Archive for the 'Aston Martin' Category

15
Sep
15

Pro Book 2015 Q4 Launches

PRO BOOK 2015

The ‘Pro Book’ represents a online copy of our automotive car photography work presented on screen as a portfolio but more in the traditional sense, a soft copy you could say of the actual Pro Book that we may use in client meetings or with agents and art buyers.

The book is updated four times each year and we are very pleased to announce the launch of the Q4 2015 version of the book which includes all the latest new work from commercial photographer Tim Wallace.
The Pro Book receives a vast amount of interest from clients and agencies alike and we hope that this new release of Tim’s ongoing creative commercial work inspires and demonstrates his unique style and approach as well as showcasing some of his recent work both in the UK and Internationally with our corporate business clients and agency clients.

Commercial Pro Book
A online dedicated version is also available for agents and clients to view here at http://www.commercialphotographerportfolio.co.uk

tim wallace photographer 2015 Q4 book

© Copyright Declaration
All images shown on this site are protected by International Copyright Law and by the Copyright, Designs & Patents Act 1988.
All images, text and ideas are the ‘intellectual property’ of Tim Wallace™

05
Jun
15

MAN London Magazine, Launch Edition interview with Tim Wallace

banner man

Today saw the launch of the ‘MAN London Magazine’ with a feature interview on the work of AmbientLife and its founder and creator, Commercial Photographer Tim Wallace. Tim speaks to MAN London and talks about some of his work over the recent years and his passion for what he creates for his clients.

Industrial light and magic

Aston Martin is the manufacturer all men admire, a fascination that started in childhood watching 007 films with your father. With their sweeping lines and menacing aura, Aston Martins speak the language of luxury, but few reveal the soul of these cars like Tim Wallace, Britain’s full-throttle motoring photographer.

Tim Wallace is the world’s most renowned and pre- eminent Aston Martin photographer.
He has been shooting Aston Martins for over eight years, and in that time has worked with some of the world’s most iconic and rare cars, from the £1m One-77 to the classic Le Mans DBR2 of the Fifties and infamous DB5 of James Bond fame.
“For me it’s more than just capturing the car, it’s about capturing its soul, how it makes me feel when I first see that specific model,” Wallace states. “Each car is very different and has its own personality. My challenge is to create the image that makes the hairs on the back of your neck stand up when you look at it. That’s my gift and my passion. Photography for me is not a career, it’s an obsession. Being out there shooting is where exciting things can happen.”

Wallace has even driven over 460 of these luxury beasts. You could say that he is a man who knows his cars, but most of all, through his work, it’s clear that he is a man who has a passion for his craft. “Much of my work is dramatic; clients
commission me based on that style. I’m often told that my work is like ‘art’ and personally, I take that as a compliment. Photography is about light and imagination. The key is combining the two to create something memorable.”

21
May
15

The Vignale

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The ‘Vignale’ DB2/4 is thought to be the only Aston Martin to have ever been bodied by Vignale, and as such it is a car that is of major significant historical importance, both to Aston Martin & Vignale.
Commercial Car Photographer Tim Wallace has been following is rebuild over the past 5 years as it nears completion.

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Aston Martin DB2/4 Vignale – Originally ordered for His Majesty the King of Belgium in 1954

The car was supplied in chassis form to Vignale orginally and bodied in a very elegant and beautiful fast-back design, the DB2/4 is a truly ultra-rare Aston Martin and its history stretches back to its very first conception when it was originally ordered for His Majesty the King of Belgium. It has been undergoing a full ground up restoration in the UK and is viewed as one of the rarest and most collectable Aston Martin cars ever made.
Interest in classic Vignale bodied cars has dramatically increased recently, with Ferrari examples achieving phenomenal prices at auction.
This car is understood to be the only classic Aston Martin ever bodied by Vignale, and as such it is of significant historical importance, both to Aston Martin & Vignale.
Delivered to Vignale as a DB2/4 chassis only on 28th September 1954. It was then completed in a one-off distinctive fast-back design, with a large opening rear hatch. This stunning Grand Tourer was then delivered on 10th March 1955. It was fitted with the latter, three litre engine and the 1.73:1 ratio. A totally unique & significant Aston Martin from the 50’s with fantastic styling.

