Tim Wallace is a internationally recognized corporate and commercial photographer based out of the UK, and often described as conceptual and dramatic. His works with a wide range of industries such as automotive, truck and logistics, aviation, marine, engineering, and freight operations. His clients include McLaren, Peugeot, Jaguar, Land Rover and many other iconic brands. Looking at his work, I am amazed by the sense of wonder he creates with conceptual photographs, showing just enough of a subject to draw the viewer’s eye. In the examples above, I notice that he utilizes show depth of field and light/shadow to create a mysterious yet elegant and whimsical feeling persuading the viewer to want to know more about the scene. In the first photo, I notice that there is a cast of purple color on object and the image is tightly cropped conveying the idea that there is more to see. In the second image, there is a lot of shadow created by a dim over head light making it more mature and serious, the netting and pattern is more textured and defined like you want to reach out and touch it. This image is also cropped tightly leaving a sense that the object goes on beyond what you can see. It gives the feeling that the brand is powerful, elegant and refined. Tim Wallace is beyond talented in this field whether he is capturing the concept of a subject or creating movement using shallow depth of field and dramatic backgrounds.
Of the examples you picked, the close up of the dial and the car in the landscape use shallow depth of field. The car with the sunset has extensive depth of field meaning that everything from near to far is sharp. In your forth example everything is also sharp though to call it extensive depth of field doesn’t make sense as everything is more or less the same distance from the camera. What I find interesting is that some photographers either use shallow depth of field or extensive depth of field but Wallace uses what best suits each project.