Earlier this year, I worked with Steele Mitsubishi in Halifax to photograph the current model of their flagship SUV, the 2023 Mitsubishi Outlander. The Outlander is Mitsubishi’s highest-selling model, and the 2023 Outlander PHEV (plug-in hybrid electric vehicle) improves over the 2022 model with a new design, improved interior, a 2.4L engine delivering more power, and a larger capacity battery, to name a few.

A larger capacity battery means more range, and although hybrid vehicles aren’t known for their electric-only range, the 2023 Outlander can achieve over 61kms in EV mode alone. With this being a hybrid vehicle, the 2023 Outlander PHEV features numerous drive modes that take advantage of the presence of the battery. The Outlander PHEV will reach 680km on a full tank with a fully charged battery.

Features on this particular model include the GT S AWC trim, blind spot and lane keep assist, adaptive cruise control with traffic sign recognition, the optional two-tone roof, and front massaging seats with heated second-row seats.

The Photos

This Outlander is finished in White Diamond, and as with any white vehicle, it was a joy to light paint. White cars reflect the light just right and eliminate many reflections that can occur in a tight shooting environment like this.

For light painting the car itself, I used a 13-second exposure at f/10 or f/11, which includes separate exposures for the side, front, top, and wheels, and I added one exposure for the car’s headlights and tail lights. Dialling in that exposure time with the f-stop was enough to get the exposure on the car I wanted without blowing out any highlights. For added environmental light in the background and foreground, I used the small Ulanzi light wand. With the wand, I didn’t necessarily have to “paint” with that light but hold it in place for the duration of the timed exposure. Since the Ulanzi is smaller and less powerful than the Ice Light 2, I used a 20-second exposure at f/10 or f/11. For positioning, I attached the Ulanzi to a monopod, moved behind the car, and held the light low, either near the bottom of the door or behind the wheel. I was mindful of keeping the wand out of the frame as I didn’t want to see it in the photos, and with this vehicle having high clearance, I didn’t want to wave it under the car as a light streak from the Ulanzi was possible.

Although most of the light was intentional, the light projected on the ceiling was a happy surprise. When I was positioned behind the car with the Ulanzi, the light coverage lit up the ceiling. I noticed this with the first composition and continued with the others. With the light being on a separate layer, I could have easily masked it out, which I usually do with any unwanted light leakage, but liking how it looked, I included the ceiling light in all of these photos.