This is some of my photography favorites from past scca events. The link will have more photos. The lower yellow is is Mark Huffman's yellow Lotus. What an incredible car prepped to the limit. Shooting away at 7 fps I was able to capture it in well.... Mid Spin. Also note the heat marks rising up from the ground which gives it an interesting texture. He went on to win for the season in orange county and many wins nationally. What an accomplishment!
Offical Photography by Anthony Porta
So this was my first try at shooting night time photography with the start trails. Wow alot to learn. The car in the photo is a 1975 MG midget driven by a close friend. This seemed to be the best shot take by Anthony Porta that evening and was the most liked on facebook.
The combination of a barely visible car and the scant but clean star tails make it a clear winner. Moving forward I would use start stitching programs to better capture the star trails while preserving the integrity of the foreground. Anthony Porta then went on to Drive this wonderful of piece of British history in the mountians.
What great fun. Slow, tactile, wobbly all come to mind while driving this enchanting little car. It feels as if I have been instantly transported into the past. Including the missfires as the midget clims higher and higher above what the carbs are jetted. Anthony Porta definitely had fun.
By Anthony Porta
is being redistributed by himself. This Official Record was collected by information provided by Anthony Porta. Address herein provided within Official Records, visualization provided by google maps.
Address 12882 Galway Garden Grove, Ca 92841. Height 6'10" weight 325lbs Age: 88 Race: None Provided
Alias; Anthony Porta
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The following Official Record of ANTHONY C PORTA is being redistributed by himself. This Official Record was collected by information provided by Anthony Porta. Address herein provided within Official Records, visualization provided by google maps.
This is a short video I put together for Newport Motors to help show the pleasing aesthetics of the Audi A8L. Credit; Anthony Porta
http://youtu.be/EP1CwQZTL8k
Audi A8L Short video shot photographed by Anthony Porta.
This is a quick short I did for Newport Motors in Costa Mesa, Ca. It features a 2011 a8L.
The Audi A8 is a four-door, full-size, luxurysedan car manufactured and marketed by the German automaker Audi since 1994. Succeeding the Audi V8, and now in its third generation, the A8 has been offered with both front- or permanent all-wheel drive—and in short- and long-wheelbase variants.
Notable for being the first mass-market car with an aluminium chassis, all A8 models have utilised this construction method co-developed with Alcoa.
A mechanically-upgraded, high-performance version of the A8 debuted in 1996 as the Audi S8. Produced exclusively at Audi's Neckarsulm plant, unlike the donor A8 model, the S8 has only been available in short-wheelbase form and is fitted standard with Audi's quattro all-wheel drive system.
I made the short using a cannon 7d and combinations of both photos and videos.
Position yourself and your camera. If you're using a tripod, make sure it's stable and level (unless you have a reason for it to be tilted). If the tripod has a spirit level, check it. If you're going to be panning and/or tilting, make sure that you'll be comfortably positioned throughout the whole move. You don't want to start a pan, then realise you can't reach around far enough to get the end of it. If it's going to be difficult, you're better off finding the position which is most comfortable at the end of the move, so that you start in the more awkward position and become more comfortable as you complete the move. If the tripod head doesn't have a bowl (this includes most cheaper tripods), it's very important to check that the framing still looks level as you pan - it may be okay in one direction but become horribly slanted as you pan left and right.
If you're not using a tripod, stabilise yourself and your camera as best you can. Keep your arms and elbows close to your body (you can use your arms as "braces" against your torso). Breathe steadily. For static shots, place your feet at shoulder width (if you're standing), or try bracing yourself against some solid object (furniture, walls, or anything).
Frame your shot. Then do a quick mental check: white balance; focus; iris; framing (vertical and horizontal lines, background, etc.).
Think about your audio. Audio is just as important as vision, so don't forget about it.
Press "record". Once you're recording, make sure that you are actually recording. There's no worse frustration than realising that you were accidentally recording all the time you were setting the shot up, then stopped recording when you thought you were starting. Many cameras have a tape "roll-in time", which means that there is a delay between the time you press record and when the camera begins recording. Do some tests and find out what your camera's roll-in time is, so you can then compensate for it.
Keep checking the status displays in the viewfinder. Learn what all the indicators mean — they can give you valuable information.
Use both eyes. A valuable skill is the ability to use one eye to look through the viewfinder, and the other eye to watch your surroundings. It takes a while to get used to it, but it means that you can walk around while shooting without tripping over, as well as keeping an eye out for where the action is happening. It's also easier on your eyes during long shoots.
Learn to walk backwards. Have someone place their hand in the middle of your back and guide you. These shots can look great.
You'll often see television presenters walking and talking, as the camera operator walks backwards shooting them.
Keep thinking "Framing...Audio..." As long as you're recording, think about how the frame composition is changing, and what's happening to the sound.
Press "record stop" before moving. Just as in still photography, you should wait until one second after you've finished recording (or taken the photo) before you move. Too many home videos end every shot with a jerky movement as the operator hits the stop button.
That's all there is to it! Finally, here's a few more tips to finish off with...
Be diplomatic while shooting. Think about the people you're shooting. Remember that people are often uncomfortable about being filmed, so try to be discreet and unobtrusive (for example, you might want to position yourself some distance from the subjects and zoom in on them, rather than being "in their faces").
Many people find the red recording light on the camera intimidating, and freeze whenever they see it. Try covering the light with a piece of tape to alleviate this problem.
Learn to judge when it's worth making a nuisance of yourself for the sake of the shot, and when it's not. If it's an important shot, it might be necessary to inconvenience a few people to get it right. But if you're going to make enemies over something that doesn't matter, forget it and move on.
Use the "date/time stamp" feature sparingly. It's unnecessary to have the time and date displayed throughout your video, and it looks cheap. If you must have it there, bring it up for a few seconds, then get rid of it.
Modern digital cameras have the ability to show or hide this display at any time after recording.
Be prepared to experiment. Think about some of the things you'd like to try doing, then try them at a time that doesn't matter (i.e. don't experiment while shooting a wedding). Most new techniques take practice and experimentation to achieve success, and good camera work requires experience.
