One of the most important things I had to keep in mind during the shoot was that the cars had to be in the exact same positions for the video and stills so that we could create short animations showing the colour options of the cars (I explain how Ben, our video editor, did this in the video).Īfter we nailed all of the still shots it gave me a good idea of how I was going to light the shots for the video elements, which would also involve actors and dialogue.įor the video shoot, I could no longer use my studio flash lighting so I decided to use our HMI lights and a few of the new Broncolor F160 LED lights, which would provide me with clean daylight balanced light for video. This is why, now that I have space, I decided it was time to invest in a better setup that I would be able to use in the future. While this setup worked, it wasn’t necessarily the most efficient. In this course, you’ll see that I explain my lighting setup for photographing cars - in that case, two different classic cars. If you’ve watched the car photography tutorial on our site, you’ll see that it’s possible to make your own, more economical setup that will allow you to get similarly great results.
Pixelstick on a light stand how to#
If you know what to look out for and how to control your light, shooting professional car photography isn’t impossible. However, that’s not to say car photography is impossible. With all of this combined, it’s no surprise that CGI is becoming more and more prevalent.īecause of this, many professionals tend to use very specialist equipment. There are also the challenges of finding a large enough space to shoot in, controlling the myriad reflections, using the right modifiers, ensuring the car remains clean etc. Lighting is undoubtedly the greatest challenge when it comes to photographing cars in the studio (I share some tips for lighting cars at the end of this post).
As I said earlier, cars are particularly tricky subjects to photograph.
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