Are you OK?

A friend recently asked me if he needed to be worried. Apparently I’ve been shooting a higher number of stance cars than most other enthusiasts in my part of the country care to look at. I get it.. They aren’t everyone’s cup of tea. At one point in my life, they certainly weren’t mine. After all - I’m nearing my 40’s, have three kids at home, enjoy traveling and commute from one side of town to the other on the daily just to get to work. What I mean to say is, if it isn’t “practical” it’s not something I typically give much thought to.

I guess that’s why the last few months have been so important to me and to this.. my creative outlet. Rather than ending up in a rut, shooting the same stuff that I’ve been shooting, conversing with the same people I typically engage with, I decided to move in a different direction. To step outside of my comfort zone and see where it takes me. If I told you it has been easy to meet with complete strangers at night, with half a plan, a camera and a flashlight.. Well.. how’s the saying go? “Nothing worth doing is easy.”

So here we are. Another local Pavement Killer, added to my portfolio. After an impressive and completely bumperless run at a relatively mild looking driveway - he was off the street and tucked safely inside the shop. Once inside, he asked me how I wanted the car positioned. When I mentioned turning it around, he grabbed the floor jack, slid it gingerly under the rear of the xB, lifted the rear of the car up to a height the casual motorist would still find concerning, and began to spin the entire car around in a circle. (No matter who you are or what you think you know about stance car owners and builders, I promise you they’re more resourceful than you realize.)

We spent about an hour and a half inside the shop, spinning this brave little toaster like it was on a Lazy Susan, in various directions to help me create the images you see here. During that time, I prodded the owner with questions about his cars, his kids and even his job. He responded with just enough information to be polite and respectful and suddenly I felt like a reporter digging for dirt. The irony here is that I’ve mostly grown to ignore people when I’m shooting, because I become too wrapped up in what I’m doing and I forget about the human experience. So here I am.. paired off with the perfect client that can respect that, and I can’t seem to keep myself from making small talk to fill the silence. Looks like this new direction has me growing more than I realized.

Tried something new for the ‘gram. If you want to see more of this stuff in the future > @JamesSanny

Gear: Sony A7RIII, Sony 24-105 f4 G OSS, B&W CPL, YN360, Sunpak Tripod

Post Processing: Adobe Photoshop

Poster Cars: Stance Edition..?

Every once in a while I'll get a wild hair and want to get my hands on something completely out of my wheelhouse to photograph. I wouldn't say any type of vehicle is more my type than anything else but, for sure, stanced cars are a breed I have very little knowledge or familiarity with. So.. a couple months back, when I was missing shooting the local nightlife, I dropped a post on Facebook looking for someone to donate some time for some content. Enter Parker..

We linked up at a local gas station, I told him I couldn't believe his car could actually move around town at the static height it was sitting at, he laughed, and we hit the road. The first goal was to get some rolling shots of his car sweeping streets.. because, why wouldn't you? When something is that low, that's kind of the magic behind it doing its thing. We took it out onto the highway and under one of the new overpasses, just because I knew there'd be some lighting there that could help push the image over the top. And, according to the number of likes that image gathered on Instagram, we succeeded.

From there, we found an empty parking lot (the middle of nowhere doesn't have much else to offer), and snapped a few more images. I didn't think much of it beyond just a night to hang out, meet a fellow enthusiast, and create some content.. and then the next day I get a message from the editor of Fast Car Magazine. He wanted more info, more photos and contact details for Parker. They were seriously considering it for a feature in their publication. To say Parker was thrilled might be an understatement.

A couple months passed and the feature is now out in the July 2021 issue of Fast Car Magazine. And, as if that isn't cool enough, his car landed the pull-out poster feature. Remember the car posters you'd pull out of your magazines as a kid and hang them on the walls in your room? Parker's car is now one of those cars.. Which also means I created one of those posters.. Somebody, pinch me. (Update - So I totally jumped the gun on this, based on the design work on the cover, and assumed the rig shot we put together of his car was the pull-out poster. After finally getting my hands on the publication, it turns out I was incorrect! Big bummer.. But I guess I can add this goal to my list for future projects!)

Ecto 1K

Born in 1984, it almost feels like it's my obligation to love the movie Ghostbusters. It is, after all, touted as being one of the best comedies ever made. And, for those of us who enjoy ghost stories and comedy, it's a pretty solid blend of the two. For me though, this was more than a love of the movie itself. It was my first journey into fantastic technology. Over the top toys that every kid wished they had in the 80's, even if they'd never seen a real ghost.

