I recently spent three days in Ensenada shooting with the talented TEMPT Media crew during the Baja 1000. On the second night while unwinding at our Airbnb, in walks a guy with three beefy rigs with all the lenses wrapped in gaff tape, underneath what would appear to be a layer of dust that most normal human beings wouldn’t subject their Canon 1DXs to.
NO SPOILERS HERE! Just in case you were worried. They say inspiration can come from anywhere, and I have to say that definitely couldn't be more true. For one photographer, it came in the form of one his favorite TV Shows. Commercial automotive photographer Pepper Yandell took his work with automotive photography and digital retouching, and combined it with imagery and concepts from the Netflix Series "Stranger Things" to make a truly unique photograph featuring one Lamborghini, and a monster from the show.
When using a camera on a race track it's best to be cautious, and in this case really lucky. What looks like a back woods rally circuit, there are a multitude of onlookers and spectators for the day's racing. We see the number 50 car becomes airborne on a ramped corner in the beginning of the video, and while attempting to hold the line over compensates for the turn and careens toward a camera man pitched at the end of the inside of the turn.
A few weeks ago, I came across a post on social media from the Jônt about a shoot out contest inside a staged multi-million dollar estate which piqued my interest. Reading more about the shootout, it would be geared toward several different genres of photographers, as they would have vendors on site providing food, drinks, cars, and models at our disposal for the shoot out. First, you had to submit your info along with your portfolio to be one of the selected photographers to join the contest, I figured I would go ahead and throw my name into the hat and see what would happen.
There's a lot more to creating unique and edgy content than keeping a camera fixed to your face. From eating scrumptious tacos and filming rock-busting, high-horsepower off-road race trucks in Baja, Mexico to cruising the scenic Rubicon Trail in the Sierra Nevada creating content for some of the motorsport industry's biggest names, it's all in a week's work if you're Matt Martelli, the creative director and CEO of one of the fastest growing media companies on the U.S. West Coast, Mad Media.
New cars have cameras everywhere – in addition to the almost-ubiquitous backup cameras that will be required standard equipment on all new cars next year, newer cars have front-facing cameras that enable a host of safey-related features. But what if you could use that camera for photography? Turns out that you can, with a little bit of ingenuity and some hacking from Volvo engineers.
There are many professional photographers specializing in automotive photography who would find this disturbing. It's really possible to create professional looking images using your smart phone. All you need to add is a tripod, ND filter, and some post production to give your images something special.
Most of the time, when photographers are buying equipment, they choose the piece of gear that will accomplish their goal using some set of typical parameters: price, weight, build quality, warranty, size, speed, etc. These days, for shooting Formula One car races, you’d probably choose a fast-focusing, high frame-rate camera such as the Nikon D5 or Canon 1DX — if you had the budget for it — because F1 cars are fast and crazy. But that’s not what this photographer did; he decided to step back 100 years and break out a camera that was definitely not designed for shooting a modern-day race track. And the images are awesome.
If you've not seen Felix Hernandez' images before, you're missing out. The Cancun-based photographer's work is as brilliantly resourceful as it is creative. In this interview, we go behind the scenes of his shoot using 1/45 scale models for Audi Middle East and Hernandez guides us through his process and offers advice for up and coming photographers.
There are many times in the automotive industry that when you're asked to shoot a car, you frequently cannot move the car either from where it is or far from where it's being stored due to its rarity, sometimes condition, and sometimes even questionable street-legality. This can definitely cause some problems when it comes to producing high-end images of the cars for a client. If they want only detail shots then you're good as you won't need to show much of the background to accomplish their goals. However, if they've got high hopes and want the car to be pictured anywhere except where it actually is you have to be a bit creative.
In case you haven't heard prior to this article of this series, a few years ago, Pennzoil started a brilliant marketing plan to release a series of videos showcasing a car being driven to its absolute limits in a seemingly real-world environment (for the most part), and they are pedal-to-the-metal hardcore action movies from beginning to end. If you're a car guy like me they even give you goosebumps and get your heart pumping. Just a few weeks ago, while I was on my way back from Sweden, Pennzoil dropped their newest addition to the series with a short film dubbed "The Last Viper," and it's an action-packed thrill ride from beginning to end.
As a professional wedding photographer, I spend a lot of time with people in front of my camera. But because I grew up racing motocross and driving fast cars, I have always been intrigued by automotive photography. So when I was asked by a friend of mine if I wanted to help shoot a 80s-styled cafe racer motorcycle, I jumped at the opportunity. Add to this that the shoot was going to be inside of an arcade filled with old-school machines, and this shoot sounded like one amazing time.
What do you get when you combine over 800 horsepower housed within the loins of a world-class trick-truck, one fearless driver, and the scenic streets and culture of Havana, Cuba? If the always creative Sweatpants Media is involved, you end up with an intensely high-octaine adrenaline rush of a short film, respectfully referred to as Recoil #4.