Photographer Tim Wallace has a unique and adaptable style to provide the high quality professional creative photography assets that will meet the clients brief and aims to inspire their customers beyond. We believe very firmly in building amazing relationships with all our clients to offer reliable constant results.
Tim's work spans both the commercial and advertising sectors and has been at the forefront of both fields for over a decade. Based in Manchester England, Tim’s work takes him to all 4 corners of the globe shooting for some of the most iconic brands through his transport photography, from supercars to private jets and luxury yachts. Tim has a broad experience of working with international manufacturing and design clients such as McLaren, Peugeot, Lexus, and Aston Martin though to logistics companies such as NFT and Pallex as well as Dennis Eagle and many others, and has built up a reputation over the years for being both creative and accurate in his work to deliver the best possible for his clients.
Choosing the right photographer for any campaign or project can be difficult, and often that choice is based on creative and technical abilities as well as the photographers own style of work. At AmbientLife we believe that these are the key elements and are imperative for a successful client commission.
Tim is an experienced commercial photographer comfortable working on both location and in studio. Below is a brief example of just 12 of the 54 image assets completed for McLaren Special Operations where we worked closely with McLaren to shoot and provide all the image assets for the McLaren Special Operations 2019 Brochure. All of the image assets provided by us for this project were used to complete the MSO 2019 brochure that is published worldwide by McLaren in web digital translated form. The work was shoot exclusively in the UK in studio by commercial transport photographer Tim Wallace using continuous lighting throughout.
McLaren Special Operations (MSO) is a bespoke division, dedicated to helping take McLaren ownership to a whole new level. MSO create cars around an owner’s precise tastes, and are able to provide everything from bespoke customisation options through to building ultra-exclusive limited-edition or one-off models.
Their mission is to make what is already special into something truly unique, to create your perfect McLaren.
"Tim is a true professional, who does his utmost to produce inspirational photography, in even the most dire of settings! In fact, this is where Tim's experience really shows because he has to work harder to get the best out of the subject, without being able to control every aspect of the environment. Tim has gone above and beyond for us and I would recommend him without hesitation. If you are an SME looking to take your marketing collateral to the next level, don't be scared by the big brands Tim works with - give him a call, you won't regret it." - Reena Bayley, Global Marketing Manger, Cox Powertrain
"Tim is a highly creative, professional and trustworthy person. His work impresses everyone setting new standards for himself every time. I like the fact, he is a clearly spoken, easy to get on with, and excels in his expertise. He doesn't baffle you with photography science or complicate anything. I would have absolutely no reservation in recommending Tim to anyone - his work and portfolio certainly speak for themselves.
11 out of 10 for you Tim - thank you!" - Dean Benson, CEO Visualsoft
"I’ve worked with Tim many times over the last 10 years, on projects as diverse as heavy goods vehicles speeding around a racetrack, to teams of people on space hoppers. Not only does Tim bring an unprecedented level of creativity and fresh ideas to every shoot, he has the knack of pinpointing exactly what the image needs to convey, from a commercial perspective. A joy to work with and the resulting photographs really do add the ‘wow’ factor to a campaign." - Sue Davenport, Marketing Director, Liniar
"Having met Tim in early 2009, I immediately found him personable, passionate about his photography, with a delightful and distinctively charismatic personality, able to deliver on a brief, with both creative output and ‘out of the box’ inspiration, carefully interwoven with the professional skill, understanding, tenacity and rugged determination to deliver superlative, creative and thought provoking imagery. I consider it a great privilege to have met Tim, and find both his professionalism, inspired creativity and relaxed persona, a joy to work with.
I look forward to working with him again in the very near future." - Chris Russell Fish, Former Managing Director of Hasselblad.
Creativity is the fundamental key to any successful commercial photography when mixed with a strongly defined shooting style. Commercially it is very important for client to choose a photographer based not only on their obvious technical ability but most importantly on their 'style' of work, this has been the main driving force behind all successful photographers for over 100 years and one that is just as important to day as it ever was with the age of digital technology. True creativity still exists in the capture and control of light with your subject mixed with a strong creative vision of the world.
AmbientLife's founder is commercial photographer Tim Wallace, based in Manchester he formed his company over 10 years ago with the aim to produce dramatic commercial photography for his clients that inspire their customers.
He is also the humble recipient of many awards including British Commercial Advertising Photographer of the Year, UK Motor Industry Car Photographer of the Year, Hasselblad Worldwide Photographer of the month, Professional Commercial Photographer of the Year as well as receiving Awards for his International Travel Projects, recently in the US Scott Kelby described Tim as one of the most influential car photographers in the World today.
AmbientLife, the company that Tim created in 2006 was also honoured in the 'Best New Business Awards' in the UK and won the 'Best New Creative Business Award', something that we are all extremely proud of especially during difficult times financially across the globe today and we think it pays great testament to his dedication and drive towards both our clients and his own work in the field of commercial advertising photography.
We strive to make a campaign the greatest success possible through a strong and dynamic use of photography as well as always ensuring that we expose the essence of the statement the client wants to make through their campaign. Priding ourselves on creativity and attention to detail which guarantees the photography you receive will be the very best possible. Tim Wallace is well known within the commercial photography field and has gained the respect of many key individuals over the years for both his approach and attitude to his work.
We listen to your specific requirements and importantly what you wish to achieve from the photography. We guarantee you'll receive the best possible results, quickly and efficiently. When you're under pressure for time and the photography is just one of the many projects you're managing, having a photographer you can trust to meet your deadlines is critical. We have experience of not only working with large marketing organisations such as Ice and Buddy in Sweden but also working directly with very large clients such as Peugeot, Jaguar, Land Rover, Dennis Eagle, and many others.
Understanding the requirements
AmbientLife has a simple but effective process that allows us to build a full and detailed picture of what you are looking for. The initial step is to simply have a discussion with you and find out where and how the photography will be used, what style of photography you're looking for and what you want to emphasise in each photo. Other items you may wish to discuss are branding inclusion in the photography and orientation of images so that they fit into those proverbial holes that many brochure and web designers will already have in mind. We will also be looking closely at the finished output that you have in mind whether that be web use or a corporate media presentation, it’s often at this point that we find that these discussions can be very useful in outlining some possibilities through our experience that you may not have considered previously.
Client Industry Sample Work - TWENTY19
Digital online versions of our new Client Industry Portfolios are available for view by agents, buyers and clients here or you can browse through to our Books below. The books are compatible across all devices from iPhone and iPad to normal computer platforms and is updated each quarter throughout the year and contains all our latest work, requests to see our full printed book in person can be made by contacting us here.
Once we've gained an overview of your needs we can move forward and plan the work so that it takes place as efficiently as possible. We'll review the content and advise you of any suggestions we have regarding the actual shoot, how long the shoot is anticipated to take, the number of photographs you can expect to receive and also a price estimate. If you are happy for us to proceed, you can confirm by sending an email stating you would like to confirm the commission.
Our Clients and Our Work
We are fortunate to work with some very high profile and creative clients, we have illustrated here some samples of recent work that we have undertaken and completed with just some of the companies we work with both within the UK and Internationally. Virtually all of our work and commissions come through recommendation and referral, something that we are very proud of and we feel reflects not only the quality of our work but also our creative approach to our projects.
Working with Peugeot
We were approached by a established and dynamic production company based in Paris, Cream, when Peugeot were looking for a new exciting campaign to be delivered for the launch of their new concept car, 'Fractal'. Their concept car was launched at the Frankfurt Motor Show and it represented a major capital investment in showcasing their new concepts and future technologies to a worldwide market so getting the right photography and media was very important. Peugeot were seeking a very dynamic set of photography for the project and engaged photographer Tim Wallace to shoot the stills for the worldwide campaign.
Tim worked very closely with Cream Production in Paris to look at what the Peugeot concept for the car was and a team was put together to shoot the photography element of the campaign over a 4 day period at the Peugeot Design Headquarters in Paris.
Tim "Peugeot is a great client from my perspective as the design team is very strong indeed and they have great vision for how they want to sculpt the photography around their product and branding. At Peugeot it is very much all about 'emotion' so when they first approached me through their production company it was a very quick fit from a style point of view. Shooting any campaign is a large and involved process and shooting their new concept was something that I was personally very happy to be involved with. As with any type of worldwide campaign its crucial to ensure that everything is planned and worked out well in advance so that during the days of actual shooting the team can concentrate fully on creating and producing the photography that is required. I was very lucky to have Cream Production based in Paris taking control for this shoot, the team there are both dedicated and vastly creative and having such a well organised production house involved can really help to make sure that as a whole the project gets the very best result possible for the client."
