This month commercial car photographer Tim Wallace of AmbientLife was in studio working on a project for a private client to capture and document a very special collection of Ferrari models from the infamous Ferrari 250 GT Lusso of 1962 through to the more recent LaFerrari.
The shoot took place over a one week period at the Junction 11 studio in the UK, and the material will be used to produce a website and book.

Capturing Legends

"It was a cold autumn morning when I arrived at the studio and as I started cabling out ready for lighting I considered the task ahead as we awaited the arrival of some of the most well-known and beautiful cars that Ferrari ever created.
Over the course of that week we got to know each curve and body angle of these iconic cars and crafted our lighting to capture their essence. I always have believed that it is easy to photograph a car to show what it looks like, however the real skill and challenge is to photograph it to show you how it makes you feel in your soul when you look at it.

We had our challenges to face as you do on any shoot of this nature but as the main lights were switched off and we started to sculpt the lighting around the first vehicle it was hard not to notice the hairs on the back of your neck stand up in anticipation of what was ahead in the coming week. For me there are many types of cars, all evoking different emotions within us, some are simply beautiful in their form, others are aggressive in their styling, and some are simply timeless and are still as stunning today as the day that they were first drawn by their designer."

Tim Wallace

Behind the scenes with photographer Tim Wallace

"Over the years I have spent a lot of time in studio shooting transport related work for our clients and that can be pretty varied, quite literally. We have photographed most things I think from full size oil tankers through to woodchippers.
Working as a commercial photographer who specialises in transport-based work it’s the norm and I enjoy each and every commission or project that I am involved in. Some can be very challenging and each have their own unique set of problems that you work through to get the finished end result for your client that the project deserves. It is easy I think for a lot of people to believe that shooting McLaren for instance would be 'easy', how can you go wrong with beautiful cars in-front of your lens, the reality however is that sometimes the most challenging lighting to work through is that of sports cars with all their body cuts and differing materials from highly polished paintwork through to dark carbon fibre. I think for me its these challenges that make what I do so addictive, you really need to have a passion for working with light and a drive to push yourself ever forward to get the very best results that you can."