Planning the Perfect Automotive Car Shoot

It all starts with the car, or cars. That sets the tone for everything that follows. Is it a modern supercar with sharp angles and carbon detailing? Or a vintage classic with curves and charm? The vehicle dictates the visual language. It tells you what kind of location to look for, how to frame it, what kind of story to build around it.

A great automotive photo isn’t a fluke. It’s the result of careful planning, a clear intent, and knowing exactly how to execute when the time comes. The shoot itself is often the shortest part of the whole process. The real work happens beforehand.

Here’s how I plan my shoots, from scouting and shot lists to layout, lighting, gear, and execution.

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The Planning Takes Longer Than the Shoot

Most people underestimate the prep. The truth is, the planning often takes ten times longer than the shoot itself. And that’s exactly why the end result looks intentional. Because it is.

If I can, I always visit the location beforehand. You see things in person that don’t show up on Google Maps. Uneven ground, blocked angles, new fencing, or general wear and tear that ruins the look. But more than that, you learn how the light behaves. The sun might drop behind a tree line or building long before golden hour. That can kill the shot you thought you were going to get. Visiting in advance lets you check sightlines, elevations, and whether the sun is going to do what you expect.

It also tells you whether the location is even usable. Some places look perfect on a map but turn out to be locked off, patrolled by security, or simply unsafe. Always do your homework. If there’s any doubt, get permission.

Some shoots require more than a quick phone call. My Goodwood Spitfire hangar shoot took two months to plan and needed approval from multiple parties. The airfield operators, Goodwood Circuit, and event coordinators. Getting proper permission is vital, especially for high-profile or restricted locations. You don’t want to risk being shut down on the day.

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Finding the Right Location

The location needs to fit the car and the story. That doesn’t mean it has to be flashy. It just needs to work visually. I’m always on the lookout for rooftops, underpasses, industrial estates, brutalist architecture, or open countryside with strong lines and structure. It’s about matching the aesthetic of the car to the feel of the place.

I start with Google Maps. Satellite view helps me find large open areas or structures with access. Street View gives me an idea of textures, angles, and overall potential. If I find a great spot in someone else’s photo, I’ll try to track it down:

• Drop the image into Google Image Search to see if it finds a match

• Look for signage, road markings, or distinctive architecture

• Use Instagram location tags to see what’s been shot nearby

You also start to develop an eye for places others might miss. A car park ramp with flaking paint might not look like much at first glance, but it can give you gritty texture, leading lines, or a weathered look that elevates a shot. I’ve found some of my favourite locations by looking twice at something most people would walk straight past.

Once I find a solid location, or even a maybe, I save it. I keep a running list in my phone, backed up with map pins, notes, and a folder of screenshots. That way I’ve always got options when a shoot comes up. I also save reference images that catch my eye, even if I don’t know the location yet. If it’s visually strong, I’ll figure out where it is later.

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Colours Matter

Colour plays a major role in car photography. The colour of the car should influence not just how you light it, but where you shoot it.

Some colours pop against concrete or muted backdrops. Others get lost or clash. A bright yellow supercar will react very differently in front of a brutalist structure than a matte black GT car would. If you’ve got multiple vehicles, make sure their colours work together. Or plan separate layouts and backgrounds so they don’t compete visually.

It’s one of the first things I consider when planning a shoot. If you ignore colour, you’re already working against yourself.

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Layout Matters

Car placement isn’t just about parking. It’s about design. A badly placed car in a great location is still a bad shot.

For single-car shoots, I think in terms of lines, symmetry, and balance. I rarely shoot from standing height. I’ll go low, climb up, step back, or shoot through foreground elements to frame the subject properly. I want to create shape and mood, not just record the car.

When I’m shooting multiple cars, a proper layout plan is essential. During my McLaren shoot, I had four cars to juggle, along with owners, friends, two assistants, and a few curious onlookers. There wasn’t time to figure things out on the fly. I had a shot list built out in advance with positioning for each car and angle, so I knew exactly what needed to be where and when. That kind of structure keeps things moving and keeps you in control, even when the scene gets busy.

