Study Break- Tempe Town Lake Night Portraits

Being a full-time engineering student is super busy. However, it's important to make sure to go and have some fun when you can, which is what a friend and I did one night towards the end of the spring semester. Since it was tradition for us to snap selfies and pictures of each other whenever we went out to go do something fun, and we had some cool photo ideas but the only camera available was my phone in a dark room, we decided to recreate the pictures in better conditions.

First came testing settings, framing, etc., since I would be in some of the pictures so I would have to make sure everything was set up first. But, after snapping a few pics, I decided I didn't quite like the location we were at due to the lighting, so we moved closer to the lights nearby.

The light poles nearby make for some good props for photos, and the lights meant I didn't need to use my speedlight, which I couldn't really use when the camera is sideways, anyways. After we determined sitting on them wasn't possible, we tried some other poses while also messing around with how much leggings were shown. I thought that the combination of her outfit, the nighttime, and the lighting added a sense of mystery to the serious photos.

Eventually though, "sitting" on the pole was achieved, leading to some of my favorite photos from the night. The background, lighting, and positioning all came together really well. For these shots, I thought that having more of the leggings and skin exposed would  add to the mood of the photo (and also because it wasn't really physically possible otherwise thanks to the stretchiness of her dress), plus it matched the poses well.

My friend decided we should get some group shots again, and after demonstrating and determining that my phone-based wi-fi remote wasn't going to work with the poses we were trying, I resorted to setting up the camera and speedlight (due to the increased distance to get us both in the shot), setting the timer, clicking the shutter button, and then running in a panic to my spot. 

To get full-body shots, I had to rotate the camera and tripod, meaning no more speedlight, and set everything up again, giving my friend some more time to have fun before getting some more group shots, including a fun one and one of us being badass looking. We don't mess around.

To be honest, as of right now I find it more difficult to be creative in editing with portraits than automotive photos. However, something I think portraits really lend themselves well to are black and white conversions, which is what the following two photos are. They add this feel and emotion to the photo that can't really be put into words, and that is what I'm after when I take pictures. For some reason, when I look at these pictures, the Jaykode remix of the song "New York City" by the Chainsmokers pops into my head. The first photo involved black and white conversion, followed by adding in cloud and rain effects, while the second was a black and white conversion and darker contrast/blackness settings.

It's always fun to hang out with friends and decompress when life gets stressful. As much as it seems like that isn't possible when life gets busy, time can be found and made. 

Bugatti Chiron

Living in Arizona has its perks, especially as a car person. Scottsdale is home to all kinds of amazing cars and car events, all of which I had no idea existed three years ago. The wonder never ends, as I would have never guessed that I would be able to come face-to-face with the Bugatti Chiron, fresh from Geneva and resting before Pebble Beach.

To the uninformed, the 2017 Bugatti Chiron is the successor of the Bugatti Veyron, the poster-car for "fast car" since its release in 2005. How do you top a 1000+hp, 250+mph, $1,500,000 USD hypercar? Take everything that was excessive and turn it up to 11.

A quick-run down of the specs. The Chiron will cost you $2.6 million dollars, if you somehow get your hands on one of the already-sold-out-500 copies to be produced. The engine now pumps out 1500 horsepower and 1200 lb-ft of torque from a revised quad-turboed W16 engine, venting all of those burned dinosaurs through six exhaust pipes, four out the rear and two out the underside of the car, creating a blown diffuser, the same technology that was banned in Formula One. In a world where the "Holy Trinity" have turned to creating hybrid hypercars, Bugatti stuck with time-old-tradition and kept the car with a gasoline engine only, using sheer force of engineering, displacement, and boost to crank out the power. With all of that power, it seems a little disappointing that the top speed is only 261 mph. However, this isn't it's final form. The 261mph top speed is "limited", since its record-setting top-speed attempt will attempt to crack 270mph. 