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Tim – “I first saw this car 5 years ago when it was little more than a pile of boxes containing the original parts and a heap of body panels, over the years that followed I have been privileged to slowly see the car come back to life with its amazing and unique design, photographing it all the way through to the present day where it is very close to completion. The car was recently shown at the Essen Car Show in Germany and has quite rightly attracted considerable attention with its very striking design from Vignale.

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

Professional commercial automotive car photography by UK automotive photographer Tim Wallace of Ambient Life Photography

01
May
15

f11 Magazine – The BIG feature

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Today saw the launch of f11 Magazine May 2015 that features a comprehensive interview with UK based commercial automotive car photographer Tim Wallace of AmbientLife. The article represents one of the most major features we have ever done and is also the largest feature that the worldwide magazine has ever produced on a featured photographer. The magazine is read in over 60 countries and is available online.

Commercial Car Photography

Tim Steele
Publisher/Creative Director
f11 Magazine

“‘At 50 consecutive pages, our feature on British automotive photographer Tim Wallace in our May 2015 issue is the most comprehensive individual photographer feature in our magazine’s 4 year history. That’s testament to the quality of Tim’s superb work. Mere hours after the launch of this issue we’re already receiving favourable comment from all around the world. f11 Magazine is read in over 60 countries thousands of readers’

f11 Magazine – Issue 43 Read the full feature interview with Tim here

Commercial Car Photography

Commercial Car Photography

12
Mar
15

Sir Stirling Moss writes opening foreword to the new Aston Book from photographer Tim Wallace

sm 1

We are extremely proud and honoured to officially announce that Sir Stirling Moss has written the foreword to photographer Tim Wallace’s Aston book that journeys through the life and models of Aston Martin from the very first Bamford Martin car to the very latest super cars of today. The book project has now started its final proofing and binding design stage and it has been a mammoth piece of work over 2 years between The Aston Workshop in the UK and Automotive Car Photographer Tim Wallace.
The book is a celebration of Aston Martin through their 100 years and is a major publication of nearly 700 pages of stunning photography from Tim capturing each of their significant models over their first 100 years of building cars, from the very first Bamford Martin car all the way through to the infamous DB5 and onwards to the latest DBS and One77 models of recent years. Printing will commence in 2015 and a limited boxed edition will also be available with the possibility of a signing event taking place with Tim Wallace and Sir Stirling Moss with the book.

aston martin car photography car photographer

Over the years Sir Stirling Moss has had an amazing racing history and has enjoyed some of that through his involvement with Aston Martin so to have the book’s forward written by Stirling is truly a fitting start to that pictorial history that Tim has set out to capture across the books chapters and pages. Stirling’s first outing for David Brown’s team took place at the 1956 Sebring 12 hours in Florida. He had tested the works Aston Martin DB3S at Goodwood in the February of that year following his return from a successful two race campaign in Argentina. Having agreed to race for David Brown when his commitments to Maserati allowed him to do so, Stirling accepted a signing on fee of £50, which was modest, even by the standards of the time.
The 1956 Sebring would be the first of six races over the course of the season that Stirling would race the Aston Martin DB3S, for the race, he would be partnered with Peter Collins in one of three works Aston Martin DB3S’s entered for the 1956 Sebring 12 hours. Given that the team had calculated that the brakes would last no more than eight hours and that the tyres would last no more than two hours, Stirling did not start the race bursting with confidence. Nevertheless, he made a good getaway from the Le Mans start and managed to hold second place between Hawthorn and Fangio, running three seconds a lap quicker than he had managed in practice. It was not to last, 90 minutes after Peter Collins took over driving duties the engine broke and they retired from the race. Happily Stirling would go onto win at Goodwood in the Aston Martin DB3S at the Easter meet the following month and at the 1959 24 Hours Le Mans race, Aston Martin would enjoy an outright victory at the infamous endurance classic giving Stirling’s one of the most famous wins of his racing career.

