Targa Time – June / Cover Shoot

5 Targa’s, North Yorkshire Moors, the original date was moved due to the poor weather…. new dates set and the forecast was sunshine all day….. happy days! Checked the forecast the night before and still all looking good, travelling there on the day the story was different. Slightly overcast but still fairly bright but when we got to the location, on the tops of the moors the wind was a decent strength..


The image above was a quick phone snap. In that canvas bag hung on the bottom of the tripod has effectively x4 sandbags to weigh the thing down as the wind was mental. The video below has me waffling on but when I turn you get the idea of the wind!

Getting the Cover shot done while the cars were in a decent clean state and this parking area was clear of other vehicles as well. My image I sent in to the mag on the left which is made up of I think of about 6 images. The TVR front NS was light as well as the 348ts front nose, OS wheel and 911 bumper nearest to the camera just to lift them a little. Was framed incase they ran with all of the cars on the cover but with room to crop. The horizon, reduced by squashing, reducing to give more type space and a little blue sky.

For the few group wider shots we moved the TVR, TR4 and 348. Really for either an alt opener, final article image or content page. Due to time we ran with the lighting and didn’t light anything.

While the cars were there I took about 5 different ‘cluster’ images of various groups with the one above left used in the content page with the famous Porsche targa detail.

The other orchestration image to shoot was the opener with all 5 cars in the frame.

To make it easier and get as clearer shot of the cars was to shoot on a bend so we could frame the cars as they naturally fan out behind us.

A couple of runs to get everyone the feel of where I wanted them and comfortable we got a couple of frames that I was happy with.

Original image above and the final DPS below. I tend to keep my images on a neutral feel so the mag has enough latitude in the Jpegs to push and pull accordingly.

After this then the plan was to drive a root and then for me to make sure I get each car front and rear. Simply by keep mixing the order of cars and then for me to ride in each car to shoot forwards and backwards.

Some of the cars were easier to get into position and other like the TR4 were tight (for a big lad!)… Repeated a few of the shots as some cars were good to use details / badges as a lead into the frame.

These shots above and below were on the cutting floor but I still liked them…. The TR4 could have been a lot closer for my liking but again would you have a TR4 up your rear end egging you on to get going!

To cross the t’s and dot the i’s we shot individual cars to again give a few options for the layout. The road above is a fantastic road in the North Yorkshire moors…. the Romans would have had kittens if they saw this (above) but for the driver its all the sweeter : )

Tried a couple of village shots to give a wider sense of tour…. (on the cutting floor….)

With an area to get a quick static and details of each car…. below are some that were used and some that didn’t make it…

911 engines are just there…. no real easy way to make interesting in that sense but tried to use the Carrera badge on the boot lid as a lead in… and again for the 348

The dials and buttons in the 348ts look like something from a Casio calculator or 80s Walkman… proper old school retro…

The TVR hood that is in two parts had some real sculptural shapes which you just have to use and run with : )

Finally after the panning shots and details was to get Sam behind the wheel of one of them (this was after he’d driven all of them through out the day)…. TVR was the choice which is a mental car and just wanted to chew through the roads….

19 pages is no mean article and must be the biggest out a shot for me…

All in all despite the weather and conditions it turned out better than expected.

You can always rely on the weather…. and the next few days the sun was out blazing!

Since this shoot I’ve been back to that location for another very different vehicle and the day was blue sky and wind was non existent which was a change from this day… : )



Pink Espada…

Whats better than a car that is marmite to separate the automotive masses … a marmite car that is metallic dusky pink! Double marmite!

I fall on the side of marmite that thinks it should be known as ‘Devil Paste’…. (just like twigglets should be called ‘Devil Sticks’!)

So now we’ve got that sorted and out, back to the Espada. Words fail me when it comes to this Lamborghini, not in the sense of complete horror but more of a head scratch. In one sense I like it when a car comes out and bucks the trend and goes against convention and runs with impracticalness …

The day was crisp and with the low November sun the day of lens flare and shadows was to be embraced.

For me its all about the angular rear end and inconspicuous tail pipes. Not sure if the vertical back windscreen is for a purpose as the back windscreen is almost horizontal or just added because they could!

This angle helps you to see how much load capacity there is and that the Friday big shop would be nailed in this daily drive : )

The famous Lamborghini shaped scooped air intakes later sported by the Countach across its door panels…

Bit of sun glare, oh go on then. As ‘The list’ is a nice tight article of about 7 pages the images are a mix of statics and of course driving images. Once we got the driving images in the bag we moved onto the opening DPS image of the reader behind the wheel. All the images below are full frame with no cropping so you can see what the editor has to play with. Knowing the centre line can be an issue your really only can shoot from the side or over the shoulder. On the right car I’m still looking to shoot through the drivers window…. one day πŸ™‚

A mixed bag below of the ones supplied but not chosen. Shooting when theres a treelike behind the driver so you can get the sense of motion when shooting from low down.

The chosen image for the DPS. Normally I would have left this image out if the edit due to the large amount of headlining but as this image would be for a DPS it gave plenty of space for the title and text.

Quick portrait of the reader using a pop up reflector on the soft side. Still the sun was that strong it threw a lot of light into the shadows.

Just one speed light to pop a little light (well a lot) back into the cab to counter act the shadows. If the car was say 180˚ with the sun behind you run the risk of harsh light cast across the dash. I’d prefer to get the interior in shadow and then light it so its as unified in its lighting as possible (not a hard fast rule but easier on the eye).

Just playing about with angles and really was trying to mask the background buildings as much as poss. Had the car 180 ˚ but the shadows in the engine were way to dark without lighting it massively.

The interior was original and in a real good state…

Well a double marmite right there… what do you think?

a few more blogs to wright so until next time : )


A Couple of Rowan Atkinson’s rides…

Before you all think I spent a day driving around in a green mini with Mr Bean unfortunately it wasn’t meant to be. Although that would be a shoot worth waiting for this was to shoot a couple of cars from the private collection from Mr Atkinson for Classic Cars.

The day started of crisp and clear which boded well… However the weather had other ideas. I remember calling the mag office and they said they had clear blue skies where as we had patches of thick fog… nice :/

We set to with the details as the cars had just come out of storage and were given a quick wipe down. As soon as we hit the roads that would last long.

As this was a comparison of some sorts I looked for details that could be paired up on both cars. The Merc below with the bonnet overhang made it easy to get a bit of depth to the shot.


The Lancia above was a visual chocolate feast for the eyes… If a car needed to be sponsored by Cadburys then this is the one.

The hope was the fog to lift and brighten up but once the details were done we headed off to find some roads to shoot the tracking.

Variants of each car leading for an opening DPS…

Full frame image above and then the final image below as the DPS.

Getting these shots were okay but soon as your out there the road spray was coating the camera and lens in a lovely water, misty layer over the lens.

Only a few frames apart these two images and getting a few different angles with different distances between the cars.

With a use of a speed light inside just to bring out some details a couple of shots here to try and get a different angle for a rear shot of the Thema.

By this stage the light was dropping due to it being late winter time and the extra blanket of fog we started to wrap things up.


60 Years – DB4

End of November on the tops just South West of Huddersfield…a tad brass! At the home of the late David Brown, former owner of Aston Martin and the shoot to commemorate 60 years of the DB4 for Classic Cars.

At the airstrip/field that was owned by David Brown where he flew his De Havilland Dove and after a days business / pleasure then back in the hanger. One key feature at the hanger which is still there are the tyre tracks so that the Dove aircraft could be lined up perfectly for the hanger. You can just see the three lighter tracks on the image below with the nose wheel track running directly centre of frame.

This DB4 on the day was used all year round by the owner and as we found out only got a clean once a year. So the first 30mins were spent giving it the best quick wash/wax we could with the products and cloths I had. I wish I took a quick image on my phone of before but was concerned as we had a decent schedule to shoot to with light fading fast around 3:30-4pm.

The same shot above and below but with the hanger doors opened (below; also you can see the aircraft alignment tracks clearer on these shots.

Just added these two images as they are both shot with polarisers but with the above shot you could say it was ‘dialled’ in more to cut the reflections from the roof and tops of the side panels as the background was light this helps just highlight the car. The image below was the opposite with it dialled out so the light reflections on the roof and side panels revealed to help the car stand out from the background.

Both images have a couple of studio lights just off to the left and right almost parallel to the car just to give it a little lift and help the brightwork come out more.

With the car being dark and the background, neutral and flat there wasn’t anything really to help the car stand out.A few lights and the sun just coming out now and then just to add to the mix we moved on to getting the car out and about.

I can’t recall if we went straight to the old tractor factory in Meltham straight away or did the driving images first? Anyway the story was we trace a little of the past of David Brown and his empire. Nothing left really at the factory other than a few signs and this was the best angle to get a clean shot as there was a. whole row of parked cars on the road behind the BD4 above.

Quick swing of the car around then a rear shot of the same above then we headed off on to some of the roads that David Brown would have taken to test and develop these iconic cars.

Before that a few detail shots of the car were taken at the airfield.

Near Slaithwaite but as in the article Sam Dawson correctly adds that this is pronounced (Sla’wit)…. the light was brightening up a little and so there was a little texture on the clouds.

The images above just getting a few different angles for DPS as well as straight on tracking.

With the area being as much a part of the story tried to get one or two location / driving images as well.

With the light fading we headed off to our final destination which was the family home which is now a hotel / venue establishment.

Shooting a DB4 which would have graced this place on a fair few occasions to finish off this story before the final appointment which was to interview David Browns grandson.

Sitting in his former lounge and the place were he grew up the light was dark and every light seemed to have a different colour temperature… So with that in mind I added a little light to help give some shape to Adam Brown but with it dialled right down so its wasn’t too distracting for the interview. Waiting for a momentary hand-gesture or factual expression so I wasn’t taking hundreds of frames when I only needed a good selected handful.

An interesting day, great to see how close I live to the automotive history that is the DB era.

…still pleased I had plenty of layers on thought!

70s refreshed designs heading for the 80s

If there ever was a shoot that nearly got abandoned it was this one… Shot end of last year for Classic Cars Magazine in the Peak District. Three cars that were tweaked as a last swan song as they headed into the 80’s and the hot hatch era…

Opel Manta… (which I kept saying ‘Mantra’ through the day to Ross the journalist much to his amusement πŸ˜‰ ….. think I’ll put that down to the freezing fog and the sharp ‘breeze’ whistling over the moors.

It started off pretty clear at 8am sat in a carpark waiting for the owners and cars, then as the time approached the temp was about 0 / -1 and the snow/fog/sleet started coming in fast. Visibility was non-existent on the tops but we found a winding road that descended below the fog so we started with the first two cars that were there. The Rover SDi and the Brooklands Capri. Shooting from car to car for all three cars we had to run with the road found and hoped the fog would lift.

The route we took was about 2 miles long with a carpark in the bottom village as a turning point to take the road back up to the tops. A few runs we had to ditch as it was a fairly busy trunk route.

Using the few corners (image below) to shoot the capri so any following cars would be hidden behind the banking.

Again on the straight you could bring the capri in closer to hide any following cars.

The sky had to be worked a little in order to make something of it instead of just a flat white expanse…

The Capri owner had a dash cam and took. few images off there of his view of me shooting the shots above. Well the image below was coming up the hill where as the image above was travelling in the opposite direct but the view would have been the same with me hanging out of the passenger window getting the camera low to the rear wheel.

The image above was a lay-by near the top of the road where it was safe to leave the other cars as we carried on with the shots. Also the Manta owner had just turned up.

The three images above were using the road again and due to the amount of traffic only a couple of angles were suitable and with etc weather still not the best up top and time against us we cracked on to get images in the bag. The Manta was good for the external decals which gives something for the eye to run off into the rest of the image.

Once a couple of pairs were shot we decided to get somewhere we could shoot the details / interior shots and to garb some lunch for the owners. Very rare on a shoot that I stop for lunch, its easier to carry on through. We found a decent sized pub car park and with an hour before opening they were happy for us to use the carpark. Plus there was a convenience store just over the road which hid hot sandwiches. So leaving the owners in there I’d get one car at a time and replicate the engine / interior shots and then details.

Below are a few images from the Manta…

With it being a three car shoot there won’t be that much space for loads of statics so simple front 3/4 shot for each one…

One light used as it was massively windy so weighted down just one light as I didn’t want to risk two lights blowing over… Helped a bit with no direct sunlight so no major shadows to contend with.

