Nothing beats the thundering energy and human drama that unfolds across the surface of an automotive racetrack. Photographers who specialize in this adrenaline-fueled niche are best served by nerves of steel and the high endurance to lug multiple cameras and the long lenses needed to freeze the action. In today’s show, we plunge headfirst into what it takes to cover the many facets of auto racing with two of the finest professionals in the field, photographers Camden Thrasher and Jamey Price.
Various color temperatures from multiple light sources provide a wild array of colors during heavy rainfall in the Daytona pitlane. Nikon D5, ISO 640, 35 mm f/1.4 lens at 1/250.
Early morning light accentuates the guard rail and frames a Corvette C7.R during a short warm up session for the 2018 Watkins Glen 6-hour race. Nikon D3, ISO 200, 80 mm f/8 lens at 1/1000.
Road grime, exhaust, and brake dust stick to the back of a Ferrari after a Le Mans test session. Nikon D3, ISO 400, 200 mm f/2.8 lens at 1/320.
The offroad racing in Baja, Mexico is extremely rough, as evidenced by this Trophy truck missing most of its bodywork while engulfed in a deep silt bed. Nikon D5, ISO 160, 200 mm f/4 lens at 1/2000.
Pit crew member running with a tire during Le Mans 24-hour pit stop practice. Nikon D4, ISO 50, 190 mm f/22 lens at 1/13 second.
Rainy car-to-car shoot on the steep banking of the Daytona Speedway. Nikon Z9, ISO 250, 35 mm f/3.5 lens at 1/25.
A mix of quick timing and extreme patience can yield dynamic compositions when layering cars on different portions of the Daytona circuit. Nikon Z9, ISO 32, 200 mm f/16 lens at 1/8 second.
A Porsche 919 can be seen in the reflection of the crew chief’s helmet during the 2017 Le Mans 24-hour race. Nikon D5, ISO 1250, 300 mm f/2.8 lens at 1/320.
Pit crew pushes the 92 Porsche back into the garage after a surprise heavy rain storm during practice for the Le Mans 24-hour race. Nikon D4, ISO 800, 200 mm f/2.8 lens at 1/250.
Harsh reflections from shooting through Lexan windows are often frustrating, but careful use of light & shadow can offer ways to frame specific elements, such as the concentrated gaze of driver Seb Priaulux before a qualifying session. Nikon Z9, ISO 125, 135 mm f/1.8 lens at 1/1250.
Porsche seen through the lights of emergency vehicles at the Daytona 24 hour race. Overnight hours offer a great opportunity to experiment with various lighting and long handheld exposure effects. Nikon D5, ISO 320, 70 mm f/5 lens at 1 second.
Light, shadow, and strong shapes are plentiful around the Long Beach Grand Prix street circuit. Nikon D5, ISO 640, 35 mm f/5 lens at 1/8000.
The observation tower and painted runoff areas at Circuit of the Americas make a great location for slow shutter speed panning shots. Nikon D3, ISO 100, 35 mm f/13 lens at 1/3 second.
A paintbrush streak effect created by backlit trees standing between Thrasher and a car when using a long lens and a slow shutter speed during sunset at Le Mans 2022. Nikon D5, ISO 50, 500 mm f/8 lens at 1/6 second.
From stories of unexpected hurdles to access when scouting an unfamiliar course to the mix of visual stimulation and extreme exhaustion that accompanies a 24-hour endurance race, our chat is full of real-world insights. We also discuss the gear these photographers rely on and the wear and tear that comes with hard core use.
One of Price’s favorite start shots from a rainy night in Charlotte, North Carolina for the 90-minute IMSA race. Nikon D5, ISO 1250, 85 mm f/3.2 lens at 1/1000.
Tree pans are one of Price’s favorite go-to techniques. Finding the right tree or branch to use as a foreground element can make a big difference. Nikon D4, ISO 50, 112 mm f/22 lens at 1/8
Sebastian Vettel races amid a blur of color from a slow shutter speed at the Miami Grand Prix. Nikon D5, ISO 50, 500 mm f/14 lens at 1/25.
Lewis Hamilton roars by during the inaugural Miami Grand Prix race weekend. Price prefers compositions like this with a strong leading line and little distraction from the subject. Nikon D5, ISO 250, 38 mm f/2.8 lens at 1/4000, Exposure compensation: -0.3.
An epic rainstorm might make for challenging working conditions, but it sure makes for epic photography. Nikon Z9, ISO 2000, 400 mm f/2.8 lens at 1/1600.
Painted runoff areas make for fun use of color with the right shutter speed as the Ferrari does laps during testing in Bahrain. Nikon D5, ISO 50, 200 mm f/13 lens at 1/80, Exposure compensation: 1.
Reflections from the Circuit of the Americas tower railing give an interesting pop of color to the track with a bright yellow Corvette flashing past underneath, Austin, Texas. Nikon D5, ISO 320, 100 mm f/4 lens at 1/2500, Exposure compensation: -0.3.
Fireworks show during the 24 hours of Spa race, captured using a tripod and a multi-second exposure. Nikon D4s, ISO 50, 14 mm f/4.5 lens at 10 seconds, Exposure compensation: 1.
Pitstop practice is a ballet for mechanics in fire suits Everyone has a job to do and it’s fascinating to watch it unfold. Nikon D3s, ISO 100, 28 mm f/22 lens at 1/15, Exposure compensation: -0.7.
Sometimes being close to the action means being CLOSE to the action. Nikon D5, ISO 100, 14 mm f/2.8 lens at 1/3200.