car photography and car photography

Aston Martin over the years have created and crafted some of the Worlds most recognisable and iconic cars and in 2013 the company celebrated 100 years in the industry. As part of this celebration commercial car photographer Tim Wallace was commissioned by our UK client Aston to produce a major book looking through the 100 years to celebrate all the models in the Aston range from the very first model that David Brown created to the latest super cars from the Aston stable such as the DBS and new Vanquish. This month saw AmbientLife photographer Tim Wallace working alongside the designers to review and make final amendments to the page layouts as the book nears the final stages before going to be published. Over all the final book will feature 700 pages of full colour pages of high quality photography that captures and drives forward the spirit of Aston Martin through the last 100 years.

car photography and car photography

Tim – “Being asked to create all the photography for the Aston Workshop 100 year book is indeed a great honour and its a project that we have been working on for just over a year now. The book will primarily be a ‘coffee table’ style book of great photography looking at each of the models through the history of Aston Martin design and endeavour to create cars that instil both passion and soul. Its a massive project and currently we are very close to completing the project now.
Some of the cars that I have captured for this book such as the Zagato’s VEV1 and VEV2 that are very rare and today are in the same condition as the day that they drove out of the factory gates.
For me personally it’s a joy to shoot these cars and we have been working with Aston in the UK and Europe for just over 7 years now so I am very familiar with both the company and the vehicles themselves which is a major benefit to the project for me personally. We are having the final design meetings for the project and we anticipate that the book will launch this year globally, I can’t wait to see all that hard work come together in what I hope will be a book that young and old will enjoy a like.”

car photography and car photography

automotive car photography

The book covers all the major models produced by Aston Martin through the years from the very first early cars, through to the infamous DB5 that will possibly always be inextricably linked to James Bond and the 007 books of Ian Fleming.
It also covers the most recent years of design and development at Aston Martin with the One77, Astons first £1 million pound car, the DBS, V12 Vantage, and the new model all carbon fibre Vanquish.
Designed and produced to be a general book for the market this publication reflects the history of design and how the cars have evolved over the years but is not a technical based book as many before it have had their base, bit more a book of simply beautiful photography to celebrate a iconic and world famous British brand that is as strong today as it ever was.

car photography and car photography

car photography and car photography

22
Aug
14

US Magazine Digital Photo Pro – Sept / Oct – The Pro Interview

William Sawalich spoke with UK based commercial photographer Tim Wallace for a major 8 page Pro feature that is out now in the Sept / Oct issue of Digital Photo Pro Magazine in the US, Tims work is also featured and makes up the magazines front cover for this edition.

Tim Wallace: Next Year’s Model
English photographer Tim Wallace reinvigorates the art of automotive photography, one luxury car at a time

car photography

Tim Wallace’s intense car photography is more about light than digital processing and, as he points out, lighting cars isn’t easy. “If you ever try to light a car, you’ll realize how difficult it is. Because they are actually just multi-angled reflective surfaces. The amount of times that I’ve thought, ‘My god, why didn’t I just do food? or people? or something that doesn’t reflect? I hate this!’ But it’s just the mere fact that it is quite difficult to do well, that it’s probably a very good thing for me, because it means there aren’t a million people doing the same thing as I do.”

car photography

Seven years ago, Tim Wallace decided he wanted to photograph luxury cars. So, the newly unemployed executive built a business plan and got to work, teaching himself lighting and digital imaging from the ground up. Today, he creates beautiful, emotive images for the most prestigious brands in the industry, including Aston Martin, Bentley, Ferrari and Lamborghini.

“I basically shoot the prestige car market,” Wallace says, “which, in essence, means my career is based on shooting cars you can’t afford, you don’t really need, but you desire. With very expensive sports cars and luxury cars, you don’t make that purchase based on fuel economy, space and ergonomics. It’s an inspirational, emotional purchase. And an emotional purchase requires a sort of emotional, dramatic image. If you were to look at an advert for something like a Renault people carrier or Toyota, that would be based very much on lifestyle, economy, things like how friendly it is to the environment, and it’s going to be a very different type of picture altogether.

