We've all had that moment. You're out shooting on location, the shots are looking great, the weather's perfect, and then CRASH... a rogue gust of wind tears through your set and blows over your light stand. Bummer, but there's one piece of gear you can take on a shoot to prevent this kind of catastrophe, and it's not a sandbag.
A few weeks ago, I flew to Los Angeles to shoot a commercial project for Mitsubishi. They had a custom Outlander built by RIDES Magazine and were in need of press shots. Studio shooting can be among the most challenging of all types of photography, but with a little patience and some care, its really not that difficult. Here's how we did it.
7 years of shooting Automotive Editorial Photography has taught me to streamline as much as possible. One area I've simplified to fit my needs is my lighting kit. I used to rent gear wherever I could, but after you use your own gear long enough you almost develop a relationship with it and now I definitely prefer to use my own lights.
Yesterday, I showed you the process of pre-producing a successful photoshoot and used a recent session as an example on all the steps it takes to put together a successful session with a large team. Today, I put together a breakdown of the entire production and post production process on creating a successful portrait session and a behind the scenes look into what all goes into it.
Automotive Editorial Photography will teach you many things. Mostly though, it'll teach you how to make something out of nothing and how to operate quickly and efficiently. I can't tell you how many times I've shown up to shoot a car only to be told it can't be moved from where it sits. It's those situations that will really test your mettle as a photographer and I've actually grown to love those challenges. One challenge from last year that I really enjoyed was a RIDES Magazine cover that would require fitting and lighting 10 cars. Here's how I did it.
Casey Neistat was approached with an unusual proposition from Mercedes Benz. They wanted Casey, a successful Youtube filmmaker to make a car commercial for the new Mercedes Benz CLA, even though Casey has never filmed a car commercial or anything close to resembling one. The following set of the three videos is his rather interesting journey so far. With Casey's charismatic personality it's curious to see how the commercial will turn out. I will update this when the final commercial is released. Enjoy.
I've been working on a personal photo series capturing movie and television cars (real and replica) for about 5 years now under the title "The Unicorn Project". I've posted about this before on Fstoppers (here, here, & here), as you may recall. Most recently, I had an opportunity to photograph a replica A-Team Van and KITT from Knight Rider while I was in Los Angeles. These happen to be two of my favorite television cars of all time. Watch the video and read the full post below to learn how it was done.
My good buddy and fantastic car photographer Richard Thompson (check out his facebook page) shared a unique shoot he just completed recently. He photographed over $20 million in rare exotic cars using the Phase One IQ180 (80 MP medium format monster) in an extremely rare and beautiful location over 3 days. Even better, the shoot benefitted a children's charity. Check out the full post below to see more images & to learn more about how everything came together on this remarkable shoot!
Tom Parker, avid aerial photographer and videographer from Cambridge, UK, decided to try and make his own homemade MōVI rig without losing all his savings in the process. Parker is a Product Design and Manufacturing student at the University of Nottingham, where he got the knowledge on how to design and build the rig for his GoPro camera. The final result works great, and all he had to pay was $200. Not bad if you compare it to the $15,000 it will cost you to get the MōVI. Check out how he did it.
You may recall my previous automotive rig tutorial with the Green Hornet Black Beauty. My buddy, award-winning commercial photographer Nigel Harniman (www.harniman.com), recently put together another great automotive rig tutorial post using his Phase One ALPA and a Ferrari. I think the shot came out awesome and I definitely learned a few things, which you can read about below!
Many people go out every year to set a Guinness World Record, and for those who can succeed comes fame, money and the ultimate bragging rights. Mike Newman should know, he's already set four... but now he wants three more to hold the triple crown for land, water, and air speeds. In this video, photographer Nathan D'Amour heads out to capture Mike's attempt at driving over 200mph unaccompanied in the Noble M600, a British super car. You may be thinking 200mph is far below the current land speed record, and you're right... but this isn't just about driving fast. What makes this feat so impressive is that Mike is completely blind.
As some of you may know by now, I'm a commercial photographer that gets some great opportunities to shoot epic movie and tv cars. Honestly, most of my paid shoots are portrait-related, but I just love all things cars and my clients know that. Last year, I came across a rad company called Flash Rods that makes custom memory storage (hard drives and thumb drives) based from 1:18 scale models and matchbox cars, including movie and tv cars like the Ecto1, Back to The Future Delorean, and A Team Van to deliver my files to clients.
For a couple of years now, I have been shooting a personal series about movie and tv cars, and the people that either own the original vehicles or build replicas for themselves. I call it the Unicorn Project (see more from the series here). Recently, I had the chance to photograph one of the screen-used Black Beauties from the 2011 film, The Green Hornet. I thought this would be a perfect opportunity to try out my new automotive rig from Rig-Pro for the first time to simulate high-speed action shots.
Automotive photography can be an extremely rewarding niche in the photography industry. The fast, shiny, power-inducing machines that rush by in a blur of color can be a thrill to anyone photographer, but it can also be daunting making sure that every detail is just perfect. Automotive photographer John Zhang walks us through the post processing of one of his lates shots of a Lexus LFA.
My buddy Ray Wert from the ad agency Tiny Toy Car knows how I love gadgets, filmmaking, and obviously custom camera trucks capable of racing in the Baja and destroying anything in its path. Last month he got me a sneak peek of this Ford ad (below the break) before it aired and introduced me to the director, Tim Damon, who told me about his incredible custom Ford Raptor that he used to film rally racer Tanner Foust as he thrashed the new Ford Fusion in the hills of California.