Peugeot revealed the second generation of its i-Cockpit interior design language with this Fractal concept at the Frankfurt motor show.
The two-door, four-seat concept, described as an ‘urban coupé’, is powered by two 168bhp electric motors - one located on each axle - with a combined output of 335bhp. The Fractal has a range of up to 280 miles on a single charge with motors that are fed from a lithium ion battery pack mounted in the centre of the car. Measuring 3.81m long by 1.77m wide, the concept, which features a removable roof, sits on 19in ‘Tall&Narrow’ wheels and weighs just 1000kg. The Fractal can hit 62mph from rest in 6.8sec. The minimalist cabin features a small steering wheel with integrated touchpads that can be used to control most infotainment functions. 80% of the interior has been created using 3D-printed components. The design was inspired by the materials and surfaces used in auditoriums and recording studios. The Fractal features a next-generation sound system, which Peugeot designed to create the illusion of direction with sound, such as when delivering navigation instructions. The seats of the concept feature a ‘tactile’ system for delivering bass sound. One of the most important features of the Fractal concept is its digital sound signature, which is used to alert pedestrians and cyclists to its presence. The sound is a response to forthcoming European legislation that states that all electric vehicles must make some sort of sound while driving by 2019. Peugeot is one of a number of car makers that collaborated on the eVADER project, an EU-funded initiative to develop a sound symposer system for EVs. In incorporating the eVADER system into the Fractal, Peugeot has as good as confirmed that it is working on a next-generation EV. Currently, the firm only has the iON electric city car.
McLaren Special Operations (MSO) is a bespoke division, dedicated to helping take McLaren ownership to a whole new level. MSO create cars around an owner’s precise tastes, and are able to provide everything from bespoke customisation options through to building ultra-exclusive limited-edition or one-off models.
Their mission is to make what is already special into something truly unique, to create your perfect McLaren.
Commercial photographer Tim Wallace has been working closely with our client McLaren for a number of years to create the stunning photography that is used in their brochures. The very first project that we worked on with Mclaren was to shoot the accessories brochure for the MSO division. The brief was to complete a comprehensive suite of 54 high-quality beautiful photographic assets to be utilised to create the 2019 McLaren ‘Genuine Accessories Catalogue’ that launched globally in February 2019 to the world. The entire shoot would be based around the McLaren 570S and would need to fully capture the entire range of options that would be available, from the handcrafted carbon through to body modifications, as well as all the interior upgrade options. Once completed the brochure would be available through the global McLaren website and within the ownership portal. McLaren had a very precise requirement for how all the completed images should look and feel, and with new corporate image guidelines in place the photography would need to strictly follow these to allow the suite of images to all tie together when placed within the final brochure. Later Tim went onto to shoot the brochure work for the MSO HDK (High Downforce Kit) and in 2019 we were tasked with shooting the Super Series brochure using two dedicated 720s cars to feature all the product upgrades.
McLaren 2019 - Project Background MSO 2019 Brochure
Our work with Search And Rescue - Bristow Operations and HM Coastguard
Over the last few years commercial photographer Tim Wallace has spent time with the Bristow SAR Operation (Search And Rescue) based at Prestwick in Scotland for HM Coastguard. The SAR previously operated two state of the art S-92 helicopters which are the most advanced aircraft in Sikorsky's civil product line, with the necessary speed, capacity and operational range to meet the needs of the UK search and rescue environment, later in July 2017 the SAR moved over to the new Leonardo AW189 and they have enjoyed great success with this new helicopter. The AW189 aircraft is state of the art and has the agility and flexibility to respond to the wide spectrum of search and rescue taskings within the SAR operating area.
Bristow Helicopters was awarded the contract to operate the civilian search and rescue (SAR) helicopter service for the UK on behalf of Her Majesty's Coastguard in 2015. The contract represents a continuation of Bristow’s British heritage of providing first-class SAR services in the UK. It is a great success for Bristow Helicopters and a huge endorsement of the company’s reputation for excellence in SAR.
