Shooting glass products can be tricky. It’s not just transparent – it’s also shiny. It’s essential to see the background behind the glass and have things (lights) reflecting in the glass to reveal it’s shininess. The edge of the glass needs to be a different value than the background so you can see the shape. I think I solved those problems for my client that manufactures these industrial LED lights. What do you think?
Shooting on location is often full of surprises. You’re never sure what you’ll find when you get there, even if there has been a lot of pre-production. Often there is not. I enjoy the challenge of pulling a photograph together on the spot. Fortunately, this client had prepared well and knew what they needed. This makes it easier for me to make better photographs.
I am in awe of the amount of coordination required for a factory to function smoothly. It was like watching a dance. I am lucky to be able to illustrate it with photography.
It’s not the cockpit of a jet plane, but it looks pretty cool for a pallet jack. Excellent industrial design makes my job a little easier. It’s more than just a pallet jack, as you might guess from the complexity of the controls. I’m drawn to the the lines and values of gray. As always I am interested in your thoughts and comments.
You’ve gotta lift those really heavy parts with something! This is the smaller of the two that we shot the other day. I was attracted to the yellow I beam this one moves on. We created a studio in the plant where they build these, which, funnily enough, included another crane to move this one into position for a photograph. I love variety of my photographic life!
The biggest of these little steel balls is about a millimeter in diameter, a little less than 10 times the diameter of a human hair. They are used as an abrasive in industrial processes. They were fun and challenging to photograph. I had to level the table so they wouldn’t all roll away. The best part of this profession is that there are always new and interesting things to shoot.
I love shooting cars. Day-to-day I shoot everything from massive aerospace tools to tiny fasteners, but photographing this Ford GT was a treat. Using a light painting technique we walked around the car shining a light at it while the shutter was open. After seeing the results we would alter how fast we walked, where we held the light and where we pointed it until we had a dynamically lit image.
Lighting is crucial for every photo and this car is no exception. These are the kind of jobs that get me excited forty years into this business. As always I look forward to your thoughts.
Where would we be without filters! Filters are one of those hidden things without which nothing would work. Nearly everything is filtered, like gas, hydraulic fluid, water, oil, and that’s only in a car. We were making a banner for a website, so the goal was to be about filters, but also to be a little dramatic to catch your eye.
Jet engines actually, not rockets, but rocket sounds better. I have no idea what these do, but it doesn’t really matter. Unless I’m riding in the plane. The important bit is in front, and in focus. My client was looking for an interesting image for their website. They cropped it differently, and it told the story they were after. I’m interested in your thoughts and comments.
This is another in the series I photographed of a Charger Hellcat. Black cars can be tricky to shoot because of the conflict between needing to be gray and needing to look black. And it needs to look shiny too! Too light, and it doesn’t look black. Too dark and you cannot see the shape or detail. Let me know what you think.
One of my favorite things about commercial photography is the peek I get into other worlds. In this case it’s the world of fasteners. Fasteners not only hold two things together, a complicated enough job by itself, but simplify, speed, and eliminate errors in production. Mostly I care about tonal values and textures, but as every photograph speaks, it’s important that it tells the right story. Let me know what you think!