6 Daily Drives – Modern Classics Mag Test

This blog a little late to the table…. but here it is anyway. Cover shoot for January 2018 for Modern Classics Mag.

6 cars tested as ‘Daily Drives’ from various decades which is always interesting to see and shoot.

The cover shot (at the same location as the rest of multi-car shoots)… Supplied a few cornering shots and the mag have done a good job in ‘creating’ the front cover… Just as I was getting the images ready for this blog just seen another shoot of mine in the mag…. the Rouse Sierra Cosworth. Maybe that’ll be my next task!

Anyway a similar format for this shoot in the way of statics and details of the cars then the pairings for the tracking. Below is the set of mini images I sent in so you can see the variety of details given and then you maybe able to make out which ones were used.

 

To keep the ball rolling the only images above with lights are the interior and engine bay. The others I used a simple reflector and when you’ve a few cars to shoot you need to keep an eye on the clock. The rear interior shot I’ve included the full frame to you can see the reflector bottom right of the frame.

The brief was for each car to have a static image / details and then driving images the static images needed to be different from the last. I knew that the mini I was shooting from the front, simply due to the wing mirrors… The three above just taken seconds apart to give the mag a choice of running the image full page or cropped.

Below are some images that didn’t;t make the final article….. again so you can see the variety…. This can get a bit tricky to shoot 6 cars and get a different angle for them all. It can be easier if you look at the cars with distinct details, like the red Trophy and its lettering so you can try and get the best details in all the shots etc.

JJ used this image in the contents page and yes he did have a smile while driving some of these : )

Really liked this image personally… simple, clean and to prove flat lighting can be of help at times ! ….. Still was pleased to get my 6’3″ frame out the back of the GTI…. especially when JJ was driving πŸ˜‰

Taking advantage of the Elan’s lack of roof πŸ˜‰

As mentioned before regarding trying to shoot from details / across details…

Onto the DPS… With time we went with this one set up… all cars positioned and lit individually with two lights. (see image below)

The light was just there before putting it into position ….. : ) …. the final DPS below.

 

 

Little video shot by Nathan on the day….

 

Here’s a preview of what Wednesday’s new issue of Modern Classics magazine has in store… Which would you choose?

Gepostet von Modern Classics magazine am Montag, 4. Dezember 2017

 

Well we’ll see what 2018 brings πŸ™‚

 

 

 

Ultimate Golfs – Modern Classics

Shot back in July the day after the TVR shoot (not yet blogged) for Modern Classics.

3 Golfs and for a cover shoot at Bicester Heritage centre. A really good location especially for statics with old hangers and out-buildings with plenty of character.Β 

Got there early and we already had the VR6 owner with us so I went off to find a location within the grounds to start shooting the individuals until the other 2 golfs turned up. The image above was a giant hanger door which was going to have the sunlight that side of it for the duration we needed to keep things on an even keel as far as having the background light for all the individual images.

I shot the VR6 then we concentrated on the cover image. The first main idea was the one above which never got used… One image was wide and the other more standard focal length. My theory why this didn’t get used is that the month previous cover had a single car cover which was in the same position as the VR6 in these ones and would be too similar to have them one after the other …

Anyway … on the image below, what do you get with x2 car owners, a car dealer, an art editor and mag editor? …… your own personal valet machine πŸ™‚

This was car prep for the cover… and I didn’t have to do anything πŸ˜‰

This image above was the final cover shot used but you can see that the VR6 has been cut and moved up to fit in the cover. Final cover below πŸ™‚

The only other group static would be the opening DPS…. (below)

This was made up of three images in the end. I could have done it in two shots but to save time in getting more lights set up I shot it in three frames as I knew I had to shop this image anyway so it was easier to shoot three… Below I’ll explain πŸ™‚

This was the first shot, framed for the DPS and this was purely for the VR6 light cluster. The reason I needed at least two frames was because you cannot get the whole frame in focus from foreground to the black golf in one frame. So only the VRG was used from this frame. (Notice the other two cars out of focus.)

This image above with the blue R32 light was the base image as I could drop the VR6 and the black golf on top of this image. Just two lights, one just off frame to the right and one just hidden behind the VR6. (also notice the VR6 out of focus)

You can see from the image above I had a glorified remote controlled light where it would go where I commanded…. voice controlled if you will … i.e the art editor πŸ˜‰

Same lights from the blue R32 and just light the same way as the previous frame.

So with just the black R32 and the lit bit of ground around it and the light cluster of the VR6 dropped onto the Blue R32 frame you have the final image.

Each car had its own static which needed to be different from the last and complement each other but the engine and interior image the same… above the three car interiors.

Again same image for each car ….

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The statics for each of the golfs for their respective double pagers.

Some details which some were used and some that made the editors floor πŸ™‚

Full frames of the four images above with the VR6 which got a few more pages to its self. We used the Black R32 as a tracking car which I enjoyed the soundtrack as we made one or two laps to get these shots.

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The image left is the full framed one which had the passengers door in the top right hand of the frame which I left in Β and the final image on the right used with some clouds magically covering the door πŸ™‚ …. also the few barriers left on the horizon also taken out.

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The final layout …

13 pages is a decent article length and as ever always good to get a cover πŸ™‚

 

Clever Money Cars – Modern Classics

A fairly local job for me in this months issue of Modern Classics. The shoot location based in Harrogate and near Bolton Abbey on the edge of the Yorkshire Dales. The day was damp but we got our head down and cracked on with some details and in the bag while the interview started.

A few detail shots that never made the final edit…

Like all the images I post on my blog I use the full frame so you can see whats been supplied to the mags and how they’ve used them. These first details were shot at a little industrial / business park with various units… so the issue was to eliminate as much of the surrounding buildings and cars in the BMW’s panel reflections, you can see on the image of the wheel I ran with what reflections occurred as the wheel we put into position to get the BMW logo level.

This is were I would dive into some usual waffle of how we got the tracking images done. However before that I must mention this was the best fopuax for me to date whilst on a shoot.

After taking the details in H’gate we traveled some 45 mins through town and out to the road you see above. After pulling into a cafe car park and having a little chat about what we’ll do to get the shots etc I then opened my boot to get my camera gear sorted to be faced with my kit but minus my think tank trolley camera case….doh!

Well that was going to be 1h 30mins delay to the proceedings. Thankfully JJ the editor of Modern Classics and the cars owner were very gracious in their reaction! While I hot footed back to retrieve my kit (which was still there by the way…hence I have these images) JJ had plenty of time to take the car around some great roads to get a good feel of the car for his copy.

Anyway soon as I got back they were well refreshed in the cafe and it was time to get straight on with the tracking shots.

This little stretch of road we used about just shy of a mile and we were able to repeat the drive in order to get a good selection of views as the road was a little twisty but with great visibility of the road ahead.

Happy days as a couple of passes along this road we got the front sorted with relative ease.

The full frame above (left) and the final opening DPS, straightened and cropped tighter… do like that level of view of the front grill…

I need to a little blog on a new bit of kit I’ve had for a while now from TetherTools… a live view and triggering system you can use your phone / pad of choice to fully control your camera. Nothing new technology but I used to use a wireless trigger but was shooting completely blind and had to check after each pass and readjust. Now we can see a live feed so at least were not wasting frames as such…and time!

back to the original morning location to get some statics as there wasn’t any decent locations while out and about plus the light was fading fast…hence the heavy flashed image above. Not my favorite but again trying to avoid other cars and vans in the background.

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The final layout above… this could have been a lot smoother but leaving your kit behind somewhere would always have repercussions! … lesson learned indeed.

Until next time…

Jona

Clever Money Cars – 944

Shot some time back on a blue sky, sunny warm day for Modern Classics. On the rare occasion that theresd only you and the journalist… no third driver to make the tracking shots easier.

Anyway it was ‘clamp’ time to rig my car and shoot while driving. A decent road was nearby the garage which made it a decent day as well.

As I wrote before in the skyline blog and many others, you align the camera as best as you can before a run and then you need to keep checking after a short run that theres a decent angle and enough around the car to crop if needs be.

As the shot above, when you can’t be in the boot you need to keep it safe and get the job in the bag. The image above along with the other front shots I’m thinking these are decent openers.

In the end they went for the shot above, shooting into the sun which is always interesting. Always try to keep the original image as I’d like to see it but always keep in mind that the image may need to be tweaked both ways … if I was to prepare it with the highlights being burnt out a lot then that doesn’t leave any room if its not to taste with the art editor…

Quick flip of the rig / mount to the front of the vehicle and repeat the process for the rear tracking. I do like the back end of the 944, has more about it than the front.

