Reunited with the Vauxhall Firenza

Another one of 6 articles in four car magazines in November… This one was shot for Classic & Sports Car a few months back in the middle of the summer sun.

As I write this I’ve just discovered that Barrie ‘Whizzo’ Williams passed away in early September, so these images are a little more poignant and have little more weight to them.

The story and reason for the shoot was to re-unite Barrie with his 1974 race winning Vauxhall Firenza reg UHO 288M.

“The last time I saw it was on the day of the race itself in 1974” ย B Williams

Barrie was 79 at the time of this shot and only just retired from racing in Jan this year was in no real rush to get the shoot done but I found myself taking images as the interview was taking place in and around the car. Trying to capture the feel and natural atmosphere of Barrie’s interaction with the car and also his expressions whilst talking to Ross (Automotive Journalist)

The sun was intense and light really harsh. The first few frames of Barrie was to get as natural a pose / portrait as I could with just available light inside the car.

The image below was one of the first set of these portraits…

The decals of ‘EJ Baker Motors Ltd’ was another original aspect to this race winning Vauxhall so this portrait below was used in the final article possibly because I included some of the decals in the image. This was one of the earliest images of Barrie after just getting into the car… again just using available light and letting the outside light expose out…

I knew the main story was the car and Barrie’s affiliation with it so knew I wanted to get a good selection of portraits as possible. While Ross was pulling stories and details from Barrie I set up one Phottix Indra head to light Barrie from the front through the windscreen and just wandered around getting a shot with ross in the image as well. Again not knowing of they would run with an image of Ross and Barrie together but just trying to give a variety of options for the layout and feel of the article.

I don’t know why but envisaged that the portrait could be a full page bled image so shot portrait for most of the posed lit images.

For me the portrait above was one of my favourite, for the lighting combination of just one head shooting over the roof of the car and the sunlight acting as a back fill. Just looking now at Barrie’s history before I blogged one of these images was used as an obituary on the Classic & Sports Cars website. Just reminds me just how photographs capture a particular moment, event, emotion and that over time can become more poignant and ‘weighty’.

The current owner and responsible for the restoration brought various documents and photos just to add to the already rich provenance that the car holds.

Really wanted to keep the images unposed as possible, well the ones including Barrie, Ross and the current owner. yes the posed images of Barrie were orchestrated but that was completely warranted …. it was the other little details like viewing images and documents above I wanted to capture naturally as they just unfolded in front of me.

After the talking was done and we had enough I let the three of them go inside for a quick drink and shade from the sun while I got some details and statics.

The restoration was really good and to a sympathetic level without tearing out the original character of the car.

Once that was done it was just the driving images needed. Barrie took to the wheel and we did a short circuit near to his home where we grabbed a few different angles of him at the wheel. The image above was just one of those ones you shoot to give a different angle. The owner was in the rear and made a good light stand for me holding the speed light to fill the interior.

Really pleased with the image above which was used as the opening DPS (below)… the trees in the background close to the car helped give the sense of speed and the lighting just worked as we were in and out of the shadows so the lighting was dancing all over whilst out and about. Also good to see that the framing was almost bang on and the whole frame was used.

After returning back to Barrie’s we left our cars there and took the owner and friend out on a run to get some more tracking images.

The two images below were the last ones we shot …. only just beside the cornering shot this monument was an interesting back drop so asked them just to make a short run while I lay flat on the warm tarmac and fired off a few frames as they came towards me.

We found a decent straight bit of road we could us for some panning and rear tracking. The light metallic silver paintwork was great under the bright sunlight…

Leaning out of my car you can just see I’ve clipped my front wing in the frame…. I normally leave these in and send them to the mag as they can then see the full un-cropped frame and so if they needed to ‘shop’ out my car then they could.

The final article above.

Was a pleasure to be asked to shoot this particular story and all the more made poignant with the recent passing away of Barrie ‘Whizzo’ Williams.

I’m pleased with this set of images and thankful that the reuniting of Barrie and his winning car was captured.

