Help shooting drag at night.

[Joseph Bellamy]

Greetings, this is my first post, and I appologize for not being a pro.

A few friends were heading to a Test & Tune at a local drag strip and decided to get some practice in with my new 70-200 2.8 VR. I shoot with D50 and also brought along a 50mm 1.8. I had with me, a SB800 along with remote trigger, but I only used to flash once, and realized that tire smoke + flash doesnt work.

I tried shooting from different places, but lighting was just terrible (as it is at most drag strips). I should have shot in Manual mode, but because most cars were different colors, I shot in Aperture mode wide open at 2.8 and ISO 1600. I'll admit, I was extremely green with the weight of 70-200 in panning, and since most of my shots shutter speeds were 1/40 or 1/50, I stuck to the burnout box. I also found that the amount of people walking around provided with even more difficult shooting situations.

At the burnout box, I had to fight headlights on some, and then the weird pan angle while also having to AF-C to keep them in focus. I had to stand pretty close, which provided too close for the 70-200 leaving my only other option as the 50 1.8, which I shot at f2.0.

Here are some of the 5 second 1/8th mile cars/bikes in the burnout box.

**DISCLAIMER: NO NOISE REDUCTION (my LCD at work "hides" noise when viewed straight on, so I havent tried any PP)**

#1
70mm f2.8 1/40 +0.7 EV
http://gallery.krautfed.com/d/2249-1/DSC_0032.jpg

#2
70mm f2.8 1/15 +0.3 EV
http://gallery.krautfed.com/d/2253-1/DSC_0038.jpg

#3
50mm f2.0 1/80 +0.7 EV
http://gallery.krautfed.com/d/2256-1/DSC_0090.jpg

#4
50mm f2.0 1/40 +0.7 EV
http://gallery.krautfed.com/d/2259-1/DSC_0091.jpg

#5
95mm f2.8 1/50 +0.7 EV
http://gallery.krautfed.com/d/2262-1/DSC_0035.jpg


I tried panning from all angles of the track, and I was either too far away (and had people between myself and cars, or had poor lighting. My best spot was in the "main" grandstands which were only about 7-8 rows high, but in order to shoot over everyone, I had to stand on the top, and couldnt brace myself on my knees while sitting down. Another challenging aspect from the location was the "spot light" effect of the lights on the stage/prestage area. This created my best lighting at the start, but trying to pan a car from a dead stop proved difficult. :(

This is the best pan of the night, which ironically was the quickest (hardest to pan) car of the night. This run was a 5.22 @ 13X mph in the 1/8th, I can't even guess the 60' time, but you can tell that the car just left the start because the yellow strip on guardrail is the stage.

#6
70mm f2.8 1/30
http://gallery.krautfed.com/d/2268-1/DSC_0107.jpg


How would you guys have shot this? Could I have gotten pan shots in by using the flash rear synced with a 18-55mm f4-5.6 up close? I know the owners of the track and wanting to possible shoot for them on some regional races, but I know a lot of their events are after dark.

Any help / C&C is appreciated. :)

-Joe

[John Jovic]

I've been shooting night drags on and off for about 10 yeras. My favourite gear for the job is a 1dsMk2 with a Leica R 80/1.4 and a Metz 60 flash. I shoot in manual and try to get as much of the background decently exposed as I can. I don't like shooting at f8 at say 1/60th and getting a totally sharp and well exposed subject and a black background. I'd rather get use a much lower shutter speed and get lots of background blur, though the keeper rate is much lower. I use between about 1/30 and 0.3-0.5 sec, often about 1/8th and usually f2.0 on the lens. The flash is set to manual as the subject distances are usually very similar and the flash just adds enough light to sharpen the image but is not really the main light source. The flash is probably 1/2 - 2/3 under
exposing the image.

I tried all kinds of AF lenses and although they are generally OK I find I tend to get better focus accuracy when I focus manually, hence the 80/1.4. Also TTL seems to be all over the place with chrome and black and what have you.

