Shooting Guide for Long Beach GP?

[Aaron Kupferman]

Hey all, I'll be at the Long Beach Grand Prix this year with credentials for the first time. If any of you have some time, I'd really appreciate a quick track guide to the main key spots I need to check out at this track. It doesn't need to be as detailed as my Spring Mountain shooting guide (http://community.automotivephoto.net/forums/showthread.php?t=847), but I'd love to hear what some of your favorite places to shoot from are. I'd especially like to hear about some of the shots that have very dramatic lighting or are very time of day specific (sunrise or sunset).

I'll be there Saturday and Sunday, and hopefully Friday as well. It would also be great to finally meet some of you guys who follow this traveling circus from track to track. :)

Here is a track map to help get everybody started.
http://www.electricreality.com/photohost/LBGP_Map.jpg

[Todd Corzett]

I figured that I could post all sorts of photos here (and I will if people really want me to), but I thought that it would be best to not spoil the views for you first timers :D

First time shooting there with credentials... I'll hit the important non-photography related things first. If things are like they have been in the past (which no one really knows) there is going to be a photo meeting down by the media center in the morning. After the meeting they will sign-out vests (ugly blue ones), and there tends to be a really long line. If you are going to be there Thursday, hopefully the lines will be shorter. As for race day, they tend to have sign-up sheets for the turn 1 tower/platform for the start of the race. They also have sign-ups for a few other places, so get your name on the lists if you want to shoot there. If you plan on shooting in the pits get yourself a Champ Car over the wall vest (it's only good Friday/Saturday), but will make shooting much easier. A note about the start of races... for some strange reason many of the turn marshals have this crazy idea that photographers must stand away from the cut-outs for the first few laps of the race. There are some areas like the hairpin and turn 1 where it's not a bad idea to avoid (and if they keep you back you can't complain too much), but (since '03) there hasn't been a rule that you aren't allowed to be in a cut-out at the start of the races.

Generally, Long Beach is a decent place to shoot. The fences suck, but there are palm trees around that can make things a little interesting (compared to most street circuits that are only fences). There are also several 'landmarks' around the track. The whale mural is one, so is the roller coaster bridge... the Queen Mary, the fountain, etc. Practice sessions start early (great light) and the 'support' races (ALMS) run late (great light). It's a long day if you are covering everything, but it's well worth shooting when the light is at it's best.

I tend to shoot the turn 9, 10, 11 area in the mornings and the turn 1, 2, 3 area in the afternoons. For the most part you pick one end of the track or the other, as it's quite a trek to get between them (especially in between sessions).

Turn 1) There typically is a tower/platform. Half of the tower (typically the right side) is blocked-off for Super Photo Passes only... and the other for Media. There is a nice start shot from here (get on the list). There also tends to be a few holes at ground level to get a shot as they apex the turn.

Turn 2) Not much of a shot from driver's right or left between turns 1 and 2 (there is too much advertising on the fences), but more towards turn 3 you get some nice head-on shots. Driver's right should have an opening in the fence by the fountain (there is also a crane and a boom TV camera to get in your way) that can make for some interesting rear shots.

Turn 2-3) This is the area where they run around the fountain. There are MANY great shots here. The corner workers tend to spill-over into one of the photo holes, and they have a chain-link fence a few feet back from the track walls, so space is tight. Be polite and shoot corner workers and don't camp-out in the cutouts too long (get your shots and move on/out). On driver's right there is also a parking structure that you should be able to get into. Toyota typically has a hospitality setup on the roof (and they won't let you go there race day), but early in the weekend there are some spectacular shots from this location. What does crappy mid-day light (ie harsh shadows) and palm trees make for...

Turn 4) Never been there on the ground or from the parking structure.

Turn 5) Never been there myself. I've seen some nice shots where the cars are transitioning around the corner (typically with wheels-off) but have always heard there are limited or no cut-outs to shoot from. The location is also somewhat isolated (I don't think there is a way to get to/from turn 4 on the outside).

Turn 6) Not too bad on the outside. There is a super photo tower at this location and a few cutouts on the ground. This is one of the locations where people have done burn-outs in the past.

Turn 7) There is too much signage on the fences to get much of a head-on shot, but a great place for going-away shots. There are some interesting buildings around (think fisheye) as well as some cool 'cars on the streets' shots (ie traffic lights in the background) if you have some long glass.

Turn 8) There is supposedly a super photo location here, but it's just one section of a staircase that is fenced off. You still find yourself shooting into/through a fence. I've not even tried shooting there after my first year.

Turn 9) Nice (IMO) shot in the morning. You get some nice reflections in the noses of the cars and can do some tighter shots as they apex the corner.