There will be no shortage of options, either, to make sure each car is unique. After all, if you're paying for the price of six Lamborghini Aventadors, you want to make sure that the Cars and Coffee meet you roll up to doesn't have a Chiron with the same grill-color, a $6,800 option. This is a steal compared to the bare carbon fiber option, which is $289,000, enough to buy a McLaren 650S with $24,000 left over. Or, if you aren't feeling up to completely exposed carbon fiber, a partly exposed carbon engine cover is a mere $17,000, which is perfect since this is the same price as the sports seats, so you can go even faster. Or, tl;dr, everything is expensive, but luckily, there is a four-year service plan that will cover all maintenance on the car, making it more affordable!

There's no need to go on about big the numbers on this car is, because they're massive.  Rather, lets talk about the design of the car. Now, this is completely objective, but when there is so much press over all the numbers I just quoted, personal opinion is always interesting to hear. I know many people who think the Chiron looks ugly, but I disagree. The Veyron was nice looking, but, dare I say it, it was a little "bland", since it was mostly made of basic, round shapes. As an engineer, I appreciate the engineering beauty of the Veyron, but I felt the aesthetic beauty was a bit lacking. The Chiron, however, is completely different. There are aggressive character lines all over the car, giving it the aggressive, assertive look it needs to say "Hey, you wanna race? Cuz you'll lose" to the face of P1s and LaFerraris, the current definitions of hypercars. The long taillight, and the angular rear that juts out, housing red taillights with beautiful geometry inside, is a sight to behold that no picture can do justice to. It captures the imagination as it looks like an impulse engine that belongs on the Enterprise in Star Trek rather than a car that sits in front of me. The massiveness of the wing on the back lets you picture the air rushing past it when the Chiron is racing at full speed. Those LED DRLs on the front of the car give an unmistakable, angry look, befitting for the rest of the front fascia. And the width, my God this car is so wide, it looks like it will not hesitate to eat small children and compact cars for breakfast. As an engineer, I love all of the vents and scoops, as it affirms my belief that form follows function, that engineering is beautiful, that engineering can be an artistic masterpiece. To think of how much air and fuel the engine eats at full-throttle, how the air moves around the body at Vmax, and how everything inside the car manages to not spontaneously combust is a beautiful thought in my head.

But the one obvious styling detail that i absolutely love is the characteristic 'C' line throughout the car. It's present on the side, acting as the dividing line between the two-tone color scheme. It splits the car in half, forming a crease on the hood that becomes pronounced on the roof and becomes a bridge overlooking the engine. The seats of the interior are bisected by a 'C', swooping gracefully through the cabin. In a world where extreme design is the norm, the Chiron nails it with unique styling elements that will make it to the walls of five-year olds and thirty-five year olds everywhere. 

Will the Chiron be able to define this generation of hypercars like its predecessor did, especially with fiercer competition in the guise of the Koenigsegg Agera R/ One:1/Regera, Porsche 918 Spyder, McLaren P1, and Ferrari LaFerrari? Only time will tell.

Am I fanboying over this car? Possibly. But when it's a car designed to define a generation like its predecessor did, it's hard not to be overwhelmed and infatuated at first-sight. Or second sight. Or third. The Veyron was an engineering marvel. The Chiron is this plus a work of art. It'll be great to keep this rosy image of the car in my head, as it is highly likely this will be the only time in a long, long while I will ever see this car. But, I hesitate to say "ever". After all, this is Scottsdale. Who knows what will show up next?

Keaton's WRX

As mentioned in Milo's Impreza, I went to No Fly Zone with a group of people. Keaton, a very close friend of mine I met in the beginning of college, was another person in our group, driving his WRX. And, as stated before, when a Subaru and some dirt combine, rally drifting ensues. Milo and Keaton drove together, however, due to all the dust kicked up, I could only photograph the lead car, which was always Milo because he has more experience than Keaton. However, that doesn't mean I couldn't snap a photo of his WRX as it emerged from the dust. Look forward to an actual feature of Keaton and his WRX soon.

