Shooting BHP: My Experience as an Automotive Photographer

The BHP Show this year was a solid mix of everything I enjoy about car culture—diverse builds, a great atmosphere and a few unexpected challenges from a photography perspective.

Outside, the club stands were packed with hundreds of cars, and it was easy to spend hours just walking around spotting hidden gems. Among the more familiar builds were some lesser-known cars that really stood out—things you don’t always see online or at more mainstream events. It was a good reminder that there’s a lot of variety and creativity in the scene if you take the time to look for it.

This was also my first time shooting an indoor show and shine setup, which turned out to be more difficult than expected. The lighting was inconsistent—bright spots, deep shadows, and plenty of glare off paint and glass. On top of that, the crowds made it hard to get clean shots without someone walking through the frame. It forced me to think differently about how I approached each car and how I worked the angles. Definitely a learning curve, but a useful one.

There was also a second indoor space hosted by B-Road at The Stag, which had another selection of standout cars. The setup was a bit different from the main hall, but it came with the same challenges—mainly lighting and foot traffic. Still, the cars were worth the effort, and it was good to see that level of quality in one place.

Drift Style UK Brings the Noise

Drift Style UK put on a proper show with a live drifting display. It added a whole different energy to the day, hearing the engines screaming and tyres shredding just a short walk from the show cars. It was great to see a mix of drivers sending it with confidence, some with clean lines and others with big, aggressive entries that kept the crowd locked in. From a photography perspective, it was a chance to switch gears and capture movement, smoke, and raw attitude—completely different from the static setups indoors, and a welcome contrast

Changing How I Shoot

Knowing the lighting and space would be difficult, I made a conscious effort throughout the day to find more interesting angles and compositions. Rather than just shooting the cars head-on or side profile, I started looking for ways to use the environment—other cars or people walking past—to frame my subjects. Sometimes that meant crouching low, shooting through a gap between two builds, or waiting for the right moment when someone walked into frame to add a bit of context and depth.

It slowed me down, but in a good way. It made me more intentional with each shot and helped me walk away with photos that felt a bit more dynamic and personal. Even in busy, challenging settings, you can still find ways to make your work stand out.

One of the highlights was seeing cars I’ve followed online finally in person. Bill Tullett’s Crown Majesta was a standout.

If I had to pick one car as my personal favorite from the show, it’d be the BMWRestored Pandem widebody E31 with an S62 swap. The build was clean, aggressive, and something you just don’t see often. It stood out without trying too hard,

Overall, BHP was a solid day and a real learning experience. Shooting in the indoor spaces definitely pushed me out of my usual rhythm and forced me to adapt—whether that meant working around crowds, dealing with tough lighting, or rethinking how I composed my shots. It wasn’t always easy, but it helped me grow as a photographer and gave me a better understanding of how to work in less controlled environments. I came away with a few techniques I’ll definitely carry into future events, and I'm looking forward to putting them to use at the next show.

Roll on BHP 2026.

BHP 2025

Drift Style UK Brings the Noise

Changing How I Shoot