You get used to shooting a landscape & portrait version of certain shots to give the Art editor a choice and not to constraint the layout as much as possible.

The dials I shot again for each one to replicate the comparison flow… The silver surround above wasn’t standard but was sprayed by the current owner as well as the Irmscher logo in the recess behind the gearstick (below)… Some purists would be marking down on points but for me it was tastefully done and not to nasty.

The Manta had a few decals externally as mentioned before so were obvious choices to shoot and which another point which sets this Manta apart from the Capri & SDi.

Joked with the owner when he opened the bonnet and said “Could have cleaned it!”…. after he realised my dry humour and facial expressions to go with it we had a good chat about the era and cars. For me this a great point to shoots, meeting other car owners with varying degrees of passion / obsession for all this 4 wheels.

Once all the cars were shot individually we quickly shot this three car group shot for the cover cutout. I always try and find a location which allows me to shoot just clouds / sky through all the windows which makes the A-editors life a lot easier to cut out for the cover.

You can see the finished cover above with the three car cut out on top. Incidentally all the shoots on the cover of this issue are my shoots. If the main yellow DB was one of my images (which this is not) I’d have had a full house of the cover… don’t think that’ll ever happen again πŸ™‚

Will be blogging about Rowan Atkinson’s Theme and 500 shortly so keep coming back to this blog.

Anyway getting back to the Peak District…

The fog and ‘weather’ lifted after lunch and these statics so we took the opportunity to grab the opener three car tracking shot. A road that must be about 1 mile dead straight was very welcome to keep this shoot on track. Below a re three shots from a few runs, with the opener being the third one…

Not really surprised but the opener wouldn’t be my first choice but then again I’m the one who just presses a button… The final opening DPS below.

Seeing the final image and the one I sent the mag you can see that I don’t over process and leave plenty of room for the mag to tweak in order for the printing process etc… Also I do prefer the blue tint to the sky on the final DPS and all why I like the sky with some definition instead of the flat white sky we had at the beginning of the shoot.

The final pair was the next to get in the bag… and a great road which I’m sure I’d be going back again to…

The image above was using the same straight DPS road which gave us plenty of room and visibility ahead to get these shots in a safe manner.

Getting some side pans of each car as I knelt down in some wet peat / moss. Thermals, two layers on before two winter coats plus decent waterproof trousers. Due to the cold the layers were essential but with the trousers you can just get yourself anywhere and not worry about getting two cold/ wet for the rest of the shoot.

The Capri owner shot a copy more stills off ….

You can’t see on this shot but another essential bit of kit are gloves… especially when you tracking etc as you need some dexterity in your fingers to help you keep a hold of your camera and change the settings whilst on the hoof… The gloves I’ve found to be great for these are Karrimor running gloves you can get from Sports Direct stores for about Β£5. No need to cut holes for your thumb and finger tips to spin the dials etc as these are fairly thin and have thin rubber gripped palms and fingers. If you look for ‘photographic gloves’ you could be paying upwards of Β£30… on my second pair of these karrimor as they are just fantastic…. little tip there πŸ™‚

A rear tracking of the three again on the straight road … unfortunately my radios had given up due to over use and the cold weather and once I got back got a couple of fulls charges ready for the next shoot.

All in all this shoot turned out better than it started… still for me plenty of room for improvement and was a little disappointed with the days shoot….

Still found some more great roads for shooting and hope to return again… maybe I’ll just take myself off with my weekend toy once the weather picks up and shoot myself πŸ˜‰

The final layout article above….

If you have any thoughts on this blog, what you want me to write about more then please drop me a line πŸ™‚




170mph – High Speed Kicks

Down in Dunsford Aerodrome, the home of Top Gear for this cover shoot for Classic Cars. Five cars, an outer track to ourselves to get this cover shoot in the bag.

If I can I try to get the cover shot and opening DPS shot first or at least the group tracking done. Weighing up these owners I didn’t think we would have an issue and first impressions were correct. This road unlike the track at Longcross was pretty flat so couldn’t rely on an incline to see the rear row of cars better. So getting as high up as possible in the tracking vehicle….. and a long arm ; )

A couple of images below showing the order of the cars (the order is at most dictated by the mag so unless the colours of the cars can help out and balance things we run with the brief)

The final image chosen for the cover and the cover overplayed on the chosen frame. You can see the space we can play with the full frame and also the colours… I don’t go too wild on the processing and always allow the mag room to tweak.