This is a service that people rely on in a time of need. Bristow fully understands the responsibilities that go with providing search and rescue in the UK and the company is committed to delivering a service that meets and exceeds the high expectations demanded. Bristow work closely with national and local agencies such as the coastguard, police, fire service, mountain rescue teams and voluntary community groups, to ensure the delivery of a world-class SAR operation in the UK.
The crews are experienced and highly skilled, and are trained, qualified and certified to the highest standards to coordinate and execute SAR operations.
The company has enormous respect for the service that its military colleagues have provided over the last 70 years of UK Search and Rescue. Their legacy, heritage and experience is being honored and carried forward by Bristow in the new contract.
Bristow Helicopters has welcomed many ex-military personnel to its civilian SAR workforce after delivering SAR with the Royal Air Force or Royal Navy. Their experience and local knowledge is a vital part of maintaining exceptional service in the UK.
Tim "Shooting the SAR in Scotland has been a project that has taken some time to carefully arrange properly and one that I was very keen to ensure that we fulfilled to the best of our ability. The work of the men and women of the SAR is vital and I have the greatest respect for both their professionalism and skill, as well as the fact that they put their lives at risk on a regular basis to fly in all weathers for the good of those that need them most when they are in distress. It was an honour to spend time with the team at Prestwick. I would like to extend my very great thanks to Jamie Murray GCGI SAR Pilot for helping the project and shoot as well as Lloyd Shanahan MSc MCGI SAR Pilot."
Totus Environmental Ltd
In the early part of 2019 we were approached by Totus who were seeking some high quality studio photography of two new vehicles that they had developed, the Muller, and the KOKs. The photography was to be used in both brochures and commercial advertising as well as at special display events and shows. Commercial transport photographer Tim Wallace worked closely with the company over the summer months and last week he spent the week in studio in the UK to create the image assets that we had been tasked to produce.
This was no simple shoot however as the two vehicles in question were very large, indeed the KOKs which is the larger of the two is officially the largest vehicle ever taken into the Junction 11 studio in the UK so the shoot was quite a challenge, however Tim had spent months planning how it could be achieved and were happy to report that all the completed work has now been delivered to our client and they are very happy indeed. We will be working closely with Totus again in early 2020 where we will be shooting a further two new vehicles that are even larger still.
Our work with Aston
We have worked with Aston Workshop for a number of years now and some of Tim's Aston Martin photography is very well known within the automotive industry for being both cutting edge and for its more unusual creative artist approach and has even led to him receiving both 'Commercial Photographer of the Year' and 'UK Motor Industry Photographer of the Year' awards recently. Tim has worked along side Aston for a number of years on both the creation of sales and marketing photography as well as the background engineering and process engineering work. We were commissioned to shoot the infamous £1 million Aston Martin, the One-77 at the main Aston Martin Design Centre in Gaydon and also in 2017 our 4 year long project to shoot the Aston Martin 'Portfolio Of Dreams' Book was completed.
Tim - "Our work with Aston is in my opinion some of the most satisfying and challenging that we carry out. The purchase of an Aston Martin can cost anywhere between £80k and £8m and as such its my responsibility to create an image or a series of images that capture the sheer essence of a car or a model range to both inspire and create a desire within the viewer to drive his or her own wish to consider the Aston Martin as a serious and desirable purchase. You don't in truth purchase an Aston Martin based on just performance and it is unlikely that the practical aspects of economy and efficiency will factor highly in the decision, as such it is very much an emotional and lifestyle based purchase, this means that I need to shoot according to that market and to that end and create that desire, this is exactly what we try to achieve with our work for Aston in this product area and over the last 4 years we have seen sales of the Classic Aston models almost double and also seen a broadening of the modern range customer base, a very satisfying response to the campaigns and work that has been put into these advertising and commercial projects. We are just a small cog in the machine but we work very closely with our clients to ensure that we are aware of not only exactly what is required from us but also to look at exactly what will drive our clients customers for the best outcome to a campaign.
Portfolio Of Dreams - A Pictorial History Of Aston Martin
Launched in 2017 Worldwide
In 2017 we were extremely proud and honoured to officially announce that the Aston Martin Book 'Portfolio Of Dreams' official launch launched with Sir Stirling Moss writing the foreword to photographer Tim Wallace's Aston book that journeys through the life and models of Aston Martin from the very first prototype car to the very latest models of today. The book project has been a mammoth piece of work over 4 years between Aston in the UK and Automotive Car and Commercial Transport Photographer Tim Wallace.
