For cars a 300mm f/2.8 would be great (especially paired with a 1.4xTC for a 420mm f/4) for most of the tracks that i shoot. Sometimes (depending on the corner/track) you'll need more length like a 500mm or 600mm (while i've never shot there, I believe Sebring is one of those tracks that you need longer glass at... but check with those who have shot there like Jim). I have rented the 400mm f/2.8 on occasion, and while it is an awesome piece of glass it is really not needed for sunny California motorsports. It's too heavy and, unless it rains like it did at the Champ Car event at Long Beach last year, you'll rarely ever need it at f/2.8.
I'm debating between getting a 500mm f/4 or a 300mm f/2.8 (to use with my 1.4xTC when needed)... I know that the 300mm f/2.8 allows for more versatility (basically becomes two lenses with the 1.4xTC). But, long glass will really open up the head-on shot opportunities at most tracks, allowing for a tight crop... but panning with a 300mm seems much easier than trying to swing something larger... eh, maybe someday i'll just get both and save myself the tough decisions!
I use my 1.4xTC quite often, but it does cut down on light (1 stop) and on some lenses (like the 100-400) shows a noticeable quality loss. You will also loose all AF on some lenses/cameras. The use of a TC should be a last resort when you want to get really tight on something or you're trying to shoot something really long. Renting a f/2.8 will allow for a 1.4x or 2x TC without losing AF on most bodies, but with a TC the AF performance will decrease. When shooting the D30 on a 400mm f/2.8 with a 1.4xTC (even at times without the 1.4xTC) the AF was poor and manual focus was required. If you think you need 400... rent the 400 rather than counting on the 300 with a 1.4xTC.
What about the 500mm or 600mm? Do you notice the lost stops compared to the 400mm f/2.8 when shooting most events?
What do people think about shooting the dusk/night hours at endurance events? I found when shooting at Laguna Seca last year that once the sun started to go down the long lens shots (even at f/2.8) really started to disappear and the wider angle panning shots (with fill flash) became all that really worked (granted I was shooting with the D30). http://photos.photosig.com/photos/37/05/1360537-424de79cd2f79120.jpg
(Canon EOS D30 70-200mm f/2.8L ISO100 1/2 sec f/4 with fill flash)
Do others notice this as well? The faster (f/2.8) long glass is great when the weather is bad and at dusk, but with the night finishes, 12hr events, or 24hr events do people find the light drops off too quickly to get many shots with the long glass at f/2.8? If the weather is good, so you don't need the f/2.8 during the day (example the 500mm f/4), do you find the faster lenses helpful at night?
Wow fill flash looks awosme. Im going to have to try that to. IF i were to use an Sb800 instead of a pop up flash i can use exposure comp to turn down the flash and maek it like a pop up flash
I would try to rent a 500 or 600 for Sebring. I used to use a 300 f/2.8 and I NEVER used it without at least the 1.4x attached to it. So now I use a 500 f/4 since its more in the focal length that I normally need.
If you can only rent one, I would try something longer than the 300.
I have just started on motor sport shots, however im not into full on photography with SLR.
So have purchased a new Canon Powershot Pro 1
Is it possible to achive similar quality pictures to what is posted here with this type of camera
Cheers in advance
Hi Pigginell.
I recently wrote an article on shooting motorsport with any old P&S camera. It's aimed at people who go to the track with not much of an idea and aims to give them a nice shot at the end of the day.
You can check it out here, although it may be a bit basic.
Chris Dodkin wrote:
Looking back over this thread, one thing that occurs to me is that we've focused (excuse the pun) primarily on isolating single cars/drivers in our photography examples.
As you move to selling your images, you'll find that certain publications, teams and drivers prefer to see images of their cars 'in action'.
They want to see themselves locked in combat with other cars, so you have to think about this before setting out to capture these specific images.
Chris.
Agreed, Chris - spot on!
Single car shots are great and very satisfying to get right, but for the most part, the "comics" usually want shots that tell part of the story of the race which invariably means at least two (and sometimes more) cars in shot. This is particularly true of the club racing section in these publications when each meeting might only get a single column and so a story-type shot is pretty well much imperative. It is only in the larger spreads that single car shots / pit & paddock shots / detail shots tend to get used.
Having said that, single car shots are pretty popular with drivers for items such as autograph cards, promotional posters and the like. Sponsors like them too.
John Thawley wrote: Oddly, I find I rarely like what the client likes.
Go figure.
True! Sometimes I'm left scratching my head over a client's choice of shot(s)... Ah well, if they're paying it isn't for me to like what they buy, just as long as they're happy!
Not had my S3 very long and just bought a 70-200 Nikon so set out to test yesterday...
Nice pans as was able to get closer (straights have less run off) apex stuff was harder due to limited length of lens, I may get the 1.7 extender and manual focus to nail the apex lift!.
See what you think for a first attempt... tutorial was really really useful... thanks.
I guess you could say my photos look a lot like some of the motorsports pros who shoot here. Like they say imitation is the sincerest form of flattery. I have not really found my own style yet. I just started shooting pretty serious this past year, and have found the motorsports images here great inspiration, and they give me a lot of ideas. I still have the center of the frame disease.
One sport I think I have better luck at, is truly the worlds fastest and most dangerous sport, Unlimited Air Racing. You can’t beat almost 500mph, at 50ft off the ground. I have tried a bunch of different stuff here, but I still think I suffer a little too much from the center of the frame problem. Either way, the 8 days a year I spend at the Reno Air Races, are by far the most enjoyable days of the year.
Thanks Chris, I agree the pale blue ducktail is the nicest... wish I'd taken my laptop to critique at lunchtime to see where I was going wrong! The 'old and new' shot was planned but not 'panned' a bit of a fluke as I got it first shot! and the 993 was doing about 100mph down the straight... panning was difficult though, 20% success rate at best shot 2gb of frames at 12mb... pity it was a test day as there was not much 'car on car action'... next stop Le Mans! I have to say the S3 is a revelation, and the lens too, now to save for the extender.
Oh and I cheated a bit and cropped into most, except the 'old and new' shot, kinda proud of that one!
shot 2gb of frames at 12mb... pity it was a test day as there was not much 'car on car action'... next stop Le Mans! I have to say the S3 is a revelation, and the lens too, now to save for the extender.