I recently met Barry at a parking lot where a lot of, well, car nuts (enthusiasts, whatever, this is Detroit!) hang out with their hot, customized, modified, cars. Barry’s 1966 Mustang has 500 plus horsepower under the hood, a strengthened frame so it doesn’t twist, because that’s a lot of power. It has a new hood scoop, tires, wheels, awesome! He brought it to the studio so I could photograph it for a day. This is the first of a few shots that I did. Afterword, I showed it to my friend Jim Tocco from Designers & Partners. He added some art direction and text. You can see the original here. As always, I’m interested in what Emmeline or anyone else thinks.
This image for Goodyear was created in the studio and with stock photography from Medioimages/Photodisc. The process of shooting for strip or input photography as I heard a colleague call it, can be quite involved. For this illustration, we carefully matched the angle and perspective. To do this, you must first decide where you are going to place the image within the background. If it’s up close, you need to be closer to the product with a wider lens. In other words, you need to match the actual distance that it would have been had it been there when the background was shot. Moving the camera right or left just a few inches can make a huge difference. Camera height is crucial as well.
Next there is the lighting. In this case, I tried to keep the contrast a little lower than normal to match the relatively low contrast scene. We added artificial snow and ice too! On the windshield, after scattering the snow and ice, we ran the wipers to create the clear area on the windshield. We even captured the wipers in a few different positions, but they were not used because it got in the way of the people inside. We put snow and ice on the grill, bumper, hood and roof of the car. We also shot with the headlights on and off so that decision could be made later. Then Dave took a turn, and lit then shot the models. No easy feat with that many people in such a tiny space. The retoucher, hired by the agency, put it all together with a few touches of his own. As always, let me know what you think.
This is the result of the teamwork of a bunch of people. Client, gotta have a client or you can’t get started. Art director(s), cause you gotta have something to say, visually speaking, and the creative team comes up with concept. Photographers, that’s me and Dave. I lit and shot the exterior of the vehicle, then with the camera locked down, Dave lit and shot the models. There was lots of pre-production too – finding vehicles and models – yes, models and the agency too – and stylists. Granted, you can’t see a lot of clothing. Nonetheless, a lot of work went into finding the right coat, shirt and props. Make-up stylist – yup, gotta make sure that the models are looking their best. And, there was a really great dog named Huckleberry and another photographer, Mariusz Niedzwiedzki (based on the metadata), who shot the stock photography. Finally, the retoucher, who put all of the elements together. This was very much a team effort! As always, let me know what you think!
I just finished retouching another car from the Goodyear shoot. Red is a great color for a car. The I hope to hear from the art director soon about the main shots from the shoot. They are handling the retouching on those shots. For the main shots, I lit the exterior of the vehicle, and afterward, Dave shot the people inside. Very much the tag team approach, that we use on many projects. Please let me know what you think.
I love shooting cars. We recently did a shoot for Goodyear, and in addition to the main shots I did a few full car shots for their library. Automotive photography is always a challenge, but that’s what makes it fun. The shoot went well; it helps to have great clients and art directors. As always, I’m interested in your comments.
I had the opportunity not long ago to shoot a FIAT 500 Lounge. Many thanks to James Houfley at Golling. I like shooting red cars and this one is no exception. It has nice badging and some excellent details.
Automotive photography is challenging and rewarding. In some ways it’s like shooting a huge piece of jewelry, but it’s a lot bigger!. It’s all about what’s reflecting in the paint. You want it to look shiny, but still have color. My studio is ideally suited to automotive photography by design. There is a complete eggshell to help control reflections. Picture the inside of an eggshell, with a floor; that’s pretty much what I’ve got. A space that’s fifteen feet high with all of the corners coved.
Let me know what you think!