There are thousands of parts in every car. These photographs are of parts from a major automotive supplier. The immediate use of these of photographs is to decorate their offices, but I’m sure they’ll find other uses for them too. The parts have an intrinsic beauty that is undeniable. My goal was to keep it simple, and let the lines, shapes and textures speak for themselves.
Automotive parts are really important around Detroit. Statuesque is what I was going for. Big. Important. Grand. This part is cutaway so we can see inside. I like shooting industrial parts. You can see them for their functionality or you can see them as circles, rods or trapezoids; light and shadow giving them volume and shape. My job as a commercial photographer is to transform my client’s vision into a photograph, that is visually impressive and tells a story. As always let me know what you think.
I photograph executive portraits frequently, in studio at Blue Sky Photography in Troy, along with shooting on location at client’s facilities. Although I enjoy both studio and location portraits, shooting against environmental backgrounds can often be a bigger challenge. There is more involved than just a simple portrait lighting set-up against a seamless backdrop.
In the photograph above, the client desired a very shallow depth of field which required shooting through nearly three stops of neutral density, even with the strobe lights set to their lowest settings. And to complicate matters even further, I had to deal with reflections from the conference room glass walls. But that’s why I like shooting environmentally; bigger challenge, bigger reward.
I shot this Ford GT a couple of weeks ago using a technique called light painting. Basically, we just walk around the car shining a light at it. There is a lot of trial and error, as well as a fair bit of serendipity. Frankly, it would be difficult to get a really bad photograph of this amazing car. It has a tricked out 800 horse power engine, custom wheels, bumper kit and an awesome paint job. Leave a comment and let me know what you think.
Motown is a fantastic place to photograph the industrial truck. There are lots of names for this indispensable industrial workhorse: hi-lo, fork truck, forklift, lift truck. This is a relatively simple one. It was nonetheless a blast to shoot. Personally, I like the red and black together; it’s awesome! A great client and crew make it easier to take interesting pictures. I am interested in your thoughts and comments.
I really enjoy shooting in the studio. On this day, we had a great team. The client, models, stylist and I were all working well together. Fortunately the studio is large enough the there was no problem pulling in a large truck. Then it was a matter of staging the scenarios that told the client’s story. Working together we made photographs that pleased the client. As always your thoughts and comments are welcome.
This is another in the series of photographs of the Custom Charger Hellcat. My client wanted an extremely low angle from the front. It was necessary to raise the car onto apple boxes to get the camera low enough. The low angle and the flaring headlights add intensity. Let me know what you think.
Ugly might be a little harsh. They are a long way from beautiful. Unless perhaps you are looking exclusively from a practical point of view. They do what needs to be done. I had to make them look interesting; give them a little visual flair. I put them on the board we ordinarily put under the jack to protect the floor when we jack up a car. I added a little contrast, and a little blue. What do you think?
I was awarded an assignment recently to photograph semi trailer trucks. Shooting big rigs isn’t that much different than photographing cars on location, except that they’re BIG! Whether its cleaning and detailing them, or scouting for a location, one has to keep in mind their enormous size. They are far less maneuverable than your typical car and require space; lots of space.
This project was for Point Dedicated, with an emphasis on their dedicated team of drivers. I did several different photos with their team members, including interior cab portraits, using a mix of ambient light and auxiliary strobe lighting.
I’ve driven a few miles this year, primarily on three separate assignments to New York, including a side excursion to Philadelphia. These trips required a good deal of photographic equipment, forcing me to opt out of flying, and hitting the road. Its fortunate I enjoy driving, although admittedly, the days can get somewhat long.
This particular photograph was created at a state-of-the-art manufacturing facility that produces yogurt. I was hired by The Raymond Corporation to highlight their materials-handling equipment in action. I particularly like this photo due to the sterile and nearly monochromatic setting we were in. This shot was photographed using a mix of ambient light along with my well-travelled strobe equipment.