Another pass and a little closer and a more acute angle incase they want to run with a rear for the opening double pager.

Once the tracking is done and in the bag its then seems to be a lot faster doing panning and driving shots form the side of the road.

There were two corners just after each other which we shot from both sides of the corners and directions to give us different angles and options. The one above lying down on the job in the grass verge.

On the same corner as the one shot from the grass verge but just trying a different feel and atmosphere.

This corner above was a decent corner but didn’t want to stay there to long as a car coming around the corner at some speed unknowing I was there I didn’t have anywhere to go so made as little passes here as possible!

Sending the 944 back down the road for another pass gives you the opportunity to shoot a rear angle from the same spot. Getting a little car roll and action is a play withe the corner and how fast you can take it as well as getting into position with the camera and timing your pan.

Back at the garage to take the statics and details. Struggling to find a decent location out and about we chose to use the storage unit as a backdrop.

The three shots above to illustrate you can take three different angles while the car is in the same position… variety is good. Must have taken these within 20 seconds of each other.

Again shooting different images from the same set up … different lenses and angles / heights etc etc. Ideally I’d have liked the sun more around the front as I wanted the background to be flat and the car be at 90degrees to the roller door.

Instead of keep rotating the car I try and think ahead of the different shots that we need to take so we move the car as little as possible. Do you want the roller doors in the image for the interior as a backdrop through the front windscreen and so on and so forth.

Think this one one of the last shots taken as I do a last walk around the car. You miss details sometimes or I think I already had taken the image of the turbo badge before but liked the suns angle and the background of the image above so take it again.

The sun was really harsh this day and so we had to lift the interior with lights. Always finding the best angle for the light and camera so you don’t get massive hot-spots on the dash.

Both images above with fill flash to help balance out the deep shadows and think the light was in the same place for both shots…. can’t remember.

The final layout above. Good little shoot, great weather, blue sky and a bright car is always nice, well apart from a white car!!!

 

Ultimate Skylines

Another shoot for Modern Classics Mag. Since shooting the first cover for this mag almost 17 months ago its been a pleasure to see the mag grow in interest from a bi-monthly publication to now this year every month. Also I’ve mentioned before its my era, growing up with a passion for cars and this was the period I indulged myself watching Top Gear, reading Auto Express and other titles.

This was my first visit to Rockingham and as I arrived first I made my way to the paddocks whilst being bathed in the morning sun. It was looking to be a good day. Before the owners and journalist (Chris Chilton) arrived I wandered over to the inside track where there was a supercar day and almost 100 folk queuing up for a few laps in an array of cars. Funny to see girlfriends / wife’s of these blokes trying to look interested and be ‘apart’ of this big day πŸ™‚

Photography comes in play in loads of different set-ups and seeing a trailer offering a print of you and one of these supercars out on track for a bargain Β£25… makes me happy my photographic career has stayed away form ‘bulk’ repetitive work.

Moving onto the shoot… If you’ve ever played Gran Turismo, Need for Speed, GTA there’s no doubt you got behind of the cars we shot here. We got an GT-R R34 R-Tune, one of only 5 in the UK and a GT-R R33 400R and this is only 1 of 3 in the UK. We had exclusive use of the outer circuit to get the shots we needed.

As the weather was good and the sun still showing his face we decided to get on with the tracking to get the best light as we could have always gone in one of the paddock pit garages if the weather turned to get the statics and details done.

The starting grid and line were the interesting features I wanted to concentrate on and plus the fact the suns direction couldn’t suit it any better. The only issue was the boot door to the tracking vehicle…. you can see it above on the full frame image. Normally I’d leave these things in and if the mag want to run with it I’d offer to shop out the defect.

It was easy enough to just sit back and make a few laps to get the feel of it and I think after that we began to just repeat the last corner and straight to really get the shots we wanted.

The final opening chosen image above and you can see the weather was unpredictable…. clouds one minute then harsh sun the next.

Quite like this shot… always helps when the road surface is not full of bumps and potholes!

Here’s a set up shot for the images above and below. I’ve recently got hold of a live-view trigger using me phone as a trigger but also giving me a live view. The reason this is a massive help is because of this kind of set-up. As you can see the car is rigged to the tracking car and so I would align the camera by eye and then do a run and keep adjusting the camera and the car positions after each run. Where as this new bit of kit I can see straight away and get the driver to move where I need the camera to me and then I can fire remotely. Here is the old school way …. and the way I would have to shoot if technology fails as it does from time to time.

