Behind the lens with one of Xlerate’s Photographers

Since the late nineties, I have developed a keen interest in Automotive and Motorsport related topics. However, my involvement in Rallying began in 2006 when I visited the South of England Tempest rally held in Aldershot. This experience ignited my passion for rallying, and later that year, I attended the British round of the FIA World Rally Championship (WRC), Wales Rally GB, which further solidified my enthusiasm.

Prior to my involvement in rallying, I spent several years capturing images of Modified Cars and Circuit racing events such as BTCC and Club Races. However, after visiting the same circuits for an extended period, I started to feel a sense of monotony and desired a new and exciting challenge. Rallying provided the perfect solution as it offered a thrilling experience, diverse opportunities, and numerous challenges.

Like many aspiring photographers, I began my journey with an entry-level DSLR and lacked natural talent in the field. However, through continuous practice and experimentation with different settings, I gradually improved my skills. In my opinion, It is important to acknowledge that stage rally photography is not a discipline that can be mastered overnight, even for experienced Motorsport photographers who possess quality equipment and years of experience shooting at race circuits. It requires time, dedication, and a willingness to learn and adapt to the unique challenges presented by rally events.

Challenging & Demanding Conditions

Stage rallying, particularly in a forest setting, presents a unique set of challenges and demands. The weather conditions can be unpredictable and challenging, often with low light situations. Additionally, it is common to only have limited opportunities to capture a particular car during the entire day or event. There is also the possibility of stages being stopped or cancelled altogether. These factors contribute to a lower chance of capturing desired shots compared to other forms of motorsport, such as track or circuit racing, which offer more frequent shooting opportunities.

To excel in rally photography, one must invest significant time and effort into learning the craft. This involves attending numerous events in various conditions to gain valuable experience. By putting in the necessary legwork and consistently honing one’s skills, the rewards will eventually follow over time.

Throughout my experience in photographing stage rallying, I have acquired a wealth of knowledge. This includes understanding the movement of the cars, adapting to different environments, and effectively navigating various situations. We can all relate to the disappointment of investing time and effort into reaching a specific location within a stage, only to be let down upon arrival or after the initial cars have passed. To avoid such situations, it is crucial to develop the ability to anticipate a rally car’s movements and interpret the stage effectively. Additionally, possessing extensive knowledge of the different rally stages commonly used in competitions is essential, and this knowledge can only be gained through firsthand experience over the years. However, there are several prerequisites that one must fulfill before attending a rally to increase the chances of successfully capturing the action.

Preparation…

“Fail to prepare, prepare to fail!”

The saying “fail to prepare, then prepare to fail” holds true when it comes to photographing rallies. It is not simply a matter of showing up on the day and taking photos, or at least it shouldn’t be in my opinion. Personally, I believe in putting in a significant amount of preparation well before the rally day. In the case of national events, photographers are typically required to have a Motorsport UK Level 2 accreditation and represent a publication in order to be accredited. However, before gaining access to a stage rally and receiving a pass, certain prerequisites must be met.

“Elf n Safety”

When it goes wrong!

The requirement of £5 million public liability insurance may raise questions for many individuals. They may wonder why such a policy is necessary and may even request examples of situations where a rally photographer, positioned in a remote area, could potentially endanger a member of the general public. Allow me to share a personal experience to shed light on this matter. On one occasion, a remote camera mounted on a 3-meter high pole was unexpectedly blown over by a strong gust of wind, posing a potential risk to a nearby spectator. It is important to note that it is not only spectators who may be at risk but also marshals involved in the event. These unforeseen incidents highlight the importance of taking precautions and being adequately insured to ensure the safety of all individuals involved.

Submitting risk assessments is often necessary, especially considering the level of experience of the photographer. It is crucial to understand safe standing positions, the behaviour of fast-moving rally cars, and how to react appropriately. Although creating a risk assessment may seem laborious and time-consuming, it prompts you to consider factors that may have been overlooked. Planning chosen locations and submitting them to event organizers in advance is also essential for inclusion in the event’s safety plan. In today’s safety-conscious world, some motorsport locations may have limited or no phone signal. Therefore, it is vital for event organizers to be aware of the media members’ operating locations, including their identification (Tabard & ID pass) and emergency contact details in case of any unforeseen incidents.

After receiving accreditation for an event, photographers are typically provided with information regarding the event’s route and timings. This marks the beginning of the planning process. Armed with stage maps and a time schedule, I can start studying the stages that will be used. To aid in this process, I utilize various tools such as Google Earth, Ordnance Survey Mapping, Pre-Event Stage Safety Videos, and YouTube for accessing previous onboard videos. Additionally, my existing knowledge of any stages being used proves valuable in identifying suitable locations. For larger national rallies, I often conduct a pre-event reconnaissance of the stages and selected locations a day prior to the rally. This helps me with timing and minimizes the risk of arriving on the day and facing disappointment.

What’s in the bag?

Among my camera options, I have five Nikon bodies available. The primary cameras I use are equipped with full-frame sensors, while the remaining three utilize cropped DX format (APS-C) sensors. These DX format cameras serve as backups and are also used for remote triggering purposes. To ensure efficient performance, I have equipped them with fast-writing SD memory cards, specifically from the Lexar Professional range. Additionally, the cameras are configured to write both uncompressed RAW and JPEG files simultaneously, utilizing the secondary slots for storage.

In terms of lenses, the commonly preferred options for rally photography include a fast F2.8 70-200mm lens, which is considered a standard lens to carry. Additionally, a 24-70mm F2.8 lens is commonly used. Other lenses that are often utilized include a 17-35mm wide-angle lens and a 17-50mm lens, which is favoured for all-around remote camera setups. Although I have a 400mm Nikor lens from my circuit racing days, I rarely use it during stage rallies and I struggle to recall a specific stage rally where I actually used this lens.

For protection, all lenses are equipped with at least UV filters/protectors to minimize the risk of lens damage from flying stones that can be encountered during forest or gravel rallies. I also make use of Hoya Pro filters when conditions permit, as they can enhance the overall scene and provide some image control.

To capture different perspectives, I employ wireless triggers to remotely activate cameras placed in various locations. This allows me to capture shots from positions that may not be safe to physically stand in. The uptake in the use of remote cameras has become increasingly valuable in recent years. As mentioned earlier, it is common to only have limited opportunities to capture a car during an event, so having additional cameras helps to add variety to the shots.

When it comes to setting up remote cameras, I personally don’t follow a strict scientific approach. I typically frame the shot, manually set the focus point, and choose a good depth of field and a generous shutter speed. If the weather and lighting conditions are unpredictable, such as when the sun intermittently appears and disappears behind clouds, I aim for a middle ground setting that can cover a range of possibilities. My mindset is to set up the camera and then leave it, considering any successful shots obtained as a bonus. It is not safe or practical to be constantly adjusting camera settings while walking along or crossing a live rally stage. Safety is of utmost importance in these situations.

During rallying, I often find myself in picturesque locations, and I take the opportunity to capture wide-angle landscape shots that showcase the rally car within its environment. If the location offers other exciting moments such as jumps, kick-ups, or water splashes, I adjust the camera angle accordingly to capture these actions. In anticipation of rain, which is often a possibility, I take precautions by wrapping the entire camera setup in clingfilm to protect it from water. This method also proves effective in dusty conditions

In addition to lens protection, I also utilize silicon camera body covers to provide an extra layer of protection for the camera bodies. These covers are relatively inexpensive but can be valuable in preventing damage from flying stones and other potential hazards. I make use of a couple of tripods, one of them is the Manfrotto Befree GT XPRO tripod, known for its versatility and stability. Additionally, I use a 3m high extendable pole, which allows me to capture shots from elevated angles.

Night rallies are not a frequent occurrence for me, as I only attend one or two events per year that include night stages. However, there are instances where events may start early or finish late, resulting in low-light conditions. To address this, I carry a couple of Nikon SB-700 Speedlights, which are versatile as they can be used in master and slave mode and can be fired off-camera.

