davidloistudios
Ferrari 812 Competizione Studio Shoot in Dallas, TX
Ferrari 812 Competizione Studio Shoot in Dallas, TX
I photographed the Ferrari 812 Competizione for Ferrari Dallas in a studio at redcreative.studios in Dallas, TX in August 2026. The client needed high quality images of a four million dollar super car. We built the lighting around Cheetah Stand umbrellas and a rolling boom, with @livinglikebrian_ on crew.
What did Ferrari Dallas need from the Ferrari 812 Competizione shoot?
Ferrari Dallas needed high quality studio photos of their Ferrari 812 Competizione, a four million dollar car, to showcase it to buyers and enthusiasts. We shot the exterior, the engine bay and the interior details on a clean white background in Dallas, TX.
Dealerships selling cars at this level cannot afford average pictures. Most buyers meet a super car on a screen long before they meet it in a showroom, so the photos do the first walk around. I’m David Loi, and as a Dallas commercial photographer at David Loi Studios, I treat that first impression as the whole job. The Ferrari 812 Competizione earns the effort, because everything from the nose to the carbon diffuser was drawn to be looked at.
That is why the shot list started with the whole Ferrari 812 Competizione and worked inward. We began with the front three quarter and the rear three quarter, then moved to the engine bay, the cockpit and the small details that enthusiasts zoom in on. The plate frame on the back reads Official Ferrari Dealer, so the client’s name rides along in every rear angle.
Why shoot a super car in a studio instead of outside?
A studio gives you control over reflections, background and schedule. A glossy red super car picks up everything around it, so a controlled white space keeps the paint honest and the shape clean. It also means weather and passing traffic never decide how the day goes.
Our space was redcreative.studios, a Dallas studio with a clean white backdrop. That backdrop is the whole look in the hero images, with the red body, black wheels and carbon trim floating on white and nothing competing for attention. It is also where the trouble starts. Red paint this saturated clips easily, and every shiny panel on the car is a mirror waiting to show you the lights, the stands and the photographer.
There was a second problem sitting right next to the first. The Ferrari 812 Competizione pairs bright red paint with black wheels and black carbon pieces, which is a huge range of brightness for one frame. If you expose for the paint, the carbon turns to a hole, and if you open up for the carbon, the red burns. We solved it with big soft sources and a lot of patient placement, moving lights a few inches at a time until the body line read from nose to tail.
I will take an hour of fighting reflections in a studio over chasing weather and traffic outside. A large umbrella gives you one long clean highlight along a fender instead of a hot spot, and that is what makes a car look expensive. It is slow work, and it is the difference between a car that looks like a catalog entry and one that looks ready to leave the floor.
The lighting kit behind the Ferrari 812 Competizione images
Here is what we used on this Ferrari shoot and what each piece was there to do.
- Cheetah Stand 65 inch umbrellas: broad, soft light that wraps the body panels and keeps reflections smooth.
- Cheetah Stand Mobile Pistol Station: lights that roll and reposition fast between setups.
- Cheetah Stand C12: solid support where a light needed to stay exactly where we put it.
- Cheetah Stand Rolling Boom: overhead placement without a stand in the way of the roofline.
I have strong opinions about gear that rolls. In a studio with a four million dollar car, nobody wants to drag a stand across the floor near the paint, and wheels let us make small changes without drama. The boom matters just as much, since an overhead light is what gives the roof and hood their long, clean shine. Good support gear is boring, and I mean that as the highest compliment.
The detail shots that finish the story
Hero angles sell the shape, but buyers also want to see what they are paying for. Under the hood, the red intake covers carry the Ferrari name in raised lettering, and the engine bay is dense with hoses, clamps and wiring that deserve a tight frame. We lit it to hold the texture of the red finish while keeping the black plastics from turning to mud.
The interior of the Ferrari 812 Competizione is nearly all red leather and suede, with carbon fiber running through the console and the steering wheel. Red on red is tricky, because the colors blend together unless the light gives each surface its own edge. Shooting through the open door gave us the full cockpit in one frame, with the carbon wheel, the metal pedals and the Ferrari shield at the center.
Then we went closer. The carbon weave on the center console, with its polished metal selector and switchgear, catches light in a way a wide shot never could. Carbon fiber is a headache for glare and moire, so angle and light position decided everything. The reward is a frame where you can see every square of the weave and the red leather glowing behind it.
The Ferrari script set into a carbon tray, with a honeycomb pattern behind it and red stitching framing the whole thing, is the kind of image a brand team drops into a brochure spread or a social post. The last detail was the steering wheel, where the red Engine Start Stop button sits in the carbon spoke beside the headlight controls. It is a small thing, and it is the thing every enthusiast wants to see up close.
