# Calling Automotive Photographers



## gckless (Jun 15, 2015)

Right to the point, how did you get started making money?

Firstly, a critique of my photos would be much appreciated. I'm very interested to know if I am at a level to where I am able to start charging. At this point I still think I am not, both due to skill and not having my name out there. I'd be thankful for any tips here.
Flickr: Gilbert Kless Flickr - Photo Sharing 
Website (which needs a little trimming): Gilbert Kless Photography

Past that, how do I get started? I do believe that shooting for individuals will never get me in the black, I have to look to magazine features/racing team promos/track features, etc., basically taking gigs more fora client's business than for pleasure. I could contact some local tracks and see if they would me have some special access (Circuit of the Americas is pretty local), but that might be unlikely unless I specifically talk to one of the racing teams and get extremely lucky. Contacting some local car clubs to shoot the members vehicles for clubhouse photos or something like that might be viable as well. 

Also, as far as releases go, do I need some sort of "model" release for automobiles? I would think not, but there's a reason I'm asking.


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## tirediron (Jun 15, 2015)

To be honest, I really don't see anything that you could charge for as far as automotive photography goes.  Not necessarily as a reusult of skill, but more from lack of material.  Everything I can see in your 'sites looks like walk-around snapshots at car shows.  If you want to get paid for shooting vehicles you need to put together a solid portfolio; I would say at least 4-5 different vehicles with at least 5 images of each vehicle.  For an example look at the work of member Theographics.  Here's one of his recent efforts. 

As far as getting started, step one is to put together a portfolio as outlined above.  Don't expect to get paid for this, and it may take a while; you want cars that stand out a bit.  I would scout local car shows and approach owners of suitable cars and offer them a free shoot and a couple of prints in exchange for 3-4 hours with their car.  Once you've got that down, then start shopping your porftfolio.  Knock on every door  you can, (and I mean literally knock), only use e-mail where you're trying to get in touch with someone far out of town. 

I can't comment on release law, but I would suggest that it is ALWAYS good practice to have the owner sign a document which grants you the right to use the images as you require. 

Automotive photography, when done correctly requires above all, a lot of lighting gear and lighting knowlege.  This is where I would start.  If you're not already skilled with off-camera flash & studio lighting work on that.  Nail techniques such as cross-polarization, gelling, and a hundred-and-one useful techniques.


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## KmH (Jun 15, 2015)

gckless said:


> Also, as far as releases go, do I need some sort of "model" release for automobiles?


If needed, which is very unlikely for a car, it would be a property release.
Property and Model Releases American Society of Media Photographers
Using property releases American Society of Media Photographers


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## gckless (Jun 15, 2015)

tirediron said:


> To be honest, I really don't see anything that you could charge for as far as automotive photography goes.  Not necessarily as a reusult of skill, but more from lack of material.  Everything I can see in your 'sites looks like walk-around snapshots at car shows.  If you want to get paid for shooting vehicles you need to put together a solid portfolio; I would say at least 4-5 different vehicles with at least 5 images of each vehicle.  For an example look at the work of member Theographics.  Here's one of his recent efforts.
> 
> As far as getting started, step one is to put together a portfolio as outlined above.  Don't expect to get paid for this, and it may take a while; you want cars that stand out a bit.  I would scout local car shows and approach owners of suitable cars and offer them a free shoot and a couple of prints in exchange for 3-4 hours with their car.  Once you've got that down, then start shopping your porftfolio.  Knock on every door  you can, (and I mean literally knock), only use e-mail where you're trying to get in touch with someone far out of town.
> 
> ...



Thanks for the response. Theographics does some amazing work! I'm definitely not there yet. I'd love to be though, so I'm here and other places trying to learn.

You're very right, I have not had really any shoots with single cars, it's all pretty much been how it looks, just walking around at a car show. I just did my first real shoot a couple weeks ago (here: JDM Shoot - 4Jun2015 - Gilbert Kless Photography) and I liked it, which is why I'm here looking to get more information. Everything I've done so far was free, and I plan on it some more, like you said to build a portfolio. I also agree that face-to-face is the best way.

