

my

info button up, so i can see the light meter

as you an see I've set a one second exposure

at F ten and it's saying it's over exposed.

So i need to change, that's the wrong one, here we go, my aperture

until the light meter is about in the middle.

This is a very dark green car, cameras think that everything is mid grey

so actually i want it to be a little bit tiny bit darker than the cameras light meter

thinks i do.

If you don't know what i'm talking about you need to go and take a look at the exposure films.

so i'm just gonna change my, I've done it again wrong one, there we go, i'm

going to F twenty which is just under exposed very very very

slightly,

because i want to get the exposure right.

Now in these lighting conditions, i'm using an iso

of two hundred, which is pretty low, so I've got nice fine quality and good

colours.

As i say if you have more light going on here,

you might not be able to get a one second exposure at F twenty with

two hundred iso.

You might need to go to one hundred iso to make the camera less sensitive.

Even then, that might not be enough and you might need to use

something like a neutral density filter,

I've got one here.

This is like a pair of sunglasses, it's you kinda put it over the lens

and it just cuts light out that's all it does, there's no colour in it.

This is a cokin you can get lee which are absolutely brilliant at it i have to say,

and it has a little bracket which slots on the front, you slide it in and it will cut out the

light.

It will allow you to set

slow exposures.

If you don't need to stop out a huge amounts of light you can sometimes do

this with a polarizing filter because that will cut out two slots of light on it's own,

as it is in these conditions i don't need to.

so we've got

a one second exposure at F twenty,

i'm using a ten millimeter lens because there's lot's of width going on here

and i want these beautiful louvers on the bonnet

which is running back here to Jo who is going to be in the driving seat.

Now your driver has got to keep really still.

Right, so Jo is going to sit there, and she's not gonna move a muscle, she's going to

going to be in a driving kind of position

you're kind of be thinking well if you've seen the other film

why is she going to be in a driving sort of position?

wait, the moment is coming.

We're pretty much ready, the last thing i want to do is to make sure that

my camera is set in mirror lock-up, to minimize vibrations.

Mirror lock up means i can press the shutter once, it lifts the mirror out

the way and locks it in position, that's for moving vibrations from the camera

and when i press it again

it will open the shutter to let the light in

and that's when all the magic happens.

So Jo, i'm going to ask you, can you put your fleece jacket on please

to look the part, it's a bit of a muggy kind of a warm,

evening and Jo's got a

genuine fleecy jacket.

Very hairy and really itchy.

but it is kinda of you know makes it all work, makes it look the part.

So our camera's ready, we've got that all set up,

we know all of the exposures right,

Jo we've got no traffic on the road so that's brilliant. If you

just try and keep your eyes on probably Jane.

Don't look at the camera, and keep really really still.

Now all we have to do is let the brake off, and i'm gonna

yeah let's get it rolling it is not push the car, there we go let's get it rolling, it doesn't have to go that fast that should be enough.

and press the shutter,

shutter opens

it stays open for a second and then, it

closes.

Thanks Jo.

Do you see what i mean about your camera falling off it's incredibly unlikely at that

sort of speed.

and even if id did, you're here

just catch it just grab hold of it.

So let's have a look and see what our

shot

looks like.

Wake my camera up.

here we go,

yeah that's pretty cool i don't know if you can see it in the back there but

it looks really nice, doesn't it. That is such a simple and easy way to get some

fast motion blur into a car shot.

Can i go in your car Jo? haha