With the 2013 Formula Drift season quite literally around the corner, I thought I’d take a moment to look back the 2012 season with a collection of photos I never got around to post.
The week leading up to the SEMA show will always be known as a more-than-hectic week for all those that are involved. To get a car ready for the show, there’s a whole up line up of folks who play their part. And the furthest down the line, yet one of the most important is the photographer. The WORLD Motorsports SLS AMG was buttoned up the night before it had to be loaded up onto a trailer to be transported to Las Vegas.
In the few hours between the car prep guys, with their detailing, and the actual load up, was the time I had my intimate moments with the car.
And here are the results:
Client: WORLD Motorsports
Project: WORLD Motorsports Mercedes SLS AMG SEMA booth imagery
Role: Principle stills photographer
I’ll admit: I never aspired to be who I am today. I never planned on it, nor did I even fathom that I would ever become a photographer when I was younger. It just happened.
My childhood was filled with things that were just like any other boy; days filled with Legos, playing in the streets, video games, Robotech, the Disney Afternoon, orange creamsicles, purple drink, dinosaur shaped chicken nuggets, and of course, knee scrapes aplenty. But interspersed between normal kid-dom was a creative flair that never faded away. I drew–a lot. I took so many sheets of paper from my father’s printer that my buttocks already knew the sting of his bamboo stick before it was even unleashed. My dear mother never seemed to be able to supply me with enough coloring books as each new black and white book would instantly be introduced to the world of color. Teachers would always send me home with notes saying that I doodled when I wasn’t supposed to, on things like essay margins, standardized tests, math homework, my desk, and fellow classmates’ bare arms all fell victim to my creative fervor. More »
It really was a snowball effect. At first, it was just a few casual emails, then some phone calls, and before I knew it, major access roads in downtown Los Angeles were closed and I was standing in the middle of it. And my purpose was to photograph the new 2013 Nissan Altima. The photographs will be used throughout the life of the model for the dot com, brochures, various ad campaigns and billboards.
After months of pre-production, the actual day of the shoot, and months of most production, I can finally share my work which can be found at NissanUSA.com.
Agency: Chiat Day
Production Company: RSA Films
Project: 2013 Nissan Altima Point-of-Interest stills
Role: Principle stills photographer
Photographed with a Hasselblad H3D
There are times when you know you’re just one little cog in a much bigger machine, but that fact doesn’t bother you one single bit. You know that if you don’t do your best, the rest of the machine will not function properly.
Those were my exact thoughts a year ago while I was in Bowling Green, Kentucky, when I was commissioned by Chevrolet to shoot the 2012 Corvette. One of my many tasks during the trip was to shoot a series of head shots of a few important Corvette folk. Some of you may recognize Tommy Milner, the Corvette Racing driver. After completing the head shots, I was released into the Corvette factory during the quiet after hours and had my way with the place however I saw fit.
I gave my photos to Corvette’s design team who, in return, used them in creating the 2012 Corvette brochure which is now handed to customers at all Chevy dealerships throughout the country. My work is also featured on the website for the complete Corvette 2012 line on Chevrolet.com.
Although my photography wasn’t the focal point of these pieces, my vision and photography ultimately assisted in the creation the brochure and website.
I throughly enjoyed my time touring the Corvette factory and seeing how these iconic American cars are put together. The most surprising revelation was the fact that these cars really are hand built, not a single assembly line robot was seen throughout the factory. I also enjoyed having the chance to use a set of Profoto D1 1000 Air strobes for the head shots. I’ve used Alien Bees previously, and the Profotos are leaps and bounds better. The light coming from the strobes was extremely clean and the refresh times minimal. Are they worth their weight in gold? Yes. Very much yes- but only if you have jobs coming in to supplement the cost.
Being a star quarterback has its perks, but being the guy that holds the line for the quarter back is just as rewarding. That is the experience that working with Chevy brings.
The full PDF of the brochure can be downloaded here.
Back in December, I had the opportunity to piggy back on a commercial spot with BFGoodrich and shoot some behind the scenes photos for the launch of their G-Force Comp 2 Sport tires. The shoot was located in Los Angeles around to the 7th street bridge industrial area. I’ve shot on and around the bridge for numerous photo shoots previously where I usually shoot full guerrilla style while trying my best stay out of the law’s way. I was now able to explore the location legally and free of those pressures. It was quite literally a light capturers playground!
The idea for the commercial was a take on the classic cat and mouse story. This time, the cat and mouse have been replaced by two growling muscle cars: a Hurst Chevy Camaro and a Hurst Dodge Challenger. Their job was to chase each other around this industrial complex and my job was roughly the same except I had to chase them around while dodging the video cameras laid all throughout the shoot location.
Here are a few shots from the day. I’ll be taking a more behind the scene’s look at the shoot in the next blog post.
And here’s a more behind the scene’s look at the shoot:
I’ll always remember the feeling of getting my first camera and that initial flurry of creative juices that seemed to flow out endlessly. I had a massive thirst for learning all little intricacies of aperture, shutter speed, ISO, and all sorts of post processing techniques. And after 4 years of being a photographer, I noticed that my work was beginning to become somewhat predictable. I found a style of shooting and editing that I enjoyed which I always ended up resorting too. Like many before me, I slipped into the dangerous creative comfort zone.
I primarily shoot with natural light. The sun is my modeling lamp.
I wanted to try something new. So last week, I borrowed a set of Profoto AcuteB 600s, drove out to the desert, stepped out of my shooting comfort zone and learned how to use artificial light. I found the process to be excruciatingly slow and the art of finessing artificial lights was a process all its own. The act of balancing the strobe’s flash power with my camera’s settings, the strobe’s shoot angle, and its distance from the subject proved to be the biggest challenge. But when I got back home and started looking at the photos in detail, I saw the potential of artificial lights, the magic that can be created with it and realized that a whole new frontier has been right in front of me all this time.