If you’re a loyal Functiontheory reader, you know the past two years have slammed me into Adultsville—population: me, swamped by responsibilities, moral duties, and a sprinkle of existential dread. Gone are the days when my biggest stress was chasing a sub-2-minute lap, keeping up on the blog, or debating if five Hondas were one too many. Yeah, those carefree, hobby-obsessed days are gone, buried under my newfound obligations and work emails. Don’t cry for me, though, Argentina’s got enough drama. I’m just navigating this new reality where “me-time” feels like stealing cookies from a kid’s lunchbox: guilt-ridden and fleeting.
Forget about my hobbies; just finding time to hang with my friends, or even just shoot a text—has become a Herculean task. I never thought I’d be that guy, whining about how hard it is to stay connected, but here we are. Between juggling family life, work deadlines, and my sacred ritual of passing out on the couch to Collector Car Feed YouTube marathons after Madison’s bedtime, I’m running on fumes. I tell myself, “Just text ‘hi,’ it’s not rocket science,” but then I see my phone mocking me from the kitchen table—all the way over there—and I spiral. What if you reply with a full-on convo? What if I have to engage? I’m not proud of it, but I’m a hi/bye, yes/no texter now, conserving my emotional battery like it’s the last gallon of gas on a post-apocalyptic road trip.
I swear, I don’t mean to make it sound like you, my amazing friends, are a burden. Far from it. You’re the VTEC to my Honda, the cheese to my chili dog. It’s just that this whole adulting gig feels like a cosmic game of Tetris—family, work, and friends are all L-shaped pieces that refuse to fit together. It’s either family and work (no friends), or family and friends (if I’m miraculously off work), or—ha—work and friends? That’s a fever dream I won’t have until Madison’s in college, circa 2040. I’m not waving a white flag, but some days I’m just trying to keep my head above water, clinging to the wreckage of my old, carefree life like it’s a Nextel i95 in a sea of buzzing Apple Watches reminding me about swimming and gymnastics classes.
So, here’s my emo-tinged plea: I miss you. I’m sorry I’ve been an absent, out-of-touch mess who’s allergic to any sort of communication. Some days I really want to reach out, but I feel like it’s been so long that I’m already a ghost to you. I’m trying to figure this out, one exhausted nap at a time. Send me a meme, a car pic, or just a “yo” to remind me I’m not alone in this weird, grown-up dystopia. I’ll reply—maybe not with a novel, but with all the sincerity my tired heart can muster. I know it’s a two-way street, but buddy, I’m stuck at a crossroads in a traffic jam, so bear with me.
What does this rant about losing touch and collapsing into exhaustion as I navigate adulthood have to do with this blog post? I’m not seeking sympathy—I own these choices. I miss the carefree days of tinkering with cars or late-night hangs with friends, but I’m far happier with where life has taken me and thrilled for what’s next. Still, I never imagined how hard it would be to stay connected with friends or carve out time for myself after having a baby. I don’t want to lose touch with who I was. My passion for VTEC, the heart of my car-tinkering days, remains my north star. Right now, the skies are overcast, and I’m struggling to adjust to this new rhythm of parenthood. But I’m hopeful I’ll rediscover those passions and blend them with the joys of this new chapter. That’s why my Civic Type R and buddies like Dan, who share my VTEC obsession, are my lifeline—a reminder of who I was and still want to be.
That’s where this story kicks in. For months, Dan and I have been playing a frustrating game of scheduling tag, mostly because I can’t find/make time to geek out over our cars—specifically, his recently acquired (not so recent anymore) FK8 Honda Civic Type R, the kind of machine that makes your heart race just looking at it. About nine months ago, Dan joined the Type R gang, snagging what I’d argue is the best car ever made. There’s something special about sharing that “if you know, you know” bond with a friend who finally gets why this car is more than just metal and horsepower—it’s a lifestyle, a religion, a turbocharged love letter to driving. As a bit of an FK8 nerd myself, I love being the guy who can answer his questions, swap tips from my own experiences, and nerd out over every red-badged detail. But life, as it loves to do, kept throwing wrenches in our plans. Work, family, and the relentless daily grind—you name it, it blocked us.
We almost had it. One glorious day, it seemed like the stars were aligning for our long-overdue meetup. I could already picture it: two Type R fanboys, cameras in hand, taking pictures of our cars under the Nevada sky, discussing suspension tweaks and JDM parts like the enthusiasts we are. But just as we were about to make it happen, life slammed on the brakes. A frantic call pulled Angie, me, Madison, and the dog to Hemet, California—a city I’ve dubbed the armpit of the state—where her mom resides.
For months, Angie’s mom has been teetering on the edge of life, teasing the Grim Reaper with a sly grin. She dips her toes into the grave, only to yank them back just before death can grab them. This isn’t a “woe is me” story; it’s just the raw truth. You are going to die, your parents, your children—they’re all going to die. Accepting that doesn’t make it less heavy, but it grounds you. It strips away the naivety, preparing you for the day when the world tilts. The sooner you face this, the better you’ll cope when that inevitable moment comes. It’s not about despair—it’s about clarity, a reminder to cherish the time we have, whether it’s chasing dreams or holding tight to those we love.
After flaking on Dan once again, I’m hoping he doesn’t think I’m making excuses. I genuinely want to hang out, obsess about our cars together, and make those Type R dreams a reality, but life’s demands keep getting in the way, and I’ve used just about every excuse in the book so far. To prove I’m serious about hanging out, I curbed all my guilt and came to a selfish conclusion. Family obligations pulled us to Hemet, California, on Friday morning, and we didn’t get back until Saturday night. Sunday was hectic—I was up early for work—but as soon as I got off, I texted Dan: “You down to meet up tonight after Madison goes to bed? At this point, I figured I needed some drastic measures to prove that I, in fact, really do want to hang out.
As luck would have it, he was down! The stars finally aligned, and we were able to meet up for a few hours late at night; one might even say Past Curfew. I didn’t feel guilty about going out after Madison went to sleep that night because we had just spent the last 48 hours doing a circus act, running around Southern California doing family stuff. Maybe it was the wacky sleep schedule I had just gone through, but for some reason, I was full of life on Sunday evening, even after working all day. I seized the moment, loaded my camera equipment in the car, and headed off to meet up with Dan to finally see his tastefully modded Type R in person and go on endlessly about our amazing machines.
Dan lives on the completely opposite side of town from me in Henderson, which, to Vegas locals, feels like a million miles away (despite it being only 25 miles). But to me, because I love driving, especially my hopped up Civic Type R, it seems like just a few minutes’ drive. In fact, I was excited about meeting him on his side of town because any time I can spend driving my Type R is time well spent. Since I don’t often get the chance to drive it, the 50-mile round trip gave me the opportunity to spend some quality time in the car, crack some “VTEC” (even if it’s not as noticeable in the new turbocharged K20Cs because they lack true DOHC VTEC, as they only have VTEC on the exhaust cam), feel the exhilaration of accelerating in every gear as the low-RPM torque these cars produce makes me smile every time I press the gas, and, lastly, my car has significant suspension modifications, including spherical bearings that have replaced the rubber bushings. Every time I drive it, I’m blown away by how precise, direct, immediate, and responsive the handling is—this thing is glued to the road.
Dan and I are hobbyist photographers at best, but we love snapping pictures of our cars and editing them in post to make them look halfway decent. Unfortunately, we could only meet at night, which isn’t ideal for photography. Still, the best way to improve is by practicing and tackling the challenge head-on. Shooting cars at night is tough: low light means blurry or noisy images without a tripod or fast lens, and car surfaces reflect streetlights or headlights, creating annoying spots or weird color casts that are hard to fix in post. Dark or busy backgrounds, make clean shots tricky. You need specialized gear and a good grasp of manual settings to capture details. Most lights these days—fluorescent or harsh LED—blow out the white paint on our cars, making it harder to balance the dark or shadowed areas. Plus, the spot we chose, while being argueably one of the better locations had tons of lights casting shadows that wouldn’t be there in daylight.
That night, we arrived at the spot Dan recommended, and I was pleasantly surprised by how well-lit it was, creating a warm, inviting atmosphere for some solid shots. Unfortunately, a giant yellow gate closing off the parking lot from the street posed a challenge. In photography, you generally want to avoid having lines or objects cut through your subject, as they can distract the viewer, disrupt the image’s balance, or make the subject feel fragmented. For example, a line like a gate running through a person or focal point can pull attention away from the intended subject and confuse the composition. Here, the yellow gate sliced right through my subject, and despite my efforts to reposition, there wasn’t much I could do to avoid it without compromising the shot entirely.
