So what’s it like to shoot a really cool concept car in a huge studio with the best available conditions?
Well, it’s absolutely wonderful.
In mid-february my boss at Teknikens Värld asked me if i felt like going to Brussels to shoot a car in a, with his own words, holy-crap-kinda studio. Tough decision indeed. About a month later me and Erik Wedberg was in place and i got to admit, all my expectations were fulfilled, and then some.
We had a slot of four hours to shoot this car, a Lexus LF-LC and Erik did his best to feel the car since he was writing the piece.
Four hours may seem much, but time passes quickly when you’re having fun. The biggest advantage with constant light is that you see exactly how the light falls and it’s pretty easy to change angle or framing if you see something that you don’t like. And trust me, in this beautylight you see everything.
To make my life a bit easier i had some help, and he was awesome. I asked him how many times he had rigged lights like this before, ”- a couple of times” he said, a very modest humble guy.
When you do a shoot like this it’s very important to be thorough, especially if you want to spend minimum amount of time in front of your computer cloning out things that you didn’t see. I rather give it a minute or two extra right there to get it right in camera than spending half an hour afterwards behind my computer.
I decided right away that i wanted this kind of soft light because it’s very appealing and it helps accentuate all the shapes and forms. I want the reader to be able to see the car in all it’s glory.
Keep in mind that when the car manufacturers shoot their own cars they do it over several days and there is often times room for some more dramatic lighting. Four hours passes quickly so i never got a chance to do some dramatic lighting, but i’m very pleased with the outcome and the opportunity to work under such perfect conditions.
I’m actually considering moving my family down there, i bet i can lure them with loads of chocolate Willy Wonka-style.
It would have been really cool to see how a Nikon D800 would have performed under these conditions with it´s great dynamic range, but it wasn’t available at the time. Maybe next time!
Everything is shot with a Canon 1Ds Mark3 and a few different lenses, all with a tripod. We had a lot of watts going on in there, but if you shot at iso 100 and an f-stop around 9 or 11 you need to be at a shutter speed of around 1/10th of a second. And trust me, you do not want motionblur on pictures like this.
And here is the results, enjoy!
If you want to see it in print go and check out Teknikens Värld number 9 which is out now. I will show you some behind the scenes stuff and talk more about the shoot in part two.