Mistake #1 – Not using the RIGHT gear.

First things first… You have to start with the right gear. This doesn’t mean you have to use the most expensive gear, but early on, it’s important to get started using the RIGHT gear. Getting started I didn’t know anything about quality or cheap tripods, and I didn’t know what a circular polarizer did. Through trial and error, I learned about these things and how they played into different shooting techniques.

Of course using a camera with a good sensor and a decent lens are necessary, but these days you can find that in fairly entry level gear. These are few accessories that can really make the difference.

Here is a rundown of a few of those extra pieces:

A Quality Tripod – I say “quality” tripod because there are some really crappy ones out there. No, you don’t need it for every type of shoot, but for lower light, composite shots, or HDR it is necessary. A cheap tripod can really limit what you can do. I’ve had many fail to hold or support the weight of the camera. Sometimes they can only be positioned in a few ways or they can flat out break. A good tripod will be with you for the long haul and help to shoot some more challenging situations, it’s worth the initial investment. You don’t necessarily need a very light tripod since you won’t be moving locations as much as a wedding or portrait photographer.  Prioritize stability over portability.

A Circular Polarizer – I greatly overlooked the value of polarizers until I finally used one, which helped reduce glare and reflections. And for those that think they can just clean them up in post… that is not always the case, and even if you can clean it up, it is extremely tedious work. You don’t have to buy the most expensive one, but it makes a world of difference. I can’t tell you how many times I’ve forgotten my filter, and thought I was still able to do the shoot, it helps capture a clean image requiring a lot less work in post.

A Camera Remote Trigger – For composite photos, this is a huge piece. I’ve forgotten remotes or had them die at shoots. It IS possible to shoot without one, but it’s exhausting. Remote triggers not only reduce camera shake but will save you the time and energy of running back and forth between the camera and lights. These days there are even remote triggers that can be controlled by an app on your phone.  If you don’t have a remote trigger, at the very least, try using your 2 second timer so that you can reduce camera shake.

Mistake #2 – Trying Too Much at Once

I am always trying to learn and expand my skills, but it is also important to have strong foundational skills. I might see a photo and practice certain techniques, but without a strong foundation it might feel like stabbing in the dark trying to get a good photo. This is an issue that happened much more when I was starting and was VERY frustrating when I was trying to improve. I wasn’t trying to “get good” at one thing, I was trying to get good at 5 things all at the same time. There is real value in starting small and developing those basic skills like composition, working with natural light, understanding your gear, etc.

Mistake #3 – Poor Location Choice

Just like composition with any other photo you have taken, it’s important to consider your subject but also how it relates to the setting. I’ve seen my fair share of car photos that all look the same. A car sits in the middle of a popular spot or in an open lot somewhere, you see the car but there is no effort or thought on how the background or foreground looks. Setting could be as simple as a flat wall or the city in the background, but ask yourself how that works with the car for the overall photo. There are a lot of factors that can impact location choice, like time of day and vantage point, but sometimes it’s important to consider what the overall setting looks like. Sure, the focus is the car, but what takes a photo from good to great is how the subject fits into its surroundings. I recommend only playing with one or couple of locations to really master the basics of composition and to really get a feel for how the location can impact a photo.

Mistake #4 – Dirty Car, Especially Details (Wheels, Close-Ups, etc.)

So you’ve spent days, weeks, or maybe even months planning, finally got a location that will work, and have all the gear you’ll need to get those much anticipated shots you’ve been imagining. But for all of that there is one factor that is in the way… some pesky dirt, grime or spots on the car. There is nothing worse than setting things up, having everything where it needs to be, and you then see that the car is dirty or water-spotted. This brings me back to those concepts people LOVE to rely on, “It can be fixed in Photoshop” OR “you probably won’t see it”, OR “ it’s probably not THAT bad”. It’s not only a problem with wide shots of the car, but with those close up detailed shots. It’s the wheels, the grill, the badges, etc… metallic and chrome parts are very unforgiving in post and are difficult to replicate.

The idea should be to set yourself up to get the best images when you shoot and not to spend time later fixing and cleaning up mistakes that you could have easily avoided. I’ve experienced shoots where this has happened, and sadly, it limited the amount of images we had to work with because of how much time and labor were needed to clean the image. The easiest way to fix this? It’s as simple as having a few towels and a bottle of water in your car. You can clean and fix any spots you might need without washing the whole car. You should probably be aware of a detailing spray that will help you to clean your car quickly and make it glossy. For more information on the detailing sprays, check out websites like CarBibles.  Having a full kit of car cleaning gear handy will save you hours in post production and make you look like a rock star in the eyes of your client.

