This is the first class from a series of tutorials where Karl shoots a Mercedes AMG GT sports car and provides an introduction to how to photograph cars, showing you how to capture the ‘classic’ three-quarter angle.
Throughout this step-by-step shoot, Karl covers the necessary equipment, lighting and styling of the shot. You’ll get to see each stage of the shoot, including how Karl tests different focal lengths and angle of views to get the best composition, what lighting techniques he uses to minimise reflections, how he combines continuous light with flash, and how he achieves an elegant gradient lighting over the bodywork of the car.
This in-depth class will equip you with the knowledge you need to shoot professional car images as it covers important considerations, outlines common problems, and demonstrates how to overcome them.
- Learn how to photograph cars
- How to choose the best angle of view for shooting
- Lens choice comparisons and results
- Lighting techniques for controlling gradients in reflective surfaces
- How to combine continuous lighting and flash for car photography
- How to use a polarising filter for car photography
Also part of this series is our Professional Car Photography – Front View, Professional Car Photography – Side View, and Professional Car Photography – Top View classes. For further car photography classes, please take a look at our automotive photography section.
If you have any questions about this class please post in the comment section below.
One of the first stages of this shoot was actually the most important — determining the composition. Once the composition was decided, there would be no going back.
Lens choice and angle of view were the two important considerations for this shoot. Both can have a big impact on the final image as they can change the apparent shape of the car as well as the feel of the shot.
For this shoot, we tested a couple of different lens choices. In this case, a shorter focal length allowed for greater shooting space but didn’t reveal enough of the car while a longer focal length compressed the car too much and made it difficult to shoot at such a distance.
The angle of view was a second consideration. Higher angles showed more of the bonnet, but less of the body, while lower angles created a more imposing feel, but didn’t really work for the shot.
These might seem like minor considerations, but it’s worth taking the time to determine these because once you start work on the lighting they can’t be changed (unless you start again on the lighting too).