While I did get a shot to photograph an Ecto replica back in 2016, it was a modern day take on the classic car. The Denver Ghostbusters Ecto Magnum was really a brilliant car and getting picked up at my hotel in it was a moment I'll never forget. Cruising around a city I don't know, with guys I don't know, in a car I would've died to have.. That was one for the books! For what it's worth, I still think the Dodge Magnum is the best modern platform for today's team, but the Cadillac CTS-V is definitely a close second. All that to say, seeing a more accurate, nearly identical year replica felt like an entirely different ballgame.

This 1964 Cadillac Miller Meteor Ambulance, done up to look like the original '59 Ecto 1 was fantastic. Watching it roll down the highway, lights flashing, seeing the the back loaded up with the packs.. It was like I was living in a scene from the movie (well - the new one where things are happening in the Midwest, not New York City). In fact, that was the goal of this little get together. Not only did I want to see the car in person and get a chance to photograph it but I also wanted to try and create some imagery that felt like it could've come from the newest Ghostbusters film, Afterlife. Since I live in Kansas, the scenery from the new film felt a bit more doable than anything larger scale.

My goal was to try and tell a story with these. While I definitely could've used the owners, as they were suited up, I knew my time was limited and I really wanted to focus on the car. Hopefully I've done the car justice and definitely hope to meet back up again when the new film is out to possibly recreate some movie scenes!

Gear: Sony A7RIII, Sony 24-105 f4 G OSS, B&W CPL, YN360, Sunpak Tripod

Post Processing: Adobe Photoshop

Monster Cars

A few years back I got a wild hair and wanted to try my hand at crossing my favorite holiday with my favorite hobby. Some backstory: I started my digital photography path by going to design school and learning Photoshop. This helped a lot when it came time to learn about editing RAW files and photo manipulation. So much so that I jumped into creating a small project that brought some local urban legends to life (this project was called #weirdkansas - if you’re interested, here’s Part 1 and Part 2).

Anyway, the love affair with creepy Halloween stuff led me to wonder what I could do to blend these two things. Since I was still relatively new to rigging cars, I figured it'd be a fun challenge to include a rigged car in the image.. and then it hit me. I wanted a vehicle in motion that could represent a ghost or some kind of lore. Why not rig a Mustang and shoot for a Headless Horseman vibe? So yeah - that's what I did and how I got started on this Monster Cars path.

Fast forward to September of 2019 and I'm bouncing ideas off of my wife, trying to figure out how I can mash the holiday and hobby together again. I'd long considered a Frankenstein's Monster image.. but figured I'd need something crazy tall. Then, while looking through images for inspiration, I realized that I could achieve that large monster look by shooting from above. In fact, that'd play out perfectly because it would give me an opportunity to simulate the table he laid on before being animated.

Rounding up my first set of super cheap lights that I bought back in 2010, I set to work to create a layout that would simulate Tesla coils. Adding a third light to the mix, using a flashlight and a florescent tube light cover, I created the lightning rod. Of course, I don't actually have access to a Tesla coil, so the lightning bolts themselves were brushes created in Photoshop. And my method for capturing this top down image: the DJI Phantom 4 Pro. (If I'm totally honest, I didn't think this was going to work out. I'd never done bracketing with a drone before and the wind was absolutely insane the night I shot this.. but it actually worked!)

Now, I knew for a couple years I'd been wanting to do something with Frankenstein for a future image.. but having missed a few years in between, one monster wasn't going to cut it for this year. Considering some of the other obvious choices, Dracula, the Wolfman, the Mummy - I went for one that was a bit less common and possibly more of a challenge: the Creature.

If you've been following my work as of late, it's no surprise that I used a buddy's off-road rig to create this shot. Its ability to handle water without issue, as well as its fish eye style bumper lights and wide flared front fenders made it a great fit. All that was left to do was figure out the where and the how - and that was the simplest part of the whole thing. By the time we were done, we were sitting in a small pool of water, next to Wichita's infamous "Big Ditch," and using 16 pounds of dry ice to create the necessary fog to make the scene a bit more eerie. (If you haven't seen The Creature from the Black Lagoon - it's almost all shot during the day, totally black and white, and is cheesy as all get out.. but man does it look good for the time it was made!)

So, there's some backstory on the why behind these images, as well as some info on how they were created. If you've got questions, I've got answers - so feel free to hit me up and I'll be happy to share what I can! Happy Halloween, friends!

