Pirelli, known on this site mostly for their (NSFW) Calendar Photoshoots, also creates their TV spots with a high-level approach. Literally, this behind the scenes video shows the setup and production needed to capture skiers BASE jumping off of a huge cliff. How do Pirelli tires fit in? Check out the final cut of the completed video and you’ll see how it all comes together. Spoiler Alert: They throw a car off of the cliff too! [more]
When asked to come up with some new promo material for the Progressive International Motorcycle Show that was creative, racy, and original, I.D.E.A met the challenge. By teaming up with Trina Merry, a body paint artist, and Juan Moreno, the photographer for the day, the team was able to create the motorcycles by using human bodies. [more]
There’s this “man rule” that every red-blooded male should drive at least one 12-cylinder vehicle before they die. This is one of those jobs where I got to assert that rule with a golden fist. A gold-plated Lamborghini Aventador and a 1965 Shelby Cobra replica with a BMW Alpina suspension and late model Mustang 5.0 engine… both incredible vehicles created by the team over at Prestige Imports and both sets of keys left in my care alone. One of those jobs where you pinch yourself and ask, “how did I get here again?”
There are a few ways to photograph motocross in action, but one of the best is to use a high powered strobe. For his latest shoot in NamJi, South Korea, Manchul Kim takes a couple of strobes to the track and sees how close he can get to the action. Since motorcycles can be dangerous and all flying by you, it’s a good idea to strap on a remote trigger to your camera and step out of the way.
The past summer we were hired by the ad agency Tier 10 Marketing (same one as my Honda Accord campaign), under the creative direction of Scott Rodgers, to produce and film a new tv ad for Acura via the New York Acura Dealers Association. I’ve been an advertising photographer for years, but I co-founded a video production company, 8112 Studios, a few years back along with my friend Nicholas Cambata. We have been very busy with a variety of crazy challenging and fun projects this past year and this ad job was no exception. [more]
To put a little twist on filming one of Nissan’s most recent car commercials, the crew involved shot everything on a miniature scale by using a few different RC vehicles. Check out how the team tried to preserve some of the standard elements that you might see in a car commercial. The group gets quite creative in building customized camera mounts to keep the best angles. [more]
Recently, I was approached by my Creative Director, Scott Rodgers, over at the ad agency Tier 10 Marketing to shoot some ads with the newly redesigned 2013 Honda Accord. The problem? The shoot had to take place in less than 48 hours, we were shooting with 2 of the first cars in the United States, and there was literally NO time to permit for a shoot that had to take place in New York City. Why the rush? US Honda dealers needed these images right away for some new ad campaigns as the first new Accords hit our shores.
Seeing how this project has been running since 1995 this maybe a very old story for some of you but one that hasn’t been on Fstoppers yet. Harrod Blank has a unique “studio” in the form of a van… a Camera Van. Conceived of in a dream and constructed over two years the Camera Van has since left it’s home in Berkeley, California, travelled across America, into Canada, Britain and Germany, capturing the astonished faces of those it encounters [more]
It’s Better In The Wind is the personal photo project of Scott G. Toepfer, a photographer and film maker from southern California. Some of Scott’s clients include Specialized Bicycles, Harley-Davidson, Honda Motorcycles, Triumph Motorcycles, Sapporo Beer, Fossil, and Discovery Channel, among others. This massive project focuses on the mobile lives of motorcyclists and documents the beautiful in their gritty nomadic world. [more]
Photographer and retoucher John Zhang takes some really wicked car photos. You should check those out at his website. As a member of our very active (and now very huge) Facebook Group, John uploaded one of his recent images for critique and examination. Needless to say, we loved the shot. John wanted to show how long a work of art takes, and so he also uploaded a sweet gif to show what 6.5 hours of retouching looks like. [more]
Photographer, Richard Mosse captured some amazing images while he was spending time with American troops in Iraq. The images in his series titled Nomads, juxtapose a smooth, fluid background with jagged, rough, sharp subject matter. The composition forces you to look at the holes and the ripped metal and it’s made even more powerful because of the lifeless, smooth, gorgeously lit backgrounds. [more]
It’s always fun to see time progression of how things change. Staud Studio, which does a lot of work photographing the Automotive industry, had the chance to do a photo shoot with an older model of the beetle and progressed to show us one of the latest.
Ken Block, owner of DC Shoes and action sports mogul is well known for his incredible skill in a rally car. He’s also been known to make some incredible videos, such as his original Gymkhana piece. For this installment, Gymkhana 5, Ken decided that he wanted to take over San Francisco: and that is just what he did. He also made sure that it was captured to perfection: I can’t imagine that any less than one hundred cameras were used in the making of this piece. [more]
I’ve always been fascinated by technical photographs showing every single part of complex machines. And shockingly enough, most of those images are created with a lot less Photoshop than one would imagine. “Explode” photographer Adam Voorhees shows us a quick timelapse of his latest Kawasaki Moto photograph shot for ESPN. Click the full post to view the final image. [more]
Pepsi Australia recently teamed up with Kelly Racing to produce the Pepsi Max super car. Photographer Chris Benny was hired to shoot the new car and lucky for us, he filmed a quick BTSV of the production. As with many shoots, the weather became a problem but Chris had a backup plan. With a little post work Chris made the outside shots pop and then moved the car inside to finish the shoot. [more]