Accidents Happen: A Crash Course in Racing Photography

An article I wrote several years ago for "Crash and Burn" Magazine:

Racing is a sport just begging to be photographed! It's filled with color, beauty, excitement, action, and emotion. The racing photographer has his hands full just trying to record all the routine things that happen at the racetrack. But what about when things go wrong? Photographs of racing crashes make some of the most spectacular pictures in all of sports photography.
So, how does the photographer improve his chances of getting great crash photos at the track?
Following are ten tricks I've picked up in nearly thirty years of racing photography.

While it's true that a crash can happen at any time or place on a race track, all tracks have their potential trouble spots. On Daytona's 2.5 mile tri-oval it could be coming off of turns 2 or 4. Motorcycles tend to have trouble in Daytona's chicane.
If you're not familiar with a track, check out a course layout map. A tight turn after a long, fast straightaway is a possible trouble-maker, for instance. Also, you could just ask someone who is familiar with the track to point out areas that have the potential for some action.

Once you've picked out that potential trouble spot, pre-focus on a place on the track where you feel the action might occur. Concentrate mainly on that spot, but if trouble happens anywhere nearby, it will be relatively easy to adjust your focus to the offending area.
Also, if you focus temporarily on something close-up, say a bikini-clad race fan, don't forget to reset your focus to your selected area when you're finished shooting that fan.

You should always try to keep your shutter speed up to at least 1/500th of a second, preferably 1/100th of a
second or even faster when possible. Of course, some of racing1s nicest pictures are blurry-background pan shots of speeding race cars, and to make these photos you1ll need to drop your shutter speed way down. That's OK, but don't keep it there too long, and always remember to reset it to 1/500th of a second or higher just as soon as you1re done with the pan shots!
Also, if things get really dark in the late afternoon or under cloudy skies, you might consider going to a film rated at ISO 400, 1000, or even 1600, or pushing the film that1s in your camera so that you don1t have to drop your shutter speed too low. If you're shooting digital media, just crank your ISO up as high as you need to.It's better to have a slightly noisy or grainy properly exposed photo than a badly under-exposed image that cannot be salvaged. Keep in mind that shooting a crash picture at too low a shutter speed is about the same as not shooting it at all!

Always be aware of how many frames you have remaining on you digital media and try to have at least 30 available or, if you're shooting film, try to use 36 exposure rolls of film whenever possible. This simply gives you more frames to work with. Keep an eye on the frame counter, though, and think about changing digital storage cards or loading a fresh roll when you fewer than 20 frames remaining. Otherwise you could easily end up with no pictures left in your camera when the big crash happens right in front of you.
I know one photographer who had a bird1s eye view of Darrell Waltrip's unbelievable barrel roll down Daytona's backstretch a few years ago. Only problem was, when he pressed down his shutter button his camera fired one shot, then ran out of film! Oh well, at least he had a good view of it.

Many cameras have built-in motor- drives these days, and I think that is a great idea. Without a drive you have to move the camera away from
your eye and advance the film manually between pictures and you end up missing too much.
A drive which advances your film
at at least 3 frames per second is a tremendous help in photographing racing crashes. In fact, twice since 1984 I1ve shot an entire 36 exposure roll of film on a single crash with the help of a motordrive.

Don't have a pass to get up by the track where all the pros are shooting? Don't despair. Everyone's got to start somewhere, and sometimes the pictures taken from the grandstands can be better than the ones shot by the pros.
Also, a really nice picture made from the spectator area can open doors for you at the local newspaper or even with a national wire service or
magazine, which could eventually lead to press passes.
My very own first crash picture was shot through a fence at Daytona Speedway and got me on the front page of papers throughout the country when the Associated Press picked up the photo!

Sometimes you might be positioned in a spot where you can1t actually see the cars coming to you. So how can you tell when trouble starts? Listen for it!
The loud BOOM! of a blown tire, or popping of an engine coming undone can mean a crash is coming your way! So can an over-revving engine that results from tires losing traction on the racing surface.
Wear a radio headset or a scanner, as they1ll definitely let you know when there1s trouble on the track and exactly where it is.
Often even a sudden roar or gasp from the crowd will alert you to something going awry on the racetrack.
This was the case during the 1984 Pole Clash at Daytona. I was covering pit road, but didn1t have a radio with me that day. On one lap, as the leaders were exiting turn four and still out of my view, I heard a huge collective gasp go up from the grandstands as the crowd jumped to its feet. The leaders came into view, but one car was missing from the pack. While I was trying to figure out who was no longer in the lead group of cars, Ricky Rudd1s Thunderbird exploded into view, flipping violently end over end and side over side in the grass about 100 feet in front of me. I managed to get my camera up and get a few shots. If not for that strange noise from the crowd, I probably
wouldn1t have known anything was amiss and I1d probably been totally unprepared for the big crash coming my way. I would most likely have missed the whole thing!