Thanks to the crew, and what this means for DFW dealerships
Thank you to @livinglikebrian_ for crewing this shoot. A car like this needs a second set of eyes on reflections and a second set of hands on the lights, and I was glad to have both. Thanks also to redcreative.studios for the space, and to the team at Ferrari Dallas for trusting us with the Ferrari 812 Competizione.
This is the behind the scenes of how dealership work gets made, and it applies well beyond one car. If you are looking for an automotive photographer in Texas, start with our automotive photography services in Dallas or read how we approach an automotive dealer photographer in Dallas project. We also work across DFW commercial photography, including automotive photography in Fort Worth. For more on how I think about light and curves on a car, read Chasing the Curve.
If you’re working on automotive, dealership, aviation, aerospace, airport, or industrial visual content in Dallas and beyond, reach out. This is exactly what we do. davidloistudios.com
Frequently asked questions
Who photographed the Ferrari 812 Competizione for Ferrari Dallas?
David Loi of David Loi Studios photographed the car in August 2026 at redcreative.studios in Dallas, TX. @livinglikebrian_ was on crew for the shoot.
Why shoot a Ferrari in a studio instead of on location?
A studio lets you control reflections, the background and the schedule. A glossy red super car mirrors everything around it, so a clean white space keeps the paint and body lines accurate. Weather and traffic never get a vote.
What lighting gear works for photographing a glossy super car?
For the Ferrari 812 Competizione we used Cheetah Stand 65 inch umbrellas, a Mobile Pistol Station, a C12 and a Rolling Boom. Large soft sources keep highlights smooth on curved paint, and rolling support gear makes small adjustments safe around an expensive car.
Do you photograph interiors and detail shots for car dealerships?
Yes. On this shoot we photographed the engine bay, the full cockpit, the carbon console, the badge details and the steering wheel controls. Detail images give buyers a closer look at what sets a car apart and work well on dealer websites and social channels.
Do you shoot automotive work in Fort Worth and across DFW?
Yes. David Loi Studios is based in Dallas and works across DFW, including Fort Worth. We shoot in studios, on location and at dealerships depending on what the project needs.
Precision Studio Lighting & Soundstage Builds.
From complex multi-set tabletop builds to high-output commercial bays with rolling booms and large scrims, partner with David Loi Studios for controlled productions across Dallas-Fort Worth and nationwide.
Speak directly with David regarding grip setups, ceiling clearance, power distribution, and stage dates.
Call David Loi: (214) 773-2424Request Studio Production Info
Detail your product lines, set dimensions, grip requirements, and target production windows below.
What is David Loi’s Blueprint for Commercial Car Photography in Dallas-Fort Worth, TX?
What is David Loi’s Blueprint for Commercial Car Photography in Dallas-Fort Worth, TX?
In Texan commercial automotive photography, the difference between a static snapshot and a compelling, magazine-quality image often lies in the invisible: the light. For Dallas-based commercial photographer David Loi, the process of shooting a vehicle is less about simply documenting its design and more about orchestrating a symphony of light, shadow, and reflection.
Known for his meticulous attention to detail and his ability to turn steel into art, Loi has built a reputation at David Loi Studios by treating every car not just as a product, but as a personality. According to his professional profile, Loi’s journey from a photography enthusiast to a sought-after commercial powerhouse is defined by an relentless pursuit of technical excellence. Whether working with luxury brands or performance manufacturers, his approach remains grounded in a singular philosophy: the environment is as important as the engine.
The Art of Finding Light
When Loi approaches a shoot, his first task is not to set up his lights, but to read the scene. “When I shoot a car, I am looking for light and background composition,” Loi explains. “This is key to make the car stand out.”
For the uninitiated, photographing a car seems straightforward. However, the reflective surfaces of a vehicle act like a giant mirror, documenting everything in its surroundings. To control these reflections, Loi looks for specific environmental cues. “It is even better if there are shadowy areas,” he notes, “because I can then put the car into part shadow to make the light pop.”
This strategic use of shadow is a hallmark of his work. By placing the vehicle in a controlled, shadowed area, he can selectively add light to emphasize the car’s lines—the body curves, the aggressive intake vents, and the silhouette of the roofline. He warns against the common pitfall of amateur automotive photographers: backlighting. “I also try to shoot with the source of light on the car and not in the back,” he says. “Otherwise, too much of the car is in the shade.”