ƒ/5.0
Focal length 70.0 mm
Shutter speed 3.2 sec
ISO 100
The picture above is well-framed, but unfortunately, it’s a bit dark. This is a challenge because the computer I edit my photos on makes images look brighter than they appear on other devices. This issue is called color shift or color inconsistency across devices, often due to differences in color calibration, color profiles, or display settings between screens. I know this is an issue, but trust me, the picture looked overexposed on my screen during editing! I guess I’ll just have to remember that if they look overexposed, then it will turn out perfect on other devices.
The image below is poorly composed, ignoring the rule of thirds, and the Lightroom preset filter I used doesn’t work. It looked decent on my editing computer, but on other devices, it appears flat and underwhelming.
ƒ/5.6
Focal length 70.0 mm
Shutter speed 3.2 sec
ISO 100
The picture below has strong composition and is well-exposed, with balanced lighting that highlights the subject nicely. Unfortunately, I think I placed the car in the wrong part of the frame when applying the rule of thirds. The rule of thirds suggests dividing an image into a 3×3 grid and positioning key elements along the lines or at their intersections to create a dynamic, balanced composition. Here, I placed the car in the lower third of the frame, which makes it feel weighed down and less prominent. Instead, positioning it in the upper third would have allowed more foreground to anchor the scene, drawing the viewer’s eye upward and creating a sense of depth and expansiveness in the image.
ƒ/8.0
Focal Length 70.0 mm
Shutter Speed 2 sec
ISO 100
To avoid the yellow gate cutting through my subject, I extended the tripod to its maximum height, giving me a downward perspective that used the smooth concrete floor as a clean, even backdrop. This approach worked to some extent, as it eliminated the distracting gate and kept the focus on the car. However, in hindsight, I should have positioned the car about six feet closer to me. This would have allowed the black wing to stand out sharply against the white concrete, creating stronger contrast and making the car pop, rather than blending into the darker background.
ƒ/6.3
Focal length 70.0 mm
Shutter speed 2 sec
ISO 100
Next we added Dan’s car to the mix so we could take some “twinsie” shots because after all what’s better than one Type R? TWO TYPE R’s!
The lighting posed a challenge during the shoot, with all light sources coming from the left side of the frame. This cast the driver’s side of Dan’s car in shadow, complicating manual camera adjustments. Balancing exposure was tricky: increasing it to brighten Dan’s car often overexposed my car, washing out details, while lowering it to preserve my car’s clarity left Dan’s car too dark and obscured. After some trial and error, I found a workable exposure setting. In post-processing, I used Lightroom to create targeted masks, selectively enhancing the brightness and contrast on Dan’s car to bring out its details without compromising the overall balance of the image.
Plus, I think my perspective is wrong, and it makes my car get a bit lost, but that was the sacrifice I made to help focus a bit more on Dan’s car.
ƒ/6.3
Focal length 70.0 mm
Shutter speed 2 sec
ISO 100
By moving a few feet to the side, I captured a new perspective that better showcased both cars, balancing their presence in the frame. Despite my car being more directly lit and Dan’s car sitting in the shadows, I used masking tools in editing to make Dan’s car pop while toning down mine. This helped balance the exposure, drawing attention to both vehicles without the lighting overpowering my car’s details.
ƒ/6.3
Focal length 64.0 mm
Shutter speed 2 sec
ISO 100
By zooming in slightly and reframing the shot, I improved the composition, bringing the focus tighter on the subject and making the image feel more balanced. Unfortunately, that yellow gate still crept into the frame, cutting through the back of my car and drawing attention away from it. The red-painted curb or parking island with rocks was also a bit distracting, adding unwanted color contrast. Sometimes, you just have to work with what’s there, but these elements definitely challenged the shot’s clarity.
ƒ/6.3
Focal length 70.0 mm
Shutter speed 2 sec
ISO 100
We switched things up to make Dan’s car the main focus, and I think its placement worked well, likely because it sat nicely along the rule of thirds for a balanced composition. Looking back, though, my car’s positioning looks off—its angle feels awkward and throws off the frame’s harmony. I admit I don’t yet have the artistic eye some photographers have for setting up great shots, but I’m learning from my mistakes, like paying closer attention to how each element fits in the frame.
