True to color, not colored: Why I think color plates are indispensable for classic cars

A Golf I from the very first year of construction.

Marino yellow on the outside (color code L20A), green upholstery on the inside – a combination that stands out today, but was taken for granted back then.

Such color combinations are a piece of design history. And that is precisely what makes them photographically challenging. Because it’s not enough for a car to “look good” in photos. It has to look right.

Color accuracy is not a question of aesthetics

The original color is part of the identity of classics in particular. It determines whether a picture is documentary – or just nice to look at.

This becomes a challenge with series that are created over several hours and lighting situations: sun in the morning, shade later on, interior with mixed light. And in the end, all the shots should look as if they were taken from a single source.

How I work – with reference and system

The solution is simple, but crucial: I work with color charts – more precisely, with neutral reference cards.

One is positioned on the outside of the paint, one on the inside of the upholstery. This creates a firmly defined color space at the start of each series of shots, which I can use for editing.

Instead of relying on my eye or the display, I use a clear balance. This is particularly important for tones such as yellow and green, which can vary greatly depending on the lighting mood.

A small effort with a big impact

Yes, this is an intermediate step.

But it saves time later on – and above all discussions. Whether for print, archive or digital output: a stable color reference means consistent results.

Anyone who, like me, regularly photographs vehicles under changing conditions knows that not all colors are the same. And without a reference point, marino yellow quickly turns into lemon yellow, the rich green into a pale gray.