“I get it right for my clients,” Wallace continues, “because I know their brands really well. I know that for Rolls-Royce, for instance, it’s not so much about the car, but about the materials, and the engineering and the quality of workmanship. It’s not a huge amount about the aesthetics of the car. Aston Martin is very much on power; their byword is: ‘Power, Beauty, Soul.’ It’s all about something that’s very inspirational, very emotional, very different.”

car photography

Wallace’s goal from the start has been to create images that are as much art as advertising. That, plus his clients’ need for inspirational imagery, has shaped his moody visual style. “Photographers should develop their own unique style,” Wallace says. “It’s absolutely crucial. My stuff is quite harsh, not in a tonality or anything like that, but I do like deep shadows; I like a lot of black space. I give my subjects a lot of space. I did a thing today, actually, the back of an Aston Martin DBS. You’ve got the DBS badge and the quarter light, and it’s a strip of light running down the paintwork, and then it illuminates the massive exhaust tailpipe at the bottom. And yet I’ve allowed about five or six feet on each side of it in total darkness. I’ve allowed it that space, and I’m hoping they don’t crop it too much.”

The seeds were sown for Wallace’s aesthetic during childhood, when he printed photographs for his grandfather. He wasn’t particularly interested in taking pictures, but he enjoyed printing, and he was very good at it. This led a teenage Wallace to land a darkroom job for a London newspaper, which eventually led to photography. It’s the printing, though, that’s still evident in his shadow-rich work today.

car photography

“Obviously, a lot of the stuff I did was black-and-white,” he says, “and even now, if I look at an image I’m going to shoot, I pretty much know in my head what I’m going to do before I do it. I reverse-engineer it. And I still think of it in black-and-white, grade 1, 2, 3 or 4, which is very unusual. I think it comes from printing. If you talk to anyone that has printed at a reasonable level, they get very obsessive about the blacks, ‘That’s not deep enough,’ or ‘It’s not warm enough.’ And I just think that less is more. When you’re doing cars, you don’t need everything brightly lit. It needs to be opulent, it needs to be slightly mysterious. And you don’t need to see the entire car, you don’t need to see the entire interior.

“Say you’re doing the interior of a Corvette,” Wallace continues. “It’s a sports car, it’s a luxury car and it’s a cockpit. It wants to be a dark, opulent, luxurious place with lots of toys. I don’t like to overlight things. When I’m doing the overall statics for the cars, I know a lot of guys will stick them in a studio and just stick them in front of an infinity cove. In the last 12 months, I’ve shot once in a studio. I just don’t think cars belong in studios. I’d rather shoot them out in the environment where they belong.”

Shooting on location, both indoors and out, Wallace attends to his lighting like an old-school studio pro. “I have done stuff in a factory, where cars are literally getting built around me,” he says, “and I’m in a clear bit of floor in the middle shooting a wheel or something. And people go, ‘Wow, did you take it off and did you have it in a studio?’ And I’m like, no, if I actually did a behind-the-scenes shot, you wouldn’t believe where I did it. It’s light. Light is an amazing thing. But you’ve got to understand what you can do with it. I basically taught myself how to light cars, and I’m still learning all the time.”

qoute

To create his signature deep shadows with selective highlights, Wallace uses strip lights positioned close to the car. “A softbox is very soft light, and it spreads,” Wallace says. “Well, yeah, because inherently that’s what softboxes do. But what not many people realize is, you can change the properties of the light very easily by doing certain things. Everyone gets obsessed with the position of a light, but there are two other dimensions to light they don’t often think about. One is the power output. They think, ‘Well, if I just get the right exposure, then that’s the correct power output,’ which is fine, but obviously, there’s a sliding scale. You know, you can put that light on very low power and turn it into a wider aperture, and you’re still going to get the same exposure, but you’re going to get a different dynamic. And the other is the proximity of the light, how close the light is to the subject. For a lot of stuff I shoot, the light is very close, the power is very high and you get a very punchy light. You’ve still got an evenness, but you’ve got a harder light. And with a harder light and a much harsher exposure, you get natural depth, and shadows start to appear. And then you just expose for the highlights, and everything just naturally falls into very deep shadow, and what’s going to go between the highlights and the deep shadow is a very quick falloff, quite a dramatic falloff. And, yeah, some of it you can’t do on a DSLR because you can only sync at 1/250, so there’s the added bonus to shooting medium format in the fact that you can sync at 1/1000 at ƒ/32 and take your ISO down to 25, so you really can get the power pushing through.”

