Article and image provided by GONZ Photography.
Thanks for the love on my “Huracán Hurricane” edit everyone, very much appreciated. I went with the surrealist-look since (A) there aren’t any Hurricanes in California and (B) I had extremely limited access to the new Lamborghini Huracán. I was on site shooting photos for Lamborghini Newport Beach at the California Speedway during Lamborghini North America’s Huracán Test Drive event. That said, the overall concept I had had for a few days. The mood had to be dark, so the overall image tone had to be underexposed to have this effect on the viewer.
The first step was taking my base image and immediately cutting away what I wasn’t going to use. From the barrier in the background down, I kept, and everything else was separated onto a different hidden layer. Once I knew what I was going to use, clean up commenced. I erased the blurred cone and port-o-potty behind the closest barrier. Slight edging clean up was done to the Huracán’s front nose to give it a sharper look. Once that was done, I then started to mess with the overall tone, adding a cooling filter with a slight desaturation of tones. Once the foreground was processed, I had a clearer idea of where I wanted to take this photo. The next step was by far the hardest: the storm in the distance.
The storm was made entirely from scratch. The whole back plate was composed of more than 15 different layers from about 3-4 different sky images I’ve had for months with the intention for future use. Using different blending modes and opacity in each, I tinkered until I got the final sky look I wanted. The next step was constructing the funnel which took about an hour and a half by itself. Since it was the first time I’ve constructed a funnel from scratch, it took me a bit longer; it was a learning and experimentation process. A lot of trial and error went into that funnel. Lots of erasing, layer blending, copy-pasting sections of cloud, motion blurring and a little warping was done to give it the slight bend. Matching the hues to the ground was one of the easier processes.
The reflection on the ground was rather simple: copy paste the foreground layer, flip horizontally, add tweaks to the perspective, add a Curves adjustment to darken it a bit. One of the hardest parts was creating the rain mist by the tires from scratch. About 4-5 different layers were done to create the desired effect using a very light and soft brush. Once that was done, I added a glow-effect to the headlight and taillights.
The rain cast over the whole image was made using motion blurred noise followed by some levels adjustments to bring the lighter streaks out. With the various rain layers done, I mixed and matched each rain layer & set some to around 60-70 percent opacity at 30-40 percent fill. I then enlarged and shrunk the rain drops layer to make different rain drop sizes to create depth.
From here, it was all downhill as I was reaching the final steps of editing the image. I added a slight flare to give a light source reference for the shadows cast on the Huracán‘s body lines. I then used 2 to 3 different gradients set to different blending modes to really make it dramatic. I added a curves adjustment layer to bring it all together, and it was time for a watermark.
Looking back at it now, I’ve learned a few new tricks for future projects. Some were harder to figure out than others, but it’s all a process. I’ve been messing around in Photoshop for years, and I am still learning something every time I fire it up. I hope you guys enjoyed the breakdown of my “Huracán Hurricane” photomanipulation project.