Motorsport photography advice
Discussion
I'm heading up to the Britcar Championships on Sat at Donnington and I'm looking for some advice on how best to set my camera up for either motion or static car shots.
I'll be taking my Nikon D40x and I've bought a monopod and have a couple of decent lenses, so think I'm reasonably well set up.
Mostly I'm looking for advice on motion shots but any other advice would be greatly appreciated, thanks in advance
I'll be taking my Nikon D40x and I've bought a monopod and have a couple of decent lenses, so think I'm reasonably well set up.
Mostly I'm looking for advice on motion shots but any other advice would be greatly appreciated, thanks in advance
I have a manfrotto monopod, used once, lies in the cupboard now. It gets in the road and will restrict the flow whilst panning. Do your lenses have VR?
As for settings, if you want some good motion blur then start at around 1/125sec to get the hang of it, then work your way down.
Not been to Donnington before so can't comment on location.
Good luck!
As for settings, if you want some good motion blur then start at around 1/125sec to get the hang of it, then work your way down.
Not been to Donnington before so can't comment on location.
Good luck!
lupy said:
My monopod is a Giottos MML 3290B, what was restricting the panning flow on yours?
I have 55mm lens with no VR and a 55-200 lens which has VR, worth leaving on?
If your 55-200 has a mode to restrict to 1 axis then leave it on for panning - if it's just on/off I'd try without I have 55mm lens with no VR and a 55-200 lens which has VR, worth leaving on?
lupy said:
I also have a 150-500 lens, wasn't going to take it as I thought it wouldn't be much good for that kind of photography, what do you think?
Depends how far away from the track you're standing but I'd certainly take the long lens. 250mm isn't that long if you want full-frame shots of cars.Worth in mind that you don't always want slow shutter-speed shots - e.g. stopping the action as cars jump over chicanes looks great as well
flat-planedCrank said:
Depends how far away from the track you're standing
As you can probably tell I'm a complete beginner 
flat-planedCrank said:
Worth in mind that you don't always want slow shutter-speed shots - e.g. stopping the action as cars jump over chicanes looks great as well
Thanks - I'll remember that one. I had a look at your site, superb shots! I took a few shots at Donington last week and might even be there on Saturday. I used a 100-300 lens and felt at some points I could do with a little more so your 150-500 would be ideal. The best spot for panning I found was on the inside of craner curves as there's no fencing in the way. Anything from 1/125 down gives good motion blur. Obviously the slower you go the more difficult it is to keep the car in focus. This is what I'm still trying to improve.
lupy said:
flat-planedCrank said:
Depends how far away from the track you're standing
As you can probably tell I'm a complete beginner flat-planedCrank said:
Worth in mind that you don't always want slow shutter-speed shots - e.g. stopping the action as cars jump over chicanes looks great as well
Thanks - I'll remember that one. I had a look at your site, superb shots! I'd start at quite a high shutter speed - say 1/500th - and find a spot on the track where the cars aren't moving very quickly and get some sharp 'stop the movement' shots done. Nothin worse that going home to find that none of your shots are sharp
Something like this is pretty high shutter speed:
After that i'd try something more difficult - lowering the shutter speed as McMacro suggested to about 1/125th and try panning with the movement of the cars. This'll be more difficult, and the smoothness and technique of your panning will determine how the shots turn out.
Longer shutter, car moving quite quickly:
After that you can try some crazy-long shutter speed like 1/50th - but the chances of getting a rubbish, blurry picture increases and your panning skills are tested even more.
Long shutter, fast moving car:
Hope this helps
P.S. Your 997 GT3 RS looks awesome
Donington is a nightmare so certainly take the 500mm as it will give you that bit of extra reach which can be invaluble and also take the monopod as while it might hinder your panning it'll be a godsend for anything where you want to keep the camera still and level. This especially so if you are using the 500mm.
There are lots of fences at Donington however some shots are still possible.
This was through the fence at Redgate however that area has been mucked around with and I don't think you can get as close to the fence as you once could.
This is on the outside of Craner Curves, again there is a fence here and although this was shot trackside I have seen some good stuff shot through the fence.
Through the fence at the Old Hairpin plus you can also get some pans as they approach the corner.
There is also a raised area at the old hairpin which will get you above the fence. Your 500 and monopod will come into their own here however the above was shot with a 300mm.
Your 500mm will also allow you a slightly different shot if you stand on Starkeys Bridge.
I wouldn't bother going any further then Starkeys on the outside of the circuit. On the infield there is no fencing on the inside of Redgate which is good for a few pans.
If the Melbourne Loop is being used then there are all sorts of shots with very little fencing to get in the way and is probably the best place to shoot from.
Both of these are at the Forgarty Esses.
There are some nice shots possible at the bottom of the look as the cars crest the rise, brake for the hairpin and then around the hairpin.
There are lots of fences at Donington however some shots are still possible.
This was through the fence at Redgate however that area has been mucked around with and I don't think you can get as close to the fence as you once could.
This is on the outside of Craner Curves, again there is a fence here and although this was shot trackside I have seen some good stuff shot through the fence.
Through the fence at the Old Hairpin plus you can also get some pans as they approach the corner.
There is also a raised area at the old hairpin which will get you above the fence. Your 500 and monopod will come into their own here however the above was shot with a 300mm.
Your 500mm will also allow you a slightly different shot if you stand on Starkeys Bridge.
I wouldn't bother going any further then Starkeys on the outside of the circuit. On the infield there is no fencing on the inside of Redgate which is good for a few pans.
If the Melbourne Loop is being used then there are all sorts of shots with very little fencing to get in the way and is probably the best place to shoot from.
Both of these are at the Forgarty Esses.
There are some nice shots possible at the bottom of the look as the cars crest the rise, brake for the hairpin and then around the hairpin.
55-200 for paddock and pits. This should also work (with panning opportunities) if you get into the Grandstand that overlooks the pit entrance lane. Access from the end of the Paddock.
The 55-200 should also good for pan shots from the INSIDE at Redgate. Maybe also the inside at Craner Curves (as already mentioned) but the larger lens could be good there too, though more challenging to use.
Inside at Redgate is useful for first timer panning since the camera to car distance is quite consistent and the car speeds through the corner are likewise quite consistent for much of the bend - a good place to get into the swing of things. I'd take a few at high shutter speed to give you some guaranteed sharp ones (say 1/500th) then work down to 1/320th, 1/250th, 1/125th and, say 1/60th. Later you can compare what happens at the different speeds as part of the learning curve. Use a fairly wide aperture to help blur the background. I doubt the tyre walls will be 'dressed' for the occasion and an undressed tyre wall is not especially attractive (or so I find, ymmv).
I assume the 150-500 is the lens that needs a support of some sort. What sort of head does the monopod have? Personally I prefer a full tripod if the lens is not really usable handheld - and rarely pan shots - very tricky to make them work well with a very long lens unless you are really set up for it with everything working in your favour. Great results though if done well.
From what I can tell the circuit being used is the National circuit (although the diagram on the Britcar web site shows the full International circuit). On that basis my recommendations, in addition to the above, would be;
Inside on the infield ... the above plus the Esses where you can get an unrestricted view albeit not the best angles. However it's not bad and again allows more panning opportunities at resonably consistent distances and 'sensible' car speeds. With your long lens fitted you can probably get close enough to get a few head on kerb hopping (for the very brave drivers) through the esses by shooting through the safety fence near the Esses but on the pits side. Where the media lads are standing should give you a clue for best location (but obviously the other side of the fence unless you have accreditation). The 55-200 may not 'long' enough (in all senses) to get close to and shoot through the fencing but the larger lens should be fine if carefully positioned aligned with a hole!
Around the outside of the circuit after leaving the Paddock area it is now quite difficult to get close enough to the fencing to 'shoot through' until you get to Holly Wood but at that point you are a bit limited for getting anything decent. With the long lens you could head up the bank and shoot over the fence at a few places but the is always the risk of getting the top of the fence or a PA speaker in the middle of the frame. If you feel like signing up for DPRAC membership (Not extortionate) you could make use of their enclosure and seating which just about allows you to shoot over the fence whilst providing a great view of much of the circuit. More than that it offers sensibly priced drinks and snacks, a private loo, somewhere to leave stuff for the day (until about an hour before the end of the day usually) and good shelter in case of inclement weather. For other benefits see their web site.
Down the hill towards the Old Hairpin there are a couple of gaps in the fences for recovery vehicle access. They may offer some rear shots of cars taking the apex, especially if not in use on the day. Longish lens best, maybe worth a few minutes shooting time.
At the Old Hairpin there is an extensive area of banking that allows you to shoot over the fencing at different angles for ghead on and panning shots. Shutter speed can be quite high for the pan shots here - the cars are usually passing quite so easy to get blurred background and wheels. Head on shots for the Old Hairpin apex and outside run-off areas are possible if you shoot from the area of the old bridge. 500mm good for that, anything else, less so.
After that my personal opinion is that there is not much of great interest unless you go all the way around to Coppice. It's a bit of a trek AND very likely that your only way back will be to retrace your steps. You can't get all the way around the outside of the circuit these days and the infield is mostly closed for reasons that will be obvious. (The infield sections previously mentioned are the exceptions.)
If you do get to Coppice go all the way around to the gate past the 'facilities block'. Use the 500, get as close to the fence as possible lining the lens up with a 'hole' in the chickenwire and focus on the apex kerbing. The more experienced drivers will magically appear in your viewfinder probably waving a few wheels in the air. Others may never appear at all as they take different lines .....
There may also be some 'gravel action'.
Forget panning - the fence will be in the way. Go for a high shutter speed - 1/1000th or more if the light allows - wide aperture and freeze the action with a nicely out of focus backdrop. Pick the right place and you can get parts of Derbyshire as the backdrop rather than the boundary wall .... Either will be better than tyre walls.
It is a bit of a trek and it's gravel and likely a little muddy all the way given recent and forecast weather. Wear walking boots. Be aware that there is probably no shelter available other than the various 'facility' buildings around the circuit.
HTH.
The 55-200 should also good for pan shots from the INSIDE at Redgate. Maybe also the inside at Craner Curves (as already mentioned) but the larger lens could be good there too, though more challenging to use.
Inside at Redgate is useful for first timer panning since the camera to car distance is quite consistent and the car speeds through the corner are likewise quite consistent for much of the bend - a good place to get into the swing of things. I'd take a few at high shutter speed to give you some guaranteed sharp ones (say 1/500th) then work down to 1/320th, 1/250th, 1/125th and, say 1/60th. Later you can compare what happens at the different speeds as part of the learning curve. Use a fairly wide aperture to help blur the background. I doubt the tyre walls will be 'dressed' for the occasion and an undressed tyre wall is not especially attractive (or so I find, ymmv).
I assume the 150-500 is the lens that needs a support of some sort. What sort of head does the monopod have? Personally I prefer a full tripod if the lens is not really usable handheld - and rarely pan shots - very tricky to make them work well with a very long lens unless you are really set up for it with everything working in your favour. Great results though if done well.
From what I can tell the circuit being used is the National circuit (although the diagram on the Britcar web site shows the full International circuit). On that basis my recommendations, in addition to the above, would be;
Inside on the infield ... the above plus the Esses where you can get an unrestricted view albeit not the best angles. However it's not bad and again allows more panning opportunities at resonably consistent distances and 'sensible' car speeds. With your long lens fitted you can probably get close enough to get a few head on kerb hopping (for the very brave drivers) through the esses by shooting through the safety fence near the Esses but on the pits side. Where the media lads are standing should give you a clue for best location (but obviously the other side of the fence unless you have accreditation). The 55-200 may not 'long' enough (in all senses) to get close to and shoot through the fencing but the larger lens should be fine if carefully positioned aligned with a hole!
Around the outside of the circuit after leaving the Paddock area it is now quite difficult to get close enough to the fencing to 'shoot through' until you get to Holly Wood but at that point you are a bit limited for getting anything decent. With the long lens you could head up the bank and shoot over the fence at a few places but the is always the risk of getting the top of the fence or a PA speaker in the middle of the frame. If you feel like signing up for DPRAC membership (Not extortionate) you could make use of their enclosure and seating which just about allows you to shoot over the fence whilst providing a great view of much of the circuit. More than that it offers sensibly priced drinks and snacks, a private loo, somewhere to leave stuff for the day (until about an hour before the end of the day usually) and good shelter in case of inclement weather. For other benefits see their web site.