I’ve developed several go-to layouts depending on the number of cars, the width of the location, and the focal lengths I’m planning to use. Whether the cars are aligned, staggered, wrapped around a corner, or placed for symmetry, it’s always intentional.

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Visualise the Shot

One of the biggest mistakes you can make is turning up without a clear idea of what you want to create. Standing there, trying to think on the spot while owners or clients are waiting, is not where you want to be.

I always visualise my shots ahead of time. I look at the location, consider the lighting, think through the angles, and then I build those ideas into the shot list. Sometimes I’ll go as far as sketching out rough mockups of compositions. Doesn’t need to be perfect, just enough to clarify the framing or arrangement I’ve got in mind.

I also keep a long list of inspiration images. Not to copy, but because something in them triggered an idea. A colour palette, a perspective, the way a reflection wraps around a curve. I’ll review these before a shoot, especially when I’m working toward the hero shot. The image that defines the whole set. The one you know will stand out and carry the entire story.

When I’m scouting locations, I always take reference photos. These aren’t portfolio shots, they’re planning tools. I use them to test compositions, check light angles, and document the space. They also come in handy for creating AI mockups ahead of the shoot. ChatGPT can generate visual previews using those reference shots so I can test different setups and walk in with a clear idea of what I want.

And I always look beyond the car when composing a frame. It’s easy to get tunnel vision. But things like telegraph poles, street signs, bollards, bins, or random people can creep into the shot and ruin an otherwise perfect composition. If you spot them ahead of time, you can move a metre left or right and avoid the problem completely, instead of wasting time cloning them out later.

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The Apps I Use

Planning isn’t just walking around. I rely on a few key apps that make everything faster and more precise:

• PhotoPills – For sunrise, sunset, golden hour, blue hour, and sun positioning

• SunCalc – A simple way to see sun direction and elevation at specific times

• Shade Map – Calculates real-time shadows from buildings, trees, or terrain

These tools let me time everything to the minute. I don’t show up hoping for good light. I show up knowing where and when it will be best.

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The Gear That Comes With Me

I shoot on Canon RF gear and carry the tools that let me work fast and clean, without unnecessary baggage. My lens kit:

• RF 24-70mm – My main workhorse

• RF 70-200mm – For compression and detail

• RF 100-500mm – When I need reach or a flatter perspective

• RF 50mm – For classic angles or tight spaces

• RF 35mm – For compact, natural-looking scenes

I also pack:

• CPL filters – For cutting reflections and deepening tones

• ND filters – To control exposure in bright conditions or when shooting light trails

• Tripod or monopod – For long exposures or consistent setups

• Microfibre cloths and detailing spray – Because dirt and fingerprints ruin otherwise clean images

• LED panels and Godox lights – For night shoots, fill light, or adding drama

• Drone – For wide environmental shots or overhead layouts (if the location allows)

Too much gear slows you down. I carry what I know I’ll use and leave the rest.

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Get It Right in Camera

Editing can enhance a good shot, but it won’t rescue a bad one. Get your exposure right. Frame it properly. Control reflections. Check for distractions. Make sure the car’s clean and presented well. The better your image is in-camera, the easier it is to finish it off in post.

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Why This Matters

A lot of this ties back to what I wrote in a previous blog post. The difference between an amateur and a professional is purpose and intent. That’s what all this planning is about. You’re not just turning up with a camera. You’re showing up with a vision and the preparation to execute it properly.

Too many so-called “car photographers” don’t even try to do the best possible job. They shoot from eye level, don’t clean the car, ignore the background, and expect Lightroom to sort it out. That’s not photography. That’s guesswork.

If you want to stand out in this space, do what most won’t. Plan ahead, scout with intent, understand how colour and light work together, and build every image from the ground up. That’s what separates real work from lucky snaps.

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Final Thoughts

If you want results that stand out, plan like a professional. That means scouting your locations, understanding your light, knowing your gear, visualising your compositions, and walking in with a clear strategy. Don’t leave it to chance. Don’t expect to fix it later. If the foundation is strong, the final image will speak for itself.

The best car shoots aren’t lucky. They’re built.