JJ

[Todd Corzett]

The only night drags that I've done are NHRA, and they aren't all that bad light wise (they have large portable lights they fire up after sundown). Don't wory about flash not using the flash... just make sure the smoke is minimal (like stand on the wind friendly side of the track if possible). I found the flash really fills in the noses of the cars, which at Pomona are quite dark due to the light being all from the side. With the top fuel/funny car guys you can cheat a little as their exhaust flames bring a bunch of light to the party:


http://www.unitonestudios.com/gallery/motorsports/2005/NHRA/05_pomona2/images/051105_60122.JPG
The exif should still be in the file, sorry I can't look at it right now

http://www.unitonestudios.com/gallery/motorsports/2005/NHRA/05_pomona1/images/050212_70093x.jpg

http://www.unitonestudios.com/gallery/motorsports/2005/NHRA/05_pomona1/images/050210_50036x.jpg


Getting close and panning works (with a flash too, depending on the effects you want), but you're really going to want something faster than f/4 if you can. I'd rather use the 50mm 1.8 to get some reasonable shutter speed.


http://www.unitonestudios.com/portfolios/strip/images/050212_50068.jpg
Not at night, but with a pop of flash and panning at slower speeds... this sort of thing should work, but isn't easy.


My best advice would be to get as many shots as you can before the sun goes down. If that's not possible, then get fast glass and use high ISOs.

-Todd...

[Andrew Wheeler]

I have nothing to add, but damn Todd that last shot is very cool....it's like the car has been sucked out of a tube of toothpaste.....or is in some anti gravity machine!

I'll admit I was going to make a smartarse remark about where to shoot "drag" but refrained.....

Carry on.

Andrew

[Joseph Bellamy]

Thanks for everyones suggestions. One of my next lenses is going to be the 85 f1.8, and I definitely see myself using it at the track. I found the 50mm very "weird" in panning, almost like it wasnt heavy enough.

One question about position Todd, how far down the track are you from the start line, and how close to the wall are you? I need to be able to explain to the track owners where I need to be, as I'm sure they wouldnt want me down against the wall where the cars are doing 130+ mph. Are you around the 60' mark?

[Todd Corzett]

One question about position Todd, how far down the track are you from the start line, and how close to the wall are you? I need to be able to explain to the track owners where I need to be, as I'm sure they wouldnt want me down against the wall where the cars are doing 130+ mph. Are you around the 60' mark?

To simply answer:

http://www.unitonestudios.com/portfolios/strip/images/051105_10184.JPG


We are right up against the wall (no leaning on it though) about 100' or so, maybe a bit farther. It really depends on the lens you want to shoot with. I like to use my 70-200mm f/2.8 so go a bit farther down the track than those shooting with wider lenses. With NHRA they do not allow anyone beyond 300'. Now, this wall I'm against is a 2' (1' at the top) thick concert wall... which is WAY different than just armco... I'd probably want to keep myself a few feet back just incase something decided to come slap into the wall (and everything moves). As for things going over the wall or flying off the cars... you are basically out of luck in those situations. I'm guessing the biggest issue for most tracks is going to be the insurance issues with having people trackside, but I only shoot NHRA... so don't know about the weekly drags and stuff.

-Todd...

[Joseph Bellamy]

To simply answer:

http://www.unitonestudios.com/portfolios/strip/images/051105_10184.JPG


We are right up against the wall (no leaning on it though) about 100' or so, maybe a bit farther. It really depends on the lens you want to shoot with. I like to use my 70-200mm f/2.8 so go a bit farther down the track than those shooting with wider lenses. With NHRA they do not allow anyone beyond 300'. Now, this wall I'm against is a 2' (1' at the top) thick concert wall... which is WAY different than just armco... I'd probably want to keep myself a few feet back just incase something decided to come slap into the wall (and everything moves). As for things going over the wall or flying off the cars... you are basically out of luck in those situations. I'm guessing the biggest issue for most tracks is going to be the insurance issues with having people trackside, but I only shoot NHRA... so don't know about the weekly drags and stuff.

