In what may well be the most outrageous photo shoot that I have ever seen, Olaf Hauschulz was presented with what must be an incredibly rare opportunity to shoot a Lamborghini Gallardo for Lamborghini Magazine. The setting? High in the snow-covered mountain ranges of Romania, with the car drifting around corners, inches from guardrails [more]
This little clip shows you how little equipment you need to create an eye catching scene. The Theory uses a simple mini projector and an iphone to create a creative high speed police chase. Although this kind of technology has been used for a little more high end commercial output, it’s refreshing to see people having fun and doing it well. What kind of projects do you think this could be used for?
Have you ever been going through the magazine rack of your local book store and just stood staring at the cover of a car magazine? No? Ok, well maybe that’s just me. But when I see a photo of a blazingly fast sports car clinging to the corner of a race track it certainly piques my interest. Even if you aren’t a “car person” chances are you have at least wondered how these cover shots are made. [more]
Every now and then a unique way of filming the same old car commercial catches my eye. Event Projection uses projection mapping to advertise the S-Max put out by Ford. Although the filming involves a little more than the average studio equipment, the crew is able to incorporate some great action shots without leaving their studio. Check out their behind the scenes above plus the final commercial below.
Here’s a behind the scenes video for Volvo’s upcoming Summer campaign shoot. They traveled to Gotland, Sweden, which appears to be absolutely gorgeous. Don’t be fooled, the guy with the smaller camera is a model, not the photographer. Thanks to a friendly reader, we know that the photographer is Gothenburg-based Marcel Pabst. [more]
Most car guys would be happy just to see a McLaren Mp4-12c in the flesh. Getting to hang out with one for a day, while also being paid to take photos of it, would be “dream job” material. Clearly Dallas based photographer Brian Braun is living the dream! [more]
Ok, admittedly this video has more to do with the Mercedes than the 5D Mark II but what they have done with the two is far too cool not to show you. Using mats of LEDs and mounting Canon’s 5D Mark II on the opposite side, the promoters of Mercedes new F-Cell concept vehicle, were able to render the vehicle virtually invisible. To see the set up and the resulting video jump into the full post. [more]
Fstoppers.com has featured some great behind the scenes videos over the years and showcased amazingly talented professional photographers in our Fstoppers Originals series. Recently Patrick and I were invited to Scottsdale, Arizona to expose the secrets of commercial photographer Blair Bunting. When Blair invited us down to Loft 19 Studios, his idea was to shoot something big, expensive, and one of a kind. [more]
When I first saw this video featuring the new sportscar by Polish builders Arrinera Automotive, I thought it was completely CGI. Today they just blew my mind by releasing a behind the scenes video on how they filmed the commercial for the yet unnammed Lamborghini inspired super car. I know nothing about these cars so if you do, leave some insight in the comments.
Curious to see what video looks like on the new Nikon D800? Photographer, Sandro Miller gives us a sneak peak in this short-film he created using only the Nikon D800. See how he tackles all the different lighting and motion challenges in the full post.
There’s something to be said for painstakingly creating an entire scene by hand, out of nothing but paper. The thing you say is WOW! British production company Blink, with direction by Joseph Mann, worked with a team of paper artists to create elements for this Peugeot ad. See the full post for the ad as well as a behind the scenes look at all the work put into this awesomely crafted commercial.
Ok, obviously it’s not that hard to guess what Photographer Todd Sanchioni used as his subject in these images. Ten years ago, his Covered Car series started out as nothing but later turned into something he couldn’t avoid noticing; covered vehicles were everywhere. Click the full post to see more of his images.
With only about 2 weeks left in our 2011 Behind The Scenes Contest, entries are starting to pour in. It’s great to put some faces with the names of our readers and see the different types of projects everyone is working on. William Walker came up with a pretty simple but clever idea for his contest video. Using just a camera and a Vello ShutterBoss intervalometer, William was able to capture photos of his buddy restoring a badly damaged 2011 Audi Q5. The whole project took over 40 working hours (several days of footage) and presented William with a few challenges. The concept is pretty straightforward and mad props to William for going out and pushing himself to try something new. The BTS video is below but click the full post to watch the final timelapse video. If you are planning to submit your own BTS video to our contest, you have just over 15 days to get it up online. Don’t wait until the final day or you will probably not make the deadline!
A few weeks ago, commercial photographer Jay P Morgan showed us how to balance strobe light with ambient light on a large 18 wheeler (which involved closing down a California highway on ramp). In this video Jay is shooting a lifestyle image for Pilot Freight Services which requires him to light a large outdoor areas with studio lighting. The answer to the question in the title could probably be “one light,” but using one strobe on a commercial shoot is not only going to produce a less than perfect image, it is also going to look unprofessional from the eyes of the art director. When photographing large advertising campaigns, I’ve learned that giving your clients that “wow” experience is perhaps even more important that the actual final image so don’t underestimate the saying under promise and over deliver. What is great about this photoshoot is that even if you don’t shoot large campaigns like this on a daily basis, it should still force you to think why certain lights are needed, and more importantly, ask what you yourself would do if this was your hired job.
There are a ton of car photographers out there but very few of them are this good. Lee Howell just sent me his newest portfolio shoot that involved shooting a new Audi R8 GT in a soon to be opened tunnel. Lee got his hands on one of the craziest car rigs I have ever seen and walks us through the basics of his production. With a little bit of post work, the images become world class shots. Head over to Lee’s website to get more info and pictures.