 

6 Wheels to Recovery…

Still in the middle of the summer sun we had this great 6 wheeler to shoot. The location of this shoot was on the land of the owners friend…. and a great location it was. Big enough and varied where we could get all shots done without leaving the private land…. happy days ๐Ÿ™‚

Beside a giant shed / warehouse with a car lift the owner liked all things automotive and had another shed with some nice details….. below.

The final DPS below of the image above. Just lifted a little of the levels but the removal of the pylon which was needed ๐Ÿ™‚

Was pleased with the location and had just enough space to get the rather large 6 wheeler in front of the ‘garage’ and just wide enough to make a DPS.

Only one real angle to shoot from due to other buildings and a kids trampoline (which I did look at moving, but it was secured to the floor). So shoot above and below. The images above and below aren’t to bad but as we couldn’t see the lifting arm it doesn’t really warrant or have the same impact as the rear shot.

Just one light below used to lift the owner and Mikes faces and the engine bay…

The first shots we did was to get it on the ramp so we can see the main the engineering mods underneath.

If theres one thing I wish I was is that I knew more mechanically … ย but I’m not. So when it comes to shooting technical stuff like this I need to know what I’m shooting so I need a quick explanation there and then and a complete pointing out of what I need to show in the image. As far as I can remember on the image above is that the shaft in the centre has been off-centred on purpose….. other than that I can’t remember but just needed to show that. ๐Ÿ˜‰

Getting a couple of lights under there to light people and vehicle is a lot of moving and testing to get a decent even lighting.

Once outside the sheds I mentioned a vertical shot would be good … just in passing without really thinking about it….. probably was thinking out aloud!

No sooner I said that a large extendable digger truck came round with a large bucket…. harness on and up I went. Think the only boring angle on this vehicle is directly from the top ๐Ÿ™‚ ….. still worth getting variety when you can.

Getting the tow Landrover to tow something and shoot the complete story was the aim. What else would be good to tow other than a series 1 Land Rover which the land owner had ….. again happy days ๐Ÿ™‚

The images below are of the process of hooking up a vehicle to tow.

I almost just sit back and watch the process before re-doing the process with shooting the key bits to show the story. Just one speed light to help lift the shadows and balance the levels out.

The image above and below has a speed light just stood on the near side corner of the Series 1 wing again just to light the harsh shadow of the owners face.

Shooting a few driving images was a little bumpy due to the rough tracks and so had to shoot a far few frames to a get a couple of acceptable images.

A few cornering, panning shots to finish off a decent day.

Like the shot above… just the angle, the fact the speed light stayed propped up and didn’t fall. Also there was just one big bush on that stretch we could capture when driving past to give a bit of motion.

Really enjoyed this day. There was about 4 friends there who were all lovers of automotive and were more than happy to get involved and help out. As well as plenty of coffee and home made bakes to keep us going through the day….

The only downside of the day was that I forgot some insect repellant as bugs just munch on me! With some well grown Horse-flies that a I couldn’t avoid I still have the scars from the bites months down the line. Still beats working …. ๐Ÿ™‚

A Disco 2 modified for purpose…

Well a return visit to a private disused quarry used now for fun with 4x4s. First shot here for Bentley Motors back a few years back.

This shoot was not to my mind a potential cover shoot so to see it on the shelf (below) was a canny surprise ๐Ÿ™‚

The story was to show what was changed on the Disco and also seeing it in action on some rough ground. Started to get the car into position for the opening shot of the article whilst it was nice and clean.

 

As well as the natural light images above I wanted to light the vehicle to add some texture to the image. before that we shot some images as it was going over this mound to get some movement at least into the wheels…

Shooting fairly wide in order to get a DPS out of the frame.

Started with a couple of lights either side of the camera… with the light to the right slightly lower than the camera in order to see whats going on underneath.

I did shoot a few verticals …. this one ended up being the cover…

The final image above with the cover overlaid so you can see what section of the frame was used.

After getting the front shot then we repeated the same process and as the Disco went over the mount we shot the rear…

On the rear I needed to get a bit more light under the Disco so had to get a speed light on the floor under the back end (green arrow) … Then dig a little recess with me boot to get the speed light laid down, then make sure the camera angle was lower than the flash and any flare.

The Blue and red arrows are showing the rough angle of the two Phottix Indra Heads…

After the initial shots for the opening DPS we moved into the middle of the quarry which is very open and flat. Also the water wasn’t as full as I remember the last time due to the very long hot summer this year.

Got the simple engine and interior images plus a few more… The engine bay was very very clean.

The lighting on the day was really good as the cloud cover was light and even so the sunlight was bright and consistent. The light grey colour reacted well to the light and so I didn’t use any artificial lights to help the scene.

Mike (news editor for LRO) had another idea for an alt DPS to show the story a bit more.

Moving the Disco to a place that you couldn’t get to any other way was on a decent incline. The issue was to try and shoot it in a way that showed that but there wasn’t anything within the frame that you could orientate and get scale or angle from. Again a couple of Indra heads either side of the left and right frame then a speed light in the boot of the Disco. The couple of cases near the tripod were some of my kit so we could fill the frame a little more as it looked a bit empty…

Once the staged shots were done we then moved to the lower part of the quarry again and sent the Disco around to get some water, mud to at least show that it could get to remote places.

No particular order the final layout and article.

A final image of a driving shot…. well a took a few frames whilst back at the top of the quarry as we were packing down again to have a working feel of how the Disco is a working vehicle.

Great working vehicle and very clean, that is until we had it round the quarry. ๐Ÿ™‚

A 101 home from home…

A very rare sunny still day in the North Yorkshire moors. Just over the horizon on this first image is the location for a few groups tests I’ve shot for Classic Cars…. and typically its been very….. very windy. For some reason this day was as still as anything with a clear blue sky and the temperature was just right.

The story was of this 101 Forward Control converted into a camper so that its owner Andrew can carry out his Drystone Walling (thats the technical term ; ) while still being on site as much as possible. Only working within a short distance from home he bases himself in the camper and can be on a job easily for up to 4-5 days at a time.

This first image was the opening DPS. This location was on a farm where he has been working regularly for a few years repairing the walls. There was a couple of locations in this field but this location is where he’s got uptown so far. Just positioning the 101 up this steep hill to create the story in one shot. Had to use one Phottix Indra head fired straight at the front of the 101 to light it up as it was really dark in colour and in shadow.

After shooting this opener we needed to see and shoot what else this 101 can do. How Andrew has modified it in order that it can accommodate his working lifestyle.

These images are not in the order we shot so I’ll just pick up on one or two things to give you some background ๐Ÿ™‚

The winch at the front, fairly standard but an essential kit in moving some serious stone around.

Didn’t need too many motion images but just wanted to get the environment that it is used in… unlike the day we shot it the weather up there can be a bit bleak!

Peter (Automotive Journalist and encyclopaedia of thinks Classic Landrover) took behind the wheel on a tight single track and amongst the faces or trepidation theres was this one ‘happy’ face but think it was more so nervous panic.

Its not pretty the 101 but functional, so any side pans are effectively just a box on wheels…

As well as tools and power from the 101 it carries everything Andrew needs to carry out all sorts of work he takes on.

Inside the vehicle was always going to be a massive part of the shoot. Ss just showing where he spends his evenings away whilst on location and how that feels.

The cabin is spacious and with plenty of power there are some creature comforts in there. Just one studio head bounced of the ceiling to light the cabin and rear living quarters.

The normal gearstick is a long and comes from the back of the engine and so you almost reaching behind you to change gear. Here this shot below is to show Andrews modification to install a ‘normal’ gearshift and you can see the square tube length that attaches the original stick to the new one.

Running hot and cold water for washing up, cleaning tools and even a shower…. plus a waste bucket : )

Also installed is an air-compressor…. can’t remember for what specific reason. Just had a small speed light tucked in the storage compartment to light the connector pipe and Andrews face.

A shot from the rear doors into the living space…. everything in its place and a place for everything ๐Ÿ™‚

Andrews home made awning which is used for some shelter for eating alfresco but also is used to shelter from the rain whilst working. Drive the 101 along side the wall and then you can create a shelter so work can continue.

A decent day and vehicle that has been adapted for a specific use …. Great to see it in action and thankful for some decent weather up there. : )

 

Super Saloons Cover Shoot

Its taken me too long to write a few lines about this cover shoot down in Longcross…..

Back in July it was in the middle of the fantastic summer we had and we had 5 classic saloons to shoot for a cover for Classic Cars. The brief was fairly specific for the cover… it was going to run with the Merc as a single cover but with a small group of the other cars as an inset on the cover.

The image below is the small group of 4 for the cut out…. Tried a few different angles and focal lengths. you can see the stray car in the right of frame…. knew this would be only used as a cut out so no need min moving it.

We added the Merc within the group and shifted the cars around so we could get a final group shot.

Details, Interiors, engine images for each car before we set off on getting the cover and tracking shots.

This Audi was in mint condition and for me would be my choice out if this lot. ๐Ÿ™‚

The Jag had plenty of nice details to be able to get some interesting angles.

Like I said the cover was always going to be the mere as a single tracking shot. Below are a few options that made the cutting floor …

The final cover and layout above with the group shot from above inset.

The original image below and then the over lay of the final cover to show you what was used and added.

Really do like the D810 as you can used half a frame and still get more than enough detail for a full page image. Again you can see I leave the images with enough in them so they can be tweaked more by the art editor.

You’ll be surprised just how much gets filmed at Longcross with its test circuit. Theres a scene from Transformers I spotted a while back but the most recent one I’ve seen is a Vauxhall advert which is currently on TV now shot here.

Running with the sun and shooting all around the track to give a bit of different flavour. However the cover image I mainly shot on the straight as the sun was directly on the from of the blue merc.

Along with the owners of the cars we had another photographer …. Racheal (you can check her instagram out… @rpautomotivephotography) who took a few images of me out the boot of the Andrews (journalists) car….. (thats Racheal ๐Ÿ™‚

The image below was taken on the run whilst Racheal took these images. I do have a harness as you can see and used it as the rear seatbelts in the car were too long at full extension. Just find that seat belts can be easier to use than the harness. Don’t worry I’m never not strapped in somehow.

The image above looks like I’ve got my finger over the lens….. just turning the polariser to see whats giving me the best look for the merc and BMW.

With the shoot rounding up and some cars already left we had to get a driving shot of Andrew and so the Merc was a great choice with its light interior and giant sun-roof.

In no particular order the final layout below…

 

Frazer Nash Restoration

Another shoot for Classic & Sports Car, a little nearer to home and another restoration. Your off to photograph a ‘Frazer Nash’…. My first reaction once off the phone was to Google ‘Frazer Nash’, as I’d never heard of one….

A great restoration and pleasure to photograph a real classic vehicle. After shooting the Riley as neither restoration article the format was in the same vain. We started off grabbing some statics and owner shots and found a small sailing club willing to allow us access to its location on the edge of a reservoir.

The slip ramp down to the waters edge was an ideal place to have the Nash… pity about the pylons but you can’t have everything. A couple of Photox Indra heads either side of the camera to help lift the car when the sun was in or to help lift the shadows when the sun came out as the sun was behind the car on this angle.

A vertical of the same shot as the first one above. Verticals, landscapes of the same shot to give as much possibilities as possible for the final layout.

These three images of the owner beside the car ….. the one above was just a variation of the once below with arms folded which made the final cut.

Above, this was used small on the index page.

In essence the same shot but just tighter on one than the other. The sun kept coming in and out at this stage so was juggling the flash power a little but the cloud was moving a a decent rate in order to wait for a softer light didn’t take long.

Same as the two shots at the beginning of this blog. These two above were taken one after the other, high and low again to give a different option.

 

Plenty of little details to capture so here a re a few of them the tI supplied to the mag. Tight details like the Bosch lenses were good but also coming slightly wider to get one or two details in a shot help with adding more content to an image and article instead of loads of really tight details.

The tracking shots were in effect for an opening DPS or if a static was used then a stand alone image in the article. In anyway you’d be only seeing 1-3 max images from the tracking images / moving images. Framing all the images below for an opening DPS but also a wider composition to add some space to the image.

The couple of images below were a chance to get a good view of the exhaust pipes coming from the nearside… sent the Nash ups and down this short stretch of road. Like I said I only really wanted shots of the nearside but captured the car travelling the opposite way to test see how slow I could drag the shutter…

The image above was used on a vertical full blended page….. sky obviously added from the ‘sky folder’ : )

 

The final layout….. simple shoot but really good being local and an unusual car.