Gear: Sony A7RIII, Sony 24-105 f4 G OSS, DJI Phantom 4 Pro, B&W CPL, YN360, Vagabond Mini, Flashpoint Light Kit, Flashlight & Florescent Tube Cover, Flashpoint Light Stands, Manfrotto Tripod

Post Processing: Adobe Photoshop

The One With Pito's Suicidal Wheel

I first met Pito when he offered to bring a friend's LS powered Mustang out to a shoot. I was wrapping up edits on a build video for The Mutt Stang and Cinemauto and Justin (the owner) was unavailable. He tagged his buddy Pito in to drive the car to anyplace I wanted to shoot. "Wait.. Any place?" I asked.

"Any place." Pito responded. From that moment, I knew he was going to be easy to work with. Living in the middle of the country, with the flattest land you'll ever see, finding the ideal spot isn't always easy.

For the next year Pito messaged me off and on, updating me on his 4Runner build. Showing me headlights, bumpers, wheels, and everything else us lowered car enthusiasts typically overlook when we act like we understand off-roading. I wasn't biting. Not because I didn't love his vehicle. It was actually the complete opposite. I felt it was something that deserved far better than Kansas had to offer. You can't properly capture something like this just sitting in a parking lot downtown. After all, nothing crawls malls better than a Jeep.

Then, a couple months back, it hit me.. Any place? Any place. Suddenly, I remembered this crazy fashion shoot I did for a local magazine years ago. It was out at the most random rock formations you can imagine in flyover country. It's called the Castle Rock Badlands and to say it's breathtaking is an understatement.

Plans were made and the date arrived. We loaded up 4 extra people, because who doesn't love a road trip, and we hit the highway. I was thrilled to be taking a vehicle to a real location. While I've photographed a lot of cars in various areas across the Midwest, this kind of thing was definitely a first. We had plenty of water, extra memory cards and batteries, lighting equipment, a drone.. You name it, we had it.

Leading the pack in my Explorer, my crew included another three photographers with different backgrounds and experience levels. We all chatted about equipment, ideas for the shoot we were headed to, and how terrible my taste in music is. All was well and we were nearing the halfway point. It was then that I cast a quick glance to my rear view mirror, just to make sure that Pito was still hanging with us as we neared our exit. I'll never forget that moment.

I can't be sure how long I stared at the mirror while I continued to barrel down the highway but it felt like an eternity. Once I tore my gaze away and flipped on the hazards, I filled the group in. "So uh.. I think his wheel just fell off." The momentum of 3 extra bodies in the car, all quickly shifting at once to look out the rear window was noticeable. Many things were said between here and the moment we finally pulled over.. but I couldn't tell you what any of them were.

Parking in the median (it's just a big ditch, honestly), I hopped out and started jogging the highway shoulder back towards the 4Runner. I was so focused on his vehicle as I moved towards it, it took one of my passengers yelling at me to soak in what was about to happen. "His wheel is going to hit you!"

Suddenly I realized that his wheel was, in fact, headed right for me. I moved out of the way, thinking I'd let it pass. "It's going to hit your car!" informed the same passenger.

With only seconds to evaluate the situation, I decided I didn't need this off-road throwing star destroying the back of my Explorer. Having recently seen a video on Facebook where a rogue wheel found its way over the median and into the front of another SUV, I opted to not jump in front of the wheel but, instead, to attempt to kick it off balance as it passed me by. (If it's not yet clear, I may be talented behind the lens but I don't hold any awards for being brilliant in other areas of my life.)

I kicked the wheel. An off-road rated wheel and tire assembly, traveling at nearly 60mph toward my car (and potentially oncoming traffic), and I kicked it. My leg goes full fettuccini on me. The wheel wobbles and loses speed.. but not enough. It hits the car with a sound my passengers later tell me sounded like a body being thrown into a parked car. Heck, they thought it was my body.

I hobble my way back over to the Explorer to inspect the damage. It's not terrible and definitely less than it would've been had I let the wheel hit it in full force. Pito meets us halfway between his 4Runner and the Explorer to tell us what happened. The wheel is actually from his trailer and it looks as though the brake had locked up while driving. The good news is that we could ditch the trailer and keep going. The bad news is that the median about half a mile back was now on fire and it was growing.

Hopping back into the Explorer, we flip around in the ditch and prepare to join the ranks of volunteer fire fighters. Much to my relief, driving a relatively new Ford Explorer in the color of white, oncoming traffic opts to slow way down as they see us preparing to re enter traffic. Providing us with the window needed to relocate to the small grass fire, we take it and we make it.

Remember my earlier brag about plenty of water? Praise be! Passing out bottles of water to a couple of my passengers, we run through the grass and begin dumping water on the areas yet to be ablaze. After several bottles disappear quickly, another passenger suggests stomping out the flames. With a shrug, I sacrifice my year old Nikes to a better cause. Minutes later, it's done and we've won.

Once the entire situation is under control, local law enforcement arrives on the scene. After 45 minutes of questions and a few photos, the Saline County Sheriffs officers let us return to the highway to complete our mission. We load up, we ship out, and we finish off the trip with some incredible views, plenty of laughs, and some fantastic content for Tread magazine.

Chevrolet Caprice

There's just something about riding a little higher, a little slower, with the top down, and soaking up the sun. I'm a sucker for exotics and super cars - especially of the European variety - but spending last Saturday night with Jermaine and his 74 Caprice was a totally new experience for me. Sure, it's like comparing apples to oranges.. but I'm getting to that age where slowing things down a bit and sitting back just feels right.

I ran into Jermaine a couple months back at a local car show. At the time, I was scouting for something new to obsess over. His Caprice was a breath of fresh air for my creative soul. It's big, it's bold and it has presence. And, to quote him, "it's the color of money." Fun fact: It's actually a Volkswagen color.. but after seeing it on here, I can't imagine it looking as good on anything else.

While talking about the history of the car, he told me his son is convinced 26's would be a perfect fit for the car. I smiled at the thought, and he just shook his head. It's certainly not out of the question for wheels that size to end up on a car like this. After all, these cars are the foundation of the high riser culture. The Caprice itself is technically one of the few bodies classified as a Donk when it's lifted. But that's not Jermaine's style. His taste is a little more low key and, if I'm being completely honest, I'm more reserved in my modification choices, too.

Over the course of the hour that we spent taking pictures, Jermaine was busy answering questions and sharing stories with various folks who passed by. This car, as you can imagine, has a tendency to grab your attention. It's no surprise that people felt the urge to stop by and see what was going on.

Gear: Sony A7RIII, Sony 24-105 f4 G OSS, Tiffen CPL, Yongnuo YN-622C’s, Einstein 640, Vagabond Mini, Manfrotto Tripod

Post Processing: Adobe Photoshop

These People Are Heroes

Watching the heat rise from a sea of cones laid out in a seemingly random pattern at the local high school, I still remember waiting to catch a glimpse of my dad as he put our family econobox to the test. He'd added some X-11 goodies to our Chevrolet Citation because he thought it would be more fun to drive. Of course, if you're going to add a little extra oomph to your family hatchback, the best place to see how it performs is clearly at your local track.. but we didn't have one of those. The next best thing? Local SCCA chapter events.

Did he win his class? Honestly, that's not what I remember from that day. My best memory was watching the cars move around the track, and the excitement of the people involved. Were the numbers important? Sure they were- but they weren't the only thing that mattered. As far as I can tell, that still holds true at today's SCCA events. It's all about the driving. (And hey.. maybe I'm naive and don't have a clue. It wouldn't be the first time.)

I remember my return to SCCA events, sometime back in 2011. Again, it was to watch my dad race his car. At this time, he was driving my old '98 Cavalier RS. It was a relatively stock 2200 with a 5 speed. Nothing special, really. At the time, I remember feeling a little embarrassed. Most of the other cars at the course that day were Corvettes, Miatas and a few other miscellaneous sports cars. No one was racing the official car of sorority girls everywhere. Well, no one except my dad.

Fast forward to today and I finally understand what I was missing. These people are here to drive. They don't care what you're driving, so long as it's safe and it fits within a class. Some of the most fun I've seen at the local SCCA events are in cars you wouldn't normally expect to see on a track. An automatic Chevrolet Lumina with a 3100? I HAD one of these and would've never thought to have this kind of fun in it. A non-SRT Neon, on 3 wheels as it rounds a cone? Is this real life?

I took way more shots than these. Wanna see ‘em? Check out my Facebook page!

The Commander

The fun thing about networking with shops is that they already have a lot of connections. When we arrived in Salina a couple weeks back to work with Calvin Customs, we were greeted by a beautiful Studebaker Commander restomod. As Doug, the owner, pulled up and positioned his car nicely along the edge of the park, we were enamored with the old bullet-nose coupe. After all, it’s not every day you see one of these classics out and about - and especially not looking like this.

I’ve found that one of the best ways to really find out why certain vehicles resonate with their owners is to let them walk you around the car. What starts as your typical, “I got the car back in...” usually turns into, “did you know...” After chatting with Doug for a few minutes, he began pointing out some of his favorite things about the car. The tail lights are original and were actually in the packaging, inside the old car when it was found and purchased, and they each weigh more than a Coke bottle. The iconic bullet-nose design was modeled after airplanes from World War 2 and the designers at Studebaker were convinced it was “the next big thing.” The custom intake has the Calvin Customs logo printed on it, in reverse, so that spectators can see who did the work when the car is on display at shows.

Overall, even though we were actually there to work with the Tubester, this beautiful restomod nearly stole the show. Two completely different builds, each with their own styles and strengths, coming from the same talented shop. I seriously can’t say enough good things about the team at Calvin Customs.

Gear: Sony A7RIII, Sigma MC-11, Canon 85mm f1.8, Canon 135mm f2, Tiffen CPL

Post Processing: Adobe Camera Raw & Adobe Photoshop

The Tubester

One of my favorite things about being part of a photography group is that I'm constantly looking for group outings and activities to keep us busy. Sometimes we meet up for something simple, like a quick shoot on a local friends car. Other times we look for events to shoot, knowing it gives us an opportunity to grow our skills when working in distracting and difficult environments. In this particular situation, I reached out to a fairly local shop to see if they'd give us a couple hours with one of their newly revamped builds. They said yes and the rest is history.

Calvin Customs & Hot Rod Repair is a hidden gem in small town Kansas. If you're in the hot rod or custom scene, you've likely heard of them. If not, you will. This small town team is knocking out the kind of work few would expect from our neck of the woods.. and if they can't do it, they collaborate with those who can. Like Mickey Harris, the man who brought this incredible vision to life.

The Seven Deadly Sins is the kind of artistic creation that's more than meets the eye. Each piece is so frighteningly detailed and impressively drawn that it'll stick with you long after the Tubester is gone. (My personal favorite of the pieces is, without a doubt, gluttony. What's your's?)

Gear: Sony A7RIII, Sony 24-105 G, Tiffen CPL, Manfrotto Tripod

Post Processing: Adobe Camera Raw & Adobe Photoshop

Support Your Local Nobody

I consider myself a nobody in this industry. From what I can tell, I haven’t really been on anyone’s radar. So, as 2018 came to a close, I took a chance and decided to reach out to some publications that I admire (perhaps you saw my letter to Super Street?). Since I started shooting more seriously, especially with vehicles, it's been a dream of mine to be a part of that world. There's just something about seeing your work in print, and watching other people enjoy it and go out of their way to look at it again and again, that brings absolute joy to my heart. This was my goal and I'd hoped I'd made enough progress to see it come to fruition in 2019.

Street Trucks responded to my inquiry almost immediately, letting me know they were very interested in featuring Brandon's truck in an upcoming mini truck issue. Sharing the exciting news with Brandon, we set a date to create some fresh new content and so we did. At the time, I was just thrilled to be a part of such a fantastic and established publication. Little did I know that my first time being involved in their publication would yield not only a multi-page feature but also the cover!

This is a feeling I've never known in photography. A 20 year old publication, with a well established following, so happy with the work I provided for them that they're willing to bank their monthly sales and reputation on it. I had no words. "Thank you," didn't seem sufficient. "I can't believe this," felt disrespectful. It's one of the most humbling experiences of my life - and I'm so incredibly excited to share it with my friends and family. So, for those who haven’t yet seen it, here’s the June 2019 cover of Street Trucks!

Color Grading

Way back when I started this journey into photography, I was under the impression that the goal was to take good pictures. Then I started finding all these inspirational sayings online about how a real photographer doesn't "take a picture," they "make a picture." But what does that mean? To be honest, even to this day, I haven't a clue.

What I have learned over the years is that some people shoot to nail everything in camera so that the image is complete and ready once the button has been pressed. Others, seeking to achieve more without big budgets and a crew, turned to programs like Photoshop to get the finished product they desired. Not being in the habit of socializing with complete strangers, having experienced the earlier, more elitist personalities of Wichita's photography scene, and having very little disposable income, it looked like the post production route was a good fit for me.

Having spent years watching tutorials, reading books, and even talking with others who shared my passion online, I felt like I was finally beginning to master my look and ability behind the lens. Then, about a year ago, I found out that color grading and toning was a thing. I mean, I wasn't a total stranger to this practice, as I did some in post when handling video for Cinemauto.. but never had I done anything like this to my photographs. If I wanted to change colors in an image, I typically adjusted my white balance, applied split toning, or used photo filters and masks in post. In short, I didn't have a clue.