Turn 10/11) The meat and potatoes of Long Beach. If you can't find a good shot in these corners you need to rethink things. I tend to shoot from the inside (driver's right) in the mornings. From the start of turn 10 you get a great shot of the cars as they exit turn 9 and go under the footbridge. There are many cutouts for panning shots, etc. From the island you can shoot with the whale mural in the background (much more interesting when there are people in the stands though). Then, there is the famous Long Beach hairpin. I tend to go early in the week because the crowds of photographers are smaller. Get there early and be prepared to shoot when you get the chance (this means have the right lens on, and all your other stuff out of the way). They only let 3-4 photographers in at a time (make friends with the corner workers there, they are good guys/gals and will make your day much nicer if you're not a pain). Get your shots and move on... as there is always a line. Don't forget the outside of the corner as well... there are apex shots at the hairpin and going away shots as they exit.

Pits) Long Beach has a VERY cramped pitlane. There also seem to be more spectators than other races. Getting shots from team's boxes can work, but most are surrounded by equipment so hard to enter. I find Champ Car qualifying the best time (if you have credentials and an over-the-wall vest) as you can walk up/down the pit lane before/after the warm-up and qualifying getting driver shots. Other than that, I tend to avoid pit lane. ALMS will have fire suit requirements during the race.

Gear: For the most part, you don't need anything super long... but I still use the 500 (even with the 1.4xTC) quite a bit. I prefer a 300mm and 70-200mm for most things, but don't forget to take some wider shots... street races are all about atmosphere, Long Beach especially, so include some in your photos. I really like Long Beach for my fisheye (turn 7 and the hairpin mostly).

Ok, if you really want photos... CLICK HERE (http://www.motorsport.com/photos/select.asp?E=Long_Beach&N=Todd_Corzett&O=2172)

-Todd...

PS - Have fun there you all... for the first time since '03 I will not be attending the LBGP *gasp* ... I'm looking forward to seeing the shots!

[Aaron Kupferman]

Wow, great writeup Todd, thanks a bunch!

So Champ Car doesn't require a fire suit for over the wall, but ALMS does? Is there anything special I would need to do to get the over the wall vest, or is it just a matter of getting your name on the list before it fills up?

I'll have a 70-200 2.8IS, a 400 5.6, and a 1.4x tc. Should that pretty much cover me, or I am also thinking about renting a 300 2.8. I can do 280 f/4 with the 1.4 so I feel like I might not need the extra 20mm and the extra stop.

[John Thawley]

PS - Have fun there you all... for the first time since '03 I will not be attending the LBGP *gasp* ... I'm looking forward to seeing the shots!

DUDE!!!! What are you telling me?????

Who will I abuse all weekend? I was truly looking forward to seeing what new attachments you had added to your belt!!!! C'mon, you're kidding right? You'll be there.. I know you will.

JT

[John Thawley]

Wow, great writeup Todd, thanks a bunch!

So Champ Car doesn't require a fire suit for over the wall, but ALMS does? Is there anything special I would need to do to get the over the wall vest, or is it just a matter of getting your name on the list before it fills up?

I'll have a 70-200 2.8IS, a 400 5.6, and a 1.4x tc. Should that pretty much cover me, or I am also thinking about renting a 300 2.8. I can do 280 f/4 with the 1.4 so I feel like I might not need the extra 20mm and the extra stop.
I don't shoot the ChampCar race, so I can't comment. However, you will need a firesuit JUST TO BE IN PIT LANE during the ALMS RACE. Not practice, though.

You will need an OVER-THE-WALL vest for ALMS and you will need a damn good reason to get one. In other words, major publication coverage.

I'm not sure how the credential crowd will be, but this year, start shot locations have been assigned. So, again, you may need to be prepared to present your case of why you need to be there. At minimum they will probably announce that permanent or orange vests will be given priority.

For some reason, ALMS photography has been slammed since last year at Lime Rock.

[Dustin Finn]

For some reason, ALMS photography has been slammed since last year at Lime Rock.

Slammed as in "packed, lots of people with photo passes ?

Or Slammed as in "Locked down, tight, not everyone gets credentials just because you think you can have them?"

Just wondering what is meant...

[Chris Kelly]

For some reason, ALMS photography has been slammed since last year at Lime Rock.

I'm not sure if I understand this. Slammed as in too mnay shooters, or slammed as in the Man keeping the working guy down? :confused:

BTW: Todd, excellent write up. It would be nice to be able to have a sticky or sub-forum with stickies on each track and it's secrets. In the meantime, I'm making my own dossiere with stuff like Todd has posted here.

[Todd Corzett]

Is there anything special I would need to do to get the over the wall vest, or is it just a matter of getting your name on the list before it fills up?
Typically it has more to do with who you are shooting for. They have a limited number of them (so ilovecars.com will not get one), but if you have a legitimate need for pit/driver shots you shouldn't have a problem. In the past I would talk to the media relations for Champ Car (the guy who gives the morning meeting) or whomever he/she designates as the pit vest person. I don't know how crowded things will be this year with Champ Car... but Long Beach tends to bring out the photographers. Not all the photographers will need them at the same time, so it tends to be OK to share the vest with another photographer (but please verify this first with the officials... and sharing 'special' vest isn't the same thing as sharing your credential/primary vest - which is a big no no). Example: I never shoot the pits on Friday qualifying (I want the pole ceremony shot on Saturday - and shoot palm tree shadow shots on Friday) so wouldn't need the vest then... other people shoot pits on Friday and return the vest on Saturday. The best thing to do is make friends with the media relations guy and/or another photographer who has the vest.

