This is one amazing 1955 Chevy Bel Air

1955 Chevy Bel Air
A Harvest Gold 1955 Chevrolet Bel Air

About the 1955 Chevy Bel Air:

What can I say When I saw it I absolutely fell in love with this 1955 Chevy Bel Air. With the exception of my


wife and children, there is little else on this earth that I really want. The car is truly a staple in any serious auto collector’s collection. Production of this classic is hard to be determined but the best guess is approximately 1.6 million vehicles were made between the 1500 series, 2100 series and 2400 series. It came in both a v6 and v8 in all series. It MSRP at $1593-$2571. Although out of the three similar models 1955, 1956, 1957 and the 1957 Bel Air is the most popular with high tail fin. Each and every year is special, a similar but unique vehicle.

The shot:

Fine art photography is tricky when you are shooting in showrooms and venues designed for vehicle sales. The lighting in showrooms is designed to accent the car and is not necessarily conducive to good photographs. In many cases fluorescent lighting is used, which depending on the type of bulb produces a green to a yellow hue to the color of the car when photographed. This car was no exception the lighting caused a very green hue which needed to be adjusted out in the color balance. One way to combat this is to use a 50/50 filter. While this will not fix all the color issues it helps quite a bit. What the filter does not help Photoshop will. There is a trick to Photoshop, though. In Photoshop, contrary to popular practice, when you have color hue issues you want to adjust the image in the “Camera Raw” before opening in Photoshop itself. The camera raw converter for lack of any other way to explain it is very similar to taking a negative, for those of you who remember film photography, and adjusting the exposure time and adding exposure filter on the light source. You know, the old school way of photography, developing the negative and exposing color or black and white paper to light.

In Camera Raw you can adjust the image’s exposure for those images that are underexposed, overexposed, have weird color hues or the image temperature is too cold (blue) or too hot (red), and basic cropping. The bulk of your modifications to the raw image should be done in Camera Raw. The more you play with a picture in Photoshop proper, which is outside of Camera Raw, the more pixelation you will introduce to the image. The same is true when you overuse plugins in Photoshop. Your work can have artifacts introduced into the image. The less plugin works you have the fewer artifacts you will have. That said, Adobe has gone miles to improve and upgrade Photoshop and reduce and nearly eliminate these introduced artifacts but artifacts can still be found.

The final product was created utilizing 3 layers. The three layers were: the car itself (cut out and trimmed), one layer for the background color and one layer for the background behind the windows and glass. Although stacking in the right order was critical for this image the results speak volumes. I have this image in my office and definitely would place a print in my man cave if I actually spent any time in there.

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Author: Chris Flees

I am an artist, art promoter, and art marketing professional who specializes and blogs primarily about art topics and the "behind the scenes" of my subject and images. Occasionally I blog about Christian topics.