No matter if it’s the top tier of the sport, MotoGP, or something a little more local, even the most experienced motorsport photographer will need to make slight adjustments in how they photograph to ensure that they capture the best possible photos of motorcycle racing.

So let’s have a look at how motorcycle racing is different from other forms of motorsport and how you need to adapt to capture amazing photos of the bikes on track each and every time.

The Rider

Unlike cars, where the driver is mostly (if not entirely) hidden away within the vehicle. With bike racing, the rider is very much visible and another dynamic element to include in your photos.

In order to maximise the performance of their bikes, riders move their body weight around, and that’s a major element you need to include in your photos to tell the complete story of motorcycle racing.

No matter if they a tucked in to achieve maximum speed down the straight, sitting up to maximise the bike braking performance or leaning to either side to be as fast as possible through the corners, how a rider is positioned on the bike contributes significantly to the story that the photo is telling. Even more so than any additional compositional techniques you might be using.

With this in mind, you need to keep a close eye on how a rider is positioned on their bike. If they are on a slow lap, not pushing nearly as hard as normal, it will be evident in your photos.

Also, look out for the rider’s head movement. Where a rider is looking will also help tell the story of the race, especially in photos of two or more bikes duking it out for position.

Lean Angle

While cars do slide around on the circuit, their pitch and yaw angles don’t typically change, at least dramatically enough to showcase in photos. Whereas in bike racing, the lean angle of the bike (and rider) can be an extremely useful tool in showcasing the speed of the bike.

Typically in motorsport photos, we want to try and hide the wheels when we are photographing high shutter speed photos because it makes it look like the car (or any other vehicle) is simply parked on the track. But in motorcycle racing, firstly, it’s very hard to hide the wheels due to the nature bikes anyway, but you can use the lean angle to help convey speed. A viewer of a photo subconsciously understands the bike needs to be going fast in order to defy gravity and not just simply fall over.

However, the lean angle also has some drawbacks. When capturing panning shots of motorbikes on track, you need to account for this extra movement, especially through corners. The vertical movement of the rider as they approach and exit a corner will affect the likelihood of getting a sharp panning photo.

When taking panning photos during motorcycle racing, look out for the section of the corner where they are holding the lean. Typically the apex of the corner is not only where they will have their knee (and/or elbow) closest to the ground, but they are also at their most stable through the lean. If you pay attention, you’ll be able to hear it in the rider’s throttle application when the lean is at its most stable, and so is the rider’s throttle use. As the rider starts to wind in more throttle, they’ll also start to straighten up the bike.

Once you get into a rhythm at a particular corner, it’ll become much easier to nail your panning photos. Look out for long constant radius corners to give yourself the best chance of getting a good panning photo with the rider’s knee (or elbow) down.

Get Lower

Sure, changing your shooting angle with cars will give you more dynamic photos, especially if you can get below the car for a cool perspective. But this becomes even more essential in motorcycle racing.

Motorbikes are much smaller subjects, to begin with. However, when we go back to my previous point about lean angles, through corners, when riders get their knee (or better yet, their elbow) down, they are also very, very low to the ground. So if you are taking all of your photos of bikes from above, the perspective will actually make the bikes and riders look even smaller.

Combine this with the fact that riders are typically looking through the corner on the low side of the bike; shooting from above also creates a disconnect with the rider looking away.

To balance this out and bring greater emphasis to not only the bike but also more connection with the rider for the viewer of the photo, you really need to get as low as possible. Shooting up from below the bike on the track where possible.

Obviously, this isn’t practical in all instances. But when it is, it’ll make a significant impact on the photos you capture during a motorcycle race.

Crashes Are Much More Dramatic

Like it or not, in motorsport photography, the crash photos are the ones that are going to get the most attention. This is even more the case in motorcycle racing, where crashes are even more dramatic.

Unlike car racing, where you (at least the majority of the time) only have one or two things to track in the case of a crash. In motorcycle racing, you’ll almost always have at least two, the bike and the rider.

Add in the fact that once a bike and rider dig into the grass or gravel trap, they will most like spin and roll, there is always a lot going on in a motorcycle racing crash to capture.

My best advice is to follow the bike when shooting a crash. In most instances, the rider will have an element of control once they are on the ground. But the bike is the most likely to bounce and flip and contribute to a more dramatic photo.

That said, don’t forget about the rider; they are a compelling part of the storytelling – especially the emotional response after a crash.

I would strongly recommend configuring the “Oh Shit” button on your camera if you can, as crashes in bikes are often extremely unpredictable.

Conclusion

No matter how seasoned of a motorsport photographer you might be, photographing bikes will add a unique and interesting challenge to your trackside experience. That said, motorcycle racing is also where you are most likely to capture some of your most dynamic and exciting motorsport photos.

Just give yourself a little bit of time to adjust to the nuances of photographing motorcycle racing and you’ll end up with some amazing shots to expand your portfolio.

With often only two cars (or bikes) on the drag strip at a time, races that last as little as three seconds and no corners. On paper, it might not sound like there are many opportunities to take creative photos. But the sheer explosive power of these vehicles makes for some of the most interesting and difficult motorsport photos you can capture.

Being trackside at a drag race is a visceral experience. Even if you’ve attended a number of other motorsport events in your life, nothing really prepares you for the sound and vibration you feel when the top-tier cars (and bikes) of drag racing launch themselves down the track.

So how do you photograph drag racing and get those amazing shots? Let’s go through everything you need to know.

Use A Slower Shutter Speed

You might think that given the highspeed nature of drag racing that you would also need to use a high shutter speed. But the thing is, when the cars (and bikes) are at maximum impact, launching off the line, they aren’t actually moving that fast. Yes, they build speed very rapidly, but the initial launch is where you will get your best shots.

So, if you use a high shutter speed, like 1/1000th or higher, you won’t actually capture the full impact of the launch. In particular, the full effect of the flames out of the exhaust or the wheel rotation.

I would suggest, initially, starting with a slower shutter speed, somewhere in the range of 1/160th to 1/250th, and treat it more like a panning shot to be able to comfortably be able to capture the action while still getting the power of the flames out of the exhaust. Then you can adjust slower or faster base on how you are feeling and the types of photos you want to create.

That said, you might want to have the Register/Recall Shooting Function button handy as well, just in case.

Use High-Speed Burst And Auto Focus Modes

With only a limited opportunity to get your shots, you are going to want to maximise each pass to ensure you get the best possible photo. So to give yourself the maximum chance, you will need to lean on your camera’s high-speed burst and servo-autofocus modes.

Unlike circuit racing, where with enough experience, you can start to predict when and where the action is going to play out, in drag racing, things happen very quickly in a short amount of space. And that inherently brings an element of unpredictability to the action.

For instance, in an effort to control the car, drag racers can be on and off the throttle in fractions of a second. That greatly impacts the effect of the flames out of the exhaust, if the car wheel stands (lifts the front wheels off the ground) and a number of other factors that you might want to include in your photos.

Shooting in high-speed burst mode (as quickly as your camera allows) will give you the best chance of capturing these nuances of drag racing. While AI-Servo will allow your camera to adjust as the car (or bike) gets closer to you, especially if you are shooting at night (which is common for drag racing) with a wide aperture.

Preempt The Action

Much like drivers (and riders) at the wheel of their drag cars (and bikes) have to preempt the lights, you need to preempt capturing the action.

Everything I’ve mentioned to this point has emphasised how fast things happen in drag racing, especially top fuel, so you need to keep in mind how your reaction time will affect the photos you are able to capture.

You may not realise this, but in drag racing, they don’t wait for the light to turn green before accelerating. In a sport that only lasts seconds, the human reaction time simply isn’t fast enough to be able to respond once the light has turned green, so they try to time the lights. To be fair, this probably happens in all forms of motorsport, but it’s in drag racing, where it will have the most impact on your photos.

What I do, is look over my camera at the tree (the series of lights used for the start of a drag race that kinda looks like a Christmas tree) and use the first yellow start light as my indicator to look down through the lens and start shooting. This all happens in fractions of a second, but it allows me to predict the start and capture the entire launch sequence.

Shoot The Burnout

Burnouts make for cool photos, generally, anyway. But in drag racing, they serve a very particular purpose. Laying down hot fresh rubber to aid in the launch on the official timed run.

Depending on the driver and the day, the burnout might turn out to be a more spectacular and more impactful photo than the actual race run. Especially given that in drag racing, they are pushing the engineering limits of the engine and the driveline so much so that they can and often do fail on the start line.

Photographing the burnout will give you a usable photo, especially in the lower classes of drag racing (Stock and Super).

Stand Further Away

Being close to drag cars, especially top fuelers, is something truly amazing to experience, as I emphasised in the introduction. However, different vantage points will offer you different photo options. And that’s a key component to capturing creative photos.

For safety reasons, where you can stand trackside is quite limited. And if you’ve seen a drag racing crash, you’ll understand why. But much like all other forms of motorsport, not every photo you capture needs to be taken from trackside.

Take advantage of the spectator areas, which are often elevated, to get a different perspective of the action. Maybe try some side-on panning shots or even stand behind the car (or bike) and the crew to get an even more interesting angle as it launches down the track.

Be Patient And Persistent

Unlike circuit racing, where you’ll get several attempts to get the shot in each race, with drag racing, you have one very short run to get the shot.

Factor in the speed and explosive nature of each launch; it can be really hard to get your timings right to get the shot you are hoping to achieve. So be patient with it; keep in mind that they will do a couple of runs each night, and keep trying to get the shot you are hoping for.

Take advantage of some of the other (often slower) classes to help you get your eye in to make sure that you can get the shot you really need when you need to get it.

Conclusion

Photographing drag racing presents an exciting challenge for any photographer. By understanding the sport, selecting optimal shooting locations, and mastering essential techniques like shutter speed, panning, and timing, you’ll be well-equipped to capture stunning images that convey the adrenaline-fueled excitement of this high-speed motorsport.

The number one skill that all motorsport photographers need to master is the art of slow shutter speed panning.

While we have a number of compositional techniques that we can use to convey speed and motion, nothing showcases the movement in a still motorsport photo better than motion blur in your images. And the only way to do that in camera is by panning.

Slow shutter speed panning adds a dynamic and artistic touch to your motorsport images that, when used well, not only emphasises the speed and drama of motorsport but can also bring a greater focus to the subject of your photo. Usually, a race car or bike travelling a speed.

By mastering the art of slow shutter speed panning, you can bring an enhanced sense of speed and movement to your motorsport photography.

What Is Panning?

Let’s start with the basics, which I also covered in this post. Panning is a technique used in photography where you, as a photographer, tracks a moving subject with your camera while capturing the image. The purpose of panning is to create a sense of motion and speed in the photograph with motion blur while keeping the subject sharp and in focus.

When panning, you need to follow the subject’s movement by moving your camera parallel to the subject’s direction. This technique allows the subject to remain sharp while the background and other elements in the scene blur due to the camera’s motion.

The blur will ultimately be dictated by the shutter speed; the slower the shutter speed, the more dramatic the blur and the more artistic the image.

Why Is Panning Important In Motorsport Photography?

Motorsport, by its very nature, is high-speed and action-packed, and that’s what makes it so interesting and entertaining to watch. However, bringing that energy to a still image is an extremely difficult task. That’s why, as motorsport photographers, we need to lean heavily on techniques like panning to bring that extra dynamic into our photographs.

The resulting images from panning convey speed by creating motion blur in the background while keeping the subject sharp, not only separating the race car (or bike) from the background but also emphasising the fast-paced action and making for a more exciting image.

Once you’ve mastered the basics of panning, you can then experiment with it to add an artistic element to motorsport photography. Drawing the viewer’s attention to a specific part of the photo, be that the driver’s (or rider’s) helmet and/or eyes or even a sponsor logo.

How To Pan In Motorsport Photography

Now that we’ve covered the basics of what panning is and why you need to use it in your motorsport photography. Let’s go through how you actually do it.

Settings

The first thing you need to do is use the right settings in your camera. Ultimately the number one thing you need to control is the shutter speed. To do that means that you are going to need to use your camera in either manual mode or shutter priority mode (signified by an S on the mode dial on Nikon and Sony cameras or Tv on Canon cameras).

Shutter priority mode is going to be much easier because the camera is going the rest of the work to balance the exposure. But if you are confident in adjusting your settings for a balanced exposure, manual mode is going to give you much more consistent results.

Pro Tip: All white and black cars can and do affect how your camera meters for exposure in automatic modes like shutter priority, which can lead to an over or underexposed background.

As for what shutter speed you should use, that really depends on a lot of factors. If you are still working on your panning technique, especially getting a smooth motion, then I would say that 1/200th is a safe place to start. Sure, you aren’t going to get a lot of motion blur, but the most important factor in a panning photo is getting the subject sharp.

Keep in mind that the slower the shutter speed, the more dramatic the motion blur you will create in your photos while panning. That said, it’s not the only factor. You also need to consider how fast or slow the race car (or bike) is going, as that will also affect the amount of motion blur.

Technique

Once you’ve got your settings dialled in, the next step is to work on your technique. We’ve already covered the basics of moving your camera in time with the race car (or bike) that you are trying to capture, but there are a few extra things you need to know to ensure the best possible panning photos.

The absolutely best way to capture panning photos is actually to move as little as possible. And that starts by making sure you have a solid, balanced footing.

How you hold your camera and how stable it is will also significantly impact how likely you are to nail your panning shots. You want to make sure to hold the camera (more so the lens) from underneath with your left hand to take the weight and give it a nice stable platform. At the same time, you will use your right hand and your face to not only control the camera but also stop it from moving around. You can add further stability by tucking your elbows into your body.

Once you’ve ensured your camera is stable as possible, the panning motion is actually all in your hips/waist. Again the smoothest panning motion comes when you move as little as possible, so once you’ve got your camera and the rest of your body stabilised, all you need to do is twist at your waist to match the subject’s movement.

This will require practice, coordination and experimentation to master. But once you’ve got it, your hit rate from your panning photos will significantly improve, and you can get more creative with slower shutter speeds.

Pro Tip: When I first considered pursuing motorsport photography, I spent an entire weekend at a local club race meeting in the spectator area just taking panning shots and working on improving my technique.

Review And Adjust

While you are getting comfortable panning, there is no shame in regularly reviewing your images to assess how you are going. Reviewing your photos on the back of the camera is a great way to see if your shots are close to sharp and the amount of motion blur you are getting, but you’ll only be able to properly analyse your photos once you get them onto your computer.

Once you get comfortable with your panning technique, you’ll actually be able to feel if you have a smooth movement and have a good idea of how likely your photos are to be sharp. But until you get to that point, it’s best to overshoot a little and review.

Other Tips

Another thing you can do to ensure the likelihood that you will get a sharp, usable photo while panning is to set up your camera to shoot in high-speed burst mode. The more frames you capture, the more likely you are to get a good crisp image.

The location of where you shoot your panning shots will also impact how likely you are to take a sharp photo, especially with side-on pans of cars (and bikes). A constant radius corner where the subject is neither moving closer nor further away from you will allow you the best opportunity to get the whole car (or bike) sharp. If the subject is moving closer to (and also away from) you are more likely only to get half (or less) of the car sharp.

What Shutter Speed Should You Pan With

When it comes to panning, there isn’t one shutter speed setting that is the perfect solution for all shots.

As I’ve already mentioned, there are a number of factors that come into getting a great panning photo. My best suggestion is that you try a variety of shutter speeds. Start with something comfortable like 1/200th or 1/160th to ensure you get a good sharp of your photo of your subject. Once you are happy, try slower shutter speeds. If it’s a heavily overcast day, there is no reason you can’t try shooting at 1/5th; I mean, it’s very unlikely that you will get the whole car (or bike) sharp, but you’ll get an interesting shot.

The ultimate rule when it comes to panning, the slower the shutter speed, the more dynamic the image. But at least some part of your target subject needs to be sharp for it to be a usable photo.

Creative Ways To Take Your Panning To The Next Level

Once you’ve mastered the basics of panning, it’s time to take your photography to the next level by using your newfound panning skills creatively.

Different Angles

Panning is a great way to showcase motion in photos, but once you’ve perfected getting a clean shot of a car (or bike) side-on, it’s time to experiment with different angles.

Instead of just capturing panning shots of cars going through corners. Why not try panning as cars enter and exit the corner? The angle will mean that only some of the car (or bike) will be sharp, but it will emphasise the car’s movement. You can also do the same with cars (or bikes) coming down the straight towards you. And there is no reason you can take panning shots of cars moving away from you as well.

Shoot Wide

When you are starting out in motorsport photography, it can be easy to think that you need to fill the frame with the car (or bike) that is the subject of your photo. However, you can bring greater attention to the speed and the subject of the photo by shooting a little wider and including more of the background (or foreground, which we’ll get to) in your photos.

Consider things like negative space and the rule of thirds when composing your shots to really enhance the photos. Shooting wider will also give your images more context.

Shoot Tight

Alternatively, shoot tighter. This is especially good when photographing open-wheel race cars and bikes where you hone in on the driver/rider—focusing on the helmet and eyes. Sure, you can do something similar with a static high shutter speed shot, but a panning shot will bring greater attention to the subject.