-Todd...

Thanks for the insight. I come from drag racing, but its still good to know where to ask to have access to. The 3 tracks I shoot at, one has concrete, one has gaurd rails (the pics I posted are from this track), and the last track has no guard rails at all, and is simply cut out of a mountain (but provides excellent "overhead" shots with great safety. I think I should be able to get a nice position within 100' and the 70-200.

I've been trackside when something goes bad, but are you NHRA guys taking the shot and stepping back before the cars pass or are you static through the whole pass and shoot their "backsides" too? The primered car I photoed above actually made its first pass bouncing off the right wall and I was waiting for it to turn sideways on the marbles and T bone the wall. I find it really ignorant that drivers continue to try to salvage a run during T&T, but then again, maybe its practice for "saving it".

Question about the insurance... are NHRA Photo guys covered or is it personal liability signed in waiver form? Sorry for all these questions but the NHRA Media site makes you login (and request login) in order to even view any type of documentation. :confused: I'm pretty sure I would have to be covered under personal liability, but not sure how their insurance would handle that if someone was within X amount of feet of the track.

[Todd Corzett]

I've been trackside when something goes bad, but are you NHRA guys taking the shot and stepping back before the cars pass or are you static through the whole pass and shoot their "backsides" too?
You don't have time to move away any distance... they are zero to 100' in less than a second. If anything your best bet would be to shoot from one knee and then drop below the wall, but that's not really practical. I shoot them all the way though the pass. Not really turning around to shoot them going away, but I will pan (not necessarily slow shutter speeds, but just the motion) as they leave the line and come towards me shooting as they go. This results with your face being pointed towards them just as they pass by you (which is nice and warm on a cool night).


http://www.unitonestudios.com/gallery/motorsports/2006/06_Winternationals/images/247.JPG

http://www.unitonestudios.com/portfolios/strip/images/nhra-2005-po2-tc-0680.JPG


Question about the insurance... are NHRA Photo guys covered or is it personal liability signed in waiver form? Sorry for all these questions but the NHRA Media site makes you login (and request login) in order to even view any type of documentation. :confused: I'm pretty sure I would have to be covered under personal liability, but not sure how their insurance would handle that if someone was within X amount of feet of the track.
You sign a waiver basically saying you'll follow their rules, and you do so at your own risk (basically like every other form of motorsports). But, the series themselves are insured for some level... and that dictates many things. For example, you are not aloud to touch/lean against or mount anything to the wall at the NHRA events... and the reason given is for insurance. They are also limited by the number of people who are allowed to be trackside (not just by space). You don't have to prove personal liability insurance, just don't expect to sue them when the 8000hp motor blows up and sends something flying your direction. :eek:


http://www.unitonestudios.com/portfolios/strip/images/040731_20029x.jpg


-Todd...

[Alexius M Deters]

On a side note... Todd that shot is sweet... The heat distortion + sparks is insane!

[Christian Wright]

On a side note... Todd that shot is sweet... The heat distortion + sparks is insane!

Agreed - great timing.

[Matt Mullarkey]

What you need is lots of off camera light, good placement, lighter colors cars come out better, coreect exposure and Photoshop skills :) oh and lots of money for those lights. :(

http://www.gdrphotography.com/temp_pics/racing/top_sportsman.jpg

http://www.gdrphotography.com/temp_pics/racing/pro_mod1.jpg

Shot with just on camera flash...
http://www.gdrphotography.com/temp_pics/racing/outlaw105.jpg

http://www.gdrphotography.com/temp_pics/racing/notime.jpg

[Dustin Finn]

How about the krinkle in the tire... thats AWESOME.!

[Matt Mullarkey]

Another one..The Team Torco was testing at Atco a couple days before the Englishtown NHRA event.. I just happened to be shooting an event going on there that night..

http://www.gdrphotography.com/temp_pics/racing/top_fuel02.jpg