It is a wonderful celebration of Aston Martin through their first 100 years and is a major publication of nearly 700 pages of stunning photography from Tim capturing each of their significant models built and created over that time. It includes some very famous cars through the years, race winners, and starts its journey 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.
The book is now on general release and is available to purchase through Aston.
Tim - "Being asked to create all the photography for the Aston book was indeed a great honour and it was a project that I worked on for over 4 years. The book primarily 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 was a truly massive project and I still remember that initial meeting that I had at Aston when the idea came to light, the task to create a pictorial book of beautiful photography that followed through every model that Aston Martin ever made from the very first prototype Bamford A3, a car that is closely guarded and indeed priceless today, through then to all the variants and models to the cars of today that Aston Martin have become so well known for crafting and producing.
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, they are truly amazing cars with such a wonderful rich history.
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 10 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.
I get asked a lot by people if i drive that cars, the answer is yes I do as I often position them myself into where I need them for the shoot, some cars are indeed easier to drive than others especially some of the pre war models that have their accelerator switches on the actual starring wheel, not to mention those where the pedal layout is all mixed around... it takes a bit of concentration whilst driving those around as it really is the very last car in the world that you would want to damage, safe to say that my insurance for such things is very significant indeed!
It was in the early part of 2017 that the provisional first layouts where shown to me and indeed having the material to 'fill' almost 700 pages is no easy task aside the layouts themselves but the project progressed and this August the first 2000 books were delivered to Aston where I visited to sign the Limited Edition copies that sold out virtually straight away after being announced. I think that its for to say that I was smiling that day and I guess for me what made it that bit extra special was to have the honour for Sir Stirling Moss write the foreword for my book, a great honour indeed."
Sir Stirling Moss Foreword
Many of you will be aware that Aston Martin have always held a special place in my heart, and I was back behind the wheel of the fantastic DBR1 recently as part of the company’s centenary celebrations. This drive around the Nurburgring once again reminded me of just what a beautiful car it is.
There’s something about making your car not only perform well, but look fantastic too.
I’ve long held the belief that ugly cars don’t win races, no logic to it I know, but maybe it has something to do with attention to detail.The DBR1 was a great example of this, not only one of the nicest cars I’ve ever driven and winner of the World Championship in 1959, but one of the best looking too.
The DBR1 embodies much of what I’ve always loved about British road-racing cars, the incredible engineering, the hand-crafted, traditional workmanship and the exceptional beauty. Indeed that lovely old racer is the very essence of Aston Martin’s own mantra, Power, Beauty & Soul. Many books have been written over the years about the history, engineering and racing heritage of Aston Martin, but what I love about this book in particular, is its focus on style, and Aston Martin have always had great style. I remember when Lance Macklin and I drove a factory DB2 in the Daily Express Rally, it certainly attracted a lot of pretty girls all around the UK
I’ve always been a big fan of design & technology and when coupled with style, you know you are going to have a winning formula, and it’s this that has led to Aston Martin becoming such a big part of British heritage.We all know that Aston Martin is one of the world’s most recognisable brands, and the desirability of these stunning cars is well documented, with classic examples in particular achieving an incredible status.
This must be due in no small part to the great attention to detail and simple, beautiful lines afforded to every model. An Aston Martin will always look fantastic, whether parked in the high street or tearing down the back roads.
This fabulous book acknowledges this as never before, and every image has been given the same attention to detail that Aston Martin gave the original cars.
It’s obvious as you flick through the pages, that an awful lot of time and effort has gone into its creation, and the result is a book which I’m sure will take its place among the “must haves” for anyone interested in car photography and not just those with an interest in Aston Martin
Well done Tim Wallace and well done Aston Workshop for having the vision and the tenacity to make this project a reality.
Our very first project with Lexus was to shoot the new Black Edition Lexus RC 300h F Sport Coupe. The work was all shot in a studio near London England by photographer Tim Wallace and the work is now being presented through Lexus channels to promote their new 300h model. It is always a challenge to shoot a very dark, if not completely black, metallic car in studio, especially when your client requires the shots to have the car coming out from the darkness to add to the drama and presence of the vehicle. Some promotional photography had previously been carried out in the US prior to the cars official unveiling but the images were not quite achieving what Lexus had hoped for from the photography. Lexus contacted Tim as he is well known for his dramatic lighting and most especially for his ability to create dramatic photography of vehicles, or indeed vehicle details, lit in near darkness.
