An agency I work with for product photography hired me to photograph not one, but two race cars. I had already photographed motorbikes, but cars was going to be the first time. With cars the problems are almost always bigger: the surfaces are bigger, the reflections are bigger, the areas to be illuminated are bigger. Everything is bigger.
If you think that photographing Total 24 Hours Spa has anything to do with cucumber slices and a hot stone massage, then you are very wrong indeed. I will say, however, that when you finish photographing one of these endurance races you might need 24 hours in a spa. Have look at this fascinating short documentary to find out more.
Light painting has been a common method for automotive photography, but it is mostly demonstrated on car exteriors. On the other hand, shooting the interior of a car, by using the light painting method can give really good results that can be qualified as a high-end image. In this video, Moe Zainal shows his process from start to finish, including the retouching.
In a saturated market of incoming photographers each holiday or tax season, it is easy to get discouraged when you are trying to get paid clients in the door. When we think of photography sessions we generally tend to lean on the idea of photographing only people in portraits. Families, boudoir, fashion, and even underwater sessions. With so many other creative ways out there to get paid why not tap into another resource for marketing?
There are several different ways to light your subject in photography. While light painting isn't a new or exclusive technique within automotive photography, it is a fundamental technique car photographers should understand how to use. If you are new to light painting or never used this technique to photograph a vehicle, you may have some questions on where to begin.
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.