racing

All posts tagged racing

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Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

When I started my career as a photographer it was at the Indianapolis 500. I was a teenager. I knew nothing about nothing. But I knew what I loved. I loved cars – fast cars – race cars. And I loved racing. From the time I was old enough to ride a bike I dreamed of racing a car at Indianapolis. Unfortunately, God saw fit to give me the body of a football player so I ran for the Arlington Golden Knights instead of Team Foyt or Andretti or Unser. But my inability to become a professional racing driver never once hindered my passion for racing or cars or anything connected thereto.

So instead of becoming a professional race car driver I became a professional motor sports photographer. The first six years of my photo career were spent photographing racing. Along the way I was lucky enough to get to know and even become friends with some of the biggest names in motor sports. Every once in a while they would take pity on me and let me get in some lap time and teach me the ropes.

Long story short: I’ve driven lots of race cars on lots of tracks – rarely competitively – just for fun. But in that process I have attended 14 racing schools and logged thousands of hours on various race courses. I’ve learned that photography and racing have more in common than you might think.

1. Both require intense focus (no pun intended.) At 200 mph you’re moving a football field per second. There’s no time to think about anything other than what you are doing RIGHT NOW. The next apex of the next turn is all that matters. Period. If you’re thinking about anything else you are either getting lapped or crashing and maybe heading to the mortuary.

Master photographers understand how to live in the moment. They understand how to be fully tuned in to what’s happening the instant they click the shutter. They are paying strict attention to the photograph, not thinking about when they will pick up their dry cleaning. Photographers and race car drivers have this in common above all. They must pay full attention to their surroundings and their task at hand. They notice every detail. They live every detail. Details matter.

2. Racing allows you to put your past behind you. In fact it compels you to. If you came into the last corner hot and lost time, you can’t waste time thinking about that. At speed, you have no time to waste because the NEXT corner, the NEXT challenge is right in front of you – RIGHT NOW. You have to react with lightening-fast reflexes so your focus is fully forward. You can’t do that if you’re worried about the past.

Photographers (especially new ones) have a tendency to be too hard on themselves. They lament that last missed shot to the point of missing the NEXT great opportunity. Both racing and photography are great for human morale in that they both allow us to concentrate exclusively on what’s next, not what’s behind us and any mistakes we may have made, photographically or otherwise. Master photographers learn this lesson and apply it.

3. Racing requires pounds of pure passion. It’s hard. It’s incredibly hard. It’s super incredibly hard. I know it LOOKS easy on TV, but believe me when I tell you it’s one of the hardest things I’ve ever done. It’s one of the hardest things any human being can do. It’s hard on your wallet. It’s hard on your body. It’s hard on your mind. It’s called a sport because it takes incredible endurance and concentration. It’s also very physical. You can easily pull two Gs in some turns. That means your body feels like it weighs twice what it does now. That’s a lot of pressure.

Now imagine that for a couple of hours straight with no bathroom breaks or snack breaks or rests other than coming into the pits for 10 seconds and you’ll start to get the idea. Now multiply that times many weeks a year. Got it?

Only VERY passionate people race, and they have to remain passionate about racing to stay in the game since the costs (on every level) are so extremely high. Each race requires the driver to put everything on the line, including their very lives.

Master photographers are also very, very passionate. It’s simply not an option to be anything BUT passionate if you want to succeed. It’s impossible to be a master photographer unless you love your craft and your subjects. Master photographers also have to invest in expensive gear and training. They spend years practicing their craft. They stand around for hours sometimes to make one or two exposures. They hike mountains or canoe down rapids to make a shot. This also takes endurance and concentration. Sometimes they also risk their very lives. If the photographer ends up short on passion, the shot will end up short of the mark.

Whether it’s motor sports or any other kind of human endeavor, look for ways that what we do as photographers parallel other disciplines. There’s something to be learned by such comparisons. You’ll know it when you see it.

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Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

This post should be read in context with the last post I did regarding getting ready for a big shoot.

No matter how long I spend making photographs, I am never quite fully prepared for how things work out. I have always have high hopes and it doesn’t hurt that I am too stupid to know I can fail, but in this case the weather helped and a little luck was also on hand.

First – there was the rain – or thankfully – the lack of it. The clouds made for a great day of shooting and we were lucky that they didn’t drop any water until after we left. Usually Las Vegas is cursed with bald blue skies about 10 months a year so clouds were a definite plus. Most of the shots I really like from this shoot couldn’t have happened without the clouds.

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

I only had one of the two assistants I planned on so I wasn’t able to do as much behind the scenes stuff, but I will have at least one more post next week from this shoot with more BTS.

As far as gear goes, I have to say the more I shoot with the Canon 1DX the more I fall in love with it. I may be re-thinking my gear decisions now that I know how great this camera is. (See my Canon 1DX review at Imaging-Resource.) The 1DX was the main camera for this shoot. I never used the EP-3 for anything other than video. I only ended up using one GoPro Hero 2 because we didn’t have enough help to run the time-lapse. Everything else was the 1DX. I used all three lenses I brought for it – i.e., the 40mm f/2.8 pancake lens (I love the close focusing distance of around 11 inches) and the reliable 24-70 f/2.8 and 70-200 f/2.8 MK II zooms. I didn’t need the extension tubes or the 1.4 TC.

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

We did make good use of a reflector kit, primarily for diffusion and as a scrim. Some of the shots were made in direct sunlight and would have been UGLY without the diffuser. All the tripods came in handy. And even though I planned as well as I could, my high-end stereo mic got put in the bag with the power on and the batteries were drained before we even got to the shoot so I didn’t get to use it because we couldn’t find 9v replacements. Yes – I just ordered a 12 pack from Amazon to make sure this doesn’t happen again.

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

One of the things that helped me get the shots I wanted was being VERY familiar with the track. The opening shot for this post is an image I’ve wanted to make for years. I see the sun rise there every time I’m out at the track but 99% of the time there are no clouds and the photo would be boring. This day we had clouds so I left 15 minutes early to get to the exact spot I’d scouted a dozen times and boom – I got the shot I wanted.

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

The same goes for most of these other shots. I knew the sun would be bright on the orange garages and I wanted to shoot the car against that background. I knew that turn four would be backlit and the strong leading lines that came from the fence helped make another shot I’d seen in my mind’s eye.

The tunnel shot was another of my favorites. I’ve driven through this tunnel 40 or more times and always wanted to make this picture. But in this case there was nobody else there so I finally got to make the shot.

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

None of this would have been possible without my assistant Tom Shue. Every professional photographer looks at their assistant differently. I look at my assistant like a golf pro looks at his/her caddy. The caddy is part of a team. The caddy suggests a club, knows the layout of the course, measures the yardage, memorizes the breaks on the green and gets a sizable amount of the pro’s winnings for all that help.

In this case, I relied on Tom’s keen eye to make sure I didn’t miss any details. He helped me refine a few shots because his fresh eyes combined with my experienced eyes made for better vision. I like an assistant who actually participates in the creative process. Tom offered the perfect balance of traditional “hand me the 40mm lens” type of help with the less traditional “did you see those trees in the background?” kind of stuff.

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

Of course Las Vegas Motor Speedway was awesome as well. If you come to Vegas spend 20 minutes and drive north on I-15 and visit the track. It’s got a great gift shop and you can take a tour of the big oval in a van.

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

Now me, I got to tour the big oval by myself – in my new 2012 Jaguar XKR at speed. THAT was probably the most fun part of the day and Tom did a great job making some behind the scenes shots of me driving.

Photo by Tom Shue

Very few people get the kind of access I had for this shoot. I had the whole facility to myself for two hours in perfect light. I’m very grateful for that and the opportunity to shoot my own car for a calendar that many others will enjoy.

Photo by Tom Shue

I’ll have at least one more post next week on some techniques we used during the shoot.

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Copyright Scott Bourne 2011 - All Rights Reserved - Using A Slow Shutter Speed & Panning Gets A Better Sense Of Motion In The Final Image

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NOTE: This piece was cross-posted at my car-related site CarLoves.com. It appeared there as a three-part diary but I’ve condensed it into one long post here.

 This post is dedicated to Dan Wheldon who lost his life during the Indycar race at Las Vegas

One of the reasons I moved to Las Vegas just more than a year ago was the access it affords to great race tracks. One of those tracks is the Las Vegas Motor Speedway. If you are a car person or are interested in racing, then this place is about as close to Disney Land as you’ll get without going to California or Florida. It’s one of the most fan-friendly, accessible, professionally run race tracks in the world. And I’m lucky enough to shoot there.

Recently, the LVMS was busy. The IZOD IndyCar Championship had it’s last race of the season and the season point winner was crowned. The Indy Lights teams also ran as did the folks who race trucks in NASCAR in the Smith’s 350.

Copyright Scott Bourne 2011 - All Rights Reserved - Danica Patrick prepares for her last IndyCar race. This image was made with a fisheye lens. An "over-the-wall" photo pass is required to make an image like this. Note some photographers in orange vests on the right side of the image standing behind the wall. I like the string of light stands in this image top right.

With all those races, the practice and qualifying that goes with, and the surrounding events including tech inspections, fan events, etc. there are tons of photo opportunities.

Lucky for me, I got to cover the races and had an all-access photo pass to help me accomplish that goal. Continue Reading

Photo courtesy Rhed Pixel

When you’re on a photo shoot and things are going bad; i.e., the camera isn’t working, your CF card won’t format, your flash trigger won’t talk to the flash, the model is late, the location is wrong, the client is hard to work with – stop – reset – start over – clear your mind.

People who race cars have a saying – “A racer will never let something that has already happened affect what is happening now.” In racing, you just don’t have time to worry about the fact that you missed the apex of that last turn or that you accelerated too soon coming out of the pits. In racing, you can only think about the stuff that’s happening now and into the next turn. Otherwise, you’re in real trouble.

I’ve applied this philosophy successfully to my photography for many years. When stuff goes wrong for me – and believe me – it does, then I simply reset. I shake it off. I stop thinking about it immediately and start thinking about what’s next. The longer you sit there and dwell on what isn’t working, the longer it will be before you get to a place where it IS working.

Photography (like racing) is mostly mental. I’ll close with a quote by the late, great race driver Ayrton Senna. “With your mind power, your determination, your instinct, and the experience as well, you can fly very high.”

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