So, these days, I take the time to play around with gradient maps and color lookup tables when I'm editing. While I don't love a lot of the vintage, faded, retro effects that feel like filters and presets (because I know those date your images), there's just something about coloring a project to achieve a feel or look. In the case of these images, taken during a recent AutoICT meetup, I wanted a look that felt like a long summer evening. Warm, dry, dirty and endless, like a desert. (I'm a pretty big fan of Vince Gilligan's work with Breaking Bad - specifically the coloring and photography.)

Gear: Sony A7RIII, A6500, Sony 24-105 G, Sony 18-105 G, Tiffen CPL, Manfrotto Tripod

Post Processing: Adobe Camera Raw & Adobe Photoshop

RADwood Austin 2019

Most of us can't even remember what we had for breakfast last week but, if you ask someone to describe a day during the most influential decade of their youth, they still remember Saturday mornings as a kid. Closing my eyes right now, I see the morning sun, dancing through the trees as it passed through the front screen door and onto the worn, brown, living room carpet. I remember how mushy my Captain Crunch had already become just three bites in, which only made it easier to hear all about "the world's most fearsome, fighting teens."

While many might disagree, especially those who experienced adolescence in the 80's and 90's, there was no secret sauce that made these two particular decades any better than those that surround them. Or is there..? To be honest, nothing compares to a trip down memory lane. After all, nostalgia is the go-to Instagram filter of our memories.. and who doesn't want to see those beautiful days again?

This past weekend I had the opportunity to check out RADwood in Austin, Texas. If you haven't heard of it, you will. RADwood is the celebration of 80's and 90's culture, focused mostly around the cars and fashion of the era. In that spirit, several RADwood shows exist across the globe, all featuring cars that were built during this time period. Some of them are the cars you remember, like the Volkswagen GTI, the Chevrolet Corvette and the Ferrari F40. Other cars present at the show seem to exist as cult classics, lesser known to the average Joe but equally impressive in their respective circles.

As a child of the 80's myself, it's easy to understand how a show like this probably made me feel. It was like hopping into a time machine and traveling back to a place where magic still existed and the future was unclear- and, of course, Doc, Marty and the Delorean(s) were there. Spectators are, after all, encouraged to participate in rad culture however they possibly can. Whether that's neon windbreakers, dressing as an 80's/90's pop culture icon, or bringing out a rad ride, the choice is entirely up to you.

And that's really what cultural movements like this are all about, right? It's not about a political stance. (It's actually not about stance at all- did you even look at the photos?). This subculture, dressed like a box of highlighters and rocking out to synthesizers and hair bands, is focused on celebrating two of the greatest decades the world will ever know. Then again, I might be biased.

View the full gallery from RADwood Austin 2019.

Gear: Sony A7RIII, Sigma MC-11, Canon 24-70 2.8L, Tiffen CPL, Manfrotto Tripod

Post Processing: Adobe Camera Raw, Adobe Lightroom & Adobe Photoshop

Acura Integra Type R (DC5R)

Every once in a while I find myself in a creative slump when it comes to shooting. Sometimes it's because I've hit a dry spell and I'm not shooting anything. Other times it's because I'm shooting the same stuff, over and over again. Regardless of the reason, when these feelings arise I will typically reach out to friends on social media and ask for something to shoot. (For free!? Yes. Especially if I'm playing with ideas and new gear.)

Having recently run across the for sale ad of a local guy's Type R Integra, I figured this would be a good opportunity to break out of the winter slump and try more creative editing and lighting. He's good friends with my buddy that owns the super clean Honda Civic I shot a few weeks back, so we set up a time to get the car out and capture a few images before it found its new home. This was a benefit to us both, as he got photos to remember this fairly rare vehicle and I got something unique to play with for a few hours. (Heck.. he even offered to let me drive it afterwards but, true to the photography driven person that I am, I had already used up all my time shooting. I really gotta stop doing that..)

While there's probably nothing here that'll blow your socks off, this was a fun chance to practice some light painting with a light colored car (I know, I know - white cars are easy!), and to even try a little light painting and rigging. So yeah.. here's some funky color graded images of a JDM beauty queen in a fairly simple Midwestern town.

Gear: Sony A7RIII, Sigma MC-11, Canon 17-40 4L, Canon 24-70 2.8L, Tiffen CPL, Yongnuo YN360, Manfrotto Tripod

Post Processing: Adobe Lightroom & Adobe Photoshop