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.
While the big picture is important, details are often more interesting. The 700 plus horsepower engine in this customized Dodge Challenger Hellcat is one of those details. Sometimes it’s a spoiler, or wheels. They are as much fun to shoot and arguably as important as the big picture. As always, I’m interested in your thoughts an comments.
This customized Hellcat is a beast! Black cars are great looking, but they are a bear to photograph. You can’t make them black or they won’t have any shape. So they have to be gray, but look black, and shiny. It’s the challenges that keep this profession fun.
I love shooting in the studio! We recently had a full day shoot for a California client that was a blast. Great clients, great product and a great model added up to a successful and productive day. There were some challenges encountered, like our wi-fi was not up to snuff. We have a fast enough internet connection, but the wi-fi was not. Problem solving kicked in and instead of piloting the unit though the computer, we attached and pulled a fishing line to illustrate motion manually. As always, I welcome your thoughts and comments.
Living and working in metropolitan Detroit, its hard to get much distance from the automotive industry. There are not many degrees of separation. Although I'm acutely aware of this phenomena, it was brought home to me once again when I was awarded a multi-day photography shoot for Pentastar Aviation. Upon entering the terminal lobby, one cannot but notice the numerous photo enlargements depicting the historical connection between the Ford Motor Company and the aviation industry. And its no wonder that they're on display, as Edsel Ford, the great-grandson of Henry Ford, is the chairman and sole owner of Pentastar Aviation.
I created the photograph shown above, a Falcon aircraft interior, showing the quality of custom work Pentastar's Interior Design division can do. Whether its automotive interiors or aircraft interiors, Blue Sky Photography is up to the task. Thanks for viewing.
Finding the best angle for a particular car is an impossibility. Best angle for what? Best to display what the designer was thinking? Or best at telling the story that it’s a zoomy exciting car, or a practical safe family car? You get the Idea. Where you stand and where you point has a huge impact on what a photograph says. It’s one of the best lessons I learned from Walter Farynk when I was in school. As always, I’m interested in hearing your thoughts and comments.
Recently I had the opportunity to photograph a customized Impala. Silver is one of the easier car colors to light. All the breaks and shapes in the sheet metal almost define themselves. They added 6 inches to the back seat for a little more leg room. The grill was heavily modified too. More to come! As always I am interested in your thoughts.
There are thousands of industrial filters that filter a wide assortment of gas and liquid. We were trying to make an interesting photograph to capture the attention of readers. I like stepping outside the bounds of a standard product shot. This hi-key photograph of filter media was one of the solutions that day.
As a commercial photographer, I'm often awarded a location assignment without the opportunity to do a preliminary scout prior to shoot day. In these instances we really don't know what perils may await us. We hope for spotless factories with pristine machinery and well groomed operators. However, those hopes are usually dashed moments after arrival. The facility photographed above , EPIC in suburban Detroit, was an exception to the norm. We were welcomed into an almost sterile-like environment, showcasing a meticulously clean assembly line. Not all industrial photography projects will be as clean as this one, but we can always hope.
I recently had the opportunity to photograph an Outlaw Mustang. Black cars are challenging to shoot, but that makes it more fun. Defining the complex shapes of a shiny car with light and reflection is only part of the goal. It’s also necessary to evoke an emotional response. This story is about how the chin spoiler, rocker sills, low profile rear spoiler and lots of other enhancements make it loads better! Let me know what you think!
People often associate industrial product photography with slap-dash, down and dirty photography; but it doesn’t have to be. In this project, we needed a few pictures for banners for the client’s home page. The purpose of these photographs is to draw in potential customers with visually compelling imagery. Dynamic photography also helps separate you from your competitors. As always, I’m interested in your thoughts.