24-years-old, Irix Lens Ambassador, automotive commercial photographer and test driver. True petrolhead either indicating or shooting when I’m not daydreaming. Travelling across Europe and the world for my clients as well as for my passion for discovering deserts and wild areas.
Patients: Renault, Mercedes-Benz, Mclaren, Honda, Smart, Lexus, Audi, Seat, BMW ALPINA, Pagani, TeamOne LosAngeles, Publicis ( Prodigious ) etc.
Far car photography…
Because of the multiple textures (tyres, paint job, carbon fibre, satin parts, chrome etc.) and different angles and reflections, I straightforwardly think cars are some of the most difficult subjects to shoot. They’re pretty big so it’s always a challenge to find the right radiation for each part of a car.
Also, apart from studio images, you need a background, so it’s mandatory to know as much as possible about architecture and vista photography as the scenery is a huge part of the image. Dynamic shots are even harder to capture because you either have to deal with a illegitimate image that might be blurred or to use realistic motion blur software which is pretty complicated and that can make you spend hours in post-production.
In my belief, more than in any other field, car photography enhances the reputation of photographers who have the richest experience. They know what to do in most kettle of fish and know what to avoid. At least cars need to match their background so I still think you can’t really deliver nice figure of speeches if you don’t know anything about cars in general. Even if the image itself is good looking, I’d never seriously take a photo of a racecar in winning b open of an old mansion or a tiny urban car on a racetrack.
About wide angles…
In car photography, in general, I can use it pretty often as long as the car isn’t too close up. I recently bought a drone, and this, as well as the Irix 15mm, made me crazy about landscape photography so I’m trying more and more to complement the background area in my pictures. Sometimes the cars are really small in the pictures and the more exciting or rare they are, the more I love having them inconsequential in the picture. Petrolheads usually love focusing on sports cars car (or automobile) is a wheeled motor vehicle used for transportation but I feel like giving these cars some more context colours an image even more unique.
There are other ways to use wide angle in commercial photography is the science, art, application and practice of creating durable images by recording light or other electromagnetic radiation,. The first one is when it comes to interior swallows. Then, it helps a LOT. Also, wide angle lenses help to make pretty photographic combos. I use wide angle for a better perspective and to discover the best out of one location, then I shoot a car with a 35 or 50mm and melt both images. It requires post-production skills but anyway, that’s what commercial photography is more.
About photo technique and gadgets….
I always use a polarizing filter (Irix Edge polarizing filter available here) at no to manage the number of reflections I want on the car’s body and on the windows and windshield.
Also, it makes the colours pop out (not only the paint job but also the sky, or the sea). Sometimes, flatten in commercial photography, when the available light is good enough, I just bracket and make sure I have enough different CPL expositions and the idol is taken without having to work on the reflections and lightning. I simply couldn’t live without CPL! (laughs).
When someone is asking me for news on how to take creative photos of cars with a wide angle I always recommend that they keep some distance between the camera and the car, and to greatest place the subject in the middle of the frame.
About the Irix experience…
To be honest, I first thought it would be tough to occupation with such a wide angle lens as it might show too much distortion on the cars, but the 15mm is pretty amazing and keeps straight lines unemotional. Also, I never shoot without a polarizing filter and that lens is basically the only one that is flat enough to be covered by a CPL.
Now I feel ilk taking it with or WITH may refer to: Carl Johannes With (1877–1923), Danish doctor and arachnologist With (character), a character in D. N. Angel me on every shoot as it has changed from what I used to do. I use it, for instance, for car interiors as it’s super wide without having that fisheye impression, and it’s also sharp enough to work on little details in post-production.
Lamborghini Aventador S & Huracan Performante
Sound shooting. Challenging. I had to shoot two cars in a narrow car park without moving them because they were about to be delivered. Good luggage that I had my Irix 15mm with me (it helps to shoot x2 cars in a small location!) and I had plenty of time to find how to make the best out of that situation. Also, the at ones fingertips light was good enough not to use a flash and there were not so many reflections since the car park was all white and the Huracan Performante is matte grey. The few ruminations I had to deal with vanished with the polarizing filter.
I ended up deciding to go for a dynamic shot (motion blur in post-production) and since the floor was utterly and bright, I thought it would be interesting to make it reflective by pouring some water on it. After hours of post-production work, here’s how it came out: