| You've leafed through hundreds of racing magazines | | | | to get caught off guard by just how huge a track can |
| and seen countless race photos of the some of the | | | | be. In some cases getting from one end of the track |
| fastest machines on the planet fighting for that last | | | | to the other can easily be a 20 minute walk or more. |
| inch of the track. You tell yourself next time you go to | | | | When it's time to shoot the race, you want to know |
| a race, you'll bring a camera and come back home | | | | exactly where you can go after you've finished |
| with pictures just like those. But how? | | | | grabbing all the shots you want at a particular spot. If |
| 1) Get a DSLR | | | | you're unprepared, you'll either get stuck in the same |
| While it's true that equipment can wind up playing a | | | | place the entire time or miss numerous laps (or |
| relatively minor role for many types of photography | | | | possibly even the rest of the race) from walking |
| out there, motorsports is one of the few glaring | | | | around trying to find another suitable spot to shoot |
| exceptions. For example, a small point and shoot | | | | from. A race weekend will usually include practice |
| pocket camera when in the right hands can potentially | | | | sessions for the racers. You can use them as your |
| capture a more stunning landscape shot than a | | | | practice sessions too. |
| beginner can with a cutting edge DSLR (Digital Single | | | | 3) Know the Sport |
| Lens Reflex), but all these rules go out the window | | | | While it's not necessarily imperative to have deep |
| when that motorcycle roars by at close to 200mph: | | | | knowledge of the sport to get great shots, it can |
| You need a DSLR. Or more specifically, the speed | | | | probably help make a difference or at least shorten |
| and responsiveness of a DSLR. The key features that | | | | the learning curve a bit. Back to the example of |
| come into play is a high frames per second shooting | | | | motorcycle races. Looking to get a picture of racers |
| mode, high-speed auto focus, and near-absence of | | | | dragging their knees? A relatively tight, high speed |
| shutter lag. The faster the above the better although | | | | corner is your best bet. How about a rider tucked in |
| even an entry-level DSLR these days will do the job. | | | | low under the windscreen? Stay away from braking |
| A higher end, faster DSLR will just make your job | | | | zones where they need to sit up to prepare for corner |
| easier. As for lenses, obviously the longer zoom range | | | | entry. Want to grab a stand-up wheelie shot? No one |
| you have the more options are available to you but | | | | will be performing any celebratory antics in the middle |
| that doesn't mean having a short lens will mean it's | | | | of a race, so wait until the end. |
| hopeless. Work with what you have, and don't spend | | | | Although the above three tips may give you a head |
| time thinking about what you don't have. | | | | start of sorts, what they can't replace is practice and |
| 2) Know the Track | | | | an inevitable amount of trial and error. The first time |
| Unless you've been to the track numerous times, it's | | | | out may prove to be a rude awakening, but once you |
| important to explore the track as best as you can to | | | | get more acquainted with the speed of your subjects |
| scope out good potential spots to shoot from. If you | | | | and the capabilities of your equipment, it will come |
| have never been to a racetrack before at all, it's easy | | | | together soon enough. Most importantly, have fun! |