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trusted me to get it right...so I just had to make sure I did. I hired a special assistant and just got on with it. I shot the models over one day – after we had photographed the car and the necessary background images. Then there were two more days shooting the missing elements like the ‘flying pieces’. I ended up with over 2,000 images. That’s a lot, but in these circumstances you have to be 100% sure you have covered everything; all the motions of the models, all the car


elements properly lit and all the flying elements with hundreds of separate shots. Then you go through every image with the art director and select the best pictures – before moving everything across to the retouching agency experts.” Of course, when dealing with large clients photographers must accept that they will have to work as part of a team, alongside art directors and other production staff – and for some it’s tantamount to a creative straitjacket.


Admits Adrian: “It’s true that with bigger clients the shoot is carefully art directed and choreographed throughout but you do hear of situations where a company like Nike will hire a photographer and throw hundreds of thousands of pounds at a very loose brief along the lines of: “OK just go travel around for a while and shoot some great stuff for us.” I have to admit that as yet that hasn’t happened to me!”


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