What Yah Snappin’? - Bugatti Veyron 16.4
What Yah Snappin’? - Photography Talk With Our In House Photographer
For those who don’t know we have a resident photographer, Damian. He is responsible for our social media updates, website updates and design work. However, he is most known for his photography, which you can see adorning our walls. When he isn’t working with us Damian is out and about photographing other cool things which we have asked him to share as regular blog updates. Damian will kindly talk about the subject, what it was like and how he achieved the shots.
So, Damian what have you been snappin’?
Bugatti Veyron 16.4
Either you love or you hate it’s looks but you cannot deny that the Bugatti Veyron is a marvel of engineering. Designed to go well over 200mph with no more effort than driving a VW golf, the Veyron is a very special car. Making a flying visit, I was called in to photograph the Veyron for FCD’s website updates.
When I arrived, I couldn’t get over how small the Veyron was. Yes, she is wide and has over sized panels, but it was no bigger than a 355 and probably less room inside as the front wheels sat into the pedals. I am 6ft 3 and Jeremy Clarkson is 6ft 5, so god knows how he drove from Geneva to London! I didn’t get to drive the Veyron per-say, but I was authorised to move it into position for my shots. Unless someone had told me it was a £1mil 1001BHP hyper car I wouldn’t have known it was. The Veyron was quiet and so easy to drive. When on it was just sat there, quietly purring away. It was hard to fathom that this car could go 200+. Since I can’t go into how it took to the roads, lets go down to the photography.
There are two types of car photography, on location and studio. Location entails finding a fantastic location and popping a car there. Studio is a controlled environment where you can stage the car and manufacture the settings to suit your requirements. Not being able to take the car to location or a studio, my only option was to make it my own with the art of light painting with long exposures. With a controlled light source, I can highlight the parts I want whilst keeping everything else in darkness. With a bit of compositing, I can also choose the backdrop.
To achieve the shots, I used a wide-angle lens on a tripod. This ensured steadiness and guaranteed everything was in frame. The downside to a wide-angle lens is “barrel distortion”. This is where the far left and right of the image is skinny and the center is taller making the image look like a barrel. In post-production this can be corrected. Most shots were made of 3 passes. A pass is when the light travels across the car. Making a singular pass doesn’t leave much room for mistakes. Breaking the car down into manageable shots which need to be merged later is a better path to having a more usable image.
In total this shoot took 3 hours, start to finish and an additional 3 hours in post-production. If you would like any advice or would like to help support me, please follow me here: