Your Bike in the Frame

Mike Bodnar provides some hints and tips for taking better pics of your motorcycle…

 

Pretty much perfection (Image: Facebook Marketplace)

I have to declare up front that I am not a professional photographer. A keen amateur, yes, and I’ve been taking pictures for over sixty years, a few of them even award-winning, but professional? No.

So, what I’m sharing with you today is purely based on my experience; it is not the Definitive Guide to Taking Perfect Motorcycle Images. That said, I hope you get something from it.

I also need to be upfront and apologise to anyone whose motorcycle photo I've copied from Facebook Marketplace, Trade Me, or other sales sites. I use them here only to illustrate, not to offend.

An article like this could run into tens of pages, if not hundreds - it could easily be book-length - so I’m going to keep it simple by splitting the subject into just four key segments: Composition, Background, Lighting - and, for the enthusiasts - a little bit about Editing.

Composition

This is quite simply about how you want your bike to look. Motorcycles, by their shape, beg to be shot in landscape rather than portrait mode. So, if you’re using your phone and want to take an image of your bike side-on, hold the phone sideways, not straight up and down. Unless – and there is an exception – you want to capture your bike in a three-quarter profile shot. 

Image from Trade Me. Too much grass
in the foreground, too much foliage behind,
and the succulent plant looks like it's growing
out of the bike...

Try and get all of the motorcycle in the frame. Take note that on many bikes it’s the mirrors that are the highest point of the bike, so try and keep them in shot. Likewise, cutting off the wheels at the bottom will result in a flat-tyre look, so avoid this also.

Consider how much of the frame the bike takes up. If you’re standing too far back you will almost certainly have space in the foreground, off to each side, and above, so take some time to position the bike without including any wasted space. I have seen so many images of motorcycles where a third, sometimes half of the image is taken up with road surface in the foreground. If that happens, you can always crop it out (see Editing later).

The exception to this is where you want a photo of your bike in a particular landscape, showing, for example, that you’ve been to the coast, or a mountain-top, or somewhere with an alpine view. In that case you’re showing the context of the ride, rather than just the bike, and that’s fine. Add it to your travel blog and watch the likes roll in.

No distractions...

If you’re going to shoot it portrait because you want to capture, say, more of the front of the bike, position yourself in front of it, but still slightly off to one side, so that we can see some detail down the side of the machine. See sample pic (left).

And finally from a composition point of view - and if your knees will take it - get down to the bike’s level rather than taking the photo from your usual eye-level. Looking down on your machine from head-height will make it look smaller, so if you can get down on one knee, or even pull up a chair if it’s available, go for it. If you’re really athletic and want a unique view, lie on the ground and take the photo looking up!

(PS: On the other hand, you might want to drag the stepladder out from the garage and stand on that for a higher angle shot. Don't be afraid to experiment!)

Background

Background is too busy. Image from Trade Me

Motorcycles can be visually complex, especially where they don’t have fairings, and most of our bike don’t these days. So it's advisable to avoid ‘busy’ backgrounds, such as picket fences, vegetation, a cluttered garage, or anything that compromises the look of the bike.

If you were engaging a professional photographer with a studio, they would likely pose your machine against an infinity backdrop – basically a sheet of material or even paper – that covers the floor and curves up behind the bike, giving a pure and uninterrupted background with no lines or distractions. The bike is the star of the show, and nothing else matters. The infinity background ensures your eye won't be carried off somewhere else.

Studio shoot: out of reach for most of us.
Image: Neve Studios

Most of us can’t afford a professional studio, so we need to find backgrounds that are at least plain. 

You could always simply hang up a bed sheet behind the bike - perhaps on the good old Kiwi washing line, or pinned to the carport roof beam. 

A rendered concrete wall is another option, as long as it’s painted in a neutral colour. If your bike is blue and the wall is orange, it’s probably not going to work.

Cheaper option: find a neutral background.
(Image: Trade Me)

You can - if you want to be more of a pro photographer and if space allows - position your bike a long way from a busy background so that when you take the photo the bike is in focus and the background slightly blurred. If you’re using a proper camera rather than a phone, and you have a zoom lens, try positioning the bike away from the background, and then position yourself further away from the bike. Zoom in and take the shot. That way you stand a good chance of the background being even more out of focus, and even if it’s a slightly busy one it won’t matter as much. Pro photographers call this sort of out-of-focus background 'bokeh.'

And lastly, your concrete driveway might be exactly the background you're looking for - but you'll need to get the stepladder out and shoot from a high angle.

Lighting

It may come as a surprise – when, as fair-weather motorcyclists, we usually choose sunny days to go for a ride – that cloudy, ‘flat-light’ days make for better motorcycle images. This is because there are no harsh shadows, no areas of contrasting bright and dark, and the details of the bike can be seen more clearly.

Harsh light, along with bike too tight in the frame.
Michael could try harder.

So while you might be tempted to take the ultimate image of your pride and joy when the sun’s shining, think twice.

A pro photographer would, in such circumstances, perhaps shoot the shaded side of the bike, but use a light reflector – a circular sheet of white (and on the reverse side, foil) material which can ‘bounce’ sunlight onto the bike to help even-out the lighting. It doesn’t matter if you don’t have one – you can use anything large and white, like a sheet, or a big piece of white card. As long as it bounces the sunlight it should work.

Multiple things wrong here
(apologies to owner!):bottom half of picture
irrelevant (and photographer's shadow
in shot),bike too small in the frame
with cluttered background, and wasted
space showing the driveway and paddock...

And speaking of sunshine, watch for your own shadow in shot! I have seen so many photos taken by owners of their bikes on a gorgeous sunny day, only for their own shadow to drape across the bike like a dark wraith. This is another good reason for getting down on one knee for the shot.

Alternatively, if you can find somewhere shaded, use that, but not – and I can’t emphasise this enough – not where the shade is comprised of multiple tree branches, or a fence of railings. What you need is smooth, even shade, the sort you’d get under a carport with a semi-opaque roof.

The time of day you choose is important also, especially if the sun is actually shining and you want to use it. There’s a time that photographers call ‘the golden hour,’ which is not long after dawn, and, at the other end of the day, just before sunset. At both times the sun is low in the sky, and your bike’s paintwork will glow accordingly. Especially towards sunset, you might need to move the bike around a bit until you get the sunset reflected in the paintwork. It can be physically strenuous, but worth it.

Golden hour

If the sun has just set, but there’s still light in the sky, consider illuminating your bike a bit using a torch, and maybe turning on your bike’s headlamp to add some extra interest. If you want to get really professional, use some lighting behind the bike, or even under it, to help augment the scene. There are plenty of usb-chargeable lights available online for this sort of thing, and they’re not expensive. Experimenting with lighting is both fun and rewarding - try it!

Editing

Finally, what can we do to enhance our images after we’ve shot them? Or make some of our older shots - perhaps of bikes we no longer own - better? The answer is: plenty, but let’s start with the simplest: cropping.

Cropping is just re-framing the image to exclude superfluous space around the bike. Most phone cameras come equipped with cropping capability, so if you have inadvertently included way too much foreground, simply crop it out and save the new image. 

This is the photo from earlier in the article, cropped and with
the background blurred. It literally took about 10 minutes,
and now all our attention is focused on the bike.

You really don’t have to spend any money on fancy editing software like Lightroom or Photoshop – there are many free apps you can download that are easy to use. If you use Google Photos to store your images, for example, simply opening any of the pics will present you with multiple editing options, from changing the brightness, contrast and shadows, to increasing the warmth, making the image ‘pop,’ or adding a vignette round the edges. And of course, you can crop away to your heart’s content.

Of the options in Google Photos for example, I mostly use the cropping, brightness, saturation, warmth, and – frequently – vignette tools. The vignette in particular adds a faint black halo around the edge of the image, which helps emphasise the importance of what is in the centre of the frame – in this case, your motorcycle.

I urge you to play with these tools and see what they can do for your images. You can always undo something if you don’t like it.

As I mentioned at the start, a subject like this could easily run to the length of a book, but even if you consider just the basics of composition, background, and lighting, you can easily turn your snapshots into artworks. And don't forget, with digital photography, take as many images as you like till you get it right - it doesn't cost anything!

POSTSCRIPT UPDATE!

Since I wrote this article, Google's Gemini AI generator has suddenly risen to great prominence, and has been promoting how much it can help turn photos into masterpieces in a matter of seconds. 

Believe me, it can, and it can make a very ordinary image of your motorcycle into a work of art. Try it and see for yourself. 