‘Coal Power’… The Steamy Landy

I’m sure you’ve seen this steam engined Landrover over the past few months since its creation at the end of 2017 such has it made local and national news…

Fairly local to me on the boarder of Yorkshire and Lancashire on the tops the weather was in the balance and didn’t disappoint due to the sun, sleet and snow within a few hours.

Meeting the creator and owner Frank with his distinctive Lancashire accent, flat cap and steam engines you could have mistaken him for a Fred Dibna. ‘Mildred’ as the landrover is commonly known as was already prepped and fire well and truly underway ready for our arrival. Not so much as a turn of a key but cleaning the fire box, building the fire and getting the fire going in order to produce the steam to power this Landy into a colossal speed machine….. : )

Not the easiest vehicle to get into position so you shoot what you can where it is, plus the snow …

So off we set for a little run…. well literally for me was a run. I shot from the flat bed to try and get an opener and get the story in one shot.

The location was fairly remote but still had the passing motorist looking baffled with the site of a miniature steam engined Landrover cruising at a comfortable 5 mph…..(not sure of the exact speed but I would say thats a fair assessment : )

The image above made the final cut but not as the opener….. was hard not to have the centre of the frame cutting through a key feature such as the firebox… Still trying to get some motion in the background you can see on the wall to the right of the frame…. having to drag the shutter a lot..

No sooner had we set off we found somewhere to turn around….. you can do a lot of shots in a short space of time while your only doing walking pace!

A little oil to keep the thing running smoothly then we were off again.

Soon found out the steam from the chimney wasn’t a constant bellow of smoke but only came when setting off and increasing speed.

The images above show the incredible speed of my good self as I run along the wall, stopped and shot a few frames before running ahead of the Landy to a new position and repeat the process…..

No need for any rig for this set up but a sturdy bumper and somewhere to hold on to then shoot : ) …..

You could almost do tracking shots whilst walking along side it…. at least I got a little exercise …

Getting back to the base and another chance of getting a large plume of smoke…

Great little details of using the iconic 4WD knobs as the whistle…

Frank turned out to be a very interesting character… being the only sailer to have sailed around N & S America in a figure of 8, owns various companies… just a great time just getting to know him and what he’s achieved.

The image above was never used in the final article but just added here so you can see the original small scale steam engine he built and where the engine came from that is now in the Landy.

Very interesting and another one for the memory bank : )

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Another Classic Cars mag shoot, and this time its ‘The List’. Where they put a reader in one of their dream cars. Up in North Yorkshire it was a cold start with low fog and mist…

Off we set from the cars garage location and found a decent lay-by area where we could get some static shots while we waited for the fog and mist to lift.

The above image was the final chosen image but like ever you try and get a different angle, view point to mix things up again. You can only do so much with two people and an engine!

The shot below was taken with the idea it would be cropped top and bottom for a long wide image…

Sometimes you can get the very first reaction for the owner while sat in the car but you end up setting up the shot and getting the reader to talk through things in the drivers seat or wherever with some animation and enjoyment ๐Ÿ™‚

The fog started to lit so we headed off to trya nd get some driving images in the bag.

The three images above were taken around the same 90 degree corner. We passed this corner as we drove a few miles to a few roads to find a decent one. While passing this corner i quickly saved it in the sat-nav so we could return if needed. Indeed we did. It was a decent corner as you could see a fair way ahead so you could go wide around each way.

Think this one above was one of the first few frames while I got a feel of the car and speed…

The opening shot above… We found this really straight road with decent trees close to the roadside which helps.

The reader was fantastic being in a classic car, never driven it before and got into positions which I asked which always makes the job that much easier.

The colours were flat that day but pleased we had some background to off-set the car which could have easily been lost against white shapeless clouds.

Stuck myself in some ditches for some panning shots but it was finding some trees which I could get amongst (below) which were used.

Trying different focal lengths and physical distances in order to get different speed patterns, lengths and definitions…. Really helped getting to the side of this curvaceous Jag.