The athletic lines of the Lexus RC 300h F Sport coupe were given dramatic added visual impact with the special new Black Edition model, which went on sale 1st May following its appearance at the 2018 Geneva International Motor Show.
The Black Edition emphasises a dynamic and stealthy look with a range of new black styling elements, inspired by the dense colour of Japanese sumi ink, used for centuries in traditional brush painting and calligraphy.
The F Sport spindle grille, with its graduated “L” motif mesh pattern, has a new dark chrome finish, as do the new-design, circular LED fog lights, positioned on the margins of the lower grille section, adding to the car’s powerful front lighting signature. The 19-inch F Sport alloy wheels have a contrast matt black and bright machined finish, while the window mouldings are in black stainless steel, toning smartly with the coupe’s Graphite Black metallic paintwork. The F Sport spindle grille, with its graduated “L” motif mesh pattern, has a new dark chrome finish, as do the new-design, circular LED fog lights, positioned on the margins of the lower grille section, adding to the car’s powerful front lighting signature.
Dennis Eagle Trucks
We have been working with Dennis Eagle for many years and exclusively produce all of their commercial photography, from brochures to magazine placements and trade advertising. Our initial work with the company began when we were asked to shoot two new prototype vehicles that they were preparing to launch, from there the relationship has developed and grown we have worked with them on location shoots as well as recently shooting all the studio work for this years new vehicle brochures. In 2013 we were tasked with producing some hard hitting photography for Dennis Eagle that would stand out in the 'refuse lorry' industry and we had the creative idea of looking at dramatic set of images using one of their newest models with a modified rap displaying a full scale British union jack. This is a shoot that we are very proud of and its something that that clients marketing team used extensively to promote their brand in Europe and Asia with a large 40ft print of the 'Union Jack' shot being displayed with pride on the walls of the main production line at their UK based factory.
Over the years since then we have worked closely with Dennis Eagle and Terberg Rosroca to provide all their commercial and marketing image assets for use throughout the World. Some recent projects have included the brochure photography of all their new vehicles including the prototype E-Collect all electric vehicle as well as documenting and photographing all the UK service centres and the people;e that make up the company and are the hub of what it is today.
Cox Powertrain Ltd
Our relationship with Cox Powertrain Ltd began in early 2016 when Tim started to work closely with the company and their marketing team as they prepared to launch a brand new revolutionary marine engine into the Worldwide market for 2018. Because of the nature of the some of the photography that Tim had already shot for our client we were unable to mention or show any of that work, and indeed the engineering side of the photographic work that Tim has completed will remain under embargo until late in 2017 however as the engine and the company develop and push forward so have the photography assets that we are working together with Cox Powertrain Ltd to create.
Tim has been working alongside Cox Powertrain Ltd closely as we help them build their brand image assets in readiness to launch campaigns globally to market and promote the new prototype CXO300 engine.
Whilst some of the work remains under embargo there is also a great deal being shot that it being now placed into the public domain as the company begin to build awareness in their new engine design at marine shows across the globe and through web and print marketing campaigns. We look forward to working very closely with Cox Powertrain Ltd over future years as they prepare for the worldwide launch to the marine sector of an truly inspirational and innovative new engine design.
CXO300 DIESEL OUTBOARD
A DREAM THAT BEGAN IN FORMULA 1
The Opposed Piston Engine concept was conceived by Formula 1 motor racing designer David Cox, who founded the British company in 2008. His vision to develop a low weight, high power, single fuel diesel engine with worldwide and multi-market applications, is now moving closer to reality. Cox Powertrain has taken recognised engineering concepts and combined them to create a compelling patent position.
The CXO300 engine has increased responsiveness, fuel efficiency and heightened safety that are all combined in an engine that outperforms conventional diesels. Its reduced size and weight belies the power from supercharged diesel engine that weighs in with an impressive horse power, also a reduced mass means there is no compromise on power compared to conventional diesels of similar power output, as well as being more efficient and safer to store than comparative output gasoline engines.
Pioneering motor sport engineer David Cox took his Formula 1 concept of opposed piston architecture and was the first to apply it to a marine outboard engine. The result is the same power density in a smaller, lighter package as the CXO300 provides all the power of a diesel inboard with the convenience and flexibility of an outboard.
