Rangefinder Magazine
February 2006

Click Here for printable version of this article.

Profile: Fernando Escovar Steve Treratola
A Man for all Seasons

Fernando Escovar is a 39-year-old photographer and filmmaker who, like a gemstone, has many facets.

Fernando’s father was a photographer, and like many of us, he shot for his high school yearbook. After graduation, determined to expand his artistic horizons, Fernando applied to the prestigious Otis-Parsons College of Art and Design in Los Angeles. For those not familiar with the school, Otis has been home to a veritable who’s who of the art and design world, including Edith Head and Norman Rockwell, among others.

At Otis, Fernando majored in fashion design while working as a freelance photographer for swimwear and automobile magazines. As his part-time business began to take off, and at the suggestion of his instructors, he abandoned fashion altogether to pursue a photographic career.

Fernando has photographed for Motor Trend as well as Max Speed and Max Power magazines, both of which target the high-end automobile aftermarket. Automobiles and automotive- related products comprise about half of his assignments, with celebrity-based work making up the other half.

They say if you work hard and do a good job, people will take notice, and Fernando’s good work has lead to a lucrative job offer from Honda and commercial assignments with General Motors, MAACO, American Racing and Yokohama Tire.

While the high-performance automobile market is his primary focus, he has also parlayed his many talents into successful secondary visual imaging careers in the entertainment and film production industries. Clients include TV Guide as well as the Mirage, Bellagio and Treasure Island Hotels in Las Vegas. As if that weren’t enough, he also directs films and music videos for his own production company, Dice Films.

His latest DVD, Photographing Cars 1.0, is a tremendous instructional piece that takes you beyond the lens to explain step-by-step how he approaches his work when shooting cars for corporate accounts. From concept to camera, Fernando takes the viewer to both studio and location sites. The DVD contains a wealth of invaluable tips and techniques, some of which we have covered here.

Fernando makes the point that, “To be successful, you must be prepared for any eventuality.” He approaches each new assignment only after doing his homework. “Start by learning all there is to know about the subject, and then think hard about it until you have formulated your plan,” says Fernando. He goes on to quote an oldtimer who once advised him, “Long before I take my camera out of the box (that was in the days before camera bags) the picture has already been made in my head. From that point, it is just a matter of following the necessary steps to get the photograph.”

Fernando has applied that advice to everything he does. He goes on to say, “The next step is to assemble your kit and crew. For an auto shoot, that kit includes not only the camera but three Photoflex reflectors, additional lighting gear, a small ladder, set of wrenches, flashlights, screwdriver, cutting blades, scissors, rope, tape, glue, string, black spray paint, white water-based paint and Mothers® wax products. I also take plenty of DVDs, CDs, an extra hard drive and extra cameras—in short, everything you’ll need to back yourself up.”

Fernando normally works with three to six people, including a production coordinator, stylist, makeup artist and assistants as needed. He will often utilize the services of South Bay Studios in Long Beach, just south of Los Angeles. South Bay is an amazing facility. They rent studios to both photographers and filmmakers and have 15 stages (studios) under one roof that can accommodate anything from a tabletop shoot to a feature film. The studios are pre-rigged with Fisher lights (giant suspended softboxes, some as large as 17x52 feet) and flats. One of their stages even comes with a full motion turntable, which is handy when doing a commercial or new car rollout.

Photographing Cars 1.0 includes assignments covering several automobiles, which were shot at South Bay and on location. In the DVD, Fernando demonstrates how he positions and lights a Bentley GT Turbo in the studio.

“With my assistant giving direction, I back the vehicle into place dead center under the Fisher light. By backing in you minimize the amount of painting and cleanup work you’ll have to do to the background in Photoshop,” says Fernando. “Next, flatten and rake the softbox at a 35° angle to the door handle. Angled this way, the light best shows off what the car really represents.

“Shoot both Polaroid and digital, making any necessary adjustments, and once you’re satisfied, get the client to sign off on them. Next, dress the tires and paint around the car with water-based white paint to make sure it is all perfectly clean and you are ready to shoot.