ƒ/6.3
Focal length 65.0 mm
Shutter speed 3.2 sec
ISO 100
Oops, I accidentally adjusted the lens focus while the camera was taking the picture. Is this art? (probably not)
ƒ/6.3
Focal length 65.0 mm
Shutter speed 20 sec
ISO 100
I shifted my shooting perspective to make Dan’s car the focal point while trying to make my car look less awkward in the frame, but it didn’t quite work as hoped. Placing both cars in the same third of the shot crowded the composition, making it hard to distinguish Dan’s car as the main subject and reducing the image’s balance. That yellow gate also cut through my car, creating a distracting line that pulled focus away. Plus, the shadowed driver’s side of Dan’s car lost detail, dimming its impact. I’m learning to spread key elements across the frame and experiment with angles to avoid distractions like these.
ƒ/6.3
Focal length 70.0 mm
Shutter speed 20 sec
ISO 100
I decided to ditch the tripod and shoot handheld, cranking my lens to its widest 24mm setting. Holding the camera high above my head, I captured a shot that I think turned out well. The wide-angle perspective emphasized the car’s sleek lines, with no distracting elements like the yellow gate cutting through the subject. The concrete background provided a clean, consistent backdrop, making my car’s wing pop with strong contrast. Shooting from this angle also used one main light source, creating a detailed, smooth image. However, to manage the handheld shot, I used a high ISO of 5000 and a quick 1/160 shutter speed, which required significant denoising in Lightroom to reduce grain. The f/2.8 aperture gave a shallow depth of field, so upon close inspection, not every part of the car is perfectly in focus. I’m learning to balance these technical choices to refine my shots.
ƒ/2.8
Focal length 25.0 mm
Shutter speed 1/160 sec
ISO 5000
Surpprisingly, this photograph came out pretty neat. Although,captured without a tripod, initially suffered from significant noise due to handheld shooting in low light, a common challenge at a wide aperture like f/4.0. Using Lightroom’s denoise feature effectively reduced this noise, preserving image quality and demonstrating the power of post-processing tools. The black wing, set against a dark background, benefits from strategic lighting that accentuates its silhouette, showcasing how light placement can define subject edges despite low contrast. However, the f/4.0 aperture, while creating a pleasing bokeh effect, results in a shallow depth of field, with the rear of the car in sharp focus and the front slightly blurred. This bokeh, often used intentionally to highlight specific features, is less effective here for capturing the entire car, as the blurred front detracts from overall clarity. The effect draws attention to the rear wheel and bumper, enhancing their visual impact, but the gradual loss of focus toward the front may lead viewers to mentally “fill in” details, potentially altering the perceived design. The presence of Dan’s white car, identical in color to mine, in the background creates visual clutter, merging with my car’s front and obscuring its details—a reminder to control background elements during composition. Similarly, the billboard and stop sign introduce distractions, underscoring the importance of scouting and framing to eliminate unwanted objects. This image highlights the trade-offs of low-light shooting and wide apertures, emphasizing the need for careful planning, tripod use, and background management to achieve a balanced, distraction-free shot.
ƒ/4.0
Focal length 24.0 mm
Shutter speed 1/160 sec
ISO 6400
Here, I was “spraying and praying,” shooting from various angles in hopes one would work, but the results show I still have some learning to do. The car positioning needs reworking, as both cars feel cramped in the frame, not following the rule of thirds for a balanced composition. A railing in the bottom left and that stop sign draw attention away from the cars, cluttering the shot. Shooting at f/2.8 also left parts of both cars slightly out of focus due to the shallow depth of field, reducing overall sharpness. I’m starting to see how careful framing and technical settings can make or break a photo.
This shot, again, was without a tripod, and once more I’m leaning heavily on the denoise feature of Lightroom.
ƒ/2.8
Focal length 24.0 mm
Shutter speed 1/160 sec
ISO 6400
When we relocated to a new spot across the street at another commercial warehouse, we found a promising nook with a clean, even background—an ideal setup for photography, as it minimizes distractions and enhances subject clarity. However, the location suffered from significant light pollution caused by multiple light sources projecting in various directions. This created unavoidable shadows across the scene and harsh reflections on the car’s surface, particularly noticeable on glossy areas like the doors. These issues disrupted the image’s balance, as the inconsistent lighting introduced unwanted highlights and obscured details. In retrospect, scouting the location at the same time of day prior to shooting could have revealed the light pollution’s impact. Additionally, using diffusers or reflectors to control light direction, or opting for a higher ISO with a faster shutter speed, might have mitigated the reflections and shadows. This experience underscores the importance of evaluating ambient lighting conditions and preparing tools to manage complex light sources for a cleaner, more controlled shot.