I'll get in the habit of getting a release.

I am finding out that really killer automotive photos seem to involve a lot of lighting gear. I do believe that amazing shots can be taken in daylight outside, it's everything I've done up to this point, but flashes and lighting just bring out that something extra. I only have one speedlight now, but actually just ordered two more and a trigger yesterday. I will be slowly amassing a collection of studio and strobe lights that I can toss out ghostbusters style around a car. I do need to practice more with that.



KmH said:


> If needed, which is very unlikely for a car, it would be a property release.
> Property and Model Releases American Society of Media Photographers
> Using property releases American Society of Media Photographers



Thank you! That's exactly what I was looking for.


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## Braineack (Jun 15, 2015)

one thing that stands out is that you crop REALLY tight.


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## gckless (Jun 15, 2015)

Braineack said:


> one thing that stands out is that you crop REALLY tight.



Good or bad? 

Typically, I'm that close with the shot. Part of it is I like to bring out certain aspects of the vehicles and get that sort of view, part of it is because they are at a car show and I'm trying to eliminate as much background clutter as possible. I guess the former may have been brought on because of the latter. If I had a sole shoot with one of the cars I may not have gotten in as tight, or at the very least got full-car shots as well.


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## tirediron (Jun 15, 2015)

Don't be in a rush to start charging.  The big advantage to practicing for free is that there can be no real expectation by the client and if things don't go quite right, oh well.  As soon as there's the promise of money for services, it's a whole different ball game, and if you can't deliver....

You're right, lighting is huge, and while you can do some nice pictures in ambient lighting, the BIG advantage of using studio light is that it's 100% controllable.  If you look at the images in the set you linked too, while nicely done, you will notice that there are dark areas which are clearly not intentional; it's fall off from too little light, and additionally, there are unwanted reflections in the windows & headlights, as well as excess specularity on some of the curves nearest the light source.  You're on your way, no doubt, but some more practice (and some more equipment) is in order.

Even if you shoot out of doors, reflectors and diffusers are essential; the good part is that you can make them yourself, for next to nothing.


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## Designer (Jun 15, 2015)

gckless said:


> Braineack said:
> 
> 
> > one thing that stands out is that you crop REALLY tight.
> ...


Neither or both.

Detail shots are quite effective when cropped very close, but you should not crop full-body shots as closely as you have.


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## gckless (Jun 16, 2015)

tirediron said:


> Don't be in a rush to start charging.  The big advantage to practicing for free is that there can be no real expectation by the client and if things don't go quite right, oh well.  As soon as there's the promise of money for services, it's a whole different ball game, and if you can't deliver....
> 
> You're right, lighting is huge, and while you can do some nice pictures in ambient lighting, the BIG advantage of using studio light is that it's 100% controllable.  If you look at the images in the set you linked too, while nicely done, you will notice that there are dark areas which are clearly not intentional; it's fall off from too little light, and additionally, there are unwanted reflections in the windows & headlights, as well as excess specularity on some of the curves nearest the light source.  You're on your way, no doubt, but some more practice (and some more equipment) is in order.
> 
> Even if you shoot out of doors, reflectors and diffusers are essential; the good part is that you can make them yourself, for next to nothing.



I am not in a rush to start charging, simply want to have a path defined. What you said is exactly why I am not charging, because I don't believe my skills are up to par. Until I am shooting something I would personally pay for, I will not charge. 

Correct about what I linked to as well. It wasn't ideal, I was travelling and didn't have everything I wanted. But things like the specularity and reflections I don't always remember to look for. Practice is something I definitely need, along with some more instruction.



Designer said:


> Neither or both.
> 
> Detail shots are quite effective when cropped very close, but you should not crop full-body shots as closely as you have.



I see. Thanks.


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