I’m probably alone in this, but for me, it’s my job! I’m the photographer for a car dealership that specializes in restored American muscle cars and European imports (nothing that exotic, but a lot of Mercedes, Jaguars, and vintage Volkswagens.) Most common cars I shoot are Corvettes (70s-90s) and Mustangs (60s-90s) including many Shelbys.
I arrive at the shop, get behind the wheel of whatever car I’m shooting (after it gets finished with the detailing bay), drive it out back to the large empty lot that we use for shoots which conveniently includes three good photo backdrops: a pond, a tree-line, and a corner with some steel shipping containers which are just rusty enough to look “industrial” without looking like “junk”. These shoots take several hours as I have to move the car/s (typically more than one on an average day) around the lot quite a bit, the optimal setup for the best shots is highly dependent on the position of the sun and/or clouds, and I have to get a wide variety: medium/long shots for shallow depth of field (for the conventional “portraits” of the car - 3/4, 2/3, 1/3, front, sides and back); close up wide-angle shots for dynamic lines (particularly important with long and sleek cars like Corvettes), and close up details of both the interior and the exterior. (And some of these interiors- especially on 60s and the odd 50s showcar - are absolute works of art, Space Age/fighter jet influenced stuff, the kind of crazy and beautiful dashboards and dials of a bygone era.)
Oh yes, and the engine - actually one of my favorite parts of the car to shoot. Every engine bay, every hose and wire and engine block and radiator and all the rest of it, they all tell a unique visual story and they all need to be documented meticulously. I take a few wide shots of the whole engine compartment from multiple angles, and then use a 120mm (with macro capability!) to get in close for highly detailed shots of the individual components with a nice shallow depth of field fuzzing out everything outside of the focus plane - the result is often extremely “painterly” and beautiful, at least if everything under the hood is clean and well maintained. And especially if it’s all fully restored.
Oh yeah - the underbody. This isn’t Craigslist and the people buying these cars need to see EVERYTHING in the pictures before they decide if they want to go to the trouble of driving out (often from out of state) to look first-hand. I get under there with a very wide (12mm) lens and get plenty of pictures of the frame, axles, suspension, exhaust, all the important parts. The objective here is NOT to “trick” the viewer or make things look prettier than they are. It’s to show them honestly what’s there.
I only ever ramble on and on like this about something if I really love doing it, and so yeah, I really love doing it. Oh, and it’s not over when I leave the lot, either - the other half of it is editing the RAW images in Photoshop for the best combination of color balance, contrast, clarity, saturation, etc. (Some of the cars don’t need any saturation boost whatsoever - they’re already so damn colorful they practically make your eyes bleed…for others it’s essential to make the paint pop.) But every one is a new challenge and a new chance to experiment with different ideas…this is my dream job, basically.
I have a second job as a real estate broker (working with buyers, not sellers), but I don’t work that many clients at once so it’s slow, with a lot of down time in between the initial offer and the closing. It’s a good long term income source but requires patience because the payoff is slow…not to mention that I might show someone houses sporadically for months before he or she makes an offer. During all those long periods of inactivity with the transactions, the car photography fills the gaps so I can stay busy, because I feel best when I stay busy.