Not only do I have to use my golf clubs as photo props, I have to use my car as well. Turns out, when shooting the backup camera display of an Acura, it's advantageous to have another Acura show up in said camera.
These are go-jacks, four-wheeled lifts that go under each tire, allowing a car to be spun 360 degrees in a small space.
I've worked with Tony LaBruno since I started at RPA; he's a really good photographer, and maintains a level of energy I could only dream about, especially since today is the NINTH consecutive day we're shooting together.
The level of detail needed to shoot something as seemingly simple as a glove box is staggering.
It's one thing to have your birthday fall in the middle of the week; it cramps one's ability to really cut loose. It's yet another thing to spend it in a photo studio in the middle of a three-week stretch of shooting . . . but when my friends and colleagues Alexis and Jenny surprised me with a cake, well, things got just a little bit better.
The last step in production before editorial is color matching. Bob Festa (in the blue shirt) is one of the best in the business.
To create mobile light sources when shooting cars at night, there were trucks equipped with banks of fluorescent tubes on them.
There are five people squeezed into this camera car . . . good thing the LAPD Film Unit has traffic stopped.
Lighting a car is one of the trickiest things to do. Or should I say, lighting a car well is tricky.
Ever wondered what the inside of a steering wheel looks like? Without taking your hands off the wheel, a driver can:
