Over the past decade or more, we’ve amassed a lot of photos, and with that a lot of photo sets. Andrew and I have shot a little bit of what feels like “everything under the sun,” but only on occasion do we turn the cameras towards creations of our own. Today, while perusing the StanceWorks archives, I encountered the final photoshoot of the StanceWorks E9.
Towards the end of last year, I hauled Rusty Slammington out to the Los Angeles Port. There, Keith Ross and Jared Houston exercised their talents, snapping photos and videos which later culminated into one of the best pieces of 2017. It was the first time I had ever had someone else shoot the car, and with that, I stood back and let them work. As the light faded, though, I couldn’t help but grab my own camera and snap a few.
By the end of the 1950s, BMW was in financial shambles. The German market had turned away from motorcycles, and the marque’s cars were struggling to turn a profit. The 501, 503, and 507 were simply too expensive, and the Isetta – BMW’s “economy car” of the day – didn’t have the margins to support the company. To bring the company back into the black would take a “hail Mary” of sorts, and luckily for us, the BMW Neue Klasse was born.
It’s been quite some time since we last photographed Emily’s 128i. For me, it’s been years since I’ve got out and shot a car for no other reason than to shoot, but with a new camera in hand, and with Emily wanting some updated photos of her admittedly gorgeous car, it was as good an excuse as any. We found a tried and true parking garage, posed the car, and enjoyed the last moments of fading golden light.
It was a few weeks ago, with the shop door wide open, that a fellow BMW enthusiast spotted the slew of E28s inside the StanceWorks HQ. Driving an absolutely gorgeous 535iS of his own, he pulled up outside, eager to talk shop and gather opinions. It wasn’t long before he asked about suspension options, having eyed a few different setups, but expressing some doubts about the results they might offer.