After a week of frantic photo editing, I’m about half way through the images I shot out at Circuit of the Americas during US Grand Prix weekend last weekend so reckoned I should put together a post offering some hints and tips to anyone looking to do some motor racing photography at COTA on a general admission ticket.
A general admission ticket gives you access to the track grounds but does not provide you with a seat in any of the grandstands. This does give you the freedom to wander as you see fit but leaves you suffering from one major problem. The entire CoTA circuit is surrounded by two, 8 to 10 foot high safety fences. Whereas the grandstands are all elevated at least 8 or 10 feet above ground level, as a GA ticket holder, you are left without elevation and, as a result, must be prepared to either shoot through the fences or find ground-level vantage points allowing you to shoot over them.
Shooting through the fences doesn’t end up being a particularly easy thing to do. The fence uprights are, as you would expect, large, sturdy poles which generate nasty smears on your pictures if you are trying to pan to catch cars as they pass. If attempting to shoot head-on through the fences, the fact that the second fence is a 20 feet or so from the one you can stand next to tends to mess up any attempts to blur the mesh through shooting at wide apertures. You may have some success with this if you have a very long lens, a very wide aperture and are very close to the first fence but, from my experience, this never really worked as well as I would have liked. Given these problems, my solution was to try to find vantage points allowing me to look over the fence and shoot images of the cars as they passed. Walking the track on Friday, it was pretty apparent that these locations are few and far between but here’s my assessment of the best locations offering enough of an unobstructed view to get some sweet shots.
Before delving into the locations, though, let’s consider equipment. I shot with the D700 (full frame) body on Friday using my 70-200mm f/2.8 and a 2x teleconverter. This was pegged at the 400mm end all day and I still wasn’t close enough to fill the frame with a car from any of the locations below. On Saturday and Sunday, I switched to the D90 (crop sensor) making my 400mm effectively a 600mm and got some closer shots at the expense of slower auto-focus and slower frame rates. Even with this setup, I still find that the cars occupy no more than about 25% of the frame in the closest shots and I needed to crop the images to get good composition, either to make the car bigger in the frame or to loose the fence which appears in the bottom of many images.
The lesson here, therefore, is take the longest glass you can lay your hands on! Given the weight of this kind of lens, a monopod (which I didn’t take) would also be a good idea. Note that there is some debate over whether monopods are allowed – the public rules state that tripods are not allowed but make no mention of monopods, whereas the handbooks given to the staff on the gates explicitly disallow both items. Those same handbooks also prohibit lenses over 10 inches so I assume they were printed before CoTA revised their photography policy to allow any lens. Hopefully that revision also opened things up to allow monopods since I saw a large number of people carrying or using them at the track.
Now on to the locations. As you will see from the map below (which you can click to get a larger version), all the locations I recommend are on the south side of the track. This is partly because locations on the north would involve shooting into the sun but mostly because I couldn’t find a single place over on that side of the track where the cars were visible without a fence in the way. If you want to shoot from over there, your best option would likely be on a practice day when the grandstand gatekeepers are somewhat more forgiving and likely to let you take a wander around while the place isn’t too busy. If you are lucky enough to sweet-talk one of the ticket checkers on the Turn 15 grandstand into letting you onto the stand, there are some fabulous views from there but, to get these on a busy day, you’ll have to shell out some serious money.
A. Turn 1
If you could find a fence-free view towards the grandstand, this would be the perfect place to shoot the start from. Unfortunately, you can’t so either live with the fence or don’t shoot the start. I watched the race from a position just at the bottom end of the block of hospitality suites (just above the main turn 1 grandstand) and from there you can get a reasonably clear shot of the cars exiting the turn. If you have a long lens, there’s an interesting shot showing the track between turn 1 and turn 2 and also turns 16/17/18 in the background.
Overall, turn 1 is a far better location to shoot fans watching the race than the race itself. I found Saturday the best day for this since it was busy without being completely mobbed. On Sunday, I couldn’t move at all so getting around and finding good fan shot positions was essentially hopeless. Shoot on Friday and Saturday then enjoy the race on Sunday.
B & C. Turns 4 & 5
I list these two areas together since there are a few places you can squeeze between the grandstands and get a bit closer to the fence between turns 3 and 6. Really, though, there’s only one good place to shoot from in this area and that’s in a large gap between the grandstands at turn 5. Here you can see over the fence pretty well and you also get the benefit of the wide red, white and blue stripes painted alongside this section of the track.