“The Fisher lightbox has 10 400- watt power packs, which together put out a whopping 40,000 wattseconds. I expose at f/22 or f/32 at ISO 100, capturing the image on my Canon EOS IDS digital system as well as film, using 35mm and my Mamiya RZ67 Pro II camera. The giant softbox takes 10– 15 seconds to recycle, so I shoot slowly. Once I begin shooting in earnest, I like to photograph from various angles and incorporate a ladder to shoot from the top of the car. This entire process normally allows for only one or two cars per day, although I have done as many as 12 when the client only requires the basics.

“When shooting a complete coverage of a car, I take a lot of tight close shots of the badge, logos and other details. Be sure to get the signature shots for the car like the grille, the rims, lights and intakes.

“Adding a person to the set complicates things a little, but once the car is lit, you just need to work with the model. From the beginning it is important that you’re in control of the model and clear as to what you want. Start low on the side of the car with the model on the side and have fun. Strive to add variety to the image. Have her dance across the set. Take some chances and experiment, as this lets the client know you are thinking and keeping things fresh.”

The DVD also includes several interviews with clients who explain what they are looking for in a photographer.

Mark Taylor, CEO of the Arras Group says, “To be successful, a photographer must understand the subtleties of the machine, bringing out the best features of the car. We look for depth and richness of color.”

Craig Manahan, the Creative Director at Arras, adds, “Complete coverage is important. Blanket the entire vehicle, covering it from front, back, side, three-quarters and all the details, as we will be using these photographs many times during the next year or two.”

“I look for good lighting to bring out the best in the car. Lighting is 99 percent of the battle,” says Dennis Holloway of Mothers® Polish.

Photographing Running Shots

Running shots are normally done from a camera car or helicopter. “They capture the essence of the car combined with action,” says Eddie Hatch of Camera Cars Limited.

For those not familiar with a camera car, it’s a moving platform (built on a car or truck) designed to safely mount and power a wide range of still, video and motion picture cameras, and lights. It has adjustable platforms in the front, back and above the roof that can be set to any height, from as low as seven inches off the ground to roof level and above. The vehicle has positions for a crew to back up the photographer or cameraman, and allows shots from virtually any angle—up, down, front, back or to either side. A 300-amp generator mounted to the car provides ample power for both camera and lights, making this a truly self-contained and flexible vehicle.

The car used in Fernando’s DVD is a Hummer H1, which, when configured for a shoot, weighs about 4000 pounds more than the factory model. It features Mitchell motion picture mounts and has been used in the making of many films, most recently The Dukes of Hazard. The photographer is strapped in for safety and sits or lies prone on a sleeping bag placed of one of the platforms. To provide a smoother ride, the tires are deflated from the normal 50psi to 37psi.

Fernando advises, “Make sure you obtain the proper insurance and permits and have permission to shoot on the property. The street or parking lot must be clean, not only for safety but also for your shots. Get comfortable with the motion of the camera car, and be sure to strap yourself in with a harness.

“Start with a plan of attack on how fast and what traffic pattern you’re going to use. Hold a short meeting with your drivers to assure that the shoot goes smoothly. Once the session begins, use hand signals to communicate your wishes to the driver of the subject car. “The average speed is 20–30 mph but you’ll probably be shooting at a very slow shutter speed, so you’ll need to hold your camera very steady. It helps to get into a Zen-like state to hold the camera very still. A typical exposure is a 1/30 at f/22.

“You’ll want the sun behind you or at an angle to properly light the car, so be sure to watch out for your shadow.”

Packed with helpful tips, I highly recommend “Photographing Cars 1.0” to any photographer interested in this subject. The price is $59.95, a great value for all the information packed into this small package. It can be purchased from www.photoflex.com, www.calumet. com or on Fernando’s website at www.fotographer.com.

Fernando’s next DVD, Shooting Swimsuits 1.0, will be released in late February 2006. You can view more of Fernando’s work at www. fotographer.com and www.dicefilms.com.