I used an adjustable ND filter to tone down the harsh lighting, aiming for a dramatic effect that I really felt when setting up the shot. In hindsight, though, the filter likely deepened the shadows, as it required a slower shutter speed to maintain exposure, which emphasized dark areas and reduced detail. While I love the shot’s moody drama, centering the car instead of using the rule of thirds made the composition feel static and less dynamic. The prominent shadows and reflections also distract from the car, making the framing feel unbalanced. I’m learning to balance tools like ND filters with stronger compositional choices for better results.
ƒ/5.6 Shooting at 5.6 ensures the whole car is in focus.
Focal length 25.0 mm
Shutter speed 2 sec
ISO 100 Because I’m using a tripod, I can shoot at ISO 100, allowing me to get the clearest shot possible.
Despite shooting at ISO 100, I still had to do so much in post that it still came out a bit noisy. Just mainly due to having to lighten the exposure and why I think I shouldn’t have used the ND filter.
And then it all just started going to hell from here on out. The shadows were killing the shot. And again, im having to over edit it so much just to get the expouser someone decent.
ƒ/5.6
Focal length 59.0 mm
Shutter speed 13 sec
ISO 100
I think these next few I was really going the right direction; they are framed well, I adjusted my position to not have those pesky reflections on the doors, and they do a good job of oozing drama. But I’m just not skilled enough to use the building lights to my favor.
ƒ/5.6
Focal length 59.0 mm
Shutter speed 2 sec
ISO 100
ƒ/5.6
Focal length 59.0 mm
Shutter speed 6 sec
ISO 100
ƒ/5.6
Focal length 59.0 mm
Shutter speed 0.5 sec
ISO 100
ƒ/5.6
Focal length 59.0 mm
Shutter speed 0.5 sec
ISO 100
ƒ/5.6
Focal length 59.0 mm
Shutter speed 1.6 sec
ISO 100
The three below below are just all sorts of messed up.
- There is a crazy gnarly shadow on the passenger headlight/bumper area that is just killing the shot, and no matter what I tried in Lightroom, I couldn’t fix it.
- There is some sort of air vent coming out of the building that looks like a shark fin on my roof. Properly framing the shot could have helped tremendously.
- The yellow bollards are horrible.
- The railing
- And lastly, I’m not sure about the building cutting off, leaving the front of the car to have a completely black background.
First one:
ƒ/5.6
Focal length 32.0 mm
Shutter speed 0.8 sec
ISO 100
Second one:
This shot turned out better thanks to some adjusted editing, which enhanced the car’s details and overall mood. I tried using Lightroom’s AI removal feature to erase an air vent on the roof that was distracting from the subject, but it was challenging for the AI to blend the area cleanly, leaving slight imperfections. I’m learning that while AI tools are helpful, they don’t always handle complex elements perfectly.
ƒ/5.6
Focal length 32.0 mm
Shutter speed 0.8
ISO 100
Third one:
And this one probably being the best out of the three, masking was done much better; however, the AI removal tool still couldn’t perfectly remove that air vent coming out of the wall.
ƒ/5.6
Focal length 32.0 mm
Shutter speed 0.8 sec
ISO 100
This one is decently framed and you can now see the air vent coming out of the wall that I was mentioning earlier. It almost works, but that damn shadow across the passenger headlight/bumper area is horrible.
ƒ/5.6
Focal length 32.0 mm
Shutter speed 1.6 sec
ISO 100
ƒ/5.6
Focal range 70.0 mm
Shutter speed 1.6 sec
ISO 100
ƒ/5.6
Focal range 70.0 mm
Shutter speed 1.3 sec
ISO 100
ƒ/5.6
Focal range 70.0 mm
Shutter speed 0.6 sec
ISO 100
I then felt bad that I was only taking pictures of my car when Dan had a prime example of a well-modded Type R just behind me. The background is semi-good here as it’s consistent, but the wing does just barely get a bit lost in the roll-up door frame. Had the car been positioned just a few feet closer or I adjusted the angle from which I was shooting, I would have been able to frame the shot just right. There is just so much to think about when setting up a shot that I’m not able to remember it all. I guess this is why I’m a mere novice when it comes to photography; for the pros, these things come naturally.
