On Assignment Photoessay: Koenigsegg, part II

Behind the scenes at Koenigsegg

In the previous post I brought you the results of the aerial shoot for Koenigsegg; today’s long series of images is the second part covering the story of the making – behind the scenes at the factory. Almost everything is made in-house, and a tour of the compact but comprehensive facility will yield everything from CNC machines turning engine blocks, to people laying up complex carbon wheels, to a paint shop, alignment jigs, leather stitching and cutting, wiring and electronics and everything between. Even though the cars are astronomically expensive – EUR2m and up from what I understand – I actually wonder how Christian can still make money given the amount of specialised labor involved, and the length of time required to complete one car – they make fewer than 30 per year. The attention to detail is quite mind boggling – if you order a clear coated car, for instance, it’s not merely the epoxy matrix of the carbon that’s polished, but a dozen layers of clear lacquer applied by hand over the top, polished between each application, and each carbon panel’s seams must line up perfectly: and be symmetric on both sides of the car. Today is really a celebration of non plus ultra – both in the subject, and in using the H6D-100c to shoot it. Note: lighting looks natural, but is really a careful balance between ambient and a single Broncolor Siros 800L triggered wirelessly, and mounted on a voice activated light stand*. Enjoy! MT

*A tall assistant.

A big thank you to Koenigsegg for support and logistics. This series was shot with a Hasselblad H6D-100c, 50 and 100mm lenses, and a single Broncolor Siros 800L balanced against ambient. Postprocessing was completed using the Monochrome Masterclass Workflow.

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On making lenses, inside Sigma, and the 18-300…

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Monochrome images in this article from the factory were shot with a Leica Q. Color images were shot with a Nikon D5500 and Sigma 18-300/3.5-6.3 DC OS Macro C.

Following the interview I conducted with him last year, Sigma CEO Kazuto Yamaki invited me to ‘visit home’, as it were, should I ever be in Japan. I took him up on that offer following the Tokyo Masterclass in November. Of course, Sigma’s production facilities aren’t located in Tokyo (even though the design and marketing parts of the firm are): far from it; a number of modes of transport brings us to Bandai, where the factory is. We were graciously hosted by Kazuto-san and Shinji-san, who works in international marketing and is Kazuto-san’s cousin. Sigma, as I found out earlier, has always been a family business. And that allows them to take an interesting approach to lensmaking.

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