In the final part of his guide to F1 photography, Jamey Price shows how to take distinctive and original pictures at F1 races.
Why do we love motorsport? For me it?óÔé¼Ôäós the colour and flair, the movement and details, combined with the pressure to nail the photo and have it published on the world stage for all to see.
I honed my skills as a sports photographer with horse racing photography. Believe it or not, horse racing is very similar to shooting motorsport. It?óÔé¼Ôäós fast-paced. It?óÔé¼Ôäós intense.
You get few chances to get the photo and you have to be ready for anything. That sounds a bit like motorsport, doesn?óÔé¼Ôäót it?
No credentials? No problem
The problem that most fans will encounter when shooting motorsport is the access. Formula One in particular puts fans as far away as possible while still trying to give you a spectacle.
It?óÔé¼Ôäós a sad fact that getting great shots at newer tracks like Turkey and Korea will be much more difficult than shooting somewhere like Monaco, Monza or somewhere where you are much closer to the action.
The other problem you?óÔé¼Ôäóll encounter will be the very high debris fences that protect you from an out of control F1 car. Fortunately there are ways to overcome both of these problems and still get great images.
Plan your weekend
But just because you?óÔé¼Ôäóve not got the credentials to shoot beside the Formula 1 snappers does not mean you can?óÔé¼Ôäót get great images from the weekend.
Start on Thursday during the pit walk. Make it your mission to cover the Grand Prix like you have credentials. Tell a story.
See someone painted from head to toe in McLaren silver? Take a photo of them. See what you can do with trying to capture the atmosphere around you.
I will stress this over and over and it is something I make a point of telling myself every time I pick up the camera but look for details. The beauty in life, and motorsport, is the details.
Once practice gets rolling on Friday switch gears and start trying to be creative. If you have a general admission pass, walk around during the Formula BMW, Porsche Supercup or GP2/GP3 races and look for where the best spots to shoot are.
Often the best thing you can do is put your camera down for five minutes and use your eyes.
At a Formula 1 race, everyone has a camera and thinks they?óÔé¼Ôäóre a photographer. So you can either follow those amateurs around and shoot what they shoot and get the same kind of images or you can use your feet and your head and find something different.
A lot of people hope to be professional photographers and believe me, you will not stand out in the crowd if you come home with images that everyone else has. This is your time to show how you see the world and it had better be different from every other guy with a nice DSLR standing by the fence.
Getting fences out of your pictures
Speaking of fences, those debris fences will ruin your photos. Fortunately there are ways of tricking your camera into thinking the fence is not there.
Your eye does the same thing. For a moment take your finger and place it at arms length away from your face. Now look at it. Your finger and all that?óÔé¼Ôäós around it and in the background are more or less in focus.
Now bring your finger to the tip of your nose and look past it. You barely even notice your finger any more – as if it has disappeared.
You can do the same thing with your camera. The debris fence is your finger. Move yourself as close as you can to the fence and zoom as far in with your lens as possible and lower the aperture as much as you can and suddenly the fence is almost non-existent. Cool, huh?
The moment you start standing farther away from the fence or use a higher aperture stop, the fence will come back into the photo. So make sure you?óÔé¼Ôäóre right up along the fence, shooting with a higher shutter speed and a low aperture and you can get some great images trackside that make it look like there?óÔé¼Ôäós no fence at all.
Use the conditions
As a photographer, you should always use what you are given with conditions, maximize it and compensate with creativity.
If you?óÔé¼Ôäóre stuck at the top of a grandstand a hundred yards from the cars driving by, use that to your advantage. Instead of zooming in as far as you can trying to see Fernando?óÔé¼Ôäós eyes as he passes the start finish line, zoom out and try a panning shot to get lots of motion and colour.
As a standard I like using a slower shutter speed to get the feel of motion if the cars I?óÔé¼Ôäóm shooting are running parallel to my position.
Shooting a car from the side at 1/2500 of a second and F5.6 will generally not be anything to write home about. That same image at 1/60 of a second will be a completely different one. It will be bordering on abstract with the amount of motion you capture. Find the balance and what looks good to you.
A car that is driving straight toward you will be much harder to pan with than the one you just shot that was parallel to you. In this situation, up your shutter speed again to freeze it in its tracks.
The rule of thirds
Something professional photographers will talk a lot about and use frequently is the rule of thirds. Imagine your viewfinder. It is generally a rectangle with the two longest sides on the top and bottom.
Now imagine two vertical lines spaced evenly from left to right and another two lines horizontally. It will make a grid with nine boxes in your viewfinder.
The rule of thirds basically says that an image will be more compelling and interesting if you place the subject on the far left or right vertical line instead of smack dab in the middle of the frame. Many DSLR?óÔé¼Ôäós now ship with the ability to display grid boxes in your viewfinder so you don?óÔé¼Ôäót have to imagine the lines are there.
Once you?óÔé¼Ôäóve got into a rhythm with your camera and you?óÔé¼Ôäóre feeling good about the images you?óÔé¼Ôäóre making, step back and try something new. The worst thing you can do is come home with a thousand versions of the same picture.
Get a different angle if you can. Your legs are the best thing that you have at your disposal to making a great image. Don?óÔé¼Ôäót forget to keep looking around you for an interesting fan, angle, car, tree, whatever.
Use the light. Be it flat and boring from a dull cloudy day, or gorgeous sunlight like those afternoon races produce. And practice, practice, practice.
Got any of your own tips for taking great pictures at F1 races? Share them in the comments.
Read the first part of this article: How to take great pictures at F1 races: Part 1
Jamey’s equipment for the above photographs included a Nikon D700 full frame professional camera body with 70-200mm f2.8 vibration reduction telephoto lens, 14-24mm f2.8 wide angle lens and 2x teleconverter. The pictures were taken without FIA credentials.
Jamey Price is a professional freelance sports photojournalist based in Charlotte, North Carolina. His work has appeared in F1 Racing Magazine, The Racing Post and many sporting websites. More of Jamey?óÔé¼Ôäós work can be seen at www.jameypricephoto.com
This is a guest article by Jamey Price. If you want to write a guest article for F1 Fanatic you can find all the information you need here.
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Images ?é?® Jamey Price