Also, all the lights are shining against the driver’s side again, leaving the passenger side in the shadow so much, in fact, that I couldn’t brighten that side of the car much more in post because I was starting to create noise.
ƒ/5.6
Focal length 30.0 mm
Shutter speed 0.6
ISO 100
I then went back to my car trying super hard to somehow capture a good picture of my car.
These.
Are.
All.
Horrible.
Now back to Dan’s car. As you can see, unlike the picture above of his car, I’m not shooting with the side that has the light on it, which is giving me killer definition.
ƒ/5.6
Focal range 63.0 mm
Shutter speed 1 sec
ISO 100
ƒ/5.6
Focal range 63.0 mm
Shutter speed 1 sec
ISO 100
ƒ/5.6
Focal range 53.0 mm
Shutter speed 1 sec
ISO 100
lightroom preset
ƒ/5.6
Focal range 53.0 mm
Shutter speed 1.3 sec
ISO 100
Lightroom preset
ƒ/5.6
Focal range 53.0 mm
Shutter speed 0.5 sec
ISO 100
lightroom preset
Now, back to my car. I’m shooting it with light from a single main source, positioned away from building walls to avoid strange shadows. One issue I keep noticing: the black wing blends into night photos, making the car look like a stock hatchback Civic since the wing’s silhouette is barely visible. I’m considering painting the wing to match the car’s body to make it stand out more and enhance the aggressive look of the car’s silhouette.
ƒ/5.6
Focal range 70.0 mm
Shutter speed 0.6 sec
ISO 100
After taking that picture of my car, I turned around and saw Dan’s car, its rear end looking action packed, and immediately thought it would make a dramatic photo. However, the human eye perceives scenes at roughly a 48mm focal length, so what I saw in person felt more immersive than the image I captured at 70mm. The tighter focal length compressed the perspective, and the photo didn’t evoke the same excitement I felt in the moment.
The idea that the human eye sees at a 48mm focal length is a common approximation in photography, but it’s not entirely precise. A 48mm lens on a full-frame camera produces a field of view and perspective similar to the human eye’s central vision, which is why lenses around 43-50mm are called “normal.” The eye itself has a focal length of about 17-22mm, but its dynamic focus, binocular vision, and brain processing create a broader, more complex field of view (up to 120-180° with peripheral vision) that doesn’t directly equate to a single camera lens. A 48mm lens closely matches the central, focused portion of human vision (about 46° diagonally), unlike a 70mm lens, which compresses perspective and feels less immersive. While the 48mm comparison is roughly accurate for full-frame cameras, it’s a simplification, as human vision involves unique optical and cognitive factors.
ƒ/5.6
Focal length 70.0 mm
Shutter speed 6 sec
ISO 100
Just after shooting the rear of Dan’s car, I immediately turned around, switched angles, and shot my car from a different perspective. Managed to get some bangers, especially considering the tricky LED lights and shooting at night.
ƒ/5.6
Focal length 70.0 mm
Shutter speed 6 sec
ISO 100
This one is pretty much the same as above but with some slightly different editing techniques applied in Lightroom.
ƒ/5.6
Focal length 70.0 mm
Shutter speed 6 sec
ISO 100
ƒ/9.0
Focal length 70.0 mm
Shutter speed 15 sec
ISO 100
And this one is taken at a slightly different perspective compared to the ones above.
ƒ/9.0
Focal length 70.0 mm
Shutter speed 15 sec
ISO 100
I’m captivated by this photograph’s slight top-down perspective, achieved by stretching my arms high above the car, sans tripod, like reaching for the stars. This angle highlights the car’s sharp contours and aggressive stance, crafting a dynamic composition that feels vibrant and commanding. Unfortunately, a red curb slices through the car’s rear, its bright color and straight line clashing with the vehicle’s organic lines and pulling the viewer’s eye away from the subject.
