ABSTRACT AUTOMOTIVES
Hermione Hampton
Some say that those who can’t take pictures, take pictures of flowers; and when they get bored of flowers, they take pictures of cars. The reason, apparently, is that both are inherently visually pleasing subjects of which it is easy to make decent images. I can’t verify the case for flowers – although, let’s be honest, we all had a flower phase at some point! – but I can say that the statement couldn’t be more inaccurate when it comes to cars.
On the contrary, automotive photography can present opportunities for new material and fresh challenges, something I discovered a few years ago on my first visit to my local village’s Classic Car Show. I quickly fell in love with the niche and car shows quickly became some of my favourite places to bring my camera.
Of course, the cars are stunning; but just because they are beautiful does not mean that any photo of them will be beautiful. To me, the very notion completely takes away the importance of the photographer’s role in making images and, in this environment, it couldn’t be less true. These shows are littered with objects that will do nothing but distract from the image: crowds, food stalls, marquees, barriers, and, naturally, other cars. In most cases, therefore, shots of the whole car are ruled out – a beautiful car with a busy background will rarely produce a good picture. Instead, I focus on individual details of the vehicles: think wing mirrors, steering wheels, bonnets, backseats. Although these photos omit a full view and turn out more abstract, they exude no less beauty. This sort of photo is hardly original, but being unable to capture the entirety of a scene forces you to think more creatively about composition to tell a story. The adage ‘less is more’ is your best friend.
However, there are other challenges. Reflective surfaces like chrome and high-gloss paintwork can be detrimental. Unwanted reflections of gaggles of people or public toilets, for instance, are best eliminated; so, it pays to really consider the composition and be patient before taking the shot. However, it can be used to your advantage. Catching the sun on shiny materials or reflections of clouds can work wonders. Or deliberately incorporating a picture of yourself can produce some very compelling images – why to try to hide the photographer who took the picture!
What also makes car shows delightful places to shoot is the atmosphere. I am often used to being discreet, people can often become uneasy in front of a lens, and many are averse to having their picture taken entirely. Here, though, everyone is perfectly comfortable with cameras and even expects photographers to capture them. Car enthusiasts tend to be astoundingly friendly, curiously asking about your work, happily pointing out any features of the vehicle that may be of interest, and eagerly asking to have a portrait taken inside their vehicle. Photos can come out better in this environment: any people in the shots appear more natural and the images themselves seem far less rushed, as you can work openly without worrying if someone may notice.
If you’ve never been to a car show before, I highly recommend it, especially if you work a lot with clients. I have personally found increasing respite in them since starting paid work in the past year. Although I loved the jobs, I often fell into the trap of viewing photography as primarily the act of producing pictures, rather than the act of making them. With automotive photography, I am not obliged to deliver the photos to anyone, I allow myself once again to engage in the process of creating an image completely. It is an opportunity to take my time to compose and experiment; and be a part of the action, rather than go unnoticed in the background.
More than anything, I think it is a fantastic opportunity for anyone to fully embrace their role as a photographer – not merely a picture machine, but a human being who truly crafts an image.
This article first appeared in PRISMA, Issue 18.