Taking advantage of the wide track we were able to get the cars parallel and shoot low. It helped also as the fewer spokes you have on wheels then the faster you need to driver or slower your shutter needs to be to get some motion in them wheels. Again the smooth road and being able to drive faster in this controlled environmentΒ  all helped getting some motion in those R34’s white wheels. The shot above was cropped and turned into a vertical which looked nice.

The issue with us only having the outer track is that its just an oval for want of a better word and only had these corners on the end of the straight as a chicane which I presume they use for certain race series. Anyway the shot above we made the pass and got a few shots with me laying across the back seat and whilst holding on getting the camera in position and shooting one-handed. We had to play a little with the speed to get a compromise.

Using the tracking car again I wanted to get the corner in with these colours adding to the frame. The R33 (Silver) had to be way off the racing line as you wouldn’t see the car from this angle as it would be tucked behind the rear nearside of the leading Skyline. In the end we drove close to the track wall the wrong way then take a hard right to swing the cars round this corner… Once I got a decent shot we moved on.

Once the double car tracking images were done we quickly moved onto the individual cars and shot both rear and front of each of them. The three images above were in order of being shot and again having the track was great as you could move the tracking car around the subject car whenever you got the shot needed without stopping each pass.

Still sitting in the boot on the shot above you can get the camera around the rear of the tracking car and shoot low to get the rear shot. You can see the reflection in the bumper.

Once the track fun had been done we quickly moved onto the statics. Using the straight again we shot towards the stand and then moved the cars to get as much sky in the frame…. plus the sun kept coming in and out of the clouds which kept me on me toes.

The two images above using a couple of lights to pop some light on the front of each car. The top one you can see the small stand just peeking out under the offside wheel of the R33… quickly tuck it behind the wheel more and off we go again. Same shot in effect but just a little lower and bringing in the finishing line a little further from the last shot to give just another frame for consideration.

Now it was just getting details and single statics shot. Having the cars beside each other (with enough distance between them to frame them) in the same angle we could just hop from one to another capturing the same images as a comparison.

(I’ve not checked if these images are correct for each car or if they are in order πŸ˜‰

A quick image of Chris driving each car then its off home πŸ™‚

Below are the final spreads of the article.

Thanks for reading…

Jona

Evo v Impreza

Shot this end of last year and to say it was wet would be an understatement….. Damp, cold, misty all the elements you need for a shoot πŸ˜‰

This was the first time that I’d be on a shoot with another photographer. Needing statics of each car and then tracking shots on top it was a good call and we needed every bit of time to get through them all. Stuart concentrated on the stills and I was tasked with the tracking / motion shots.

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As far as I remember we got the big group shot done and a few variants for the cover. Stuart did a great job on the cover with the layout of the cars…. After the group static was in the bag we then split off and started on the statics and the tracking images respectfully.

The first challenge was the spray from the road surface… you could manage about 10 frames before the lens got too wet to take an exceptable image. We had three pairs and one single car to shoot. Getting front and rear of each car so we had to repeat a lot of images which in one sense kept the same feel through this multi-car test but kept us on track to get through all the cars.

The Bruntingthorpe air-stip is about 2 miles long then a service road back around to the top of the runway. Not all of the length of the runway is viable to shoot on due to other vehicles and buildings running alongside the run-way.

Like the image above we tried to get some key features of one car while shooting the other.

With a few of these they had decent spoilers and this one above was the biggest which we could frame the other car with…

Bonnet scoops and air intakes were the only other way to show features and get the rear shot.

The top one of the three images above was easier as it was a 3 door so you could reach to get the lens beside the back wheel easier then the others as you had to reach nearly a full door…. all without the risk of falling out. The middle image as well shows the spray starting to influence the final image and for me was a reasonable acceptable amount.

When we finished with the three pairs it was a sigh of relief when we came to the P1… back in the Mighty Meriva (the late tracking car that has been past onto pastures new)… easier to shoot the one car and get some decent angles.

You can clearly see the side of the Meriva between the tail lights and the rear wheel in the body work above. Staying in the boot to try and make this one trip down the runway count and get both rear and front tracking in the bag.

