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Motorsports Tips
By Chucke Walkden
So, you want to be a motorsports photographer? Like a moth to the flame, you are drawn to the light. Maybe it's NHRA and the sound of two 8,000 horse power monsters, capable of going from 0 to more than 330 mph in less than 4.5 seconds, in just 1320 feet. It's a roar so loud that it shakes the fillings from your teeth and can be heard for miles. Or maybe it's NASCAR and a pack of 43 angry beasts, colors in full bloom, poised as if to say that I'm the strongest, the fastest, the smartest and have the will, to fight through all odds, to be better than you.
Or the world of Superbike racing where young immortals defy gravity itself. It could be the technological wonders of Formula One, CART and Indy or the sexy mystique of the American LeMans and the Rolex Series Prototypes.
It doesn't matter if it's dirt, asphalt, lakes, oceans or the skies, motorsports photography is a fascinating world that every fan with a point-and-shoot wants to be a part of. And why not? It has all the star power of the paparazzi, the infield access to all the action of the sports photographer and the open air and travel qualities, with colorful subject matter like the nature photographer.
Yes motorsports has it all, but before you refinance the house for equipment, sell your soul and maybe your first born for credentials, ask yourself if this is really the field for you. It definitely is not for the faint of heart.
For 10 years I've had the privilege of being Infineon Raceway's Chief Photographer. We are fondly referred to as the animals in the press room. Motorsports photographers are truly a unique breed. Someone that can stand on the front lines with sights and sounds that have all your senses telling you to run for cover. The greats are all passion-driven individuals.
With this comes a line of 50 people willing to take your gig. The corporate world tends to feed on this supply and demand and often you have to accept what they offer in pay, which is rarely the day rate of a commercial photographer. All with longer hours, harsher working conditions-for you and your equipment, and way tighter deadlines. Not to mention the threat of physical harm.
If that is not acceptable then there will always be someone else in line that will do it, probably cheaper. So if you're out here for the money, don't bother. Realistically only 3-5% of motorsports photographers will ever make a living at this.
So why would you pursue a field that has you in a constant state of financial despair? That keeps you from your family and friends weeks, even months, at a time? That will wear out a good pair of hiking boots every 3 months and pollute every nook and cranny of your equipment with dirt and rubber. A field that forces you to up your life insurance, just in case something happens. There is only one answer…passion.
So you've got passion, equipment and connections. You're in, now what? Before you ever put your shiny new Lexar Professional UDMA 8GB card
into your camera, before you even think about taking a single shot, we need to talk safety. Motorsports photography is no joke. Turn your back to the track and that trackside photo flag can double as a toe tag real quick.
Always be aware of your surroundings, where impact zones are, where people are around you, and always have an escape plan. Your ears more often than your eyes will be your first indication of trouble. Follow the lead of those that have been doing this for a while until you get comfortable.
Always remember that your subjects are wild angry beasts that can be very unpredictable. When things happen, they happen fast, very fast. Don't ever let your guard down.
Now you are ready; let's go shooting. We'll start in the garage. You are no longer a fan, you are a part of the working press. Even if you are not, act professional. You are not here to collect autographs, you are here to record an event. If you need something signed, go through the driver's PR person. There is no quicker way of losing those hard-to-come-by credentials than to get caught autograph hunting. With the privilege of those credentials comes a certain responsibility. When you act in an unprofessional manner it reflects badly on all of us. You don't want the likes of these animals coming down on you. I find that a little courtesy can go a long way. Before entering a garage stall, get permission. You have no idea what these teams are going through and it's not always a good time to be in their space. When possible use a longer lens and stay back. Drivers are being pulled from many different directions, all the time, and a flash in their face can sometimes be the final straw.
Now trackside shooting is what I'm out here for. I've always been amazed by man and machine at speed. It's
like mechanical music. When I'm shooting on track, it breaks down to three basic elements: atmosphere, speed and drama.
Atmosphere: I'm capturing the event. Not just the cars, but crowds, signage, tv booms or other photographers. Anything that will portray the essence of the day. Speed: Slow your shutter speed down. Your world is all about speed and it's your job to capture it. Try a 180 mph pan shot at a 30th of a second, and you'll throw out a lot of images before you nail one. But when you capture a sharp car that has traveled 3, 4 or 5 rotations on its tires and the background is a blurry mess, you will understand what I'm talking about. Experiment and try different shutter speeds to see the different effects. Always remember that you need to show motion-if you get your shutter speed too high and freeze the wheels, your subject will look as if it's parked on the track.
Drama: This is when it gets fun. Drama is the shot that is different than how your eyes see things. It's the fisheye in the pits or the 5-70 degree tilt of the camera that takes a flat turn and turns it into something special. It's finding different vantage points, both high and low, angles that most people will never see. It's studying lap after lap until you find a point that one, two or even all four wheels leave the ground or that flames are shooting out of the tail pipes. It's about finding something at the event that doesn't really exist, but you found it anyway. It's the thing that separates you from your competition, who, by the way, is sharing the same photo hole that you are in.
As far as equipment goes, it's always been about choosing the best. Nikon or Canon, Mac or PC, but for speed, reliability and peace of mind, we all agree on Lexar.
Be safe and happy shooting............Chucke.
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