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.
Have you ever captured a really amazing picture of a car or motorcycle only to realize that you forgot to turn the headlights on while you were on location? Don't you worry about a thing because Photoshop makes it a breeze to flip on those high beams in just a few easy steps.
I started my journey in photography back in 2011. Since then, there are only a handful of photographers that I have really paid attention to in terms of actively keeping up with their work. One of those photographers is Commercial Photographer Dave Hill. His work has taken a more drastic turn in just a few years than any photographer that I’ve followed. That’s one of many reasons that I reached out to Hill to chat about his work and photography.
I have always had a passion for cars, which is what set me in the path of becoming a photographer. From casually taking photos of various cars with a point-and-shoot at local events in the beginning, I decided to go beyond that and see where I could go with a camera. Scouring the Internet to learn as much as possible, there have been a group of automotive photographers that stand out to me amongst the best, and Easton Chang is among them.
I initially dove into the world of cinema and photography because of my passion for the automotive world and the arts. I have had some plans for more video work with cars in action but I always wanted more than action camera footage that’s stationary on the vehicle. Even with a jib and other equipment, I wanted more production value out of my work. Really, what I had in mind was a vehicle camera crane system.
One of a photographer's least talked about yet most important tools is the horse he rides in on. Okay, so I doubt many photographers are still riding horses, but the concept is the same: a trusty companion that will take you from point A to point B safely and in many cases with style. After all, it's not like you're going to hoof it into the middle of the Baja Desert, camera equipment in hand.