Carrying all this equipment can be quite heavy, especially when I have to walk long distances, sometimes kilometres, to reach the desired locations in the middle of Welsh forests, for example. To transport my gear, I rely on a Tamrac Anvil 23 bag, which has proven to be durable and weather-resistant over the years, as the weather can be unpredictable. In order to prioritize space in my bag, I have chosen to leave behind food and instead pack extra photography equipment, as space is limited.

What makes for a good photo?

Creating a great rally photo is subjective and can vary from event to event. It could be capturing a standout car, the action taking place, the weather or landscape, or even the atmosphere created by the fans. Personal preferences play a significant role, including the style of the photo and the chosen shooting techniques, such as settings and framing. It’s important to embrace your own vision and be open to trying new approaches, as long as you are satisfied with the results.

With advancements in camera technology, modern cameras can produce high-quality images even in low-light conditions, surpassing the limitations of older cameras that were restricted to ISO 100-200. However, post-processing of photos can be a topic of debate. During a typical national rally with numerous cars, especially when using multiple remote cameras, the number of photos can quickly accumulate. After the rally, my focus is on finding and processing the photos needed for post-rally reports. Due to time constraints, I rarely review every single photo of each car I capture, which limits the amount of editing I can do. I may make minor adjustments such as sharpening, enhancing colours slightly, working on shadows, or making slight reframing or cropping adjustments. However, I don’t have the luxury of fine-tuning every single photo in great detail due to time limitations.

Quick Fire Q’s

First Rally

My first proper stage rally, was the South of England Tempest 2006, I had no experience of rally photography and zero knowledge of the stages, so I had no idea where to go; I think I did Rushmore Arena and then a stage close to it which was named Long Valley and then finished up in Yateley Wood for a stage in the dark. The weather and light was actually pretty good on the day but looking back at the snaps, they probably weren’t great, even for a first attempt.

Favourite Rally To Photograph

Rally Sardinia (WRC); Sardinia offers the chance to tie in a nice holiday with a round of the WRC, it has great stages with plenty of variety, I’ve been a coupe of times and wouldn’t hesitate to go back. This is closely followed by Wales Rally GB before it ended in 2019, for what was our home round of the world series, it has many great memories, sure the conditions can be very very challenging, but it holds a special place in the hearts of many rally fans.

Favourite Rally Stage To Shoot At

Internationally, Argentiera, Sardinia because of its stunning location beside the sea and on the beach, with only two runs of the stage it can be hard to chose a spot as it has just so many awesome opportunities for photos. In the UK, I’d probably say Myherin, Mid Wales, with its epic Pikes Peak section and fast flowing roads further up between the wind farms its a winner every time.

Gravel or Asphalt

Gravel ideally, for me rally cars are much more exciting on loose surface and gravel, they photograph well on it, movement, dirt and dust trails for example ticks the boxes.

Modern or Historic

Historic, nothing beats a Ford MK1 Escort, going sideways in a forest especially an Ex-Works or Ex-Works replica with the white and black bonnet scheme, but that’s not to say that a modern machine in the right hands can be pretty decent in commitment and pace.

Bucket List Rally To Photograph

Probably Rally Sweden (WRC) in full snow condition, but I don’t think that I’m man enough to survive the subzero cold temperatures.

Canon or Nikon

I use Nikon, but that’s mainly because I grew up with Nikon, both are perfectly good manufacturers as are others.

Inspirations

Oh gosh, there are so many great rally photographers in the World that it is hard to single one out, here are a few whose work I admire: Andre Lavadinho, Aurélien Vialatte, Colin McMaster, Jaanus Ree and Niko Katikis. There are, however, also a talented bunch of togs right here in the UK whom are all constantly producing great stuff. I think in particular, that generation of togs in the UK over the past 10 years or so have really raised the bar significantly for Rally Photography on our shores, I have no doubt that part of this could be attributed to technology improving, but sometimes it’s not the kit, its the eye for a shot and the combination of effort, knowledge and experience.