Remember, when one car spins, many others often follow suit. Try to shoot a few frames of a spinning car, then take a quick glance up the track to see if any cars following the instigator are also experiencing trouble in his wake (or his spilled oil!) Keep in mind that accidents are more likely to happen when the cars are bunched up right after the start of a race or after a restart following a caution flag, so this is the time to keep your shutter speed high an dyour camera at your eye!

Watch the racers carefully as they pass you lap after lap. A wisp of smoke might be a sign that an engine is about to let go. A wiggling rear end could tell you that a driver is having handling problems or that a tire is going down on his car. A frustrated faster car having problems getting around a slower competitor might lead to his taking a risk he might not otherwise take.
A fast pack of cars running up on a slow pack might mean trouble.
Observing any little detail of the race could help you to anticipate an accident about to happen on the track.

Always try to save a frame or two for after the smoke has cleared, as often great pictures can be made of a driver exiting his crashed race car at the end of the wreck.
While these tips might help you to get good crash and burn photos, there is one other thing to keep in mind. The race track is a dangerous place
where almost anything can happen when things go wrong, so while you1re out there looking for great photos remember to look out for yourself, too!
Keep something sturdy between you and the race cars so you won1t become part of the accident you1re trying to photograph!
Yes, racing is an incredibly fast sport and the keys to your success in getting good track action pictures are anticipation and the ability to keep up with the rapidly unfolding circumstances and react to them quickly. Earlier we compared racing photography to golf, bowling and other sports. I think this comparison can be carried even further. In most of these sports, the more you practice, the better you get. This holds true in motorsports photography as well. Practice is the only way to keep your eye sharp and your reflexes in tune. So pick up your cameras and get out there and practice, practice, practice!


About Privacy Policy is the online home for the photographic archive of Florida-based photographer Brian Cleary. At this portal not only can you search and browse an ever-growing collection of photography covering more than 30 years, but many of the images are available for online purchase as editorial images, commercial images and/or personal use prints.

The picture that launched a career (mine)

It was March 1981 and I was studying photography at Daytona Beach Community College in Daytona Beach, Florida. I had recently earned my BA degree in communications from Florida Atlantic University and, while I liked journalism and writing, I was pretty sure that it was not what I wanted to do for a living. Having discovered photography through a couple of classes I took when studying journalism, I decided to go after my photography degree in Daytona and ws hoping that this would be my career.

This is where I stood in my life in March of 1981, which also is that annual "Bike Week" in Daytona. One day at lunch I grabbed my old Canon AE-1 (which was actually my new Canon AE-1 at the time) with a DeJur 135mm lens and drove the mile or so from the college campus to Daytona International Speedway, where practice for the annual Supercros motorcycle race was going on. I've always enjoyed all forms of motor racing and I figured that this would be a good way to spend my lunch hour and maybe good a good photo or to for my photojournalism class.

I paid my $5 and walked into the main grandstand area. I stood by the fence and watched after the dirt bikes circulated around the bumpy track and was impressed as the racers flew high over the large main jump right in front of me.

As I watched , one of the bikers looked a little different as he sailed through the air. He semed to be leaning out a little further than most as he soared toward his landing and it soon became apparent that he was not quite going to clear the top on the landing hill. I raised my camera and focused on the rider as he descended. Sure enough, he landed short of his target, the rear suspension of his motorcycle compressed and then launced him over the handlebars. I snapped a single frame since I had no motordrive or power winder on the camera and then took a few more shots of the course marshalls helping the rider up. I shot for another half-hour or so and then returned to the college for my afternoon classes.

On returning to school I processed my Tri-X black and white film and was surprised at the picture that I had. I hurried to the darkroom and made an 8x10 print. As I stood in the hallway examining the print, my photojournalism instructor walked past and looked at the photo. The instructor, Pete Wright, also happened to be the local Associated Press stringer. Pete asked for a copy of the print, slapped a caption on it and transmitted it over the AP wire. The next day the photo appeared in newspapers across the country, and I was hooked. I always look back at tht day as the day when my photojournalism career started. It was 27 years ago and I've covered the Daytona Supercross nearly every year since then, but that photo still remains the best I've gotten at a motorcycle race.


About Privacy Policy is the online home for the photographic archive of Florida-based photographer Brian Cleary. At this portal not only can you search and browse an ever-growing collection of photography covering more than 30 years, but many of the images are available for online purchase as editorial images, commercial images and/or personal use prints.