I'll have a 70-200 2.8IS, a 400 5.6, and a 1.4x tc. Should that pretty much cover me, or I am also thinking about renting a 300 2.8. I can do 280 f/4 with the 1.4 so I feel like I might not need the extra 20mm and the extra stop.
The 300mm f/2.8 is my favorite lens for Long Beach... but with a 70-200mm and a 1.4xTC you have basically the same thing (and one less thing to carry around with you). I'd rather have a 28-70 or 15-35 than another telephoto lens when you have the range covered.

you will need a damn good reason to get one. In other words, major publication coverage.
John hit the nail on the head here! This is basically how the sign-up sheets and extra vesting works. You don't just sign-up because you want a nice (hot, stinky, restrictive) blue (plastic) vest (to wear over your other hot stinky restrictive blue LBGP vest). If you have a legitimate reason to be there, the media relations will give you what you need to get the job done. If you don't have a need, or if your need is deemed less important than someone else's need... move on... the last person you want mad at you is the media relations guy (they are even more god than corner workers think they are).

start shot locations have been assigned. So, again, you may need to be prepared to present your case of why you need to be there. At minimum they will probably announce that permanent or orange vests will be given priority.
For Champ Car as well, start shot and podium shooting locations... priority will be given to the major publications and series vested people. There is often more than enough room for everyone, but not front row center. If you want to get a shot (start, podium, etc.) get there early and camp-out. The reserved locations will be taped off, so pick somewhere that leaves them free. Camping for shots is also a great way to get to know the other photographers! And, when everyone knows you've been at a space the chances of being booted go down... what you don't want to be is the guy who shows up at the last moment and shoves your way in front of everyone who has been waiting there for an hour! Also, if you sign-up for a shot make sure to be there to use it - or tell the media people you don't need it anymore. You don't want someone to be saving a spot for you and not use it... as the next time you won't have a spot.

-Todd...

[Todd Corzett]

DUDE!!!! What are you telling me?????

Yeah, I know... 'California' Corzett will not be at Long Beach! Who are you and Jimmy going to talk smack about while Champ Car is on track? What's your excuse going to be when there is no goober in a blue vest in all your shots from the outside of the hairpin on Friday morning? What's your excuse going to be when you are the only one there using a 500mm?

I was truly looking forward to seeing what new attachments you had added to your belt!!!!
Nothing new for the belt... I do want to try and squeeze a pouch for a 300mm f/2.8 on there though...

C'mon, you're kidding right? You'll be there.. I know you will.
Nope... PM sent.

-Todd...

[Aaron Kupferman]

I'll be shooting for Sport Compact Car and will be covering more of the support races so I won't need to reserve much in the way of "key" spots for the champ car or ALMS races. They may ask for some stuff on the main event races, but I'll work around everybody else for those shots. Anything else I shoot of the main event races will be portfolio stuff.

I do like the idea of sharing an over the wall vest (with permission) for short periods of time where I might need to shoot there. Friday seems like the day to get some of those shots, and then leave those vests for the guys who really need it on Saturday and Sunday.

I'll probably keep the 70-200 with 1.4x on one body and the 17-40 on the other. I agree, it seems like I wouldn't have much of a need for a 300 2.8 or other big glass. I'll be sure to laugh (under my breath) at the poor schmucks hauling the 500s around... :)

John, any other shooting locations to add to Todd's list?

[John Thawley]

Slammed as in "packed, lots of people with photo passes ?

Or Slammed as in "Locked down, tight, not everyone gets credentials just because you think you can have them?"

Just wondering what is meant...

Hmmm.... kind of all the above. I think there were 250 shooters at Sebring. I'm not sure there were 250 published photos. ;)

JT

[John Thawley]

I'm not sure if I understand this. Slammed as in too mnay shooters, or slammed as in the Man keeping the working guy down? :confused:

BTW: Todd, excellent write up. It would be nice to be able to have a sticky or sub-forum with stickies on each track and it's secrets. In the meantime, I'm making my own dossiere with stuff like Todd has posted here.

Too many shooters. But, in response, the Series is tightening up.... certainly on the hard-card side of things. Tracks are still a bit sloppy.

I assure you, though, Chris... the "true" working photogs are not being kept down. It's just their are a lot of camera toting "fans" that think it would be "cool" to get closer access. They seem oblivious to the fact that it's a JOB. ;)

JT

[Chris Kelly]

Too many shooters. But, in response, the Series is tightening up.... certainly on the hard-card side of things. Tracks are still a bit sloppy.

I assure you, though, Chris... the "true" working photogs are not being kept down. It's just their are a lot of camera toting "fans" that think it would be "cool" to get closer access. They seem oblivious to the fact that it's a JOB. ;)

JT

I understand. Thanks for the clarification, and everything else.