To achieve the crisp, clear look that characterizes his portfolio, Loi relies on essential tools, specifically the circular polarizer. This filter is his primary weapon against the harsh, unwanted glare that can ruin the sheen of a vehicle’s paint. By rotating the filter, he can cut through surface reflections, revealing the true color and texture of the car’s finish.
The Technical Workflow: Compositing Perfection
Loi’s workflow is a testament to the fact that modern photography is as much about digital precision as it is about camera settings. He often eschews the idea of a single “perfect shot” in favor of a layered approach.
“I also like to use the camera on a tripod and then use multiple images to combine in post,” Loi says. This technique, often referred to as light painting or composite photography, allows him to capture the car from multiple angles while moving lights around the vehicle. By isolating specific highlights and shadows in different frames, he can composite the final image to ensure that every contour of the car is perfectly illuminated—a result that would be nearly impossible to achieve with a single flash setup.
The Arsenal: Gear That Delivers
Reliability is the backbone of any commercial production. If a light fails or a battery dies during a client-booked slot, the financial and reputational cost is high. Loi keeps his kit lean, effective, and professional.
At the heart of his system is the Nikon ecosystem. “I use the Nikon Z9 mirrorless camera with a ZF as a backup,” he notes. “If needed, I can rent a Z9 for backup if the job requires high resolution.”
His support gear is built to handle the complexities of large-scale automotive shoots. “I use Cheetah Stand C12s for my stands, as well as Cheetah Stand rolling booms,” Loi shares. When dealing with large light sources, stability is paramount, and he uses the Cheetah Stand heavy-duty boom to support the massive scrims required to diffuse light over the surface of a vehicle.
For illumination, Loi has transitioned away from his earlier gear to more powerful, versatile options. “My lights are Westcott FJ800s and FJ400s for really large jobs that require strong light,” he says. He pairs these with a variety of light modifiers to shape the output: “I couple them with Cheetah Stand QPB48 and QPB36 parabolic softboxes. I would also use QSB34 softboxes, QSB26 softboxes, and 12×55 strip boxes.”
Though he previously utilized Godox AD600s, Loi finds that the extra power of the FJ800s provides the punch required to compete with ambient daylight or to cover large areas of a vehicle’s bodywork during a composite shoot.
The Client Experience
Commercial photography is a service-based industry, and keeping the client informed and satisfied is essential. Loi treats the “digital darkroom” as a collaborative space.
“For tethering, I use FTP tethering linked to my laptop with a MacBook Pro and a Cheetah Stand mobile tethering station to show clients my photos,” he explains. By tying his laptop to a dedicated monitor, the client can watch the composition evolve in real time, building trust and excitement throughout the shoot. To ensure he never runs out of power during a long day on location, he relies on a 1000W Anker battery system to keep his laptop and peripherals running smoothly.
Beyond the major electronics, Loi carries an array of “helper” tools that save the day during the final stages of a setup. “I also carry a lot of smaller accessories like mirrors, blotting paper, cables, clamps, and flags as well to control light,” he says. It is in these details—the subtle flag to kill a stray reflection, or the mirror to bounce a tiny bit of light into a dark wheel well—where the true artistry of David Loi resides.
For Loi, the process is never truly “finished” until the light, the shadow, and the machine are in perfect harmony. By combining advanced lighting techniques, high-resolution gear, and a relentless focus on the environment, he ensures that every car he photographs tells a story of speed, luxury, and intentional light.
Capture High-Speed Precision on Set.
From dynamic trackside action to complex studio light painting and multi-plate composites, partner with David Loi Studios for commercial automotive campaigns across Texas and worldwide.
Speak directly with David regarding upcoming shoot logistics, locations, or track permits.
Call David Loi NowRequest an Automotive Quote
Share vehicle specs, track or studio parameters, and timelines below.
How to Be Ready for a Headshot in Dallas, TX: The Art of Preparation
How to Be Ready for a Headshot in Dallas, TX: The Art of Preparation
Your professional headshot is often the very first handshake you offer a potential client, employer, or collaborator. It is a visual introduction that needs to convey confidence, accessibility, and authenticity in a fraction of a second. For Dallas-based commercial photographer David Loi, of David Loi Studios, a successful headshot isn’t just about the camera settings or the lighting setup—it’s about the preparation that happens long before the subject steps into the studio.
The Foundation: Wardrobe Choices
One of the most common questions David Loi hears from clients is, “What should I wear?” It’s a valid concern; the wrong clothing can pull focus away from your face and turn a potentially excellent headshot into a distracting one.