Consider Your Foreground

Sure, panning is a great way to blur the background but what about the foreground? Can you use foreground elements to enhance the perception of motion in your images?

Shooting through the crowd, trees, other objects, and even race (or bikes) heading in different directions will add extra interesting details to your photos that will further emphasise the speed of your subject.

Conclusion

Panning is a skill that requires practice and patience to master, but once you’ve got it, you’ll be well on your way to becoming a true motorsport photographer. But always remember to experiment with different subjects, shutter speeds, and locations to refine your technique. Over time, you’ll become more proficient at tracking the subject and achieving the desired results.

Remember, each motorsport event and subject may require slight adjustments in technique. It’s essential to adapt and learn from each experience to improve your panning skills. With consistent practice and dedication, you’ll be able to capture stunning motorsport images that showcase the speed and excitement of the sport.

Let’s take a look at what negative space is and how you can use it to convey motion in your photographs. Especially when used in combination with other techniques like The Rule Of Thirds or Dutch Tilt.

What Is Negative Space?

In motorsport photography, negative space refers to the empty or unoccupied areas within the frame of an image. It is the space surrounding the main subject or the area that doesn’t contain any significant elements. The area referred to as negative space is intentionally left empty or with as few distractions as possible to enhance the visual impact of the main subject of the image.

Negative space can be used creatively in motorsport photography to draw attention to the main subject as well as emphasise the speed and movement of the vehicles. By incorporating empty spaces around the subject, you can create a sense of isolation and highlight the dynamic action taking place on the track. It can also help to simplify the composition and remove distractions, allowing the viewer to focus more on the subject and the overall atmosphere of the scene.

Additionally, negative space can be utilised to provide a sense of scale and emphasise the atmosphere of the motorsport event. By including a significant amount of empty space, such as a wide expanse of track or sky, you can create a sense of vastness and showcase the magnitude of the race.

Overall, negative space in motorsport photography is a compositional technique that utilises empty areas within the frame to enhance the visual impact, emphasise the subject, and create a sense of balance and harmony in the image.

Why Is Negative Space Important In Motorsport Photography?

In motorsport, the on-track action can be chaotic and intense; by incorporating negative space in your photographs, you can isolate and highlight the main subject within the image. This use of negative space will add a sense of depth and contrast to an otherwise static image.

Negative space can also be used to convey speed and motion in your photos. When used in combination with a good slow shutter speed panning technique, the negative space around the car (or motorbike) you are capturing will enhance the perception of motion and speed.

Additionally, by leaving empty areas in the direction of the subject’s movement, you create a visual path that showcases the flow and direction of the vehicles. This technique immerses the viewer in the dynamic nature of motorsport.

How To Use Negative Space In Motorsport Photography

The most simple way to incorporate negative space into your motorsport photos is to intentionally leave empty areas around the main subject when composing your shot, ideally with as few distractions in the background as possible. But, to truly master the art form of negative space, you need to think about how the viewer will see the image.

One of the key things you need to be able to do in motorsport photography is to anticipate the movement of the vehicles and position yourself in a way that allows you to capture the subject within the frame while leaving empty space in the direction of their movement. This creates a sense of forward motion and speed, as if the car (or motorbike) is powering through the empty space.

When used in combination with other techniques like Leading Lines, The Rule Of Thirds or even Dutch Tilt, you draw attention to the subject of your photo while giving the overall image space to tell a much larger part of the story.

The main thing you want to remember when using negative space in your photos is that you need to eliminate any distractions that could draw attention away from your subject. Pay attention to the background and look for ways to minimise distractions and create clean, uncluttered negative space. This might involve adjusting your shooting angle, using a shallow depth of field or even a slow shutter speed pan to blur out any potential distractions.

You can also take advantage of atmospheric conditions, such as fog or dust, to introduce negative space that adds drama and depth to your images. These conditions can create a sense of mystery and motion, enhancing the overall impact of your motorsport photographs.

Remember, negative space should complement the subject and contribute to the overall composition and storytelling of your photograph.

Conclusion

Negative space is just one of many tools in a motorsport photographer’s toolkit to enhance the composition of their photos. And when used correctly, the technique will not only emphasise the subject of your photo but also help convey motion and speed. A dynamic that all motorsport photographers must master to bring movement to an otherwise still image.