car photography

Wallace shoots exotic cars like the Aston Martins shown in this article, as well as collector cars like the classic American models here. He specialized from a business perspective. “There were a lot of guys shooting cars, and it was very much magazine-cover type stuff, but there was nobody really doing it very high-end, commercially. When I first started, people said, ‘You won’t succeed. You’ll fail within a year.’ They also said, ‘You’re too old,’ which was moderately amusing because I wasn’t even 40 then, and I think age has no bearing on anything. And thirdly, interestingly, they said, ‘You won’t succeed commercially because your stuff is too much like art, it’s too artistic.'” Wallace has proved them all wrong.

car photography

For outdoor shots, Wallace incorporates the sun into his lighting schemes. “Because I don’t shoot cars in studios,” Wallace says, “there’s one light in place straight away: the sun. You can either overpower it or you can think of it as your first light, and that’s what I tend to do. There are a lot of times when I shoot cars outside and I need to light them, but I don’t want them to look lit. So I’ve got to do it very subtly.”

One way to light discreetly is to hide the source reflections within the angles of the car. “You cannot have the sun going down with a Mustang in the foreground and not create deep shadows,” Wallace explains. “Now, if you light that car and get rid of these shadows, it looks like a lit car in front of a sunset, and it’s going to look pretty terrible. So you need to push extra light in, but not overpower it. If you take a standard Mustang, where the door comes up, it sort of curves, and where that curve ends, it flattens out and there’s a crease. That crease is where you can naturally hide a strip light. When you’re doing a lit shot outside with a car, the first thing you’ve got to do is lock yourself into position where you’re going to shoot from. Every single movement changes everything. Even just two or three centimeters either way, and you mess up all your lighting because the reflections start to change.”

Though Wallace much prefers in-camera work to postprocessing, he hears frequently that his lighting is impossible. “Postproduction isn’t crucial,” Wallace says.”Lighting is crucial. I would hope to say that 60 to 70 percent of what I create is due to the lighting. I was told by one guy, I showed him a shot, and he said, ‘It’s fantastic, but it’s obviously CGI.’ And I said, ‘No, it’s not, it’s one light.’ And he was like, ‘Impossible.’ He was a car photographer, and he said, ‘You can’t do that with one strip softbox. That must be heavily Photoshopped.’ And then it was half an hour after that when I used the same softbox on the quarter-light of an Audi at that seminar. And, just for him, I reproduced the shot. It took less than three minutes to light and shoot, and it came out literally exactly the same with no Photoshop whatsoever. He was like, ‘You can’t do that.’ But I’ve just shown you that you can. ‘Yeah, but you can’t put a light there because you’re not allowed to do that.’ But you can do whatever you want.

“When I’m in Vegas for Photoshop World,” he continues, “one of the things I’m going to do is a live car shoot on stage. I love it because, when I do my introduction talk and some of my work is up behind me on the big screen, I know in my heart of hearts that the majority of the people in the audience are going, ‘Yeah, I really like that, but a lot of it’s probably postproduction.’ And you can see them thinking this. And then you get into play maybe only two or three lights, but you use them well, and you tether it up to the screen, so everything you shoot comes to the screen and they can see it. And I purposely do the first shot with my back to them, so I can just hear. I wait the two seconds for the delay of it transferring through the tether, and then I hear the gasping sound behind me and think, ‘Yes, now you’re going to listen. Now I’ve got you in the bag.’ You can’t reproduce lighting in Photoshop. You can to a certain degree with some things, but you can’t get the same depth, the same feel. It’s like shooting something on film and developing it and creating a really nice black-and-white print. And then doing the same thing in digital and doing the postproduction and doing digital prints. They’re not the same. I don’t care what anybody says. They’re not the same. There’s a depth to it. And I think in a way, that’s why I shoot wide open a lot. Because with a lack of depth of field, you sort of get depth. It’s difficult to describe. There are a few people who say to me, they’ve seen stuff of mine quite big in print, and they say, ‘It’s almost like film.’ Yeah, I’m pleased to hear that.”

hasselblad car photography

TIM WALLACE’S GEAR

Tim Wallace considers great gear mandatory. He works with 35mm-style DSLRs and digital medium-format cameras, depending on the needs of the assignment. The Nikon D3S and D4S, as well as Hasselblad H3DII and H4 cameras with 39- and 50-megapixel digital backs, form the foundation of his kit.

