Pedro Nobrega is a photographer with more than ten years of experience in marketing. He is a renowned photographer in Portugal, where he worked with relevant brands such as SUPER BOCK, SAMSUNG GALP, WV, GALLO, among others. Pedro is always looking for new paths of growth within the advertising market, as well as finding ways to add value to his clients. Moreover, Pedro is cautious with all technical aspects of photography.
All his knowledge is supported in a team that he carefully prepared, cared and made it grow. Rather than just one man, Pedro Nóbrega is synonymous of a group of professionals capable of dealing with any challenge related to analog or digital photographic composition.
Pedro has always been very attentive to the market, and we would be lying if we told a never-ending story about the team that stands behind him. Knowledgeable of the conditions of the advertising market in Portugal, Pedro’s aim was always to gather the best professionals, and this means having a high- profile asset portfolio for the various procedures to be undertaken. He believes that highly specialized freelance teams are able to show more objective and passionate results while bringing a huge cost/benefit advantage to the end customer.
CONCEPT
After I am working in advertising photography, I felt the need to move on and conquer more of the international market of motor vehicles. With this project, our goal was to get more elaborate works in photographic composition, 3D and CGI.
Big car advertising campaigns are increasingly shot in Portugal due to the excellent weather conditions, landscapes and good production teams. However, most photographers are not Portuguese. With this project, we aim to show the competent professionals we have in this field. The concept that we wanted to transmit in these images is the versatility of those cars thanks to its autonomy. To show that we took images in two different setups: city and beach (recreation).
Our main concern while shooting was to highlight the Portuguese luminosity and our technical capacities. The location was also taken into consideration we choose a road section of 20 Km crossing beach and city, which allows continuous shooting. The police followed at the front and rear to work as a barrier to the traffic. In this tracking, you can explore images in backlight, light and shadow. Results from work capable of showing more direct images, where the client can easily imagine their “look.”
We want to draw attention to more direct photographs and techniques trying to pique the interest of potential international clients. Tesla’s choice rewarded it for sharing the same ambition to be present in the future!
LOGISTICS
To execute these images, we mounted the Phase One XF with an IQ3 100MP tethering with the Tether Tools’ 4.70m TetherPro Cable and a Tether Tools’ TetherBoost on an Ultra Arm suspended Ronin. Relation to the car and focus on DJI’s precise Follow Focus. All this from inside the Camerandar Camera Car, incomplete stability and safety. Shooting in tethering was critical. Without the tether Tools cables, this would not have been possible.
The stability of the Ronin made it possible to work with the XF, and to shoot at speeds between 1/60 and 1/250 and with f11 and f16 diaphragms, making better use of the focus length and sharpness of the Schneider Kreuznach 55mm f: 2.8 lens.
Phase One XF IQ3 100MP trichromatic
Schneider Kreuznach 55mm lens f.:2.8
Apple MacBook Pro
Capture One 11
Camera car – Camerandar Ultra arm
Ronin
Follow focus DJI
TetherBoost
TetherPro Cable
LIGHT
As we were working in natural light, the main factor to take into consideration is the time and place as well as the position of the sun with the chosen location, in this case, we studied the position of the sun along the road we were going to take. We shot at sunrise, 7:15 am on a road where we would mostly be towards the sunrise, but we had some places in shadow or backlight, which gave us diversity and fluidity in the shooting. With the crane positioned at the back of the camera car and Tesla right after, we travel the selected section varying the position of the crane per the location and situation to be captured.
PROCESS
When shooting directly to Capture One 11 with the help of Tether Tools tethering accessories I was able to make the first adjustments to the images, these basic adjustments of light, colour and contrast so that I could see an image that looked closer than I had imagined for this shoot. I wanted this project to have a real look that transmitted naturalness, and that shows the good result obtained with the technique used in the capture of the images.