RLR Msport Le Mans
We first started our relationship with RLR Msport in early 2017 when we shot the teams Le Mans LMP3 endurance race car. Since that time we have been working closely with the team both in and outside the UK to produce high quality commercial photography assets that can be used for marketing and team brand projects throughout the year and the racing season. Commercial photographer Tim Wallace in early 2017 completed a project with the team to shoot the brand new prototype Ligier LMP2 JS P217 in its bare carbon state. This was a wonderful project and it is very rare that people will ever see a vehicle such as this in its bare carbon state after the build has been completed and before the racing livery is applied.
Anorak Automotive, the design team, gave its new sport-prototype the name of Ligier JS P217: “JS”, in continuation of the models built by Guy Ligier whose name included the initials of his late friend Jo Schlesser, and “P217” in reference to the LMP2 category and the year 2017
Le Mans in its essence has always captures the imagination of so many people who enjoy racing and motorsport. The man in charge of RLR Msport is Nick Reynolds, Nick has a wealth of experience running endurance prototype cars having twice run LMP2 cars at the Le Mans 24 hour race. The team also run LMP3 cars and have won races in this category, they are also running an LMP3 car in the Michelin Le Mans Cup which is a support race to the European Le Mans Series in which they also compete.
This is a passionate team based in the North of England. Their enthusiasm for the sport is infectious, drivers often comment that they are the hardest working and most dedicated team they have worked with. Their fan base is loyal, in fact you instantly become a fan when you meet the characters that make up the team, you get drawn into the shared goal of ultimately winning the 24 hour Le Mans race in an LMP2 car.
The car that could deliver this dream has just been delivered – the Ligier JS P217. There is a huge mountain to climb, let there be no doubt, competing against much better funded teams from around the world this is one of the most competitive races you could ever enter.
Dymag Group Ltd
Tim has been working with Dymag since early 2015 to help create a suite of digital assets that the company use to promote their brand and products commercially throughout the World through advertising, media and at trade shows such as SEMA in the US. Dymag are an elite British performance wheel brand with an unparalleled history of innovation and technology in motorsport which has led the way in wheel design and production for more than four decades.
They are also the first company in the world to manufacture carbon fiber wheels for both high performance cars and motorcycles certified for road as well as racing use. This was followed by the world’s first roadworthy carbon composite wheels. We are now moving ahead with a brand new carbon composite car wheel that will revolutionise the luxury and performance car wheel aftermarket, racing and OEM market.
Dymag are an elite British performance wheel brand with an unparalleled history of innovation and technology in motorsport which has led the way in wheel design and production for more than four decades.
They are also the first company in the world to manufacture carbon fibre wheels for both high performance cars and motorcycles certified for road as well as racing use. This was followed by the world’s first roadworthy carbon composite wheels. We are now moving ahead with a brand new carbon composite car wheel that will revolutionise the luxury and performance car wheel aftermarket, racing and OEM market.
Started in the early 1970s, Dymag quickly moved to the technology pinnacle inventing the world’s first 3-spoke Magnesium motorcycle racing wheels. It was on these very motorcycle wheels that the legendary Eddie Lawson won the AMA Superbike Championship on a Kawasaki KZ1000-S1 in 1981 and 1982, and went on to win the 1984 World Motorcycle GP Championship on a Yamaha YZR500. Building on our successes, Dymag expanded into manufacturing Forged Magnesium wheels, Forged Aluminium wheels and finally Lightweight Carbon Fibre wheels with an equally enthusiastic response from bike owners around the world.
Many Formula 1, IndyCar, Rally/RAID, Moto GP, Superbikes, Isle of Man TT champions and race winners have used Dymags, as well as several production Supercar manufacturers.
In January 2010, British businessman Chris Shelley rescued the company from oblivion and with the help of the original Dymag engineers and experts is proudly continuing the Dymag story with a focus on the custom motorcycle wheels Dymag is famous for. Their carbon fibre wheels are used by legendary World Superbike champion and British Superbike champion Troy Bayliss and we also sponsor Queen of bikers rider Maria Costello MBE. For the 2014 season and today Dymag is supplying several British and World Superbike teams.
