thank you

Thanks 👍

thank you

Wow, thanks!

Thanks Jimmy

My pleasure

Glad it was helpful

Glad you enjoy it

Thanks Tim

Thanks a lot

Many thanks

My pleasure

Thank you

thanks

Many thanks

Many thanks

You're very welcome!

My pleasure

Thank you! Cheers

Cheers

Very kind thank you. And yes the running costs are quite expensive!

In what respect? :)

Thank you

My pleasure

You are most welcome

Thank you!

cheers

Glad to hear it

Thank you

Yes most new car photograph is CGI, especially on location but there is still a demand for classic car real shots, or for owners etc.

Thank you

Most welcome

Thank you Denis!

🤣

Hi, it was foamex

Hi, thanks for watching! All our automotive photography advice can be found here: visualeducation.com/section/car-photography/

Thank you Christopher. There was a mix of Broncolor studio flash on Scoro packs mixed with some HMIs I believe on this one. There are also other mixes I use and you can learn all about those here - karltayloreducation.com/section/car-photography/

@@VisualEducationStudio thank you so much. Sudden move from 30 years of travel photography to a shoot involving a formula e car next week. You are a lifesaver. Thankyou so much.

Thank you, and yes, if you watched to the end of the video you would see I was using continuous lighting in HMI and LED for the video elements of this shoot.

So as you've pointed out flashes are useful for moving subjects such as splashes, crashes and fashion models jumping. They are also vastly more powerful than most continuous lights allowing you to achieve smaller apertures or lower ISO more easily additionally because shutter speed isn't relevant to flash then you don't need to work in a completely darkened studio because your shutter speed can cancel out the existing ambient light while your flashes record only the exposure. With continuous light you need longer exposures, dark rooms to work in and only still life subjects. If your studio already uses flash and has enough of them it doesn't make much sense to purchase additional continuous lights to do the same job. However in saying that I have both and I sometimes mix them as I did on this shoot. The main reason I have both though is for when we need to produce video.

It depends on how big the ceiling is and how much spread of light you want. I've used it from 10cm away to 2m away. Check out our car photography videos on our website.

It's relatively easy to create a graduated light across the bodywork if the reflector panels are big enough. If you want an homogenous light across the body work then you need very big softboxes. I've never measured the difference between direct or reflected but this stuff is covered in more detail in the 'automotive' section on our site.

@@VisualEducationStudio Karl, thanks a lot for the reply. I am actually planning a system to shoot sofas in a 21 feet wide space so you convinced me that a box would be best suited as I need fairly even light for this project. However, since I will build it myself I may build it with some kind of L frame where I could insert 1/2 inch gator boards if I wanted to create graduated light. Thanks again.

These were a bit like toy cars, I'm looking forward to getting a DB5 in the studio

@@VisualEducationStudio sexy car indeed ^^ lucky you

Yes

Because it's good.

@@VisualEducationStudio now that the R5 has 8k RAW will u go for that ???

I'm waiting for the A7s iii. I'm also not interested in 8K at this point in time. People are only just adopting 4K and 8K will just slow down the editing process, the storage requirements etc etc. I'd much rather have good slow motion and great low light capability in 4K and I'm hoping Sony are going to deliver on both.