According to Loi, simplicity is key. “Choose solid, mid-toned colors,” he advises. The goal of a headshot is to keep the viewer’s attention locked on your expression and your eyes. When you introduce bold patterns, loud prints, or high-contrast textures, the eye naturally wanders to the clothing rather than the person wearing it. Mid-toned colors work effectively because they provide enough depth to stand out against most studio backdrops without overpowering your complexion.
However, theory doesn’t always translate perfectly to reality. A color that looks fantastic in your closet might behave unexpectedly under studio lighting. “Bring a backup outfit,” Loi suggests. “You might find a different color will work better on camera.” Having an alternative gives you—and your photographer—the flexibility to pivot if the first choice isn’t hitting the right notes during the test shots.
The Details: Grooming and Maintenance
You’ve likely heard the saying that the camera adds ten pounds. While that’s a cliché, it’s true that high-resolution lenses catch everything. This makes grooming a vital component of your pre-shoot checklist.
Loi emphasizes the importance of planning your grooming timeline. If you’re planning on getting a haircut, don’t wait until the morning of your session. “Be well-groomed, cut hair about 2-3 days prior,” he recommends. This buffer window allows the cut to settle and gives you enough time to style it in a way that feels natural to you. A fresh cut often looks better after a couple of washes and a few days of styling.
For those who shave, timing is equally critical. “Be freshly shaven,” says Loi, but keep in mind that a clean shave immediately before a shoot can sometimes lead to irritation or razor burn. Ensure your skin has time to recover. If you have a skincare routine, stick to it, but avoid trying new products right before your session to prevent any unexpected skin reactions.
Mastering the “Camera-Ready” Look
Makeup is a powerful tool in professional photography, but it requires a delicate touch. In everyday life, you might use products that offer a dewy, glowing finish, but under the glare of studio lights, those products can read as greasy or overly reflective.
“If you wear makeup, aim for natural and matte to avoid shine,” Loi advises. The goal is to even out your skin tone and enhance your features, not to mask them. Translucent powder is a staple in professional photography for a reason—it knocks down the “hot spots” on the forehead, nose, and chin, ensuring that your skin looks polished without appearing artificial.
The Night Before: The Internal Glow
While much of the preparation is external, the way you feel on the inside will inevitably radiate outward. The “hangover look” is something that no amount of post-production editing can fully disguise.
“Avoid fatty foods and alcohol the night before,” Loi warns. Both can lead to bloating or skin inflammation that makes you feel and look sluggish the next day. A professional headshot demands energy and alertness; being well-rested is non-negotiable. “Get a good night’s sleep,” he adds. When you are rested, your eyes are brighter, your posture is more natural, and your expression is genuinely more engaging.
The Philosophy of the Shoot
Beyond the logistics of clothing and grooming, David Loi’s approach is rooted in creating an environment where you feel comfortable. A headshot is a conversation between you and the camera. If you are stressed about your outfit, worried about a blemish, or exhausted from a late night, that tension will show up in the final image.
By taking care of the preparation, you are essentially buying yourself the freedom to be yourself in front of the lens. When you arrive at the studio knowing your clothes are ready, your hair is set, and you are well-rested, you can stop “thinking” about how you look and start “being” the professional version of yourself.
In his years of working with diverse subjects, Loi has learned that the best portraits are those where the subject forgets the camera is there. “We work diligently to make you at ease in your own skin,” he often says. Use this preparation guide not as a list of chores, but as a path to that ease. When the technical boxes are checked, you provide the photographer with the best possible raw material to work with: a confident, authentic you.
Elevate Your Executive Presence.
Upgrade leadership profiles, corporate reports, and company directories with authentic, polished executive headshots in studio or on location.
Contact David directly to coordinate executive team sessions or mobile studio setups at your corporate offices.
Call David Loi NowRequest Headshot Session Info
Provide headcount details, studio vs. office location preference, and target dates.
The Methodical Lens: The Directing Process of David Loi
The Methodical Lens: The Directing Process of David Loi
In the highly competitive commercial photography market of Dallas-Fort Worth, success is rarely a matter of serendipity. Instead, it is the product of a repeatable, rigorous workflow. For David Loi, the principal behind David Loi Studios, the image is not merely something to be captured; it is something to be constructed. Loi has earned his reputation by stripping away the mysteries of the creative process and replacing them with a sequence of deliberate, technical decisions.
Loi’s entry into the industry began with a singular focus on transforming mundane objects into subjects of visual interest. He recalls a formative moment involving a simple PlayStation controller bathed in the golden light of a sunset. It was a lesson in perception: with the right attention, even the most common object could be elevated. This philosophy—that the potential for a great image exists everywhere, provided the photographer has the patience to find it—remains the backbone of his studio’s operations today.
