We are delighted to welcome Igor Sinitsin to our interview, straight from the charming cityscapes of Luxembourg. With a passion for cars that began in his stroller days and blossomed into a career in photography, Igor is here to delve into his journey from being mesmerized by every car he saw as a child to mastering the art of car photography, capturing the dynamic beauty of automobiles in urban landscapes and beyond.
In our interview, we'll explore Igor's distinctive approach to car photography. We aim to understand his skillful blend of technical brilliance and aesthetic appeal in his photographs. How does he initiate new projects, and what challenges does he face in the specialized field of luxury car photography? Igor will share insights into his creative process and provide guidance for budding photographers interested in the automotive photography sector.
For a look at Igor Sinitsin's impressive collection of work, don't forget to check out his Instagram page and visit his website.
I’ve been interested in cars since before I can remember. My parents told me I was pointing at every car on the street as I was pushed in my stroller, and would never leave home without a toy car. As I grew up, in middle school I got a point-and-shoot Olympus camera and naturally, my curiosity for photography got mixed with my passion for cars. I was photographing a bunch of cars on the streets of the city I grew up in (I think the term car spotter didn’t even exist back then, in 2006).
My first photoshoot was a BMW E46 at a mall parking lot. The opportunity to place the car the way I wanted in the environment really opened up endless creative opportunities to express myself, and that’s when I really began shooting more and more. It was around 15 years ago!
As cliche as it might sound, I love it when a photo tells a story. I believe the rarity or the price of the car itself is irrelevant for a good shot, but the location, the context, and the composition are what really make or break a photo.
With that in mind, I personally always try to find the most suitable (and sometimes the most unusual yet still fitting) location or environment for each specific car. Add the controlled lighting (I really enjoy shooting with external light sources) and all the main variables are there. What’s left is to marry them all together, and add a personal touch of individual style during post-processing.
As for my own style, it’s constantly evolving as I get inspired to try more and more things. But I always try to make the car a lesser subject of the image, letting it breathe and showcasing the environment around it.
The most challenging shoots are when a client calls you on short notice without any possibility of preparing and gives you a dirty car to be shot under a scorching sun. In my opinion, without the proper preparation, planning and bit of research it’s really hard to produce photos that stand out, no matter how rare the car is, or how much time you spend editing.
On the other end are the shoots that took weeks to prepare for, which posed a different kind of challenge. However, it’s the most rewarding feeling when all this scouting and pre-production comes nicely together and makes for a great-looking final result. A Christmas-themed shoot with a GT3 could be one of such examples, as we started planning it months before the actual night.
I am a massive fan of the LED stick that I use for light-painting. I never travel without it, which sometimes pays off such as this shoot with a Testarossa that I organized during my trip to London.
I always keep trying new approaches and equipment to see what I like or don’t. For example, I keep on buying a bunch of prime lenses with different focal length to force myself try new angles and surprise my clients and followers with new results. Besides that, I am always on a hunt for new hidden locations for my shoots, which allows me to offer a choice of interesting spots that people tend to like.
As with any industry, the car photography community is close and supportive, yet pretty cut-throat in certain niches. That’s why I think it’s important to find your niche, the type of content that you feel most comfortable with, and try make yourself a name in it. For example, I have a friend who shoots nothing but rallies - it’s a fairly small niche but still market big enough for him to dominate it, and that focus can really help set you apart. And with enough work and effort, everything will eventually come together.
I was under the impression that great photos will help you stand apart and get cool jobs and clients. In reality, whilst it’s of course important to offer a certain level of quality in your deliverables, it’s all about the network and exposure. I wish I was proactive a lot earlier on, rather than focused on simply building the portfolio and wait for the opportunities to come to me.
This is a bit of a fanboy moment for me, but the DB11 set by Aaron Brimhall is one of the greatest car shoots in existence:
Coming back to question 2, this has all the components that make the photo excellent. There’s phenomenal storytelling, the light and composition is spot on, the editing helps set the right mood and overall, the amount of creativity and effort in this shoot is next level.
I have a massive soft spot for homologation specials, especially from the 80s and the 90s. Therefore, it would be a Mercedes-Benz CLK GTR, Porsche 911 GT1, and Ford RS200.
We're grateful to Igor for sharing his experiences and perspectives in the realm of automotive photography. His journey, marked by dedication and expertise, is genuinely inspiring and rich with insightful lessons. Igor's ability to capture the essence of cars is remarkable. We value the wisdom he has shared about his art and look forward to his future accomplishments as he continues to make a significant impact in the world of automotive photography.
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