From 2018 to 2024, we worked on General Motors automotive photography through McCann Erickson, with core production across Colombia, Peru, and Ecuador. The work covered multiple vehicle lines — from Spark to Tahoe — and was developed for regional use across Latin America. Like most serious advertising photography assignments, the real complexity was not only in making the car look right, but in building a production plan that could hold up under real timing, lighting, and logistical pressure.
The Brief
We would receive a brief with the product need, the market context, and the required formats. From there, the job was to translate that brief into a workable production plan. In automotive, that meant thinking beyond the image itself: where the car would move, how the light would behave, what permissions were needed, and how to execute efficiently without creating unnecessary delays on location.
That is a big part of what an advertising photographer actually does on a campaign. The image is only the visible part. Most of the work happens before the first frame is captured.
How We Worked
Pre-production came first
Before shoot day, we would review the brief and build the production around the variables that mattered most: light, logistics, vehicle movement, insurance, permits, and, when needed, temporary street closures. In automotive production, those decisions are not secondary. They determine whether the shoot feels controlled or chaotic.
The shooting window was short
Many exterior setups were planned around dawn. Crew call could begin around 3:00 a.m. so everything was ready by 6:30 a.m. Once the light was right, the usable photography window could be as short as 30 minutes. That forced precision. The setup had to be ready, the movement had to be clear, and the team had to execute without hesitation.
We also tried to keep the physical setup efficient so streets or locations were not blocked longer than necessary. In studio, the logic changed, but the discipline stayed the same: control reflections, control surfaces, and work with a clear plan for the day.
Post-production took longer than the shoot
The photography itself could move fast. Post-production usually did not. A typical turnaround could take around 10 days, depending on the final selections and technical requirements. Automotive images demand care because every reflection, surface, and finish has to hold up under close review.
What We Delivered
Our deliverable was simple: final photography in the formats requested by the client. Nothing inflated, nothing added for effect. We were responsible for producing the images and preparing them to the specifications required for use.
What This Work Taught Us
Working on General Motors across multiple years taught us that multi-market automotive production is less about doing more and more about planning better. The job was not to make one good image and hope it could stretch across everything. The job was to understand the brief, solve the logistics early, respect the light, and deliver photography that was usable in the real campaign workflow.
That is also what separates generic content from real brand photography for advertising: the image is supported by production thinking, not just aesthetic language.
ASA Creative produces campaign photography and commercial production for brands working across categories and markets. To see related work, visit our advertising portfolio. For project inquiries, contact us.
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