Bob Barclay Explains How Critical Timing And Fast Reactions Are The Secret To Brilliant Trackside Shots Gemma Padley Reports

FAST, furious and frenzied: photographing motorsports events can be an adrenaline-fuelled day out. For this month's Reader Masterclass, Bob Barclay and three readers visit Oulton Park race track in Cheshire to capture the action at the British Touring Car Championship (BTCC).

'The key to great motorsports images is to capture the essence of speed,' says Bob. 'You are aiming to get the cars reasonably sharp, but with blurred wheels to show speed. How much motion blur you create is up to you, but you don't want to use such a fast shutter speed that the cars look stationary.'

The readers are each armed with a Samsung GX-20 with 50-200mm and 16-45mm lenses. The person who takes the day's winning shot as judged by Bob will win their own GX-20 DSLR. Media passes kindly organised by MotorSport Vision and Cartndge World allow trackside and pit access, which means the readers will have clear views of the circuit.

L-r: Ian, Howard and Jon at the race track, kitted out in their media vests

'Scouting out good vantage points is crucial,' says Bob. 'Anticipate where the cars are going to appear and don't take your eye off them. Try zooming in or experiment with using the wideangle lens to show the whole scene' Bob advises the readers to use shutter-priority mode and start at 1/'500sec. 'As you reduce your shutter speed, monitor the effect on your images,' he says. 'Try panning at 1/125sec or l/60sec and give yourself time to get used to the speed of the cars'

Before the races start, Bob explains how to use panning to create motion blur. 'Focus on the grille at the front of the car and pan with the vehicle until it s where you want it in the frame,' he says. 'Once you have fired the shutter, keep tracking smoothly through the shot You want to press the shutter before the car is on top of you. but not too early It may take practice to get the composition and focusing right, but the more shots you take the easier it will become.'

Bob advises the readers to use the camera's continuous autofocus when panning and manual focus if pre-focusing on a bend. 'Manual focusing is a useful technique for capturing a tussle between two cars tightly packed together,' says Bob. 'The cars tend to bunch up during the first lap, but after that they become more spread out. To capture the cars close together you need to start shooting as soon as the race begins. Remember to leave enough room in the frame in case one of the cars skirts to one side.'

Safety is a top priority. 'Keep looking around at all times,' says Bob. 'Motorsports photography is often unpredictable. This can make great images, but you've got to stay safe, too.'

AP's expert

BOB BARCLAY worked as a top Fleet Street photographer for more than 30 years, but left photojournalism in 1998 to set up his own studio and photography business in Surrey. During his career, he has covered news assignments in the UK and abroad, and got the first picture of the QE2 in mid-Atlantic as it brought troops home from the 1982 Falklands War.

Born in Scotland, Bob worked for a Scottish news agency before moving to London in 1968. He has worked for 'The Daily Telegraph', the Press Association and Express newspapers, and now freelances. To see Bob's images, visit www. robertbarday photography, com.

Reader Masterclass Capturing Motion

Bob says lan's best image (top) is a great panning shot. It is taken from an imaginative angle and the car looks as though it is whooshing into the frame, which adds to the action. Ian prevented distracting background detail from spoiling the composition by blurring the backdrop and making it colourful. He used a shutter speed of l/45sec at f/27, which is quite a slow speed for handheld panning, so he did well to keep the camera steady as he followed through. He has also made sure the car is in focus.

lan's second image (above) was taken at l/750sec at f/8. He used a low angle to get in close on the car. This makes the car appear large in the frame and adds drama. The chasing cars make the composition come alive - without them the scene would have less impact. Ian could improve this image by slightly altering his shooting angle. If he had moved to the left, so he was at a three-quarters angle to the car, he could have shown a glimpse of the car wheels. A slower shutter speed, perhaps l/60sec, would have allowed him to capture some of the movement in the wheels and added to the excitement.

Above: By tilting his camera, Ian gives his composition extra impact

50-200mm, 1/45sec at f/27, ISO 200

Left: A low angle and tight crop creates a sense of drama in lan's image

50-200mm, 1/750sec at f/8, ISO 200

If the cars were small in the frame and had lots of space in front of them I zoomed in tighter to compensated

Ian Aldcroft

Age 56

Lives Lancashire Occupation Business analyst Photographic interests

People on location

'I'd had very little experience of motorsports photography before today. I went to a motocross event once with a compact camera, but the focus wasn't fast enough so the images didn't work too well. I usually do outdoor portraiture so this was a completely different type of subject for me. I like to imagine what the photograph will look like before I take it, so I tried to bring compositional elements together in my mind first. I'd asked for tips on the best vantage points in the AP forum and made a detailed list, which I used as the basis for my shots. A bend at the end of a straight is sometimes a good spot because the cars tend to bunch together.

