In a message dated 2/2/00 "Ian A. Nichols" <I.A.Nichols@xxxxxxxxxxxxx>
writes:
<< On Tue, 1 Feb 2000 sje@xxxxxxxxxxxxxxxxxx wrote:
> Most longish bike shots in magazines are taken with 300/400mm, and they must
> be used pretty wide open, the background and foreground are always well out
> of focus. I know a couple of the top race photog.s use Canon 600/4s &
> Velvia.
I really must practise my panning! Last time I tried shooting moving
bikes (trackday at Cadwell Park) I was using a lens 2 stops slower but
film 4 stops faster and most of them have motion blur (and terrible
framing). >>
I can assure you that nobody pans with 400mm and 600mm lenses. These
focal lengths are strictly used for straight on shots, (or an oncoming
angle). Even 300mm is very difficult to pan (and it gets much more
difficult with the fast 300mm lenses).
Everyone I see out there with the giant lenses also have smaller lenses
they use for panned shots. The current trend seems to be to fill the
frame on a diagonal and have less motion blur and more detail on the car
(or bike). Not sure I like this trend but it is what the magazine
editors seem to want and who am I to say it's wrong? I like to try and
strike a good ballance on side shots where there is enough motion blur
to show speed, yet I don't loose detail on the car and the driver.
Panning takes practice. You'll have good days and bad days even once you
have confidence that you can go get every shot you want every time. I
can tell when I miss and I can tell the days that I am "on." When it
feels right, I know what to expect in the results.
I can offer the following tips:
Watch the drivers/riders a few times through the are your going to shoot
to see what line they take. Once at speed they will always take that
same line unless there is traffic.
Pick the spot where you want to get your shot by looking at the
background for potential distractions and for elements that may enhance
the shot. While doing this pick out something that you can use to tell
you to release the shutter when you see it flash past as you pan. I
often use the little braking markers going into corners for turn-in
shots, and rumble strips at the apex or exit.
Prefocus on the track at the spot you're going to release. No AF system
out there will do any better than good ol' prefocus. Recheck this focus
point often between shots.
Stand with your body square to the release point. Turn to pick up the
car/bike from the farthest spot you can see it coming from and move your
whole upper body while holding the camera/lens as stable as possible
using your arms to triangulate it against your eye. Practice this arcing
movement even when no shot is in front of you to make sure that you like
what you see and feel a smooth movement as you pass by your release
reference mark.
With practice, you should be able to get at least 50% with the car/bike
at the angle you want and the framing close to what you want. It gets
real interesting from a the 10th row grandstand seat at CA Speedway (as
a fan, not a shooter but I always carry a camera) shooting CART cars
going 240mph through the catch fence...not the greatest in results but
very good for practice. (For example:
http://motorsportvisions.com/4shane/CA99_01.jpg)
Hope this helps...ask off list if you have any questions or wish for
more details as I am happy to share what I have learned.
Mike Veglia
Motor Sport Visions Photography
www.motorsportvisions.com
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