Some cars transcend mere transportation; they become whispered legends, automotive unicorns so elusive that encountering one feels like a dream. The Mercedes C1000 is undeniably one of these mythical beasts. Conceived in 1994 as a bespoke creation for an oil magnate with a need for speed, this machine was engineered to reach nearly 270 mph. It’s a testament to automotive prowess, shrouded in enigma, spoken of in hushed tones by even the most seasoned car enthusiasts. To witness a Mercedes C1000 in person is an event in itself. For many, including myself, it was a childhood fantasy brought into stark reality – a reality that proved to be as challenging as it was awe-inspiring.
Alt text: Side profile of the Mercedes C1000 showcasing its unique wedge-shaped design, emphasizing its low ground clearance and aerodynamic silhouette.
The design language of the Mercedes C1000 departs dramatically from conventional automotive aesthetics. Instead of the evolutionary curves and lines typical of production cars, the C1000 resembles a sharp wedge, seemingly sculpted more for slicing through air than cruising city streets. In the rarified realm of custom, one-off vehicles, design constraints are shed, allowing for radical departures from the norm. The C1000 is a clear embodiment of this freedom, prioritizing velocity above all else. This singular focus on speed presents unique challenges, even for a seasoned professional. Approaching a photoshoot for such a vehicle with standard automotive lighting techniques simply wouldn’t suffice. As a commercial photographer, I thrive on challenges, but illuminating the C1000 proved to be an exercise in problem-solving unlike any other.
Preparation for photographing the Mercedes C1000 involved extensive research, yet traditional methods offered limited guidance. To grasp the essence of lighting this automotive anomaly, I even experimented with wedge-shaped objects, attempting to pre-visualize how light would interact with such extreme angles. The inherent difficulty lies in the juxtaposition of the sharply angled exterior with the inevitably rounded cockpit area. This rounded section, designed to house the occupants, disrupts the car’s linear wedge profile and requires a different lighting approach compared to the flat, angular surfaces. To overcome this, a combination of lighting styles became necessary. We aimed to use background lighting to create dynamic intersecting lines, visually appealing to the eye, while simultaneously employing soft lighting to accentuate the car’s sharp body lines without losing detail in harsh highlights.
Alt text: Front three-quarter view of the Mercedes C1000 in a studio setting, highlighting the interplay of light and shadow on its metallic grey body, captured by automotive photographer Blair Bunting.
The solution involved a strategic blend of Profoto strobes and continuous hot lights. Strobes were used to establish the overall scene and provide the primary illumination, while hot lights were employed to delicately paint in subtle gradients and refine the light across the car’s surfaces. This technique, reminiscent of methods I’d previously used when photographing athletes with varied light sources, proved crucial in capturing the Mercedes C1000 with lifelike fidelity. A significant advantage in photographing the C1000 was its monochromatic palette. The car’s flat grey finish, accented with black and neutral-toned rims, eliminated the complexities of color gels in the lighting setup. This allowed us to concentrate solely on light modifiers and precisely dial in the perfect illumination to complement the studio environment.
Despite prior online images, the Mercedes C1000 presented itself as even more angular and less curved than anticipated. For those familiar with high-performance automotive design, its sharp lines bear a resemblance to the iconic Porsche 962. The C1000 features upward-swinging doors and remarkably vertical sides, likely contributing to its aerodynamic efficiency and high-speed handling. Intriguingly, unlike the centrally positioned driver’s seat in the Porsche, the Mercedes C1000 offers a bench seat for two. During a passenger ride around the studio, the unconventional seating arrangement became apparent. The passenger sits markedly angled towards the driver, whose position is more directly forward-facing, suggesting the passenger’s comfort was a secondary consideration in this speed-focused machine. Adding to the car’s unique character was the vibrant, bright red leather interior, a stark contrast to its understated exterior.
Alt text: Close-up shot of the Mercedes C1000’s front end, emphasizing the sharp lines, pop-up headlights, and the flat grey paintwork, expertly photographed by automotive specialist Blair Bunting.
Photographing the C1000 demanded a choreographed approach. My assistants became integral to the lighting process, moving lights precisely along the car’s flanks as I timed the shutter. Lighting instructions were meticulously planned, allocating specific durations of illumination to different sections – “3 seconds on the rear bumper, 7 seconds along the side, and 1 second on the front.” This light-painting technique was essential to maintain texture on the car’s metallic skin. A large softbox would have flattened the surfaces, eliminating the subtle gradations between highlights and shadows crucial for defining its form. By carefully controlling the light angle, we were able to introduce a sense of curvature into the inherently flat sides of the car, enhancing its visual depth in the photographs. Sometimes, strobe flashes initiated the exposure, followed by continuous light painting. However, capturing separate frames for strobes proved more effective in this context. Another surprising lesson learned was the necessity for dark attire. Assistants in black clothing, including gloves, were essential to minimize reflections. Even the slightest hint of white or jewelry could become a retouching nightmare, appearing as unwanted specular highlights across the car’s expansive surfaces.
Once we deciphered how the Mercedes C1000’s unique geometry reacted to light and camera angles, a streamlined workflow emerged, allowing us to efficiently produce a comprehensive set of images. The successful shoot was a moment of collective celebration. Extra beers were in order for my crew, acknowledging their indispensable contribution to overcoming the shoot’s significant challenges. Personally, witnessing the Mercedes C1000, a car that had occupied my childhood dreams, was a gratifying experience. Yet, the overwhelming feeling was relief – relief that the photographic ordeal was complete and the likelihood of repeating it was thankfully slim.
Alt text: Interior view of the Mercedes C1000 showcasing the bright red leather bench seats and minimalist dashboard within the wedge-shaped cabin, photographed in a studio environment.
