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I first shot with fire about a year ago, after seeing a series of photos taken by Benjamin Von Wong and Van Edler Photography. My first photo was of a Shelby Cobra and it went really well; however, I knew I could do better. Along with being busy with other projects, I lacked opportunities to photograph other cars, so I was unable to experiment with fire again until recently.
I was lucky to meet a local businessman here in town at a bar, and during our conversation, I learned that he was a fellow car enthusiast. I showed him some of my car photos, and, it wasn’t long before he asked me to photograph his Chevy Corvette. He said his son also had a Chevy Corvette, and that he wanted to get pictures of both cars.
It took about a week or so for all of the supplies to arrive, and I also had to coordinate the schedules of various people helping out with the shoot. Nothing could have prepared us for the final result, and the amazing time we had creating the images.
This image is of the 2008 Corvette. I had a hunch that the black would look great against the wall of flames as opposed to the canary yellow of the 1965 Corvette. Boy, was I right!! The following settings used for the final image.
Focal length: 18mm
Shutter Speed: 25 Secs
My original plan was to shoot the car, then the fire, and combine the two of them in photoshop later; however, I really am a sucker for straight out of camera images. I prefer getting everything that I possibly can in the initial shot. So after experimenting with the fire, and learning the settings that make it appear as true flame without blowing out the highlights, I turned to my assistant for lighting the car.
The Shot Breakdown
The first 10 seconds of the exposure consisted of me starting from camera right outside of frame with the kevlar rope being lit by another assistant, and then walking behind the car towards camera left until out of frame.
For the next 10 seconds, my assistant walked from the rear bumper to the front bumper of the car, painting light onto the cab and ridge line an Alien Bee B800 inside of a Westcott Apollo Orb.
The remaining 5 seconds of the frame, she traced her steps backward lighting the 2 rims quickly to bring in just a bit more of the details before the shutter closed.
We tried this seven times before getting the shot you see in this article.
I then added an adjustment brush with a 1/2 stop down exposure to the roof area, to bring more attention to the flame and the car.
Then, I applied a crop to the image, a slight sharpening, and an even smaller amount of noise reduction before exporting.
In Photoshop, I applied a bit of clone stamping and finally my logo.
Overall, I did spend a little bit more time in post on the Lightroom side than I had anticipated. However, I am extremely happy with the end result and so is the client.
Please keep in mind that fire is a very dangerous thing. We had fire extuingisuers, and flame retardent clothing throughout the entire shoot. If you attempt this type of photo in your own time, please take extreme caution in choosing a location, and make sure you have the proper gear used to stay safe.
I was extremely lucky to have been allowed to use a warehouse owned by Triton International Woods. Not everyone will have access to such a specially prepared warehouse, so please choose your location wisely, take your time, be safe, and remember that fire is one of the most dangerous things you can incorporate into your shoots.
Thank you for your interest in this shot, and also, thank you to SLR Lounge for allowing me to share it with you all.
About the “How to Shoot It” Series
This educational series highlights amazing images from our writers as well as our community. The goal is to not only feature inspirational work but to provide valuable education for our photography community. If you would like to submit your work, please click here for more info on writing for SLR Lounge.