Automotive photography


A car is not just a car. More, it is a provider of experience, be it convenience, excitement or other emotion. Anyone can photograph a car, but to take an image that leads us astray, involves and delays us, is the creation of a story – and not just a photograph.

Background behind these images:

A very rare ‘one off’ RHD 911 converted by Porsche Kremer Racing to Kremer Group 5 street ‘935’ specification from a 1974 Porsche Carrera 2.7 MFI.

The story behind this car is also an unusual one. This 1974 Porsche Carrera 2.7 MFI was ordered by the music company EMI and presented as a gift to the late music producer Mickie Most of RAK Records. It was registered in the UK on the 27th of August 1974 at his home address in London. Most was best known for his music hits with The Animals, Herman’s Hermits, The Nashville Teens, Donovan and Jeff Beck, and was also a Porsche enthusiast. The Kremer was part of his private collection that also included 356’s and other 911 Carreras.

Client: Trofeo automotive asset management

automotive photography, Kremer Porsche, Mickie Most, secret garage storage

automotive photography, 1967 911 Porsche, driving at night


Portraiture


An above average image is transformative, a story in itself, an emboldening of memory, an improvement of self-esteem ... and, in its own way, The Truth. Not that photography does not lie (it does).

The perfect capture is before or after the moment the model expects the shutter to fall. The aim is to puncture the mask. Everyone wears masks. Some are obvious, others (such as those employed by actors) far more subtle. But the photo must push through those barriers, which means a session can prove confrontative. Not in an aggressive manner. Oh no, not that at all. But an intimate process, one which may only last a few seconds. Preparation time is usually beneficial to the model if not to me. I seek speed, but to arrive at that perfect point sometimes takes some deliberate tedium.

Let me explain more: I spent a period of time offering photography workshops in Paris. The courses enabled students and professionals to look deeper. I’m not interested in the technicalities unless necessary to obtain the right shot. We must concentrate on developing our eyes. We must also dealt with tedium, learn how to productively use boredom, but also how to instantly change the mood. These are mental tools are not the norm. But a good image is unusual, even if it intends to accentuate the so-called normal.

Commissions available on application.

A portfolio is available for private view.

Walking at Cley, north Norfolk

Hannah, portrait