A quick option for a DPS which turned out to be the chosen image and also a rear tracking shot as an article finishing image.

The image below was shot for the opening DPS that only saw the editors floor…

Framed and shot over 5 images…

These screen grabs from my phone show what the interface looks like for the CaseAir from Tethertools… I use as I can see a live view from the camera where the lights are positioned and so just makes things work a little faster instead of returning to the camera after every shot. Great bit of kit.

Once the group stuff done it was time for the pairings. This is where finding a slightly different angle from the last pair comes into play. Looking at the pairing first and seeing what details you can shot from and two starts the process and then shows whats left to do.

First few images below shooting from the Corvettes badges two the Aston.

Love the front of the TVR…..

All the variants and pair tracking shot, now onto details and interiors etc.

With the interior and engine shot for each done after that its one or two details as options.

The sun made an appearance now and then which kept you on your toes…

Shot each car as a pan profile again as another option for each car to mix and match in the article and these wouldn’t all be used but like I said as a back up / option for the layout.

On the day there were two cars which could be written as potential number spot…… So we shot the two as a final single car static and the Aston above got the final page of the article.

Little selfie to finish off the day with the Top Gear studios in the background… : )

The final layout…

Chimaera – 25th Anniversary

Back in July shot for Classic Cars Magazine, plenty of miles and not a lot of shooting. From West Yorkshire (home), up to Hexham to pick up the two Chimaera’s, head back down to Lancashire, shoot the feature then onto Blackpool. After all that I had to head back to Yorkshire to drop off my good friend who gave us a hand that day then plough on down to Bicester for a Modern Classic shoot the day after. (the blog before this one πŸ™‚

So it was a full on day. Due to the weather and travelling we didn’t start shooting until about 2pm, not the best start but we were in the hands of the weather.

Started out at the Parkers arms (you’ll have to pick up a copy to read about the significance of this place.

The first one above was used small in the final layout… the others to show different angles which are among another 10 images I sent for a possible opening DPS.

Just up the road from the ‘Arms’ we had this stretch of road on a hill which had enough visibility to run a few passes for a front cover which I genuinely thought they’d run with. Again I supplied about 10 variants of this set up for the front cover.

This image above became the final cover shot but not in this state which I supplied.below is the cover overlaid to show the difference.

We have a blue sky πŸ™‚ … those rain clouds were dumping some serious rain about 30mins prior to this shot. I keep th images on the soft side in regards to contrast so theres plenty of room for the mag to adjust accordingly to their wishes.

Also its using half the frame which again I keep saying that the D810’s frame size is the reason I shoot so big… as you can get a landscape from a vertical shot without pushing it to its extreme. So much pixels in there πŸ™‚

The three images above are sequential frames… at times you just keep that shutter going as the road sweeps round, and the road surface was decent but we didn’t have too much clear visibility to keep this formation so tried to get the most out of every run.Like both the first ones where you can see the road in the background but also like this last one with the road going on the horizon. These shot for the opening DPS.

The frame above was a little further in the sequence of frames above and used as the final opening DPS.

Getting the camera over and down beside the doors was a little contouring to say the least, well when your 6’3″ and the seats are really low and the doors seemed to be fairly high…. Still the body sculpturing lines on the doors helped with some interest looking along the side panel.

The images above are a few more selected images from the set which some were used and some were not…

The final static shot at what is left of the factory in Blackpool. Really not much here to go on, loads of street furniture, other vans and cars all around so had only one angle to shoot from. Time was really ticking at this moment so we had to get through the shots and cover all other ‘angles’ of the brief.

A few more detail shots again some which were used and some not. All shot in front of the last remaining red brick building from the factory, trying to avoid the houses, lampposts and the cars in the reflections and background as best as.

Final layout of the cover feature…. very long day, (think it was a 5:30 am start and then I landed at the hotel in Bicester about 10pm) but still pleased with the outcome despite the short window of photographic time we had.