Using a slow shutter speed, Price followed Lewis Hamilton’s helmet as he whizzed past during the 2016 Canadian Grand Prix qualifying race. Nikon D4s, ISO 50, 60 mm f/18 lens at 1/15, Exposure compensation: -1.3.
A technique called “whip panning” involves following a car using a very slow half-second shutter speed. Nikon D5, ISO 250, 105 mm f/10 lens at ½ second.
Newly crowned World Champion, Max Verstappen during testing in Barcelona, Spain. Nikon D5, ISO 125, 500 mm f/4 lens at 1/1600.
Corvette racing at sunset during the World Endurance Championship race at COTA, Austin, Texas. Nikon D5, ISO 50, 500 mm f/4 lens at 1/1600, Exposure compensation: -0.7.
Sebastian Vettel on the streets of Monaco in 2018. Nikon D5, ISO 200, 500 mm f/4 lens at 1/1600, Exposure compensation: 0.3.
Seven-time world champion Lewis Hamilton prepare for battle before an F1 race. In addition to capturing peak action on the track, motorsport photographers are busy capturing candid moments. Nikon D6, ISO 100, 200 mm f/2.8 lens at 1/800, Exposure compensation: 0.3.
Parc Fermé with all the Formula 1 cars, Shanghai, China. Nikon D4s, ISO 320, 140 mm f/3.5 lens at 1/1250, Exposure compensation: -0.3.
One of the brightly colored Lamborghini Super Trofeo cars climbs the hill at COTA. The use of leading lines is one of the best ways to make images even stronger. Nikon D5, ISO 125, 700mm f/6.3 lens at 1/2000.
Sebastian Vettel’s iconic “finger” celebration after his first Grand Prix victory for Ferrari. Nikon D4s, ISO 160, 200 mm f/3.5 lens at 1/8000, Exposure compensation: -0.3.
Fernando Alonso’s doomed qualifying run for the Indy 500 with an epic burnout and the dramatic lighting conditions made it a very storytelling photo. Nikon D5, ISO 100, 70 mm f/3.2 lens at 1/3200, Exposure compensation: -0.3.
A Ferrari F1 car screams out of the Monaco tunnel with a whoosh of noise and sparks. Nikon D6, ISO 125, 400 mm f/2.8 lens at 1/4000.
And for listeners who’ve always wanted to try their hand at motor sports photography, Jamey Price shares some parting advice. “You don't build a portfolio by getting credentials,” he says. “You build a portfolio by going to races as a fan, bringing your camera, and making cool pictures from fan areas. Tell stories, do something different.”
Camden Thrasher & Jamey Price, double self portrait, Le Mans, France
3:46: Jamey’s start as a jockey and making comparisons between photographing horse racing and motorsports
8:29: Camden’s early start attending auto races, then discovering photography through exploring his father’s film camera as a cool mechanical device.
10:25: Both photographers share their trajectory from starting out as a motor sports photographer to making it into a career.
18:04: A race day timeline and the many variables involved in motor sports photography.
27:28: Camaraderie & competition between photographers working the circuit, etiquette when shooting, and the importance of individual style.
37:24: The thrill of endurance racing and how photographing these 24-hour-long races differs from other types of motor sporting events.
43:38: Episode Break
45:10: Camden and Jamey’s go-to camera gear, the long lenses they lug, plus how often they use manual focus, especially when panning through people or trees.
54:50: Getting otherworldly visuals when faced with adverse weather conditions or unique atmospheric effects, despite the physical challenges.
59:15: Wear and tear on camera gear due to the unfriendly environment at the track, plus using broken gear or common objects for creative visual effects.
1:056:08: Camera settings and creative techniques when panning, plus accounting for variables of relative distance combined with motion and speed to achieve a desired result.
1:16:27: Camden & Jamey discuss the use of their motor sports photos and licensing their images to clients.
1:24:13: Parting advice to fans interested in becoming a credentialed motor sport photographer—bring your camera to a race as a fan, and start making pictures!
Guest Bios:
Camden Thrasher is a motor sports photographer with a distinctive ability to capture unique scenes of fast action. Growing up in Vancouver, Washington, it was the sound of engines from a nearby racetrack that first drew him to motor sports. After becoming a fixture at the track with his camera during high school, Camden studied automotive design and engineering in college, expecting to work as an engineer or on a pit crew.
But the money he was making as a side hustle with his camera convinced him to stick with photography, and he hasn’t looked back since. Using a unique slow shutter speed method, perfected over many exposures, Camden revels in showcasing the abstract qualities of gleaming metal, bright lights, and dynamic action that are hallmarks of this sport. Now based out of Atlanta, Georgia, Camden’s work has been commissioned by top racing teams and featured in a wide range of media, from print magazines to automotive branding campaigns.
Jamey Price is an automotive photographer based in Charlotte, North Carolina, whose motor sports work has taken him to more than 25 countries, and across most of the continental US. Jamey's photography career began while he was competing as a thoroughbred horse racing jockey and exercise rider. During this time, he completed more than 50 races, notching 11 wins in the saddle. His life in horse racing was eventually compiled into the self-published book Chasing: Racing Life in England & Ireland. Yet, in 2011, Jamey’s photography career switched from horses to horse-power. Since he began chasing race cars, his images have been published worldwide in magazines, distributed by sports imagery wire services, and featured by top commercial clients. Additionally, Jamey is a LEXAR Elite Artist, since 2014.