After we got the tracking in the bag and happy with them with enough variety we then just needed to get some interiors. We headed back to the lay-by we started off in… With the natural light being nice and soft just 1 diffused head was needed to just lift the interior. Once we got the angle right so it didn’t get massive hot-spots from the highly polished wood paneling we were rolling.

I’m trying to show the interior off but in the same way shooting as if you want to get into the car and drive, having some images that show a lot while others just giving a teaser of what it would be like to be behind the wheel…

Not the finished one above but close enough in order to show a slightly different angle.

Only a few images for these articles but some nice ones which I was pleased with.

Until next time

Jona : )

Bentayga – Auto-Illustrierte gets a closer look…

Early on in 2016 I had another visit to the Bentley factory in Crewe. Over these last few years every time I’ve visited there’s been development to the site for one thing or another…. this visit was no exception. Since the launch of the Bentayga last year and other developments like all W12 engines are assembled in Crewe for the VW group, buildings have expanded and new ones on the up.

This commission was to capture images for an article for the Swiss based automotive magazine Auto-Illustrierte who had direct access to the Bentayga production line and a few key personnel to the Bentayga’s development.

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Soon into the factory tour you come to the steering wheel area…(sure it has a better name but think you get the idea ๐Ÿ™‚

One of these trips I’ll pick up some interesting facts which I can blog about but the facts you hear soon leave my brain! One I did ask the guy above was how many ‘craft blades’ do you use and he said two blades per wheel…

Also the mention of a domestic fork and why they use them for these steering wheels always brings a smile to the face.

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The Bentayga line … clean and efficient as ever. If you like me and watch programs like ‘How things work’ etc then these places captivate you a little too much especially when your trying to focus on the job in hand.

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Moving onto a separate building we had a look round the engine assembly line. As this was an article specifically for the Bentayga I had to keep checking that what I was photographing was indeed destined for a Bentayga ๐Ÿ™‚

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Each time I visit I try and get a different angle or another area that’s not been covered in my previous visits. This above is one of the temperature controlled room of some of the costly veneers sourced from around the world.

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One are that I like is not the colouring corner, but the leather preparation, although if it was the colouring corner you would get a bit bored of the limited coloured crayons!

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Peter Guest (Product Line Director – Bentley Motors) one of the two interviews for Auto-Illustrierte on the day.

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The other ‘interview’ discussion with was with Stefan Sielaff (Director of Design – Bentley Motors) around the Bentayga which we took out for a few images after the factory tour. The whole tour was done in German as the Bentley tour guide took the opportunity to keep one of his languages up to speed… I followed along nicely…. I wish!

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The original image and the opening shot for the article. Was very handy to have a hotel that you have connections in, so its a thank you to Bentley for that. The time scale for this shoot was fairly tight so limited scope of shoots were achievable.

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Never been a fan of brown cars but this is probably the only exception. The ride in the rear was something I could get used too. I think this could be a great tracking car for my work…. so I’ll start saving me pocket money. ๐Ÿ™‚

You can see the full article in the In Print section of my portfolio.

Until next time

Jona

Mdina Grand Prix… The last great street grand prix …

Where better to spend a long weekend in October to escape the Yorkshire weather…. Malta, don’t mind if I do.

The destination in the Mediterranean for one of the last remaining truly classic street races left, the Mdina Grand Prix. Traveling out there with Sam (News Editor – Classic Cars Magazine) who also was one of the drivers of the Ex-works TR2 alongside owner Neil of Fender-Broad classic cars.

The long weekend is comprised of a Hillclimb event, the concours d’Elegance and finishing off with the remaining two days of qualifying and the final races.

Being over 4 days you can imagine I shot a few frames! so I’ll here’s a selection from the whole trip…

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Thurs mid late afternoon we head up to St Pauls bay North of the island, with the sun starting to fall I’m met with the Maltese time keeping. You basically just sit back relax and let things happen in their own timing. The Hill-climb was on aย  dual-carriageway with some great sweeping hair-pins and some make-shift chicanes…

I knew I had only a limited amount of time the TR2 would be on track be it for the hill-climb or the race so I had to make every pass count. I think we only had 3 runs on the hill-climb due to cars leaking oil on the track, wheels hurtling down back down the hill, with no car attached etc etc… The image above of the first run was to try and get the sea, landscape and track in one shot for the double page opener. Having time between each of the TR’s runs I had time to run up and down the rocks trying to find the best location…

As a side note theres a selfie of me… the photographer bottom right (shadow ๐Ÿ™‚

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The variety of cars was great to see, having some sun on the back seeing these cars which are shipped in for this vary popular event is the commission I like.