Because I shot handheld in low light, I relied on auto mode, which set the aperture to f/2.8 to capture maximum light. This wide aperture created a shallow depth of field, softening the car’s rear into a creamy bokeh blur—great for portraits but less ideal for car photography, where sharpness across the vehicle’s body is crucial to showcase its design. To avoid blur from my unsteady hands, auto mode prioritized a fast shutter speed, pushing the ISO to 12,800, which added a gritty, grainy texture, especially in darker areas. With a tripod, I could have used a smaller aperture, like f/8, for sharper focus across the car and a lower ISO, like 200, for a cleaner image; though this would have required a longer shutter speed, risking motion blur without stabilization. Fortunately, Lightroom’s AI denoise tool significantly reduced the grain, restoring much of the image’s clarity. When zoomed in closely, subtle artifacts—like smudged details or a slightly waxy texture—reveal the tool’s aggressive processing, but these are only noticeable to a trained eye; most viewers would miss them. The top-down perspective amplifies the car’s bold form, but the curb, blur, and noise underscore the challenges of balancing exposure, focus, and clarity in handheld, auto-mode shooting. Photography is a constant juggling act—adjusting aperture, shutter speed, or ISO shifts the entire image, and while post-processing tools like denoising can help, they can’t fully overcome the limitations of on-the-fly decisions.
ƒ/2.8
Focal length 70.0 mm
Shutter speed 1/50
ISO 12800
The ones below are all shot handheld without a tripod.
ƒ/2.8
Focal length 41.0 mm
SHutter speed 1/50
ISO 12800
I used one of the Lightroom presets. I usually do all my edits manually, but because the night shots were giving me a hard time, I also tried using the preset edits too, just to see if they could make it better than what I was doing manually.
ƒ/2.8
Focal length 41.0 mm
shutter speed 1/50
ISO 12800
If you’re shooting in low light, using a wider angle focal length like 24mm instead of 70mm allows the camera to capture more light with a wider aperture, reducing the need for a high ISO and minimizing noise for better image quality. But, the downside to this is that if you are in a low light scenario and you only shoot at 24mm, all the shots are going to look similar due to the focal length they are taken at.
Shooting at a 24mm focal length allows more light into the camera compared to 70mm because a wider focal length (like 24mm) has a larger field of view, which corresponds to a wider aperture relative to the sensor size. This wider aperture (e.g., f/2.8 at 24mm) gathers more light per unit area than a narrower aperture (e.g., f/2.8 at 70mm) due to the physical size of the lens opening. As a result, less reliance on high ISO is needed to achieve proper exposure, reducing noise and improving image quality.
Plus, shooting at a wide angle enhances the photo by capturing more of the car and its surroundings, emphasizing its sleek design and aggressive stance. It creates a sense of depth and scale, making the vehicle appear more dynamic and imposing against the night setting. The wider perspective also allows the lighting and reflections to play a bigger role, highlighting details like the curves and modifications, which add to the overall aesthetic appeal.
Like the previous 3 shots, this one was taken in auto mode, forcing the camera to use an aperture of f/2.8 to capture as much light as possible. A high ISO ensures a fast enough shutter speed to avoid blur when shooting handheld without a tripod.
ƒ/2.8
Focal length 24.0 mm
Shutter speed 1/160
ISO 2000
Here’s my last attempt to capture both cars in one shot. This time, I asked Dan for his perspective, and together we produced this result. It feels like an improvement over my first try at the initial location, but it still doesn’t evoke the mood I’m after. This experience highlights how much I have to learn about artistic vision, especially when photographing two cars at night with light coming from just one direction.
And the camera is back on the tripod.
ƒ/7.1
Focal length 62.0 mm
Shutter speed 0.6 sec
ISO 100
This one is essentially the same shot but with some light masking to help bring out Dan’s wheels a bit more.
ƒ/7.1
Focal length 62.0 mm
SHutter speed 0.6 sec
ISO 100
same again, just different edits in post.
ƒ/7.1
Focal length 62.0 mm
Shutter speed 0.6 sec
ISO 100
I’m experimenting with my camera settings, and for this shot, I decided to change the aperture from f/7.1 to f/5.6. Changing the aperture from f/7.1 to f/5.6 increases the aperture size, allowing more light into the camera and reducing the depth of field. At this aperture, I do risk some parts of the cars not being completely in focus, as a shallower depth of field can result in parts of the subject, like cars at varying distances, not being entirely sharp. But I’m just trying different things to see what works best, as the choice of aperture directly impacts focus, depth of field, and light exposure.
ƒ/5.6
Focal length 62.0 mm
Shutter speed 0.6 sec
ISO 100
I use the blog title “Past Curfew” ironically, as it is actually Dan’s pen name, which he came up with when he stayed up late drawing art before heading to work the next day. More specifically, it resonates with him because there is no rest for the weary; he often finds his most creative moments in the late hours of the night. Despite being tired from his 9-to-5 job, he’d stay up grinding on his creative masterpieces (did you notice his license plate?). I thought it would be fitting to use it as the title since he was the man I was hanging out with, it had a deep meaning, and it doubled as a playful nod to me being out too late!