When it comes to lens selection, the Hasselblad HC 50-110mm zoom is his go-to medium-format lens, and 28mm, 35mm and 80mm primes round out his bag. On the Nikons, he prefers a Nikon 24-70mm zoom, again complementing
it with Nikon 24mm, 50mm, 90mm macro, 200mm and 300mm primes.

Wallace’s choice in strobe lighting centers on Profoto and Elinchrom. He uses battery packs, such as the Elinchrom Ranger, when working in remote locations, and monoblock heads when access to electricity abounds. The strip-light softbox is his preferred light modifier.

Photography : ©Tim Wallace | AmbientLife
Interview : William Sawalich

03
May
14

Aston Martin – ‘The Book’ Project enters final stages

aston book banner

car photography and car photography

Aston Martin over the years have created and crafted some of the Worlds most recognisable and iconic cars and in 2013 the company celebrate 100 years in the industry. As part of this celebration commercial car photographer Tim Wallace was commissioned by our UK client Aston to produce a major book looking through the 100 years to celebrate all the models in the Aston range from the very first model that David Brown created to the latest super cars from the Aston stable such as the DBS and new Vanquish. This month saw AmbientLife photographer Tim Wallace working alongside the designers to review and make final amendments to the page layouts as the book nears the final stages before going to be published. Over all the final book will feature over 680 full colour pages of high quality photography that captures and drives forward the spirt of Aston Martin through the last 100 years.

aston martin car photography car photographer

The luxury brand marked the official anniversary of its founding 100 years ago with a ceremony in Chelsea’s Henniker Mews – the original home of the company that went on to become Aston Martin, founded on 15 January 1913. Aston Martin CEO, Dr Ulrich Bez – “I am proud to be celebrating 100 years of heritage and the best of British craftsmanship.”
“Aston Martin is known around the world for our leading design combined with advanced technology. Ours is the coolest luxury car brand on the planet and I am looking forward to our second century of building the world’s most desirable sports cars.”

car photography and car photography

Tim – “Being asked to create all the photography for the Aston 100 year book is indeed a great honour and its a project that we have been working on for just over a year now. The book will primarily be a ‘coffee table’ style book of great photography looking at each of the models through the history of Aston Martin design and endeavour to create cars that instil both passion and soul. Its a massive project and currently we are very close to completing the project now.
Some of the cars that I have captured for this book such as the Zagato’s VEV1 and VEV2 that are very rare and today are in the same condition as the day that they drove out of the factory gates.
For me personally it’s a joy to shoot these cars and we have been working with Aston in the UK and Europe for just over 7 years now so I am very familiar with both the company and the vehicles themselves which is a major benefit to the project for me personally. We are having the final design meetings for the project and we anticipate that the book will launch this year globally, I can’t wait to see all that hard work come together in what I hope will be a book that young and old will enjoy a like.”

car photography and car photography

car photography and car photography

The book covers all the major models produced by Aston Martin through the years from the very first early cars, through to the infamous DB5 that will possibly always be inextricably linked to James Bond and the 007 books of Ian Fleming.
It also covers the most recent years of design and development at Aston Martin with the One77, Astons first £1 million pound car, the DBS, V12 Vantage, and the new model all carbon fibre Vanquish.
Designed and produced to be a general book for the market this publication reflects the history of design and how the cars have evolved over the years but is not a technical based book as many before it have had their base, bit more a book of simply beautiful photography to celebrate a iconic and world famous British brand that is as strong today as it ever was.

aston martin car photography car photographer

aston martin car photography car photographer




Ambient Life Online

A selection of other online sites that offer a look into the work of UK Professional Photographer Tim Wallace.

www.ambientlife.co.uk


Photographer Tim Wallace is the driving force and creative thinking behind Ambient Life.
An award winning photographer he is probably best known for his commercial car and advertising work.

Tim works with many well known brands and clients such as Aston Martin, Land Rover and Kenwood in the US, and has recently been named as one of the ten photographers to be selected by Hasselblad for the quality of his work and creative vision to represent their new 'Pro Team' to be launched in 2010.

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