Shooting Motorsport Events.. Press access?

[tehdrok]

Hi all,

I'm going to a motorsport event this weekend, and I requested access to the photographers pit from the organiser. They have sent me a form to complete and return to gain access, and have been very decent about it all; However, on the form, it is necessary to provide an organisation that you are working for, and this must be accompanied by a letter from an editor or a head of department..

Now, as an amateur photographer hoping to break into the world of photography, I'm not currently working for any publication, and therefore do not have access to an editorial staff, etc. What I want to know is, how do freelance photographers get press passes in the first place? :? Is this even possible, or would you need to be shooting for a photography publication first?

Any advice would be appreciated :)

[tehdrok]

Nobody? :?

[JurekB]

You need to be shooting on behalf of someone so that would be an agency, a magazine, a team, a driver so on and so forth. You can't simply get accreditation because you feel like it or because you think you might sell the pictures down the line. You need a customer to start with and even then the organiser can reject your application as they have pretty strict guidelines as to who they issue passes to.

[tehdrok]

Right; I understand that. But if that's the case, then how do you approach a magazine/team/driver, etc. and ask to begin working for them? I completely understand why passes aren't simply handed out left, right and centre, but I don't understand how someone serious about becoming a photographer (but needing practice) could break into the business..

Thanks for your help.

[FlyingPhotog]

If the credential request form requires the photographer to be legitimized in writing by an established publication, I think you already have your answer.

Freelance does not mean you can just go shoot whatever, whenever. It simply means you are not tied to only one employer.

I've been a freelance broadcast technician for nearly 20 years but unless I'm working for a network, I can't simply walk into any pro baseball or football game.

The trick is to start by shooting at places that don't require such draconian measures to gain access. Local karting tracks, open track days, etc... Start to put together a portfolio of your work and shop yourself to the publications that do have the pull to get their shooters into the major events like F1, Superbikes, etc...

It can be increadibly frustrating trying to catch a break but keep plugging and it will come (if you want it bad enough...)

Good Luck...

[andrewc]

Yes you need to be shooting for someone.

I have been fortunate to have secured several media passes this season as I have been shooting for the main regional newspaper in Norfolk and they have been very co-operative so far. Its only club level motorsport and not the bigger events like BTCC, but who knows where it will lead...

Looking at your kit list, you seem to be lacking a long range zoom which is kind of essential for motorsport.

[primoz]

Freelance can be understood one way or another. Most of freelancers shooting any kind of sport event have some contract with one or more publications, agencies etc.. Freelance normally mean I'm not employed with one newspaper, but I work today for one, tomorrow for another, or even today for one and another. Most of time freelance is not working like someone might think. Most of us don't wander to race shoot it, and hope we can sell something to at the moment unknown client.
Sorry for not being much of help :)

[tehdrok]

Looking at your kit list, you seem to be lacking a long range zoom which is kind of essential for motorsport.

Agreed; It's in the bag for the near future.. ;) Only shooting drag racing at the moment, so I don't need a huge amount of zoom as it stands.

[tehdrok]

Freelance can be understood one way or another. Most of freelancers shooting any kind of sport event have some contract with one or more publications, agencies etc.. Freelance normally mean I'm not employed with one newspaper, but I work today for one, tomorrow for another, or even today for one and another. Most of time freelance is not working like someone might think. Most of us don't wander to race shoot it, and hope we can sell something to at the moment unknown client.
Sorry for not being much of help :)

Thanks for helping with the definitions, much appreciated.

[andrewc]

For some events you'll need your own insurance as well - £ 5 million worth of Public Liability Insurance.

[tehdrok]

If the credential request form requires the photographer to be legitimized in writing by an established publication, I think you already have your answer.

Freelance does not mean you can just go shoot whatever, whenever. It simply means you are not tied to only one employer.

I've been a freelance broadcast technician for nearly 20 years but unless I'm working for a network, I can't simply walk into any pro baseball or football game.

The trick is to start by shooting at places that don't require such draconian measures to gain access. Local karting tracks, open track days, etc... Start to put together a portfolio of your work and shop yourself to the publications that do have the pull to get their shooters into the major events like F1, Superbikes, etc...

It can be increadibly frustrating trying to catch a break but keep plugging and it will come (if you want it bad enough...)

Good Luck...

Thanks for your reply; I think I understand the process a little bit better now.

As it happens, this weekend I'm shooting at a drag track and you can get pretty decent shots from outside the fence; Low fences for a start, and the stands aren't too far away, so you don't need a zoom lens as long as your arm to access it. I guess I'll just have to get a little creative with the shots! :lol:

So what would you suggest - Build up a portfolio of shots from the most accessible non-press areas, and then use these to advertise my services to publications accordingly? I'm the first to admit that I'm just starting out, and I *don't* understand the industry, but I'm enthusiastic and willing to learn, which is why I'm here :)

Thanks again!

[JurekB]

Right; I understand that. But if that's the case, then how do you approach a magazine/team/driver, etc. and ask to begin working for them?

Networking is the key. Get out there and show people your work, get to know them, get your face known in the paddock and one day you might have a real lucky break which sets you up, but don't hold your breath and don't give your work away for free.

[tehdrok]

Networking is the key. Get out there and show people your work, get to know them, get your face known in the paddock and one day you might have a real lucky break which sets you up, but don't hold your breath and don't give your work away for free.

Fair comment; I did a degree of this last year in the trackside area at Santa Pod, but I was even more wet behind the ears back then and I didn't know what I was capable of; Now I do. I'll keep at it, and keep adding to my portfolio.

