Camouflage And Disguise: Fight Against Prototype Paparazzi

Vauxhall Insignia

If it has Vauxhall logo, it’s definitely not a Vauxhall

Fixing false brand and identification marks to prototypes is a popular trick in the camouflage business. So a test car with a Vauxhall-like logo is most probably not a Vauxhall.

Headlamps and rear lights are especially difficult to disguise as vehicle licensing authorities stipulate that a car’s - even a prototype’s - cone of light, brake lights and all other exterior functions must meet legal regulations. Unfortunately, headlamps and rear lights are a popular means for designers to make the cars’ brand easily recognisable, and therefore must be well disguised. To do this, camouflage experts fit simple, round lights from an accessories shop to the rear of the car, and make special components for the headlamps.

Another challenge for camouflage experts is that disguising elements also need to be removable. For certain tests, such as acoustics or aerodynamics, any body styling parts are a hindrance, regardless of security. That’s why some automakers favour large wraparound covers that can be attached to the car’s body with Velcro and lashing belts. Vauxhall opted for a different approach, as such large covers can come loose at high speeds, damaging the camouflage and endangering other road users.

Biggest obstacle in a perfect camouflage operation? People

The biggest potential compromise to camouflage operations is always going to be the technicians associated with the test car, which is why Vauxhall has a strict set of rules concerning prototypes. Rule 531 states that no camouflaged test car may stop in a public place, for instance, while the driver has a quick snack. A tarpaulin must also always be on board, as even Vauxhall prototypes sometimes break down during their test phase and must then be quickly covered over.

To protect plant secrets, prototypes are always accompanied by a second car on public roads, so help is always at hand if needed. Over long distances prototypes have to be transported in closed trucks, such as for test driving in Finland. In the past, resourceful photographers would all too often quickly lift up the truck’s tarpaulin and snap some shots while the driver was taking a well-deserved break.

But why such an effort? In short, the automobile industry lives and breathes new cars, and this is of great interest to two particular groups: competitors and the media. While competitors want to react to new products as quickly as possible with their own innovations, for the media, the news of any new innovations is a valuable means of attracting readers or viewers.

One of the most important characteristics of a new car is its exterior design. It is the customer’s first impression of the car, it defines a brand’s appearance for the public, and often lets judgments be made about what possible technological innovations are concealed beneath the bodywork. That’s why shielding new body styling from prying eyes has become an art form within the auto industry over past decades.

Prototype paparazzi: The nemesis of camouflage experts

The principal opponent of camouflage experts are specialist photographers called prototype hunters, or simply photo spies. The prototype paparazzi have a very good idea where the automobile industry’s preferred test circuits are located around the world.

These photographers face increasing competition from amateurs who happen to capture an unknown car on their camera phones. Or then again maybe not, as some pictures that land on editors’ desks are of series-production models that are only unusual because they are not for sale in the photographer’s country, and therefore seem exotic or mysterious.

Professional photographs, on the other hand, can command five-figure sums, depending on brand, timing and image quality, and are the main income of a small, but highly specialised group known as ‘Photoshoppers’. In the past, trained designers artistically adapted photos of camouflage cars with crayons and India ink to form often very accurate images of the latest innovations. Nowadays, it is Photoshop touch-up artists who try to create realistic images of these new models. To help them, they have prototype photographs and design concept cars, which automakers use to test public reaction at motor shows, and also to stir up anticipation of future series-production vehicles.