What will help achieve something remarkable is to make your prompt - that is, what you tell the AI to do to your image - as clear as possible. 

Before, and...

For example, here's a before and after example of my bike. I asked Gemini to make the background look like a stormy sky, with clouds lit from behind by lightning. I asked it to also put some pools of water around the bike, with wisps of steam rising here and there. It took less than a minute, and I love the outcome. 

At the moment Google Gemini Flash 2.5 is free, and maybe it will stay that way, I don't know. But the point is it costs nothing to play with it, and you can tell it to refine your images as many times as you like until you're happy. Let me know in the comments how you get on.

If you want to see some of my images – none of them of motorbikes or AI-generated! – visit my Flickr portfolio here: Mike Bodnar | Flickr

Let's Twist Again...

 Mike Bodnar chooses a lesser-travelled road for a solo ride on his Royal Enfield motorcycle...

A 'buttock-clencher' approaches...

There might have been a slight frost overnight, but now, where the sun has touched it, much of the narrow winding road is dry. Except for some of the dark corners, overgrown on both sides with pines, tree ferns, or other natives, where sunbeams have yet to penetrate. Here the surface is damp, and I throttle down, changing from third gear to second, with an ever-so-slight touch on the rear brake pedal. There are some corners I take a little too fast - buttock-clenchers I call them. This is not a road for cavalier riding, so I slow down even more. There's no rush.

I'm on the Akatarawa Road in the lower North Island of New Zealand. My bike is a 2019 Royal Enfield Classic 500cc, the lineage of which can be traced back to 1901, in Redditch, England, but whose modern pedigree is based in India. It's a story as long and twisty as the road I'm on, but if we take a shortcut we can just say that after Royal Enfield Motorcycles ceased operations in England in 1970, production continued in Madras (now Chennai), India, as India had been assembling Royal Enfield motorcycles there since 1962.

It's a great success story, and today Indian-made Royal Enfields are exported around the globe, and have gathered an almost-cult status due to many of the models looking pretty much as they did in the 1960s. It's often confusing for onlookers who see the bikes outside cafés or in car parks; one of the most common questions is, 'How long did it take to restore?', or comments such as, 'Beautiful bike, looks almost like new.'

The bike: 2019 with a 1960s look - always draws attention

So here I am, worming my way along the Akatarawa Road, on my Classic 500cc single-thumper, which at first glance does indeed look like it's 60 years old. But apart from me there's nobody to look at it, as on this sunny Tuesday morning I have the road pretty much to myself. At the western end of the road, where I joined it, there's a cautionary sign advising that the route is unsuitable for long vehicles, to turn around now, and if you are continuing, not to trust GPS instructions. Consequently I see only three vehicles in the whole 25 kilometres (15.5 miles), but of course you never know what's round the next buttock-clencher, so I'm riding carefully. In my favour, the road is sealed and in overall good condition.

The road borders the Akatarawa Forest, and is lined for much of the route with lush vegetation, which, in places, overhangs the road. Appropriately, Akatarawa means 'trailing vines.' The proximity to the forest is no accident, as the road itself originally provided access for logging. In early days there were bush mills, and even a few industrial tramways to service them, though there's little or no evidence of these now.

An Akatarawa tramway in 1903

In the 1870s the route was briefly considered for a railway line, which would have linked the Hutt Valley in the east with the coastal settlements to the west, however a different route was settled on and nothing ever came of the rail venture. There is, however, as I ride through the twists and turns, a chugging noise - the sound my single-cylinder bike makes as I occasionally accelerate on those bits of road where I can see a reasonable distance ahead. The thump of a big single is one of the aspects of these bikes that endear them to their riders. It's a sound that provides more smiles per gallon.

I glance frequently at my speedo, though not to check my speed; I have another reason for taking note of my progress, and we'll come to that a little further into the ride. But speaking of numbers, the Akatarawa district itself is sparsely populated - there are only 2.1 people per square kilometre, so my chances of finding someone on the road round a corner are slim. I do wonder what 0.1 of a person might look like though.

The roadside bush hides farms and dwellings very effectively. There's the occasional giveaway fence, or a driveway tucked away in the trees, but you could be forgiven thinking that nobody lives here. And yet they must, because, well, the road: there has to be a reason for the road. I ponder what it must be like to live out here in the middle of nowhere, getting home from your fortnightly trip to the supermarket only to realise that you forgot to buy milk. I suspect those who do live here 'in the sticks' are resilient, and somewhat self-contained. Unfairly, the duelling banjos theme to Deliverance enters my head as I turn yet another leafy corner.