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The make-shift pits, at the side of the road, a nice ‘persuader’ aka a hammer, the final preparations before we were off. By the way do go and pick up a copy of the Current Classic Car magazine (March 2016) as I think to read the article from the drivers point of view makes a great read.

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Sam at the wheel after his second and best run… This image was used as the opener to the article. Again using every opportunity to capture the car on track.

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The image above shows the few photographers on the bend where I took the other images from. This one was to try and show the surroundings and location to give a feel of the place. Unfortunately the our TR didn’t run within the 10 min window of this sun set. Although out of shot there were locals, holiday makers etc just sat out on the rocks and cliffs just taking in the sights and sounds of this first great day of the weekend.

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This image was also used but as you can see the event ran over by some time !!!! seriously dragging the speed up here.

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Moving on to the next day for the Concours d’Elegance in the stunningly beautiful city of Mdina (above). I’m not one for sightseeing but this place was special. I think having a personal guide for us did help and if you are going to Malta and want a truly professional guide (also funny ๐Ÿ™‚ then can I recommend Clive from Malta Private Guide to you.

Moving on…

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Not all the cars here were racing in the Grand Prix put was the islands car show if you will. A few also dressed up and made a day of it which just added to the rich texture of culture, history and diverse car mix in one space.

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One car that did get a mention in the Febs issue of Classic Cars mag was this Vauxhall. Fully restored by a local guy and his son to the highest level. He’d built his own English wheel, fashioned many tools just to be able to restore the thing. Parts are scarce on Malta so he used old computer cabinets for the metal work.

Unfortunately it didn’t win but for me that was a top drawer restoration which incidentally was the guys first project.

This day was grabbing various cars to use as news features as Sam was gathering worthy stories for print. Really laid back day, some great and interesting cars to walk around and in an incredible setting…. this does beat the NEC for location, and also weather.

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I shot this frame a few times through-out the day. Wanting the sun to come right around it found its way through some clouds at the same time as a gap in on-lookers.

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Moving onto the few days of the race which saw the paddocks (above) situated by the walled city of Mdina. The course was about half on a dual carriageway and the rest on single winding roads…

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Sam lined up for his first run… (see the ‘safety’ marshal on the right….keep looking ๐Ÿ˜‰

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Again looking for another DPS opening image, hence the framing. Loved these hay bales ๐Ÿ™‚

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I think I counted that our TR had about 12 laps in total for me to get a variety of shots. We weren’t sure if it was going to run on the final race day so I was running around diving through trees, bushes looking for another different location, angle for the next pass. Fortunately the car ran so we had a good few added laps to grab more images.

I soon got used to the engine sound as this was the only was I knew the TR was on its way. many of the locations the cars would come round fast and then the moment was gone, without shooting every car it was good that the car had a great unique sound. Think I got it down to one of two cars in the end. Not like having ear defenders tuned into Silverstone commentary to help with when to move and whats coming on track nerxt.

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A few stills whilst in the pits and checking one or two things before the next run.

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Neil, sat waiting for his next qualifying run…

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Sam moving it into an opening to try and get a few static shots…

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With the city of Mdina in the background and with these extra laps we could get a few more images in the bag…

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One of the make-shift chicanes… again with some straw bales ๐Ÿ™‚

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For me this was my favorite image for an opener which shows the tight local roads and the stunning location of Mdina. I took this image when Sam was racing the previous day but the weather wasn’t as clear so took the opportunity again with these extra laps to get another in the bag.

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Could have put a load more images in here but I like this one of the Riley (the same one above in the Concours d’Elegance)… again great to see, hear and smell these cars giving it a good run around Mdina.

This was a pleasure for me and I’m thankful for the opportunity to see, experience and shoot such a place and event.

Till next time.

Jona