[Related Reading: Six Common Real Estate Photography Mistakes And How To Avoid Them]

Mistake #5 – Not Shooting Enough Photos

Shooting is going well and it feels like everything is going together. I’m trying some different angles and getting pretty much exactly what I had envisioned for the shoot and then some. It feels like we are just about ready to wrap things up and it’s been a great shoot. Now, downloading the images from the shoot, I see different things that I didn’t see on site. I wish I had changed my angle a little. I wish I had explored the location a little more, maybe I should have tried a few other things. The shots look good, but I feel like I left a lot on the table. It happens to all of us, but we can be so focused on what we planned to shoot that we don’t take a step back to see what could work a little better or there could be something we are completely missing. With automotive shoots there is usually a lot of time and planning, and the last thing you want to do is wish you had taken a few more shots.

In light of this experience, I developed a mantra I try to remember at shoots… “It’s digital, so why not?” If I tell myself I think we are done, or that I got what I “planned” I ask myself: What am I missing? Is there anything else I could try? Could there be a different angle? For all of the things we can create or fix in post, I can’t make a shot I wish I would have taken. I can’t add light to a photo somewhere that I didn’t put a flash. If there is anything that digital photography has allowed us, it’s the flexibility to explore, try new things, and shoot a little extra just to be safe. So try something different and explore a little, and take those extra shots if you don’t feel confident that you got it right. You will thank yourself in the end when you have more options and don’t regret missing out on those ideas you had in the back of your mind.

A sample of the many layers I use even in just one composite image. Missing just one image can leave a huge dark spot making the whole sequence unusable.

Bonus Tip – Shoot Tethered to View Your Final Images

As a bonus tip, shooting tethered is a great way to zoom in and spot small issues that you may have missed on when you were viewing the final images on the back of your camera.  If you don’t like shooting tethered or don’t have the necessary gear, you can also upload your final keepers to an iPad prior to wrapping up your shoot if your camera or memory card has wifi capabilities.

As you zoom in and pixel peep, you have the chance to spot errors that you can fix prior to breaking down and wrapping up the shoot.  This can save you hours in post production later.

Conclusion

We will always make mistakes, and things won’t always go as smoothly as you hoped. But when honing one’s craft, I feel it is our responsibility to look objectively at what we do to learn from situations in order to work better and be more efficient in the future. Hopefully, these tips will help you learn from my errors and mistakes as you pursue your interests with cars and photography and this can help eliminate some obstacles from your path along the way.

Note: Article modified on 10/8/2020 to include more tips from the editor.

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Sigma August Workshops:

• Photograph Luxury Cars w/ Sigma and Sony at Jaguar Reno
  

  

  • Where: Reno, NV
  • When: August 7, 2019
    • Attendees can join Sigma, Sony and Action Camera for a night of free photography at a local Land Rover and Jaguar dealership. This unique opportunity allows attendees to practice their automotive photography skills with live models also present for more dynamic shooting. Sigma lenses and Sony cameras will be available on loan.

• Clicking Caravan with Horn Photo
  

  • Where: Fresno, CA
  • When: August 8, 2019
    • Attendees are invited to visit the Fresno County Historical Museum for an evening of unique photo opportunities. The museum features an old Mercantile setup with real items from the past. In addition, there are artifacts from the Fresno Police Department, Fire Department, and Native Americans as well as motorcycles, sports items, and much more. Sigma rep, Lew Held will be on hand to loan out lenses for the evening and answer any questions.

• Introduction to Urban landscape Photography

  

  • Where: Seattle, WA
  • When: August 10, 2019
    • Join Sigma technical specialist Aaron Norberg for a visual course through the fundamentals of photographing the urban environment. The day begins in the Glazer’s Camera classroom learning how to make visual sense of the streets and how to choose the best lenses and camera settings to capture them. Following the presentation, attendees will take to the streets with cameras in hand and apply the techniques covered in the classroom. Sigma lenses will be available on loan.

• Instameet with Tiffen and Adorama
  

  • Where: Brooklyn, NY
  • When: August 15, 2019
    • Join Tiffen, Sigma and Adorama for one epic Instameet at Brooklyn Bridge Park on August 15th. Get hands on with Sigma lenses and Tiffen products while photographing the New York City skyline. Professionals will be on hand to lend their knowledge and expertise in capturing better images. In addition, raffle prizes, giveaways and contests for attendees will all take place during the event.