'I started panning straightaway. For my first few panning attempts a shutter speed of 1/180sec was too fast and I didn't capture enough movement. I went as slow as 1.45sec, which still gave reasonably sharp shots and motion in the wheels. I also tried freezing the action using a fast shutter speed for some head-on shots. S-bends were good places to try this because they created strong compositions. I looked at my shots occasionally to check my composition, and if the cars were small in the frame and had lots of space in front of them I zoomed in tighter to compensate. I used autofocus most of the time. If I positioned the cars to the left of the frame I had my focus set to "left of centre" and hoped this would give well-focused images.'

Capturing Motion Reader Masterclass

Below: Anticipating where the action might be is key to capturing shots like this

50-200mm, l/250sec at f/19, ISO 400

36 I altered my ISO setting so I could use slower shutter speeds without overexposing the image 9

Bob says

Motor racing is great fun but sometimes you can be unlucky and be in the wrong spot and miss the action. Fortunately, in Jon's best shot (below) he spotted a car veering off the track and was able to capture the scene using a shutter speed of 1/250sec at f/19. The incident happened in a split second, so Jon did brilliantly to exploit this opportunity by thinking ahead. He could have improved the composition slightly by coming in closer on the two leading cars, but overall it is a balanced and excellently framed image.

Jon's second shot (above) is very colourful. He took this during one of the brightest points in the day, working at ISO 400 and 1/500sec at f/16. Jon has worked fast during the first lap to capture the cars close together and has balanced the red and yellow cars beautifully. The diagonal line across the composition is pleasing to the eye and the frame is filled to the edge. This is a general view of the cars and there isn't a lot of motion, but its strong composition and colours make it a visually compelling image.

Right: Jon's composition shows the cars bunched together in an early lap

50-200mm, l/500sec at f/16, ISO 400

Below: Anticipating where the action might be is key to capturing shots like this

50-200mm, l/250sec at f/19, ISO 400

'I've always enjoyed taking photographs at motorsports events and I was looking forward to panning with slower shutter speeds. I tried to move my shooting position to create a variety of shots and find the best angles for panning - one where the cars would zoom past me. I also looked for a chicane where they might bunch up. The bends were good places to capture potential action because you could capture the cars coming towards you at a three-quarter angle. I tried to pick up on the cars as early as possible and choose the best composition I could rather than just pressing the shutter and hoping for the best. I took a few shots of single cars but also took some images where there were three or more cars close together to give more of an idea of the atmosphere of the race.

'I concentrated on using the telephoto lens and varied my focal length depending on where I wanted the cars to be in the frame. I also played around with different shutter speeds. In the end, I altered my ISO setting so I could use slower shutter speeds without overexposing the image. It was sometimes difficult deciding whether to use a slower shutter speed or a faster one, and in some of my shots there was too much movement in the cars. Today felt like being on holiday with my photography -1 had the freedom to play around and not do the obvious. I have more confidence in panning than I did at the beginning of the day.'

Jon Cruise

Age 64

Lives Berkshire Occupation Technical writer Photographic interests

Motorsports, wildlife, landscapes

Reader Masterclass Capturing Motion

Bob says

Howard frequently varied his techniques and had a good understanding of everything I had talked about in my introductory brief He was good at panning and his winning picture (below) is an excellent example of this technique. It wasn't an easy shot to take because the car was approaching from around a comer. A lot of people when panning tend to track the cars on the straight parts of the circuit Howard's image shows that, with a little foresight, it is possible to take successful panning shots on a bend. He has tilted the camera and made sure his shot is in focus, which is no mean feat. The starburst on the car window adds an extra winning touch. Howard wasn't afraid to experiment with different shutter speeds. He took his winning image at 1/60sec and f/27, which is just slow enough to give an impression of speed but fast enough to keep the car sharp.

Howard's second image (above) was taken at l/500sec atf/9.5. There is a good depth of field and it is well framed; we can see the cars in the distance as they

Left: Howard creates a sense of depth by including the cars in the background

Below: Howard's panned shot captures a sense of speed and excitement

50-200mm, l/60sec at f/27, ISO 200

appear around the corner. These cars balance those in the foreground and also provide context, adding to the excitement of the race. A hint of the crowd in the top right-hand corner also adds to this sense of place and occasion. By getting down slightly lower and looking up with his camera Howard could have included more of the spectators in his shot. This would have added to the drama, but overall the image sums up the essence of the race. The closeness of the two cars in the foreground adds to this competitive spirit.