Down the hill towards the Old Hairpin there are a couple of gaps in the fences for recovery vehicle access. They may offer some rear shots of cars taking the apex, especially if not in use on the day. Longish lens best, maybe worth a few minutes shooting time.
At the Old Hairpin there is an extensive area of banking that allows you to shoot over the fencing at different angles for ghead on and panning shots. Shutter speed can be quite high for the pan shots here - the cars are usually passing quite so easy to get blurred background and wheels. Head on shots for the Old Hairpin apex and outside run-off areas are possible if you shoot from the area of the old bridge. 500mm good for that, anything else, less so.
After that my personal opinion is that there is not much of great interest unless you go all the way around to Coppice. It's a bit of a trek AND very likely that your only way back will be to retrace your steps. You can't get all the way around the outside of the circuit these days and the infield is mostly closed for reasons that will be obvious. (The infield sections previously mentioned are the exceptions.)
If you do get to Coppice go all the way around to the gate past the 'facilities block'. Use the 500, get as close to the fence as possible lining the lens up with a 'hole' in the chickenwire and focus on the apex kerbing. The more experienced drivers will magically appear in your viewfinder probably waving a few wheels in the air. Others may never appear at all as they take different lines .....
There may also be some 'gravel action'.
Forget panning - the fence will be in the way. Go for a high shutter speed - 1/1000th or more if the light allows - wide aperture and freeze the action with a nicely out of focus backdrop. Pick the right place and you can get parts of Derbyshire as the backdrop rather than the boundary wall ....
Either will be better than tyre walls.It is a bit of a trek and it's gravel and likely a little muddy all the way given recent and forecast weather. Wear walking boots. Be aware that there is probably no shelter available other than the various 'facility' buildings around the circuit.
HTH.
LongQ said:
I assume the 150-500 is the lens that needs a support of some sort. What sort of head does the monopod have?
Here's a pic of the monopod head and lens so it can just plug straight in, save my arm from dropping off before the end of the day!
flat-planedCrank said:
P.S. Your 997 GT3 RS looks awesome
Thanks for taking the time to talk me through everything, this is all really useful. I just hope the rain holds out a bit tomorrow, although it could give quite a dramatic effect!
I'll post some pics up here after. Thanks again.
lupy said:
Thanks for taking the time to talk me through everything, this is all really useful. I just hope the rain holds out a bit tomorrow, although it could give quite a dramatic effect!
I'll post some pics up here after. Thanks again.
No problem I'll post some pics up here after. Thanks again.
Forgot to mention - you'll need to set your AF to (if I remember Nikon right) 'continuous' mode to that it'll track the moving car. I'd also probably use the center AF point only, they tend to be the best at tracking subjects.
(that or, as mentioned above, pre-focus and take a shot when the car passes through that point - obviously doesn't work in all cases
)Had a really great day, actually it was just afternoon by the time I got there but only missed qualifying. Weather was better than expected with just the odd shower, nothing too heavy either.
Loads of metal fencing
but I ended up on the inside of the track mostly at Redgate and up on the hill overlooking Hollywood and Craner Curves. Also stood on the outside at Redgate.
These are exactly as they've come off the memory card, no playing with Photoshop. First couple are a bit dark as there was a mix of cloud and sun I played around with the white balance and it didn't quite work as planned and there are some faint spots on some, damn rain. You might notice I particularly like the 996 and Mosler
I'm very interested to hear any comments
Loads of metal fencing
but I ended up on the inside of the track mostly at Redgate and up on the hill overlooking Hollywood and Craner Curves. Also stood on the outside at Redgate.These are exactly as they've come off the memory card, no playing with Photoshop. First couple are a bit dark as there was a mix of cloud and sun I played around with the white balance and it didn't quite work as planned and there are some faint spots on some, damn rain. You might notice I particularly like the 996 and Mosler
I'm very interested to hear any comments
Edited by lupy on Sunday 22 April 21:28
Some nice panning shots for your first try, nice spread of shots also! Gassing Station | Photography & Video | Top of Page | What's New | My Stuff