Leading on to my next question, then, what would people expect their shots to go for in motorsport events? I don't want a very exact figure, but a ballpark would do? Are they sold per shot when working freelance, or as a series? How much would you expect to make when starting out, per photo?

I'm really eager to learn how the industry works :) Thanks for all your help!

[andrewc]

It works how you want it to work...

If you're shooting on a commission basis, you'd probably charge time & prints.
If you're shooting for a paper, its normally on their terms

If you're selling prints to competitors, firstly its probably against the terms of entry or against the terms of the media pass, but if you decide to anyway, the cost is what the market will bear. Too high and you won't sell. Too low and you're doing yourself a dis-service.

[tehdrok]

Fair enough; Thanks for the info :)

For the record, I wasn't planning on selling any this year, because I know for a fact that I'm just not going to get a high enough percentage of decent shots - I don't have the level of experience or the equipment to be confident enough that I can produce the output required for commercial standards. This was purely a portfolio building exercise; If I get 25% keepers I'll be happy. However, freelance is something that would interest me in the future, so this information is invaluable.

Thanks again everyone for your great advice :)

[ryant35]

I have been shooting for the track photographer at a local (not really that local) for a couple of years. This experience along a cover shoot for an off road magazine got me a media pass with an off road race series. You have to start somewhere.

The local track I shoot at, there are no fences and there are plenty of places to shoot from outside and get some great shots. I get to go infield because I am working with the track photographer, either way I got some great shots for my portfolio.

[tehdrok]

I have been shooting for the track photographer at a local (not really that local) for a couple of years. This experience along a cover shoot for an off road magazine got me a media pass with an off road race series. You have to start somewhere.

The local track I shoot at, there are no fences and there are plenty of places to shoot from outside and get some great shots. I get to go infield because I am working with the track photographer, either way I got some great shots for my portfolio.

This is exactly the kind of information I need - Thanks :)

[ryant35]

This is exactly the kind of information I need - Thanks :)

Also the track I shoot at doesn't have any "pro" races, just track days, so I don't really get many shots of actual race cars, mostly street cars but sometimes BMW's & Porsche's.

[tehdrok]

Personally, I find modded street cars much, much more interesting than professionally produced racing machines.. Of course, I'd be just as content to shoot either on a professional level :lol:

[ryant35]

Personally, I find modded street cars much, much more interesting than professionally produced racing machines.. Of course, I'd be just as content to shoot either on a professional level :lol:

Oh yeah the last time I shot at this track there was a Mitsubishi Evo that beat Mario Andretti's track lap time record in an F1 back in '79.

[tehdrok]

I can believe it; On "Top Gear" (Famous BBC show about cars, just in case the US hasn't gotten it yet.. :lol: ) there was a staged track race between an Evo VIII and a Lamborghini Gallardo, and the Evo kept up easily.. Lamborghini spun trying to stay ahead.. Those Mitsubishis' are hard to beat in the corners :D

I love the D1 Drift series that has been going on here over the last few years; The first one I went to was on a much, much lesser scale than it is today; Drift racing wasn't as big, commercially, but it was fantastic to watch.. Sadly, I only had a Kodak P&S back then :( I'm hoping to go again, next year, but only as a spectator - Not as press :D

[andrewc]

The Lambo however will have the edge from 150mph to 200mph+! Different cars designed for different things and silly comparing them.

Top Gear also proved that a standard 1.6 Fiat Stilo is faster than a Mitsubishi Evo with 400bhp...

[tehdrok]

The Lambo however will have the edge from 150mph to 200mph+! Different cars designed for different things and silly comparing them.

Top Gear also proved that a standard 1.6 Fiat Stilo is faster than a Mitsubishi Evo with 400bhp...

Lol, very true; It's a lighthearted programme, to say the least - Hardly scientific. Was that the experiment when they were discussing turbo lag? :lol:

[andrewc]

Yes, still its been on telly, so must be true!

Lamborgninis aren't racing machines - no supercar really is, they're designed for pop stars and small boys who buy posters (most grown men are really small boys at heart)

You need to compare it to a properly prepared GT car or a single seater to get a better idea of things.

[jbrown7815]

Informative thread, we are in similar positions, except I am even more new :)

[ryant35]

Sometimes the professionally built vehicles area cool too...

http://i88.photobucket.com/albums/k173/ryant35/IMG_5203.jpg

[tehdrok]

Yes, still its been on telly, so must be true!

Lamborgninis aren't racing machines - no supercar really is, they're designed for pop stars and small boys who buy posters (most grown men are really small boys at heart)

You need to compare it to a properly prepared GT car or a single seater to get a better idea of things.

Yeah, agreed. Although that's not to say the Evo isn't an incredibly complex and wonderful (and quick!) machine :D

[tehdrok]

Sometimes the professionally built vehicles area cool too...

http://i88.photobucket.com/albums/k173/ryant35/IMG_5203.jpg

Nice catch! :cool:

[Zilly]

to answer your question directly a freelancer will require one of these to work with out accreditation

http://www.msauk.org/uploadedfiles/msa_forms/2007-8_Media_Renewal_online_form.pdf

how ever as youll see the hoops that you need to jump threw for a msa pass are complex and tricky

best thing is too start at the bottom with the club sports and work your way up also buy some decent glass and shoot round the togs from the public areas.

the answer is there is no easy way in. and even when you are in its not easy. Start at the bottom and work your way up.

One thing you should never do is work for free. If your images are good enough to be in a magazine they are good enough to be paid for simple as. Whoreing your self out to mags just for a press pass is a pretty easy way to end up broke and annoy alot of professional togs