The Crafting of Ferrari with Photographer Christoffer Rudquist.

What first interested you about industrial photography? 

We constantly use things like tooth brushes and cars, rarely wondering how they came into being.

Whatever I use I always wonder how and why, so for me to be able to see things like this close and upfront is truly a boyhood dream.

Everything can be shot in a million ways, for me to be able to photograph these situations in the way I perceive them in my own bubble is fantastic! It’s a true luxury as a photographer.

When shooting luxury cars what camera would you use to gain the best image quality?

I use a technical camera, the Arca Swiss, I’ve been using these cameras for many years. Even if I use a digital back, it follows the same technique as with any other large format camera.

Like any other large format camera it doesn’t work quickly. This to me is what I really like when using my Arca, I have to walk around, take time, see what is interesting, think again, have a coffee, and set up the camera. Once the setup is done, focus is set, exposure fixed. A silent click and 4-5 seconds later another click, and the photograph is taken.

What do you find most inspiring about shooting luxury cars in this way?

The thing that I find mostly inspiring when seeing luxury cars being made is the involvement of hands. The hands sometimes appear to be more important than the eyes. Its as if the master craftsmen can feel the surface of the car with their fingertips and make a decision if all is up to standard.

At the Ferrari factory in Modena we saw how masters filed areas of the car by hand into perfection. Striking the area to feel the difference with their hands. It reminded me of the techniques I’ve seen wood workers using to feel the smoothness of the piece, or how Japanese propeller sharpeners, wielding a sword looking sharpening tool over the edge of a brass propeller to shape it into perfection, reducing the drag of the boat, hence increasing fuel efficiency. These are techniques you learn over a long period of time very much like a good tailor, but its something we do not necessarily connect with industrial manufacturing. 

Emily Maye X Tracksmith

DMB Director Emily Maye shoots latest film for Tracksmith Running featuring the No Days Off collection

Sleek Magazine

DMB Photographer Nadia Lee Cohen shoots cover story for Sleek Magazine

Night Crawlers

DMB Artist Steven Counts directs Extra Butter X North Face collaboration film 'Night Crawlers'

Chaos Sixtynine

DMB Photographer Martin Parr collaborates with Chaos Sixtynine Magazine featuring Sun, Sand and Festive Jumpers

Gillette Festive Campaign

DMB Photographer Jenna Gang shoots festive campaign for Gillette 

Two Yous

DMB Represents produced EE 'Two Yous' campaign with photographer Amy Currell

Cozy Little Christmas

DMB Director Nadia Lee Cohen directs Katy Perry’s ‘Cozy Little Christmas’ film

Only God Can Judge Me

A look at DMB Photographer Bruce Gilden's new photo book 'Only God Can Judge Me'

World (The Price of Love)

Gucci release DMB Photographer Martin Parr's photobook 'World (The Price of Love)' featuring the Cruise 18 collection

Homeland

DMB Photographer Simon Roberts exhibition Homeland is currently on show at Flowers Gallery in Chelsea NY

Load more