When having the camera within a foot from the road surface I forgot a few times to stay away from the spray being kicked up from the rear wheels…

Once all the track stuff done we sent all the cars around one after the other and did some quick side pans…

We got there in the end… and tried to shoot the cars in preference of letting them depending on distance they traveled. A decent job and one that we needed to just keep on going through the day. Would have been better for all if it wasn’t wet but that’s what you get sometimes.

Until next time.

x5 Β£1k cars – One Track – Modern Classics

Febs Cover for Modern Classics shot back in Oct / Nov time if I remember …

A showdown for 5 cars you can get for around Β£1k. Its really good shooting on a track as you have complete control and don’t have to worry about other cars. Blyton was the place, great smooth surface but its very flat and so has a limit on the variety of images and angles you can achieve.

As with these shoots you try and plan the day out so the owners can leave as soon as possible… So this shoot I think we got straight on with the tracking images of the cars be it in pairs or individual shots. Then onto the group tracking and group static. Which leaves then the individual images last and so you can shoot the car which need to get off first etc etc so you are left at the end with just yourself and the writer…

The day was dry, quite fresh and strong sun which at times is good but going round a track limits you….. (I’ll explain later…)

We needed to get a ‘motion’ shot of each car from the front and then from the rear. As the Alfa and Fiat were paired for the shoot (as they share the same tech and built this came through the copy….) You try and see what features each car has to capture… so the above shot tried to show the red calipers and the distinct line down the front wing then onto the Alfa. This corner we used alot as it had ‘corners / kerbs’ as such to help give some interest…

Shot below shows the position we got into to get the rear shot of the Alfa.

This is the next frame as we went through the corner.

Then onto the front of the car… only feature you could get in was the filler cap of the Fiat, plus it had a sunroof to shoot from.

The above shot (thanks to the Mazda owner πŸ™‚ shows me bracing myself and trying to get some motion in the image whilst on the move…

As we had 5 cars to shoot i decided on the angle we would shoot the front and rear of each car and stuck with that without trying all positions for each car. Due to time and theres no need to repeat each exact angle for each car unless briefed.

On the same corner again (above) this time getting the Pinifarina badge in of the Alfa. This image was used for the Fiat and was cropped portrait. Again giving me reassurance that shooting with the D810 lets the art editiors easily crop and landscape into a full portrait page.

Moving onto the Clio and Mazda as the next pair. The above shot picking up the rear spoiler and filler cap on the Mazda then the Clio.

Below capturing the flared arches of the Mazda and taking advantage of the rear back hindged doors of the Mazda.

The image above showing the rear door opening which was reasonably comfy to get in the small rear seat and keep the front door closed while shooting the clio.

The image above took a couple of runs to get ourselves in the correct position to shoot the white line…. think we had about 50ft of this yellow run-off patch and so whilst traveling we could get about 5 frames fired off.

This is where the sun can cause an issue especially if you’ve found a road and the best background is away from the sun and so you have to shoot with the sun behind you. Here is not too bad as you have a circular track so you need to pick the best spot. Still I shot a few as this may have been another option for the Editor and so the shadow could have been taken out.

A note as well to say that all the images in this blog (apart from set-up images) are full frame and are what I send the mag. You can see in some of the corners some vignetting is present…. again I’d leave this in and if needs be it can be sorted out if its a problem but I normally shoot slightly wider to get some area for cropping.

Again shooting into the sun is always an option as a different feel and of course some lensflare (which some people like) You just have to post the image a little more to bring out the shadow details.

Above the same type of shot as the Clio rear one but on another area of the track. This took a couple of goes as its hard to follow a car close enough to get the shot but we had to get both cars to leave the racing line at a certain point.

After the two pairs it was the Mondeo for the single car…. at times its easier to have just the one car to sort out.

Both of these images taken from my ‘Mighty Meriva’….. and this was the last job I did from it as it has now been upgraded πŸ™‚ …. but it was a fantastic car for these tracking shots.

This shot shows the white line and the yellow area is just off camera to the left. Not always that good as you’ve got to be careful of the stones off the track getting kicked up and possibly damaging the car. Of course getting the car close enough to the tracking vehicle which is always too close for comfort and not normal at all. Again why being on a track is ideal.

After the tracking we moved onto the panning shots of each of the pairs and then individual panning of each car.