Until next time or until the next shoot gets printed πŸ™‚

Below is a video my good friend produced of what he could shoot when he wasn’t being my driver : )


4 Group A classics & Yorkshires B roads

It wasn’t long ago I shot another red Integrale on North Yorkshires B roads with a Cosworth and GT-Four… for Modern Classics mag (You can see that blog here).

This time for Classic Cars Mag the line up is a Quattro, Sapphire RS Cosworth and an Impreza Turbo. The day was forecast for a little light drizzle and cloud and uphill the day and the morning of the shoot the weather kept changing and different forecasts saying different things. We just hoped for it to be dry at least.

We met near Dalby Forest and draw some plans. The cars came far and wide so the first issue was to shoot the cars that needed to get off the first…sometimes owners come and say I need to be away by 12…that proves interesting especially with a multi-car shoot.

Anyway we needed a group opener for the DPS. Having a couple of options we kept it quick and swift in order to get out on the roads to get the tracking done.


The two group shots taken above and the final DPS. The landscape one shot for the DPS… I shot the vertical one as a cover as at the time it was in the balance if it was a cover shoot. In the end the vertical was used for the DPS… don’t know why I didn’t take a landscape of that group shot? Just goes again to show the amount of pixels in the D810 to get a full DPS out of half a frame.

Details and statics for each pairing…usual stuff.

The sky had nothing in it, that sky where its just flat white and no definition… least it was dry!

Front, rear tracking while giving each car ‘limelight’.

The shot above would be one of my favourites from the day, just like the height, angle, road and sufficient blur from the hedging.

Wanted to be further back with these side pans, a little bit more through the trees but just needed to repeat this for each car for the group review and cover bases in order a variety of shots. Not ever one of these would have been used but if there was a strong tracking shot for a particular car or for that matter a weak contender then a side pan might be a better option for the overall article and layout.

Simple clean shot, nothing fancy…

The Quattro and the Integrale was in fantastic condition. The shot above with the 80s mobile phone was never used but taken as it was just bit different with the matching Airport bag and ‘brick’ 80s phone πŸ™‚


Back again to details for the second pair before getting some tracking.

Plenty of clean details in these two cars to shoot. The image below on returning to the Mac I didn’t like the shadow cast by the gear shift… live and learn.

After the details we used another access road to keep the two pairings different from each other or at least to have a bit of variance. I thought in the trees, although sparse thought it was a little more rally feel than the open roads. You can just see the shadow from the tracking car and also the camera lens just on the bottom of the frame…the sun was just about to peek out. You might think that would be good but didn’t want there to be to much change in the images as if you shot on a few days. Just me but you need to crack on.

Pleased with the turn out of these image above and below… the red obviously helps and the high, close trees to help blur the image.

Prefer the image above to the one below as you can see all the Integrale’s front end…but the lower angle is better in my mind. After saying that its not what I think or feel in the end its the eye of the art editor which still to this day interests me.

Same shot below but reverse the order and shoot from each car, again they both won’t be used but to give a wide option for the final layout.

The final few images of each of the Integrale and Quattro and we were done… The sun just beginning to burn the cloud away on this last shot of the Quattro.

Not forgetting the driving shot here of Sam, taken on the same corner from the Subaru shot above.

The first page of the contents with the group shot again and also the thumbnails at the bottom of the front cover.

Pleased with the result despite the limited time restricted on us…

Until next time …

Jona : )


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 πŸ™‚

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 : )

A life long BMW…

A relativity straight forward shoot this one for Classic Cars Magazine. Another ‘Life Cycle’ article which looks at and traces the whole story of a particular car which has got some interesting history to it. This BMW 3.0s has been owned since new by a great English gentleman and was a pleasure spending time with in getting to know more about his ‘Bertha’!

JJP_3085 IMG_2526

As ever getting a few tracking shots for the opener. Don’t think we ventured more than a mile from ‘Bertha’s’ home being in the sticks. Grabbed more than enough for a front shot, we grabbed a few rear shots for a closing image…


I prefer the sky to be either blue or some good dark clouds but not a sky that’s flat white which is really hard to do anything with…

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A few clean statics and detailed images and a job is a good ‘n. Really simple shoot due to a lot of the images used are from the owners showing various aspects of the cars history.

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Had a little ride in the back of the 3.0s and I must say it was big and spacious with seats that felt like a comfy sofa…

More to come soon….