Pall-Ex have been one of our clients since they approach is in early 2016 to look at a large project to totally transform and create a library of dynamic image assets that would be used in the build of a brand new global website for her Palletised Freight Distribution Company Pall-Ex. Tim spent time working through the project with the Pall-Ex marketing team team to deliver a spectrum of photography that has now been implemented into a new corporate global site for the company that launched later that year.
The company has seen a great deal of new system implementation and growth over the last few years, they are working hard to expand their european network and in so doing chose recently to make a further investment into their online presence and website. Like any logistics or distribution business it is a fast paced and 24 hour operation so a great deal of planning and preparation was required to tie together all the key elements to be captured across the project. Tim was chosen for the project not just because of his own unique style to transport related photography work but also for his experience working within these business types, understanding the client needs in regard to the brief is important but also Tim has a firm understanding of the real time operational requirements and how to work best within those to achieve the photography to fulfil the brief.
Our work with Jaguar Land Rover
Jaguar Land Rover joined our client list back in 2009 and since then we have worked closely with them on both Land Rover related projects as well as shooting work with Jaguar, mainly on their 'Heritage' side of the business. We have produced and shot work at their dedicated design centre at Gaydon with Land Rover, as well as on the Gaydon test track proving ground that both Jaguar and Land Rover share along with Aston martin. We are very familiar with the protocols and processes involved in using these facilities both effectively and within the required safety parameters and have built a great rapport and mutual professional relationship up also with the facilities staff and the core business test drivers that we often work closely with.
At Land Rover in the UK we have worked over several years closely within the Land Rover 'Experience' element of their business at their plant locations in Halewood and Solihull to promote these area's and their business importance raising public awareness both inside and outside the business. Over the years we have also worked closely with Jaguar on such projects as 'parts' based photography to drive the European market back to dedicated and branded parts and away from the lesser unbranded options. Tim also has produced a great deal of work for Jaguar within their 'Heritage' division that has been seen across the main company piece and also utilised in major events such as the annual NEC Classic Motorshow where Jaguar have used the work for creating their major stand visuals.
Tim - "We recently did a campaign shoot with Jaguar UK for their 'Heritage' division of the business and it was good to be on familiar ground working at the test track in Gaydon and at the Jaguar facilities there. I have spent a lot of time here over the years at Gaydon and the proving ground, a facility that Aston Martin also share with Jaguar as well as the Land Rover element of Jaguar Land Rover as a Company. One of my main reasons to choose to shoot the 'dynamic motion' work and stills / range shots at the test track facility is that away from the main high speed test circuit there is a area that is titled the 'low emissions' test straights and these are very similar in appearance to a normal dual carriageway and with this it meant that we had the ability to shoot from a specially modified Range Rover along both sides of that test area without being disturbed and in complete safety. Shooting the motion work and using a car to car shooting technique as I did in this instance can be a very quick and efficient way to work however there are many issues that need to be considered and all the safety aspects come into play because when you are hanging out of the back of a chase vehicle at speeds up to 65mph you very clearly need to have confidence in not only your own safety equipment but also in the person that is driving you. I am very lucky that whenever I shoot in this way at the facility I always use Jaguar, Land Rover, or Aston Martin professional drivers / instructor staff that are not only the very best but also experienced in working with photographers and film crews and thus totally appreciate what is required and what I am looking for. The speed that we shoot at is very much dependent on weather, road surface and light levels as well as the proximity of trees and shrubs in relation to the actual shoot road area, as these give us that all important sense on 'motion' and in the case of the Jaguar work most of it was shot at shutter speeds as low as 15th sec, this does take some time to master when you consider that not only are you in a moving vehicle but also hand holding that camera body to achieve those all important 'hero' style shots. "
Tim - "Many people I speak to think that working as a photographer within the car industry simply means turning up at amazing locations with sports cars and shooting dramatic work, true this is very much a perception that I can not deny is fact based at times when we have 'hero shoots' of some models, however on the other side of the coin a lot of time is also spent working on other items that are just as important within the car industry such as parts and service. The main idea behind this recent shoot with Jaguar was to create some additional parts based work to run on from pervious parts work that I had shot historically for Jaguar and the images will be used both in direct advertising as well as online media. Parts to some people may be a little boring but to me its a great opportunity to push whats achievable by simply using good create flair and great lighting techniques that I have built up over the years working in the car industry."
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