The Sequential Workflow: Directing a Scene
For many photographers, the concept of “directing” a scene can feel abstract, but Loi approaches it with the precision of an engineer. His process is linear and non-negotiable, prioritizing foundational elements before moving toward the more nuanced aspects of human emotion.
When asked to break down his directing process, Loi explains that the structure must be built from the ground up:
“For a scene, the first thing I try to setup is the angle that I am to be photographing. This establishes the first of the many foundations that I will need. Without knowing the angle, I don’t know how to build the lighting setup.”
This perspective-first approach is the engine of his workflow. By locking in the composition early, Loi creates a “constraint box” that informs every subsequent choice. He understands that lighting is not a universal constant; it is a variable that changes entirely depending on the camera’s vantage point.
Once the frame is locked, he moves to the manipulation of light:
“By setting up the lighting, I build the mood of the image. Whether it is supposed to be bright, which is inviting, or if it’s darker, which gives an idea of mood and drama.”
This stage is where Loi’s technical expertise truly manifests. He does not just illuminate a scene; he sculpts the atmosphere. He understands that light acts as the primary signal for the viewer’s emotional response, and he controls that signal with absolute authority.
After the light is sculpted, the scene begins to take shape through its constituent parts:
“After which I start setting up the items that would be in the scene and how it interacts with the subject and the light.”
At this stage, the process becomes a matter of spatial relationships. He considers how objects populate the frame, how they catch the light, and how they define the space around the subject. Finally, the human element is introduced:
“Finally, I bring in the subject and angle them, pose them and work on getting the right emotions down that the photos require.”
By delaying the subject’s entry until the very end, Loi ensures that the environment is fully prepared to support the subject’s performance. This systematic approach eliminates the common pitfalls of rushing into a shoot, ensuring that the photographer is never chasing their tail in search of a good frame.
The Technical Toolkit
Loi’s ability to remain methodical regardless of the environment—be it a controlled studio setting or the unpredictable terrain of a location shoot—is supported by a specific gear ecosystem. He is known for choosing equipment that offers reliability and consistent output.
Loi’s preference for Nikon camera bodies is rooted in their ruggedness. For a photographer who frequently navigates difficult environments, the camera is a tool of endurance. However, the most critical part of his lighting setup lies in his use of Cheetah Stand modifiers.
Loi has long integrated Cheetah Stand products and Focus Series softboxes into his commercial work. His reliance on these tools is practical: he requires modifiers that are as robust as they are precise. The softboxes allow him to manipulate shadows and highlights with surgical accuracy, providing the “sculpted” light that defines his signature look. In his eyes, gear should be an invisible partner; it must work seamlessly to realize the vision without becoming a point of failure.
Professional Growth and Self-Criticism
What distinguishes David Loi from others in the Dallas market is his inherent drive for improvement. In discussions about his career, he frequently identifies as his own “worst critic.” Rather than seeing this as a negative trait, he views it as a necessary tool for survival in a saturated industry.
He treats every project not as a final product, but as an opportunity to iterate on his process. When clients engage with David Loi Studios, they are not just buying a set of images; they are tapping into a consultant who approaches their brand narrative with the same sequential care he applies to his lighting setups.
In an industry that often prioritizes trends over technique, Loi remains committed to the fundamental building blocks of photography. His career serves as a reminder that greatness is rarely the result of a “lucky shot.” It is the result of defining the angle, sculpting the light, placing the elements, and drawing out the emotion—one deliberate step at a time.
Precision Studio Lighting & Soundstage Builds.
From complex multi-set tabletop and beverage builds to large-scale commercial bays with massive overhead scrims, partner with David Loi Studios for controlled studio productions in Dallas-Fort Worth.
Speak directly with David regarding grip setups, ceiling clearance, power distribution, and stage dates.
Call David Loi NowRequest Studio Production Info
Detail your product lines, set dimensions, grip requirements, and target production windows below.
Dallas’ Architect of Light: Inside the Kit of David Loi
Dallas’ Architect of Light: Inside the Commercial Kit of David Loi
In modern Dallas-Fort Worth commercial production, few names carry the weight of meticulous visual storytelling quite like David Loi. Based in the DFW metroplex and working nationwide, his reputation is built on high-stakes advertising, industrial, and editorial assignments where execution must be exact.
For Loi, commercial imagery relies on foundational fundamentals: precise light shaping, controlled shadows, and seamless technical production. While artistic vision drives each concept, battle-tested hardware provides the bedrock. In high-demand commercial advertising, reliability on set is non-negotiable.
The Foundation: Mirrorless Bodies and Glass
At the core of Loi’s capture workflow sits the flagship Nikon Z9. Built for extreme autofocus tracking, dynamic range, and high-resolution output, the Z9 delivers the speed and resolution needed for large-format commercial campaigns and billboards.
"For gear, I use the Nikon Z9 mirrorless camera with a Zf as backup. If needed, I can rent a secondary Z9 for backup if the production requires matching high resolution."
Redundancy protects the client's schedule. Whether staging on a hot tarmac, shooting deep inside a manufacturing plant, or managing an active studio bay, gear redundancy ensures an equipment hiccup never stops the production clock.
His lens lineup spans the complete professional f/2.8 trinity. The ultra-wide 14-24mm captures the vast scale of aircraft hangars and industrial installations, the 24-70mm f/2.8 S acts as the workhorse for environmental portraits and automotive details, and the 70-200mm f/2.8 S provides telephoto compression and optical separation.
Controlling the Light: Heavy Grip and Modifiers
Commercial sets demand stability. Loi relies on Cheetah Stand hardware engineered to survive fast-moving setups, uneven terrain, and heavy modifier loads.
"I use Cheetah Stand C12s for my stands as well as Cheetah Stand rolling booms. If I need a large scrim or overhead diffusion, I deploy the Cheetah Stand heavy-duty boom."
For lighting power, Loi transitioned away from older battery systems like the Godox AD600 to high-output Westcott FJ units capable of overpowering Texas midday sun and filling large commercial bays.
His lighting setup pairs Westcott FJ800s and FJ400s with Cheetah Stand QPB48 deep parabolics and 12x55 strip boxes for razor-sharp highlight control along vehicle panels and polished surfaces.
The Client Experience: Mobile Tethering & Real-Time Proofing
Commercial production thrives on transparency. Creative directors, art buyers, and brand stakeholders need to confirm crop, focus, and lighting ratios in real time.
"For tethering, I utilize high-speed wireless FTP transmission to a MacBook Pro on a Cheetah Stand mobile rolling station. That feeds directly into an external client monitor powered by a 1000W Anker battery station."
Grip Essentials and The Commercial Difference
Beyond cameras, strobes, and rolling stands, field readiness hinges on smaller tools: C-47 clips, Matthews grip heads, black Cinefoil, scrim flags, diffusion textiles, and high-output battery banks that keep cameras and monitors running through extended twelve-hour production days.
Integrating the high-speed capture of the Nikon Z9 system, the rigid support of Cheetah Stand grip gear, and a fully mobile tethered client station creates a seamless, predictable production workflow from setup to wrap.
Precision Studio Lighting & Soundstage Builds.
From complex multi-set tabletop and beverage builds to large-scale commercial bays with massive overhead scrims, partner with David Loi Studios for controlled studio productions in Dallas-Fort Worth.
Speak directly with David regarding grip setups, ceiling clearance, power distribution, and stage dates.
Call David Loi NowRequest Studio Production Info
Detail your product lines, set dimensions, grip requirements, and target production windows below.
When FIFA Comes to Dallas — Shooting Tim Howard and Carli Lloyd Behind the Lens
When FIFA Comes to Dallas — Shooting Tim Howard and Carli Lloyd Behind the Lens
By David Loi | David Loi Studios | Dallas, TX
Dallas / Fort Worth is a soccer city right now whether you were expecting it or not, and FIFA World Cup 2026 coming to North Texas has accelerated that energy in a way that’s hard to ignore if you’re working in commercial photography here and paying attention to what brands are prioritizing.
When the opportunity came through Arcpoint Studios to shoot Tim Howard and Carli Lloyd for American Airlines & FIFA related content here in Dallas, I was in before the conversation was over. Arcpoint is the kind of production house that’s in the room with you, invested in the outcome the same way you are. A shoot with this much pressure around it needs that kind of energy behind it and they brought it on this one.
The Brief and Building a Studio for People Who Have Five Minutes
Before Tim Howard & Carli Lloyd even walks in front of your camera you’ve spent hours building a studio environment that has to be ready and performing before he arrives. Since American Airlines has a strong partnership with FIFA, we were tasked with making sure that American Airlines branding was very strong everywhere. We hired set builders for the background so that when a subject at that level shows up you get somewhere between five and ten minutes and your entire preparation exists to make those minutes count rather than waste them solving problems you should have solved at call time.
Arcpoint was tasked with capturing all of their social media content in 20 minutes total and I had 5 minutes per person for stills, which sounds like enough time until you’re actually in it and the clock is moving and the talent is in front of you and every frame has to count because there is no second session and there is no coming back tomorrow to get the shot you missed today.
Athletes like Tim Howard and Carli Lloyd have full schedules and people managing every hour of their day and they give you the time they can give you, which means the studio build is the performance and the shoot is just executing what you already figured out. Every light & modifier position locked before they arrive, every gaffer tape marked for positioning, every role pre-defined, every shot tested prior to the actual shoot time, every potential problem already solved so that when the talent walks in the only thing left to think about is the human being in front of your camera.
The Lighting Challenge
We had to turn a conference room into a full set studio, one side for stills, one side for motion. Any time you’re building a controlled studio environment for sports talent the lighting conversation starts with one question about what feeling the image needs to carry, and for American Airlines & FIFA campaign in Dallas, the answer was power and presence because these are athletes who defined American soccer at the highest level and the light had to hold that without overworking it.
We ran the Cheetah Stand large QPB-48 softboxes as the primary setup, giving us a broad wrapping key light that held shape across different subject positions without needing to re-strike between setups. Every minute spent adjusting light in a five minute window is a minute you’re not shooting and you can’t get it back.
Crew working hard to build the set.
BTS with Arcpoint Studios as Director George Apodaca puts crew in motion.
George Apodaca of Arcpoint Studios helping build the wall. The background showed off the strong American Airline Branding.
Five Minutes With Tim Howard
When Tim Howard walks into a room and you understand immediately why he had the career he had and it has nothing to do with physical size. It’s calm, earned authority that fills the space without asking for attention. But he’s friendly and approachable at the same time. As much as you’d like to make more small talk, the window is short and we start shooting immediately. You don’t waste frames on setups you’re not fully confident in because every shot has to be intentional and every direction has to be clear and brief while you’re simultaneously reading the subject, adjusting the energy in the room, watching the monitor, and making creative decisions with the clock running. We pre-tested all the shots ahead of time, so that we were ready when they came in. We rehearsed and practiced it so that the directions were clean and clear.
We got what we came for and the frames carried exactly the weight they needed to!
Tim Howard, A US Soccer goalkeeper photographed for the American Airlines x US Soccer campaign in Dallas, Texas by David Loi Studios.
Carli Lloyd and Why the Same Setup Has to Read Differently
Carli Lloyd brings completely different energy into a studio than Tim Howard does and the lighting and framing that worked for one subject needed an honest read on whether it would serve the other before we committed to it. She worked with much more purpose in every movement she made. The approach had to shift because where Tim gave you stillness to work with, Carli gave you forward momentum and competitive fire and the challenge was capturing that specific energy without losing control of the frame in the same tight window we had just worked through.
The preparation from the build phase carried both sessions because when you’ve already solved every technical variable the shoot becomes purely about the person in front of you, and that’s when the work gets interesting.
And the final photo: Carli Lloyd photographed for the American Airlines x US Soccer campaign by David Loi Studios in Dallas, Texas.
What FIFA Means for Dallas & Fort Worth Commercial Photography
I’ve shot significant projects in this city over the years including American Airlines, BMW, DFW Airport, and the Dallas Cowboys and Dallas has always been a stronger commercial photography market than people outside of Texas give it credit for, but FIFA World Cup 2026 changes the scale of that conversation in a way that’s going to be visible to the whole industry.
The volume of commercial content being built in and around Dallas & Fort Worth for this tournament is significant and it’s only going to grow as 2026 gets closer. Arcpoint Studios understood that early enough to be positioned for it and getting the call from them for a project like this felt like exactly the kind of work David Loi Studios was built for.
On Working With Arcpoint Studios
The best commercial shoots I’ve been part of have always had a production team that treats the photographer as a creative partner rather than a hired vendor and Arcpoint operates that way consistently. The communication before the shoot, the problem solving on the day, the shared investment in walking away with something great rather than just something finished.
When you find production partners who work that way you show up for them and you say so publicly because it’s not as common as it should be.
See the Work
If you want to see what ten minutes of preparation, hours of setup, and a team that shows up ready actually produces, the final images from this session are live on the site. Take a look at the full set and see what it looks like when everything comes together.
davidloistudios.com/clients-2/american-airlines
Let’s Work Together
FIFA World Cup 2026 is coming to Dallas and if you’re a brand, agency, or production house building content around the tournament and you need a commercial photographer who knows this market and can execute under pressure, reach out.
📍 Dallas, TX • 🌐 davidloistudios.com • 🤝 Represented by Wonderful Machine • 📸 Gear partner: Cheetah Stand
#FIFA #WorldCup2026 #DallasSoccer #TimHoward #CarliLloyd #CommercialPhotography #DallasPhotographer #ArcpointStudios #BehindTheLens #CheetahStand #DFWCommercialPhotography #SportsPhotography #BTSPhotography #FIFA2026Dallas #DavidLoiStudios
Bring Your Brand's Vision to Life.
Partner with David Loi Studios for high-impact commercial, editorial, product, and architectural photography tailored to elevate your business in Dallas and beyond.
Speak directly with David regarding upcoming campaigns or urgent shoot schedules.
Call David Loi: (214) 773-2424Request a Project Quote
Fill out the details below and we'll craft a custom proposal for your commercial needs.
My “Alice” Moment: Framing the Future at Dallas College
My “Alice” Moment: Framing the Future at Dallas College
By David Loi
DALLAS, TX — Last year, David Loi Studios was tapped by Dallas College to anchor their “Future-Self” campaign. We found ourselves in the middle of a bustling campus, realizing that we weren’t just there to shoot special portraits of people for a school ad campaign – we were there to collapse time and show everyone what it would feel like to get a good education.
Like Alice in Wonderland, I prepared myself for a warren of adventures as we conceptualized how a future with education would look like. What depth and spectrum of colors did this Wonderland hold for Dallas College’s wonderful audience?
The assignment, coordinated with the sharp minds at Alpha Business Images (ABI), and our team, was deceptively simple in its premise: show the students of Dallas College not just as they are—earnest, hardworking, often balancing three lives at once—but as they are destined to be. We wanted to distill the spirit of an institution that serves as the bedrock for so many North Texas families. But we wanted to avoid the clichés of the “inspirational” brochure. We wanted something that felt like a haunting, beautiful encounter with one’s own potential.
The concept centered on a series of photographs where a student looks into a mirror and sees their future self looking back. An aspiring engineer sees a professional in a hard hat; a culinary student sees a chef in a pristine white coat; an adult learner, returning to the classroom after decades in the workforce, finally sees themselves in a graduation gown.
In the Dallas-Fort Worth Metroplex, I like to say that good portrait photography is a contact sport (like good literature), and this project demanded more than just a trained eye. It demanded an almost surgical approach to lighting and composition.
The “Future-Self” images are puzzles in themselves. Each final image is a composite of multiple “plates”—individual shots taken from the exact same tripod position—stitched together in post-production to create a seamless reality.
To get it right, we had to play a high-stakes game of geometry. We used Cheetah Stand heavy-duty booms to suspend the mirrors, but the mirror is a double-edged sword: it reflects the future, but it also reflects every light, cable, and stray person in the room. We spent hours “flagging” the scene—using black curtains and boards to kill unwanted reflections—ensuring that the only thing the camera saw was the narrative we were building.
There is a unique pressure when a client is on set watching the “tethered” capture in real-time. As the images popped up on the monitor, clients could see the raw outputs. Our audience weren’t just seeing a technical feat; they were seeing their mission statement rendered in high definition. In the smallest steps—the tilt of a chin, the straightening of a collar—we were showing that the future isn’t some distant, unreachable country. It is right here, in the reflection, waiting to be stepped into.
We featured over a dozen stories in this collection. Each one felt like a short film. We worked with culinary magnates in the making and engineers who were still mastering their first equations. The technical difficulty of the mirror-image shots required a deep knowledge of positioning; if the angle was off by even a fraction of an inch, the “future self” wouldn’t align with the “present self,” and the illusion would shatter.
But that challenge is exactly why the David Loi Studios team exists. We don’t just show up to document; we show up to build.
The Future-Self campaign ultimately became a testament to why so many students trust Dallas College until graduation. It’s about the proximity of the dream. Often, in the grind of midterms and commutes, students lose sight of why they started. Our goal was to create a visual reminder that the person they want to become is already looking back at them, urging them to keep going.
Standing there on set, surrounded by booms and flags and the hum of the city, I realized that these weren’t just portraits for a campaign. They were mirrors held up to the community. And when you look closely at the eyes of the students we photographed, you realize they aren’t just seeing a chef or an engineer. They are seeing a version of themselves that is finally, undeniably, real.
Behind the Scenes: Institutional Photography Services in Dallas, TX
Bring Your Brand's Vision to Life.
Partner with David Loi Studios for high-impact commercial, editorial, product, and architectural photography tailored to elevate your business in Dallas and beyond.
Speak directly with David regarding upcoming campaigns or urgent shoot schedules.
Call David Loi: (214) 773-2424Request a Project Quote
Fill out the details below and we'll craft a custom proposal for your commercial needs.