The above image was used again cropped to portrait. To keep things moving along I positioned myself here and then got the cars to follow one another with enough gap for me to re-position. This is where radios come in a treat! and the first time I used a set of four I got…

After all the motion shots it was a quick break and thankfully there was a track day on another area of the track and so the afe was in full swing so a decent buttie was enjoyed by all before we cracked on.

It took a little positioning at first but once you get the first few cars in the right place things move along better.

Being 6’3″ just some small steps can be enough for the height needed. (the only hat I had in the car was me bobble hat!)

You can see from this image that we started with the Alfa facing from right to left before we flipped it and things then fell into place.

Even though shooting plenty of verticals this one was the final image for the cover…. taking the sky from one of the other frames.

This shot I framed as an option for the opening DPS. Think is one of the very few times my choice is what has been used…

A few other group shots and a few of the tracking group shot…(which always takes a few goes!)

Sometimes you need to get on the floor for work…..!

For each of the cars we took the same front 3/4 shot from a few angles and then an interior, owners shot and then some details for each car. Bit of a production line but you soon get through them…

A few more ….. and a few that were included in the article.

Some thumbnails of the final spreads, two pages per car then a few pages for details and verdict.

A good day out with some great owners who seemed to enjoy the day and got stuck in… This is febs cover shoot and the first of the monthly editions.

I shot the first front cover back in 2014 and then it was a by-monthly magazine, so to see it take off and in one year go monthly I’m looking forward to the future of the mag.

(A shout out and thanks to the owners for some of the background images included in the blog πŸ™‚

Till next time.
 

Mirage Countach

There are kit cars and then there are kit cars…

Another shoot for Modern Classics which by the way has gone monthly now…. of a classic. Well there will be people out there who won’t give this one the time of day due to it being a kit / replica.

I’ll leave that one for you to take on-board. What you can say is that this is a really, ……. really good kit car. It doesn’t give you any impression that its been thrown together in a shed and held together with cable ties!!!

Its a head turner. This was evident when meeting the owner in a car park and within 10mins there were 20+ folk snapping phone images and gathering around.

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Onto the first location for some statics. Loved this first building but it was shooting in the wrong way, or at least would need some post work as the building would be in heavy shadow. This for me was not my first choice while shooting that it would be a strong contender for the opening DPS….but in the end it was chosen.

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Not the landscape image but the vertical shot coupled with an interior detail.

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The two original images that were used for the opening DPS.

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The above image would probably be the more ‘safer’ or predictable DPS… still happy with the post work on this as it needed some serious tweaking to pull the shadows and drop the highlights. Being a white car didn’t help as you could have blown that car right out of the water!

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The second location was helped with some local knowledge from Sam the journalist from Mod Classics from his Uni days… πŸ™‚

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We wanted a slight angular contrast with the building / background and the Mirage, some 80’s / block building to have the car in some kind of ‘period’ background.

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The sun was strong that day and every background that was pre planned ended up in shadow at that time of day… still was a nice day to shoot a supercar classic…. (be it a replica or not!)

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Don’t mind lying on the floor when its not wet ! πŸ˜‰

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Above image was another framed image for a DPS option… not a strong one but another one as an option.

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There were some art sculptures (Not sure who from but Henry Moore ‘esk’)…. Shot a couple of ideas just because I liked the juxtaposition… only made the editors cutting floor πŸ˜‰

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Couldn’t find any safe place to shoot the car in amongst some fitting buildings to carry on the theme. Found a few lanes in order to get a few motion shots in the bag. A couple were used in the end with the one above of the rear being cropped as a single vertical page.

One funny thing on this shoot was at the end we needed to shoot the owner at the wheel while driving. I said just drive down this lane and I’ll grab a few images, he said “how fast “, I said (knowing full well the reaction I would get….) “however you drive normally”. His eyebrow lifted and said “seriously?!”, with a smile I said “Of Course!”

I knew that I couldn’t get a sharp image of him driving going that fast down a bumpy country road and getting a blurred background out of the window. I just wanted to enjoy a little ride!

That was until we turned the corner on a single lane track and was faced head on with a giant John Deere tractor… locking up a little stopping a cars length away…. “well that was fun” I said better let me grab a few images whilst trundling along for a few 100 yards.

Until next time…

Jona

Group A Heroes Reunited

The threat of rain, unfamiliar roads, three cars… all in all a typical line up!

