All images captured in the video are shown below for your reference. All camera settings (EXIF Data) are also listed with each photo.


Every shoot provides a different situation, car, location, and lighting so there’s not single way to go about shooting head on. Throw in unique creative direction and there’s no “right way”, but I’m sharing with you what I found to be most effective for this situation. I prefer as much symmetry as possible with my head on shots, and using a bay door at this warehouse location made such a frame easy to accomplish.

Of course as seen in the video, I had to correct the dirty right side of the frame, and this is a point to make: you need to keep in mind the final image you’re wanting to create, even while shooting. I shot that scene knowing I was going to need to duplicate the left side of the frame and flip it to clean up the right side of the frame. If I had shot at a different angle than I had, it would’ve made this a much more difficult task in Photoshop, but thanks to the exact 90 degree angle and no foreground elements, you can see it was a simple 30 second job.


I used my Profoto B1X 500 for this shoot, and since I didn’t have an assistant on set I also used the Sony Play Memories app to remotely trigger my camera. I decided to strobe the car, as the natural lighting present from the warehouse fluorescent lights were not flattering to the highlighter yellow color of the 50th anniversary Aventador.

The second reason I decided to strobe was because I knew I could throw those “shadow lines” as shown in the video to make the scene much more dynamic. This is one of my favorite tricks when shooting head on, and helps draw the viewers eyes directly to your subject even when shooting very wide.

For a stronger understanding of how to use my One Light Method, from shooting on location with various types of strobes and speedlites, to editing the compiled images in Photoshop be sure to check out my LiveClass, The One Light Method, on LiveClass Commune.