Each year at Martin Moto, immediately following the widely acclaimed Modern Classics Motorcycle Show (www.modernclassicsbikeshow.com), we publish a book that serves to document the hundred or so magnificent bikes as seen in our show. Creating that book is a not inconsiderable task and, of course, a key element is the photography performed by our resident photo artist, Joseph Luppino (http://pixelnation.us/) The staging, lighting and overall creation of Joe’s museum quality shots of the show bikes is facilitated by the professional quality studio that has been created inside the Martin Moto showroom. And static photography of the visually fascinating and detail-rich motorcycles is one key way of capturing the beauty and excitement of the motorcycling sport.
However, static photos are but one way to capture motorcycle imagery. We’ve also had the opportunity to work with other professional photographers who choose to venture beyond the studio in an attempt to capture machines at speed, in their more natural riding environment. Like these shots courtesy of our New Zealand friend Bruce Jenkins (www.brucejenkins.co.nz)
We’ve had the chance to talk to both of these talented guys and pick their brains about both the similarities and differences in the two approaches. Not surprisingly, its more complicated than simply, Mr. Inside/Mr. Outside. And yet there are similarities. Both artists talk about composition – how to most effectively frame the image. In the studio there are a multitude of angles available. High. Low. Left. Right. and so forth. At the track those same considerations apply but there is SO much more. Which corner? With what background? One bike alone? Several? Lighting, obviously, also comes into play. At the track the challenge is to deal with ever changing natural light. In the studio lighting is a variable that can be controlled and managed. Then there are the camera settings that must be managed – like shutter speed. At the track we may wish to shoot at a high shutter speed in order to “stop” the speeding bike or perhaps we wish to create the illusion of speed by panning and allowing the background to become slightly blurred. Like this example.
On the other hand, studio work, by definition, involves stationary objects and camera settings like shutter speed and f-stop can be selected for other considerations like depth of field and level of detail. As seen here.
Another major difference is lens size or magnification. In the studio the bike is never more than 6-8 feet away from the lens. At the track , or in the field, bikes can be quite distant and are, of course, a great deal smaller than cars. And yet, while studio work for magazine covers and such may sometimes require larger format gear, according to Jenkins, “the majority of that sort of work can be shot with same gear that I take to the race tracks.”
The fact is that, while these two guys tend to specialize in either studio work or field work, they each have experience with, and a passion for, the other discipline. And they both love shooting motorcycles because they are motorcyclists at heart. Bruce’s connection to bikes goes way back.
Likewise for Joe who is a rider of many years’ experience. And both are fascinated by the richness and diversity of technical details to be found in motorcycles as well as the dynamic character of motorcycles at speed, with both riders and bikes offering a much wider range of movement and action than can ever be seen in cars.
Whether you love motorcycles for their inherent beauty or for their speed, performance, and dynamics there are great photographers ready to capture that feeling and offer you photos that will fuel your enthusiasm. We love bikes for all those reasons and greatly appreciate the variety work of our talented friends in capturing that imagery. And we are hugely supportive of these hard working souls who endeavor every day, each in their own unique way, to capture the magic that is motorcycling.