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Porsche Slantnose 930 for Total 911

Porsche 911 Turbo 930 SE-1lr

Earlier this year, myself and automotive journalist, Wilhelm Lutjeharms, found our way to Chapman’s Peak Drive, probably the most iconic automotive advertising locations in the world, to photograph the rare Porsche 911 Turbo 930 Slantnose for Total 911 magazine in the UK. 

I’m decidedly not a petrol-head, and have been driving panel-van’s, commercial vehicles or station-wagons for most of my adult life. This is probably due to my job, and the requirements I have for lugging around equipment. I can’t change a spark-plug, or a car’s oil for that matter, and I don’t know the muffler from the crank-shaft. (Ok, I do, but you catch my drift.) Having said that, I have driven, and driven in some of the most iconic, intense vehicles ever to land on these shores.

Being a rather aesthetically inclined individual, I can appreciate a beautiful machine, and the noise it makes. As I’m not comparing performance, torque and whatnot when I appraise a car, I’m generally unencumbered by such prejudices, as it is rather pointless when you yourself drive a van with a 0-100km/h of around 15 seconds. If it roars, looks cool and …..yes, basically, if it does that, I’ll be sold and will be making the car the hero in every shot I make. If I was critical about cars, it would make me a worse car photographer, as the prejudice might trickle down into my unconscious and influence my thinking around shooting the car.

So, if you’re looking for the technical low-down on this beast, I suggest you subscribe to Total911 and get your fix there. Here, I’ll just post some of the pics and fun of the day.

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A beautiful lay-out really really helps the photographer display their work. This one is a case in point.

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I love shooting with rigs, and getting some movement tracking going.

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Flare. I love it. And in Cape Town we have lots of sunlight that creates flare. And flair. (Gosh, that had to be the worst attempt at intended punning ever.)

On composition: when shooting editorial images, you’re ideally shooting to leave copy-space for the designer to work with, thus you don’t shoot the same way as you would advertising images, where the vehicle will generally cover 50% of the canvas real-estate. Hence, you’ll find that I tend to shoot a lot of images with a epic sort of, landscape, feel.

I’d love to think it tells a bit more of a story, and pulls the reader into the scene and setting. In the past, a lot of editorial automotive imagery was merely information motivated, with cars parked in parking lots, even lighting and ….no flair. (I’m going to keep going at it till I get it right.)

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The location. Chapman’s Peak Drive, Hout Bay, Cape Town, South Africa.

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When shooting driving interiors from the back-seat of a sports car, with two doors, and a back-seat barely big enough to keep a toiletry bag, it is a bit of an operation for a 6-foot photographer to get out of the back-seat.

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Here I’m putting Wilhelm and the owner of the vehicle to use with some reflectors so I can shoot some epic interiors.

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It’s a pretty machine. And it goes. And it’s just way cool. I can totally see myself in it…and then I picture a roof-rack or a Venter-trailer attached to it with all my equipment, and I realise, it’ll have to wait till I’m retired, or I can afford a Cayenne.

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