Automotive Photos from the Past Month

I'm not dead, I promise. Just super busy and slow at editing photos. Here are the pictures I've posted on my Instagram/Facebook, I posted these thinking I would be done with the rest in a week and I would have all photos and a write up on the blog, but clearly that hasn't happened. I promise I will work on them as soon as possible though.

San Diego/Coronado Island Long Exposures

Since I don't sleep until late, and I managed to fit my tripod into my luggage, I was able to play around with long exposures. The Silver Strand Bike Path on Coronado Island gives amazing views of the San Diego skyline, with the bay glimmering below. Since Phoenix, located in a desert, lacks such bodies of water, I thought this would be a perfect opportunity to take long exposure photographs of a city that actually can be identified as long exposure due to the water becoming glossy. So naturally, the first pictures I took were of the city. The first photo was taken in the late evening, so the blue of day still faintly remained. The other three were taken in the dead of night.

The locations I took the photos at of the skyline were around a mile away from the hotel I was staying at. Thus, it was a bit of a walk to get back and forth, so I wanted to get my money's worth when it came to subjects and photos. So, I turned my attention to the bay and the ferry landing. The USS John C. Stennis (CVN-74) was still in port the first night I was there, with her registry number on her bridge glowing bright. I wished I could've gotten a picture of the Carl Vinson and Reagan's registry numbers as well, but their positions meant they were facing the San Diego side of the bay. Also, facing Coronado was the USS Midway museum, with her registry number, as well as decorative lights, glowing. I thought the pictures of their registry numbers glowing in the night would look fantastic, so after trial and error I managed to snap pics of them. Since I had to be on the ferry landing to get these pictures, I also decided to photograph the pier and local beach area, once filled with people, now completely deserted, save for the fishermen... more on that later. It's interesting what happens at night; while taking photos, I ran into a group from Turkey and talked with them a bit- turns out one of the men in the group studied engineering at the University of San Diego some 20 odd years ago. Night time is always interesting; a whole new group of people are out when the sun sets.

Back to the fishermen, the pier that is usually filled with tourists or people simply seeking a relaxing, fun time on the island was now filled with fishermen. Fishing poles and people lined the sides, with some quiet music thumping and muffled chatter filling the air. This being the first time I've ever been out late in Coronado Island, this was a completely new side to the place that I never knew existed. Despite it being so late, they had an energy with them, that I decided to try to capture with long exposures that would show their movement and activity. I call these photos "The Fishermen of the Night". 

Of course, how can I forget the Coronado Bay Bridge and the shipyards beneath it? To be honest, from the Coronado Island side the bridge isn't really in an attractive position; it just looks like a thin line stretching across the sky. But, the bay below it stretched far out in all directions, and the lights from the bridge and the shipyards certainly made things interesting, especially in the water reflections. 

The walkways emptied out by around 10:30pm or so. Cleverly, the LED lamps that illuminate the walkways stay at half power unless someone walks under them. I always thought the walkways were paved in a fun way, like a race course, and with the lights over them and city skyline in the background, I thought they would make for a perfect picture. Of course, when I first tried taking photos, the half-illumination status of the lights didn't create the bright, dramatic effect I wanted, so I had to run underneath each of them to trigger them before taking the picture. I find a beauty in empty roads and paths; perhaps its the philosophical and metaphorical parts of my brain romanticizing the images. Maybe the stillness invokes ideas of tranquility and quietness. But to see only portions lit makes the effect even more dramatic. 

However, these are the images I am the most proud of. Why is the sky so wispy, and why is the water smooth as glass? Well, each of these pictures were 8 minute exposures. I first noticed on one of my bridge pictures that lasted for a minute that the long exposure caused the clouds the clouds to be drawn out and the water to be even more smoothed over than my previous 15, 20, and 30 second exposures (naturally). So, I decided I would use my ND filters to try to create an ultra-long exposure, and after messing around a bit, I got these two photos. Since they took 8 minutes each to take, it was pretty time consuming so I didn't have a chance to take many. But, I am extremely happy with these.

I also decided to take a blurry picture of the pier and edit it, for l'art: