I've been practicing photography in some capacity for most of my life, but it wasn't until several years ago that I discovered I could merge that passion with my second love- cars- and turn what was a hobby into my career. Up until very recently, I have worked exclusively in the private market, shooting for owners and collectors, but in the past few months I have begun to shoot for businesses and commercial clients, though all based in the automotive field. My work is always continuing to evolve, and I'm traveling to new parts of the country with every season, so expect a lot of new variety to appear in coming months!
(above) This was a commissioned shoot for LamborghinI Miami and the forum Teamspeed, and ultimately ended up being my lengthiest session to date, both in terms of shooting time and amount of photos. Over the course of two days in Miami, I spent thirteen hours shooting and in the end, produced 34 images of the car. This session was also pretty memorable, in that the owner of the car is currently one of the wealthiest men on the planet.
Another unique exotic; I'm particularly fond of the juxtaposition between the vintage stainless steel image of speed with the train, and the futuristic alien flat black interpretation of speed with the Porsche. I just find it interesting how design aesthetics change over time.
A very recent shoot with a stunning Verde Ithaca Gallardo in New Jersey. It was simply a delight to finally work with what I consider to be the best paint choice for any modern Lamborghini. The location I chose for this session proved to be pretty amazing in its own right; a decommissioned military training and weapons testing site on the coast of New Jersey, complete with crumbling and overgrown bunkers.
Part of my signature 'Black' Interior series.
What proved to be my most dangerous photo I've ever taken. Right after I took this, I slipped in that large puddle of water and had a major wipeout, breaking my lens filter and cutting my elbow open deep. I canceled the rest of the session and immediately drove the hour and a half back home, where I went to the hospital and got stitches.. I reconvened with the client a week later in the same location to finish the series, but… I daresay it was worth it.
I always scout for locations weeks in advance of a shoot, so I know precisely where I'll be working, and will already have a list of compositions in my head by the time my client arrives. However, for this session, I accidentally found this spot not an hour before I was set to shoot, and decided to scrap the backdrop I had already selected. How could I refuse? Just look at that location …
Another session I just had in May, this contains some of my favorite recent photos that I've taken. One of nine white MKI Superleggeras in the world, the combination of car/location/weather proved to be irresistable, and I simply did not want the shoot to end. That's what I live for.
Photographed nearly a year ago for the New Orleans' newspaper's Automotive section, this Z4 was one of the pre-release press cars circulating around the country.
Another capture of the stunning Gallardo LP 560-4; the backdrop for this shot was just neutral enough to lend some interest to the foreground, but not busy enough to take away from the subject. It's a simple frame, but in that light, the car just looked gorgeous.
Spent a solid two months negotiating with the location manager before we finally got a permit to shoot. My clients raised race horses their whole life, so I wanted to evoke a rustic, classic Americana feel for the series by shooting it on a equestrian center. Naturally, the day we were permitted to shoot, all the horses were stabled, but I made do.
I'll be the first to say that, while the location was beautiful to shoot in, the drive there was… less than awesome. We ended up driving the car through a quarter of a mile of unpaved, gravel back roads in the middle of the woods in the middle of a swamp, to get this shot. It was like driving in a mine field.
…but it was so worth it.
Photographed again for the New Orleans' newspaper's review of the car last summer. I was a good 30 feet up in the air for this, and leaving my camera attached to the railing with no fail safe, and running down to get another memory card was only borderline terrifying. And that's why I love super clamps.
One of a tiny handful of matte black Carrera GTs in the world, I wanted to open the series with a killer teaser shot; this image worked beautifully.
Glorious, late afternoon light is always fun to work with. Here it proved to take on a new life, when it hit the background trees.
Shot right as the 430 Scuderia was starting to be delivered to dealerships, this one I photographed fresh off the delivery truck in Atlanta. I did get a lot of odd looks from the employees, who were undoubtedly wondering why I was apparently taking a photo of a garage door.
I hope you enjoyed a few of my selected works above !
- Webb