James Mann shoots Tom's '64 in the Plough infinity studio in Clapham, London. The ceiling
I reverse the car into the white void with two watchers to guide me, because once in, there is nothing to give a clue to where the end wall is, like skiing in a whiteout with frozen goggles. The publisher needs a particular angle to match the other cars in the series. I remove the front license plate trying not to mark the white-painted floor, James has the shot within five minutes, and I am out of the studio before the Ferrari is even unloaded from its covered trailer.
I set off back to Kent in brilliant sunshine and on London roads lined with cherry trees in full blossom. When I got my '64 it was red, a great color for Ferraris but not for my Corvette. I was thrilled when I saw the color code showed it to be originally white with a red interior. Since I repainted it correctly, white has also become the only color to have for top-line German performance cars; more than a few of them flash their lights or wave as I pass. And I "forgot" to replace the front license plate. The car looks so nice without it!