Yeah the blue evo took some time, maybe 2 hours or so.
It's a simple process, take a whole bunch of images, choose the good bits of each one, mask and paste it into my working file, match the exposure/hue and that's it. That shot only took so long because the rig was hard to clone out, usually with trees or sky it takes 2 minutes but the building had some tonal graduations that tested my patience, I almost said "fuck it" a few times and start on another image.
The Golf shot was a quicky for MOTOR magazine, really limited for time and location, beleive it or not it was done smack bang in the national park during lunchtime I had basically 20 seconds to get the shot then pull off to the side of the road again.
The EvoX TMR was again for MOTOR and again really restricted for time, We had the whole of Mt Panorama closed off for that shot for about 20 mins and in the meantime a huge lightning storm was brewing, a few times I even pondered if it was safe dangling a massive metal rod off a car on top of a mountain but we really couldn't think rationally whilst the shot had to be made.
Editorial photography whilst seems glamourous, cruising around in sick cars is hardly what it seems, it's really hard work! Time and location constraints and the pressure of having to nail the shoot every time takes it's toll on me, Take for instance I have a shoot this Friday with a Ferrari California in the middle of the CBD at lunchtime, you think it would be easy to rig it up and close off a street for some quick snaps Hell No!
I've spent many hours in front of my computer to meet a deadline. I for one hate heading into my "real job" (the one that pays my mortgage) after only 2 hours sleep due to a deadline set by an editor/client for images to be delivered the morning after.
Also organising the logistics of a shoot is insane. Especially when the client requests during the day, in the CBD. I've had quite a few come through recently requesting Harbour Bridge shoots (on the bridge, fleet of cars, weekday). Had a few like this last year when I had a business partner, and even back then we had to turn them down.
Recently I've been unable to take them on due to the time constraints. But just imagine the initial hoops you have to jump through to try to do it legally, and then if need be try to figure out a way to just do it without permits, and you'll see the issues that people like Brasher, Easton, etc come across on a daily basis while working.
BUT, they get to work with hot cars. Very, very hot cars.
That said, if doing such things would pay my mortgage. I'd do it full time, no questions asked, and I'd change careers without a second thought.
Last edited by wilch; 02-02-10 at 01:44 PM.
Reason: can't speeeel
2 hours is some time ? here i was thinking maybe 6-10 hours.
you may say its hard work, but its not so hard when you get to do what you love.
excellent PP skills mate !
Thanks dude, Like Wilch said, trying to meet deadlines and client expectations is hard, your statement "but its not so hard when you get to do what you love" couldn't be further from the truth I LOATHE post processing, I'm trying to shift myself from the grungy complicated shoots that I usually do and try to focus more on the editorial side for now. It just that this is my known style now and Art directors specifically ask me to do a "normal brasher type grunge shoot" I suppose like any photographer the person most self concious of my work is actually myself and in the every evolving process of self improvement the only way I can do this is been my own harshest critic.
Car mags have been around for years without rigs and crazy lighting setups and people have produced amazing images without them. Take Thomas Wielecki for example, he works for MOTOR, WHEELS and Top Gear and takes the most insane jaw dropping images without a rig, lights and only very simple Post Processing skills.
What seperates him from the usual Automotive Photographer is his insane imagination, he can produce images that invoke emotion and at the same time technically be spot on. He could take photos of a Dacia Sandero and make you shit yourself with how awesome he could make one look, be it the location, theme or sheer creativity of which he takes the photo.
So I guess in short, if you are taking car pics as a hobby don't worry about the tricky stuff like lighting and rigs etc, work on the creativity. Rigs are getting overplayed now, much how the whole strobist movement thing got way out of hand but sheer creativity will always triumph in the end.