By Victor Varela
Photography and auto racing, they are an exciting and romantic combination that has resulted in some of the most impressive images of the sport for well over 100 years. When I think of motorsports photography, I bring to mind the iconic images from such notable photographers – Jesse Alexander, Louis Klemantaski, Bernard and Paul-Henri Cahier, Rainer Schlegelmilch and Keith Sutton. They are among the photographers who have amazed, motivated and inspired me to use my experience and knowledge of photography, to capture the world of motorsports.
I have been photographing race cars over the course of 30 years, my first being at the Formula 1 race held at the Long Beach Grand Prix in 1983. Those pictures were not very impressive for my first foray into motorsports photography, as they were captured with very limited access to the race track – mostly behind a fence. But the weekend was significant in that I learned that I had to master my skills in photography and learn how to work at capturing images at a race track. In the coming years I would improve, both in front and behind the fence, at race tracks like Phoenix, Riverside (before it closed), Fontana and what I consider my home track, Laguna Seca.
I must admit that I have envied media photographers and the access they have to prime vantage points and locations on the track. They have access to the drivers, teams and the race cars that make a huge difference when trying to capture the type and quality of images that you see on the cover and pages of car and racing magazines.
Now getting credentialed is not easy and there’s a reason for that. Credentials are for working media professionals covering a race event for newspapers, motorsports publications, national and local TV news stations and media and internet sites that regularly cover motorsports. And it makes it even more difficult if you try covering any of the top-level motorsports events like F1, IndyCar, NASCAR, etc. They usually turn down a freelance journalist or photographer unless their request is accompanied by a letter from an editor from said media outlet. And even then, you might get turned down!
So, how does one apply for credentials when you don’t represent one of these media outlets? I’m sure there are several ways of trying to secure credentials. Some might work, but more than likely, you will be politely turned down.
Craig Bennett’s 1974 Shadow DN4 Can-Am. HMSA Sommet des Legendes 2013 (Taken at 1/500 sec.@ f/8.0 – ISO 200) © 2013 Victor Varela
The cockpit of Martin Fogel’s 1969 McLaren M10A. Legends of Motorsports Laguna Seca 2013 (Taken at 1/100 sec.@ f/11.0 – ISO 100) © 2013 Victor Varela
Peter Giddings in his 1953 Maserati 250F, as he races towards turn 5. HMSA Sommet des Legendes 2013 (Taken at 1/200 sec.@ f/9.0 – ISO 100) © 2013 Victor Varela
Steve Park exiting turn 6 in his 1962 Cobra. HMSA Spring Club Races 2013 (Taken at 1/50 sec.@ f/18.0 – ISO 100) © 2013 Victor Varela
Nuvolari’s Golden Turtle badge decorates the cockpit of the 1935 Scuderia Ferrari – Alfa Romeo Tipo C 8C-35. HMSA Spring Club Races 2013 (Taken at 1/50 sec.@ f/8.0 – 200 ISO) © 2013 Victor Varela
Edie Arrowsmith as he enters turn 10 in his 1965 McLaren M1A. Legends of Motorsports Laguna Seca 2013 (Taken at 1/125 sec.@ f/11.0 – ISO 200) © 2013 Victor Varela
Robert Ryan’s 1968 McLaren M6B. 2013 Coronado Speed Festival (Taken at 1/500 sec.@ f/5.0 – 100 ISO) © 2013 Victor Varela
1962 Lotus Type 22 in its classic yellow over British Racing Green. HMSA Spring Club Races 2013 (Taken at 1/125 sec.@ f/11.0 – ISO 200) © 2013 Victor Varela
Vic has described our f8 Motorpsorts Photography Workshops program. Llew Kinst, Jeffrey Dahl and myself bring three divergent views to the art of shooting race cars, their drivers, and the circus surrounding an event. Every f8 participant is exposed to ‘hands on’ instruction on technique combined with classroom time on how the three of us approach a shoot. f8 participant’s also have access to the f8 Workshop website loaded with the insights of working professional motorsports photographers.
This year f8 includes workshops during the HMSA Laguna Seca March 22-23, The Mitty at Road Atlanta April 25-27 and a New Masters Class during the Classic 24 at Daytona, Daytona International Raceway, November 12-16. This Masters class will include hours of shooting after the sun sets and before it rises.
Much as the experience Vic describes I can promise every f8 participant an ‘inside the fence’ workshop loaded with fun and excitement.
I have read that some sponsoring organizations require photographers, who apply for media credentials to motorsports events, to agree not to sell their photos commercially on the Internet or otherwise? If this is correct, what is their rationale?
Louis.
I have covered most of the major and many of the less major sanctioning bodies/organizations in the US. Not once have I been restricted as to the end use of my images. The Reno Air races do require photographers to submit images they may use for their program, advertising and other uses if the photographer expects to return the following year.
Any photographers have other experiences?
With the advent of digital photography I have found that everyone and their country cousin at motorsports events has some type of camera and in many cases these photos are being offered to print and digital magazines for free or next to free. How has this situation impacted the professional photographer trying to make a living covering motorsports?
It has been the same sense time immortal. Always someone looking for a way inside the fence and hoping their images might be the key to unlock the gate. With digital cameras it’s easy or at least easier then in years past to get a ‘passible’ image. Many digital sites will publish an image to produce results in search engines. sportscardigest.com and a few like them demand a high level from their photographers both in seeing and producing an image. F8 Is in the business of showing photographers how to improve their images to a level where they can be considered for publication. What that means to you and I is that we need to keep evolving our ‘eye’ to keep ahead of the howling pack of blood thirsty photographers who want to replace us.
Victor, as someone who has (quite literally) dabbled in motorsport photography for over 40 years, I find that your images are really creative and well thought out. I especially like the use of color saturation and contrast. Your compositions are unconventional and capture the “decisive moment” that sets a photograph apart from a snap-shot.
Can you share which cameras and lenses you are using?
Hi David,
I appreciate the kind words you have for my images. It’s rewarding to know that my images convey that creative and unconventional quality – something that I usually visualize before I even put my eye next to the viewfinder. My love and passion for race cars and racing in general is a big part of how I “see” the image.
I currently have 3 DSLR bodies I use: 2 Canon 40Ds and 1 Canon 5DMkII. Lenses: Canon L 70-200mm f2.8, Canon L 24-105mm f4.0, Tamron 17-50mm f2.8
Wishlist: Canon L 400mm f2.8
Thanks again, David.
Vic
As a fellow photographer (www.macfly.com) and car enthusiast (ww.bmwz8.us) I am constantly thrilled and inspired by the images here, they show a passion and caring that I really appreciate. There is no question that for me the photography is what makes this site, so bravo, and keep up the great work!
I agree, Andrew. SCD has some exceptional motorsports images by highly talented photographers on their site. This makes it all the more reason for me to feel privileged as photographer, to have my images showcased here.
It is my impression that professional photographers have a much shorter deadline these days to write, edit and transmit their story and photos to their editors. As a result I see them in the media trailer until late trying to sort and edit the hundreds of photos they took during the race. Have the requirements to be the first online to publish a story and photos made life a little more difficult compared to twenty or thirty years ago?
Digital has certainly changed the game. Passing along “advice” from leading experts who presented at an incredible conference on the digital economy, we are on the cusp of automation that cannot be stopped. Advice was adapt or get “disrupted”. Easier said than done. BTW “Edie Arrowsmith” driving the # 26 ex Ralph Salyer McLaren Mk1 is a woman, not a man; and quite a good driver. Owns a shop in Scottsdale. Chris Hines oversees the work. Also fast the last time I saw him behind the wheel.