Howard Murphy

Age 51

lives Cheshire

Occupation Town centre management officer Photographic interests

Sports, events, flora and fauna

'I'd been to a speedway motor event before and taken crowd shots and some action images, but today I wanted to try something different. I mostly worked in shutter-priority mode, although I used aperture priority at one point to throw the background out of focus. I tried some slow shutter speeds of 1 60sec and 1/125sec to capture the blur of the moving car, but I also switched to faster shutter speeds of 1 lOOOsec to freeze the action. I enjoyed experimenting with both extremes and seeing what effects I could create. I even tried panning at 1 30sec, which meant I had to hold the camera very steady to minimise camera shake. Most of the time I managed to get my exposure right, although one or two images were out of focus.

'With practice I managed to capture the car in the centre of the frame. You had to be ready to adjust your compositional and technical approach at all times. There is an element of trial and error, and I was surprised by the speed of the cars. My immediate reaction was to use a really fast shutter speed, but to capture the blur you had to use slower shutter speeds. I wanted to try to get some shots during the first lap when the cars were bunched together, but they moved off fast and this threw me a bit I mainly used the telephoto lens, although once or twice I tried the wideangle optic. After the first lap I found the telephoto was better because I could zoom in on a couple of cars and capture the drama of the race in that way.'

Capturing Motion Reader Masterclass

In conclusion...

WHEN everything goes to plan, motorsports photography is hugely rewarding. It can also be frustrating and infuriating. Knowing how to position the car in the frame, and judging the best shutter speed to capture movement and not make the cars look static takes practice. On the day, critical timing and anticipation were essential. 'Racing is all about the speed of reactions,' says Bob. 'Doing a recce beforehand and asking marshals for advice helps, although there is always an element of luck involved.'

One thing the readers were blessed with was good weather. There was lots of sunshine so they mostly used ISO 200, and Bob was pleased with their judgement of exposure. 'All three photographers chose shutter speeds that gave correctly exposed images, while creating the right amount of motion blur at the same time,' he says.

While Bob was impressed by their photographic efforts he would have liked the readers to make more of the bends in the course. 'They tended to stick to the straights and could have expiated the corners more; he says. 'There were opportunities to get low and look through chinks in the barriers which would have added interest, but their framing was generally good. Howard, Ian and Jon had excellent competitive spirit and lots of ideas. They kept moving around to find their own vantage points. The images they have created are vibrant and colourful - a great achievement.'

IDo your research Walk around the course beforehand and make a note of the best vantage points. Ask marshals for their advice on the areas where the action is most likely to happen

2 Think ahead Anticipate what cars might do. Never take your eyes off your subject

3 Use a monopod Takeamonopod with you. You may want to use this for some shots when panning to help give you a smoother tracking motion

4 Use shutter-priority mode

In this way you can control how much motion blur you want to in your image

5 Start shooting straightaway To capture groups of cars, be ready to shoot the first lap of each race as they tend to split up after this

6 Get down low This will add drama to your compositions and create a more vivid impression of what it was like to be there

Jon's image (above) is an unusual composition; you don't often see motorsports images where the cars are zooming away from the viewer. It was a brave shot to take. He has tried to show how tightly bunched the cars were and the shot is made more interesting by including the high bank and spectators. Jon has used a long lens to foreshorten the cars and compress his subject. When using a telephoto lens you have to choose your point of focus carefully. Here the focus is on the middle car and it is a slightly odd choice. It would have been better for Jon to focus on the front or back car. He took this image at 1/45sec at f/22. His shutter speed was a little slow and this has caused the image to be slightly soft. If Jon had used 1/125sec, the cars at the front would have been sharper. Overall, it is an interesting shot, so top marks to Jon. He has filled the frame and the unusual shooting angle shows imagination.

Cartridge World competition!

For the chance to win a DSLR visit www.amateurphotographer.

To see more images by Bob Barclay, visi:

For more information on the British Touring Car Championship visit Special thanks to MotorSport Vision and Cartridge World. For information on UK race events visit Visit to find out more about Cartridge World racing.

Reader Masterclass Every month we set three AP readers an assignment over the course of a day. Each participant will use a I4MP Samsung GX-20 DSLR fitted with a standard 18-55mm zoom, though Samsung supplies other lenses for specific subjects. The person who takes the photograph judged the best picture of the day will win a Samsung GX-20 with an 18-55mm lens, worth £700.

If you would like to take part, send a letter, including your age, photographic interests and daytime phone number, to: Reader Masterclass, Amateur Photographer, IPC Media, Blue Fin Building, 110 Southwark Street, London SE1OSU or email us at amateurphotographer a

Thanks to Samsung for providing all the readers taking part this month with a Samsung 6X-20 kit and Samsung SD memory card. The Samsung GX-20 is a 14MP DSLR with advanced features, great handling and high image quality, aimed at the enthusiast photographer. Visit AP test score 85% (24 May 2008).

Shooting the cars as they drive away creates an unusual composition

50-200mm,1/45sec at f/22, ISO 100


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