Now, I know there really isn’t anything super unique about our cars, and one could say that we even lack taste because we have both followed the cookie-cutter style that most do with their Type R’s. At least we have defended authenticity and haven’t gone for knock-off ballade, EPR, or Chinese cheap site stuff. But it’s hard to argue that they both don’t look really good. Don’t let our lack of uniqueness distract you from the fact that both Dan and I are pretty capable and experienced drivers when it comes to tracking, and neither one of us is building/modifying our cars to chase clout or gain followers.
Dan is an accomplished hobbyist driver, celebrated for his skill with multiple plaques from the VTEC Club and similar events, including many first-place finishes in the 2024 Las Vegas region SCCA autocross XB class, placing him first overall for the year. Having been to every track across Southern California and Southern Nevada, he embodies the essence of a swift and skilled driver. With an intuitive understanding of how cars perform when pushed to their limits, Dan exemplifies precision and control on the track.
His weapon of choice is a well-sorted S2000 that he has had in his possession for over 10 years and has traveled with him from Hawaii to Las Vegas. (maybe one day we will do a detailed write up on this car)
(pictures by Dan)
His Type R was purchased solely as a daily driver, despite him taking it autocrossing the first weekend he owned it. His primary focus is keeping it as stock as possible (motor and drivetrain-wise) to avoid voiding the warranty, which I counter with, “It’s a Honda; you’ll never need the warranty anyway.” However, as you can see, he has made some tasteful modifications to enhance his enjoyment. The car features full Mugen aero (minus the wing, though at the time of finishing this post, he now owns the wing), including the rear under spoiler, more commonly known as the “Thanos chin,” and front bumper garnishes. It sits on 18×9.5 WEDS TC105X wheels wrapped in 275/35 Falken RT615K tires, with Swift Spec R springs and SPC rear camber arms. Rounding it off are subtle modifications like JDM clear side markers, an HKS Legamax exhaust, a PRL intercooler, and, of course a Mugen start stop switch.
That night with Dan, geeking out over our Type Rs under the Nevada sky, was a small victory—a reminder that even in Adultsville, I can still find moments to reconnect with my passions and my people. Life’s Tetris game won’t let up, but I’m determined to keep carving out time for VTEC, friends, and the blog.
Currently, life’s got Functiontheory stuck in neutral. If I can’t carve out time to snap photos or wrench with friends, I can’t churn out new blog posts—and that’s a problem. I’ve got ideas for killer DIYs, how-tos, and photo shoots, but aligning my schedule with a buddy’s during my rare free hours is harder than learning to speak Mandarin. Most installs worth blogging about take 6–8 hours, especially with photos for every step, and my weekly window’s more like two hours, max. Asking friends to wait for my chaotic schedule feels like a burden, even if they’d probably be cool with it. And when I’ve got a shiny new car part ready to install, waiting days—or worse, weeks—is torture. I’d rather not ask, afraid they’d feel obligated—but I’m not giving up. I’m sneaking in late-night photo sessions (even if my night photography skills aren’t great), turning into a part-time insomniac to make it work. Stay tuned—Functiontheory’s next DIY is coming (eventually), even if I’m wrenching at midnight under a streetlight.
I hope you enjoyed this different style of blog post where I speak more about the photography side of blogging than the car side (even though I still included cool cars in the post). I’ve honestly had this post more than halfway completed since June, but time just got away, and I couldn’t find time to sit down and write a passionate ending to the blog that I would feel proud of. It’s been so long, in fact, that not only has Dan acquired a Mugen wing, but also Mugen taillights and carbon mirror caps. Sheesh, this guy is on a mission to make the sickest daily that most people would only drive to a car show and leave parked in the garage the rest of the time. It’s cool that he really does use this as his daily and drives it everywhere for everything he does. These cars are best enjoyed when driven. It’s rewarding to see them looking sick AF while sitting in the garage, but to truly appreciate them, you must drive them and drive them a lot. No one is guiltier of not doing this than I am.
As always, if you have any questions, comments, concerns, or shade to throw, please feel free to reach out to me via email at Billy@Functiontheory.com, Instagram @Functiontheory, or comment below. I’ll get back to you…eventually!