I got the majority of my best panned shots from here but beware that you are still rather far from the action. The first shot below is uncropped to give you an idea of the problem. This was shot on a full frame body with a 400mm lens. Using a crop sensor body, you would get a fair bit closer, obviously, but you’re still going to have to crop down pretty hard to get tight images of the cars.
As a place to watch the race while also offering good photography opportunities, however, I would suggest trying the next 3 stops instead.
D, E & F. Turn 7
There are 3 reasonably good shooting locations in the large open section between turns 7 and 10, one on either end and another in the middle. The west end (nearest the turn 6 grandstand) offers a good view as the cars head up the hill to turn 7. You’ll be shooting the backs of the cars from here but you have an unobstructed view thanks to the walkway being pretty high at this point.
Slightly further along the path, you’ll find a great place to shoot cars from the side as they head up the hill. There’s enough of the track visible without a fence here to give you pretty good panning scope and I spent quite a bit of time here.
Closer to the turn 10 grandstand end, if you walk off the path and across the highest point, you’ll find you can stand on the crest of the hill with your back to the fence at turn 7 and shoot back towards turns 5 and 6. I spent most time here because if offered a collection of interesting shots including shooting through the fence towards the backs of the cars as they crest the hill at turn 7. You can also see cars rounding turns 5 and 6. There are two large runoff areas here so it may also be a good place to see some off-track action. I gather a couple of cars spun out there during the weekend but I didn’t see this.
Another feature of this location that I enjoyed was the collection of keen photographers who spent a lot of time hanging around up there. The camaraderie and conversation during quiet periods was great though I did find myself suffering pretty serious lens envy!
G. Turn 10
The only place I found which would allow me close enough to the cars to completely fill the frame with the 400mm/crop sensor combination was in the open area between Turn 10 and Turn 11. Here, the track is pretty close to the path and the elevation is such that you have an unobstructed view as the cars accelerate downhill from Turn 10. The window of opportunity is fairly narrow but I managed to get a few good shots here. I liked the angle of the cars since you are seeing a partial front view rather than the direct side-on or partial rear views the other locations offered. The fact that the cars are so much closer to you, however, does make the panning a lot trickier so I found my hit rate here was pretty low with many of the images blurred.
H. Turn 11
I spent a lot of time on Friday and Saturday morning at Turn 11. The general admission area here is a high berm right at the apex of the hairpin bend and you have a great view of the cars coming down from turn 10, rounding turn 11 and shooting off down the long straight to turn 12. It’s the only place I found that I could get decent head-on shots of the cars without having to shoot through the fence though, even here, my 400mm didn’t pull them in as close as I would have liked, even on the D90.
If you are worried about blurring your panned shots, the cars go round turn 11 extremely slowly (by Formula 1 standards) so you are pretty likely to get sharp shots here even at lower shutter speeds. The downside to this, of course, is that the wheels are not moving as fast so you may find that the cars look rather static. If you can read “Pirelli” on the tyre walls, the car may as well be parked.
Although turn 11 was definitely a great place to spend some time, it’s pretty much hopeless during the actual race. By the time 1pm comes around, if you are standing at turn 11, looking back towards turn 10, you at staring practically directly into the sun. For a morning location and during practice sessions, though, it’s a good place to park yourself.
I’m reasonably happy with the photography I did during Grand Prix weekend though I was rather disappointed at the small number of fence-free locations and the fact that shooting through the fence wasn’t really feasible. As a result, I’ve come away with some good shots of single cars but nothing really creative or different (if you want to see what I mean by creative and different, check out Ralph Barrera’s amazing collection of images on the Austin American-Statesman web site or Liz Kreutz’ gorgeous monochrome set on Corbis). Next year, I’ll likely splurge to rent some really long glass and perhaps try to spend a bit more time shooting fans and facilities and less on cars. I will also likely treat myself to a ticket that comes with an actual seat since lugging all that gear around all day wasn’t to be recommended!
That said, don’t get the impression that you need to spend a fortune on really long lenses or grandstand seats. The whole experience of Formula 1 weekend is fabulous regardless of what kind of ticket you buy and whether or not you come away with publication-quality images. The atmosphere at the event is outstanding and I would strongly encourage you to give it a shot next year if you can. There will be about 120,000 others joining you for the party.