Not a place to forget the milk

Slowly the road begins to become a bit wider, the curves less tight, and I'm able to use third
and fourth gear more; the Akatarawa River becomes visible to my right, and I know I'm coming to the end of the valley road. Suddenly I'm in a suburb called Brown Owl, and it's time to join State Highway 2. I turn left, glance again at my speedo, do a quick mental calculation, and realise that I have to abandon my plan to head over the Remutaka Hill to Wairarapa. Instead, with a rumble in my tummy to rival the thumping from the bike, I'm reminded it's time for lunch.

I don't particularly like riding on state highways. My Enfield's top speed is not much more than 120kph (about 75 mph), and while that's not bad, it's not really what the Classic 500 is built for. However, most of New Zealand's open road speed limit is 100kph (62mph), and I don't have any trouble maintaining that - it's just that it's nowhere near as pleasurable as burbling and weaving along country roads at a more sedate pace. But I know of a place for lunch just up ahead, so that's where I'm headed.

Aston-Norwood formal gardens, my lunchtime view

Aston-Norwood is mainly a function and wedding venue, but with a pleasant café, and I find a seat in the sun overlooking the well-tended garden. Here I do some more calculations, check Google Maps, and decide on my next destination, which, of necessity, cannot be more than 15 kilometres away. Not because I'm running out of fuel, or time - I am on a mission. Which is, to be riding in an area where it's easy and convenient for me to pull over when my odometer ticks over to read 123456. Yes, a once-in-a-lifetime event is about to happen, and I want to take a photo to document the occasion. Which is why I've abandoned my planned journey over the Remutaka Hill - it would be too dangerous - if not impossible - to pull over on the side of that hilly, twisty road to take a picture.

A simple thing, but nice

So after a filling lunch of loaded fries and a drink, I find myself retracing my journey by nine kilometres, turning left at Te Marua, and heading out through a rural area called Maymorn. 

Here the roads are flat, largely straight, and clear - perfect for what I want to do. My head nods up and down as I ride, which is me frequently checking my odometer reading, and looking ahead to gauge where the Big Event will happen. Silly, I know, but sometimes it's the simplest things in life that give the most pleasure. And then I have no more than two-tenths of a kilometre to go and I'm approaching a corner with no idea what's round it, so I decide to turn around and slowly go back so that I'll be on a straight stretch for the final click-over. And then it happens, conveniently at a quiet driveway to a rural building complex. I whip out my phone, select the camera app, and shoot at least six pictures of my lovely odometer, smiling the whole time.

As I'm in the rural area north of Upper Hutt I choose to take a country detour to get back to State Highway 2, and prolong my merging with the busy road. Instead I ride mainly flat and clear rural roads, through Whiteman's Valley, and along the more twisty Blue Mountains road, which eventually winds its way smoothly down, twisting and turning, to join the main highway.

And so I head home, the late afternoon sun on my right, the harbour of Whanganui-a-Tara to my left, its blue waters barely ruffling in the light breeze. I'm finally riding top-gear territory, and feel it's almost the equivalent of giving a horse free rein after having it compete in a tight and demanding gymkhana. 

We are  very lucky in Aotearoa/New Zealand that motorcycling can be a year-round activity, unlike, say, the UK where many (most?) motorbikes get tucked up by their owners from November through to April while winter does its worst, and the road crews spread salt and grit on the icy roads. The temperature for today's ride has been about 14 degrees Celsius, with ups and downs to that on the Akatarawa Road. Some dark corners the temperature would suddenly drop, reminding me that it's technically still winter, and yet on the sunny bits the warmth was palatable. Spring is coming.

It must be over 25 years since I last rode the Akatarawa Road, and I certainly won't leave it that long again (I mean, I am 71, so if I did I'd have to still be riding at 96!). If you'd like to do the trip yourself, here's a Google Earth 3D map (above), along with one (right) showing my full journey on the day.

Those who know the region will see that I've done my best to avoid State Highway 1 and Transmission Gully. Coffee was in the sun at Pauatahanui.

Maybe I'll do the Akatarawa trip again when my speedo's about to read 234567.