For this Modern Classics shoot the main point for me was to get a cover shot in the bag early doors. Knowing this was a potential cover entry it just adds a little to the day, which is good πŸ™‚

In the North Yorkshire Moors we met in Thirsk and then headed off to a pre-determind road. A few turns through the village before the open roads through the heights of the moors we hit the signs… ‘Road Closed’ … good start to the day.

After consulting a postman and with the help of someone within our party with some local knowledge we took off to get round the closed road. That local knowledge turned out to be gold πŸ™‚

The road in mind ran for about 6 miles but most of it now had just been freshly laid with that loose chipping. In the end there was about 2-3 miles of ‘normal’ road surface to play with.

Getting one car in position but 3 you need a little more road than normal. Anyway we took off and got a few passes in the bag for a cover. As you can see through some of these images the weather was dry but the sky & cloud kept changing every minute.

Below is the final cover and the original image.

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This run was later on in the day when the sky opened and so I asked for another run…

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Above were some other cover shots…

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Thanks to Nathan from Modern Classics you have the pleasure of this rare sight… me in front of the lens. Using a good BMW step ladder to grab another option for a cover. All the previous covers for this new title have been statics so this was another option for a cover but also another feature image fro the title page / editorial page.

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Each car got the same treatment to the images above. Engine bay, details, badges and also not shown interiors.

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One of the images used in the final article… Just like the image below (not used) you try and show different angles of the cars. If you can shoot from the other cars then it just adds to the flavour of images.

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All these tracking shots are taken on the same stretch of road. With the sun going in and out you’ve got to keep in your head which direction would be better for a rear shot and which would suit a front on shot. The shot above and a lot of the tracking images I do I’m not looking through the viewfinder, its trial and error some of the time but you get to know by just looking at the camera in your hand and what you want in the shot.

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Again another shot without looking through the viewfinder and this one was used for the opening DPS. I must say that these tracking shots were taken from the boot of the BMW step ladder shown earlier… I never thought that I could fold myself in half and fit in the boot and able to move myself around to get the shots. Wayne (the delta owner) got the best view of when the lights suddenly went out on my from the boot lid closing shut mid run…

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Another angle from the ‘ladder’ shot. This was used in the final article but was cropped into a portrait orientation.

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After all the tracking shots it was time to grab some images from the road side. Another image above that didn’t make the final article.

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More repeating of images this time with the journalist at the wheel of all the cars…

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I shot every car the same as the GT-Four above but only this image made the final article…

Must be one of the longest shoots to date, good fun but man I was tired by the time it was to head back home but worth it for this cover.

Till next time

Jona

Modern Classic – M3

This was a quick shoot of the ‘quick’ type…. The deadline for the images was the day after the shoot. The location was Cambridgeshire. We had a car but no location. We sat in the car after the first location idea was a no go, as expected but as they say at home ‘Shy Bairns Get Nowt!’…

As ever for my work Goggle earth comes in a treat. Looking in the area for a car-park, urban industrial site. We made a call to a car park but cut a long story short….. ‘No’.

The next location and one we ended up shooting at was a small storage complex with shipping containers. In I walk with some North East charm and ask the owner if we can use the site for the next few hours or so.

Were in…

Knowing all along with only two of us I’d have to rig the car for some tracking shots to make sure we can get an opener. This was also an interesting shoot as unfortunately original shoot (hence the 9th hour re-shoot) the high res images were on a damaged hard drive which the photographer at the time couldn’t retrieve. Something as yet I’ve not had the misfortune to deal with and my heart went out to the photographer… : (

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The image above was the final DPS opener.

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You can see the final rendered image and the removing of the top boxes and building with the lightened tonality which I like.

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As the layout of the article was already prepped with the original shots it really was only for me to replicate certain shots and see what other images I could take to replace them with the location we had to work with.

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As we had to have these turned around quickly the only time we labored on was the opening rig shot and the rest we worked through at a quicker rate.

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The image below I had thought would be good for within the article but wasn’t used but was used on the content page which was a bonus : )

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Although I said that we didn’t have the man power to really do tracking shots we did attempt a few passes down this part of the unit. With the camera rigged on my Mighty Meriva we had about 150 yds to get a few shots in the bag. A couple of sharp ones …. we moved on!

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Here’s the final 8 page article so you can see how the images were used and below the cover of the issue its in so you can get yourself a copy : ) … again another image cut out for the cover.

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