• A Day at Preston castle

  

  • Where: Ione, CA
  • When: August 18, 2019
    • Join Action Camera, Sigma and photographer, Tim Engle, at the historic Preston Castle to explore the grounds and get the perfect shot. Photographers may bring models, hairdressers, and make-up artists, however, there will be live models and lighting on hand. Sigma rep, Lew Held will be on hand to loan out Sigma lenses and provide his expertise.

• An Introduction to Travel Photography with Sigma

  • Where: Portland, OR
  • When: August 24, 2019
    • Attendees are invited to Pro Photo Supply to attend a workshop and presentation on travel photography hosted by Sigma technical representative, Aaron Norberg. Following the presentation, attendees will take a photo walk through downtown Portland to take a tour of the city with fresh eyes and capture images along the way. Sigma lenses will be available on loan.

[Related Reading: Sigma 70-200mm F/2.8 Sports Review | Is Sigma Outclassing The Name Brands?]

As always, full details for each of Sigma’s August workshops can also be found on the Sigma Event Calendar.

*Images shared with permission from Sigma. Do not share or edit these images without direct written permission from Sigma and the Copyright holders.

[Related Reading: BTS: Automotive Photography In Extreme Weather Conditions | Tuesdays With Lauri]

[Related Reading: Harniman Automotive Photographer | Behind The Scenes]

I’m not what you’d call much of an automotive guy (in life, or in photography), but I can appreciate the skill and artistic vision that goes into capturing these racers moving at speeds in excess of 100mph. I can only imagine the complexity and stress that goes into getting “the shot” for this field with just seconds to capture the action. F1 spends time in this video featuring some photographers (Mark Thompson, Qian Jun, & Vladimir Rys) who create amazing images for the racing league. The 4 minute video gives us just enough to make us want to learn more. Here’s hoping they continue the series, or maybe we’ll get lucky and someone like Netflix will add these artists in their “Tales by Light” docu-series in an upcoming season!

The part that I particularly enjoyed was when the photographers explain that even though they often carry upwards of $30,000+ worth of gear, the technology has changed so much that a fan in the nosebleed section of the bleachers can get incredible shots of their own with a basic kit. The only real difference the access they have gives is an arguably better vantage point to shoot from. Qian goes on to show how he’s gotten some of his incredible shots from up in the grandstands to prove the point. The other thing i took away from this was just the attention that a massive organization is giving to some of the people involved behind the scenes like us photographers, who work so hard to help create & promote the brands we all know and love. Racing fan or not, I’ve respect for Formula 1 for this short video and hope to see more of it from other companies out there.

[REWIND: This Is The World’s Fastest SD Card]

The new lines are comprised of Automotive and Industrial. The former is meant for cars and drones and the latter for whatever you want. The Industrial cards also come in Industrial SD, microSD, and XI. All the new cards are meant to be more durable for extended use periods, and to be more resilient to temperature fluctuations and peaks.

How resilient? The Industrial lines can operate in temperatures between -25°C to 85°C, and the Automotive between -40°c and 85°c. Both ends of these are beyond what you’d typically subject a card to for prolonged periods.

There is a bit of a catch though, and that is while they are Class10 they are U1 only, at this point, and even with read and write speeds of 80MB/s and 50MB/s respectively, they may not be able to deal with everything. Granted, that’s still quite a bit beyond the last generation of these cards which were limited to around 20MB/s.

Speed and durability aren’t the card’s only tricks, as it can count security as one too. There’s a Health Status Monitor feature built in which allows OEM monitoring, but it also has Host Lock capability, which means the cards can have passwords assigned to them.

Source: AnandTech

This image was created with the Teme Valley as a backdrop and a rig from Car Camera Rig suction cupped to the car.

According to Harniman, the longer the exposure the better so he used a 30 second exposure for this image. He also took advantage of the slope of the hill climb track and used a pulley system hooked to the car to get his desired look.

Behind the Scenes Videos

This first video explains the gear and the process used to create the image. Hartiman uses an ALPA camera with a Phase One back, a Schneider lens and an ND filter.

This second video shows the post-processing steps used to finish the look for this particular image.

Lamborghini Aventador gunning the hill at Shelsley Walsh

This image was created by compositing two images together. Photos of the Lamborghini were first taken at the showroom then collated and analyzed with all of the attributes of the surfaces being checked. After visually deconstructing the car, they took the elements and reconstructed them to create the CGI version.

Once the car is inserted into the frame, the backplate is post-processed to set the mood. Trees are darkened and sunlight is exaggerated to bring more attention to the car.

Behind the Scenes Video

The following video demonstrates the composition process described above. The CG Lamborghini Aventador was placed into the photographic backplate and HDR to create a striking image.

More Info

Check out more of his work at The Harniman Photographer Website