Poll / information: what road did you take to become a motosports photographer?

I am just starting out. I have been a hobby shooter for a few years. I am taking photography classes. I have appreciated the feedback from the fellow photographers here.

For those that shoot Motorsports professionally, how long did it take to establish yourself?

What were some of the steps you took to build a portfolio?

What do you do mostly, e.g. editorial, vendor, freelance, other?

I am trying to get a realistic sense of the work it takes to make it.
I have another job/career - one I grown tired of. I am trying to determine a realistic horizon.

Thank you.

Established motorsports photographers in this area have been active for at least 30 years, they usually started with black and white Tri-X film.
And they established themselves with work for racing newspapers and magazines that are getting more rare every year. So, many of the paths for advancement that existed in that era are now gone and are not coming back.
active.

And those photographers established themselves by going to dozens or hundreds of races a year and letting the racers and race organizers know they were available and competent. As happens with many industries much of the battle is to be seen in the right places at the right times. That means spending most of your weekends at a track someplace for several years.
Most of those races they attended and still attend were small-time regional events.
One of the best freelancers in this area is over 60 years old, and others who do the same thing are roughly the same age. They have vivid memories of races they photographed in the 1970's and the 1980's. This weekend, I bumped into a photographer who started in the late 1960's, and is still active.


And those photographers established themselves by going to dozens or hundreds of races a year and letting the racer andrace organizers s know they were available and competent. As happens with many industries much of the battle is to be seen in the right places at the right times That means spending most of your weekends at a track someplace for several years.

These days everyone and their uncle has a camera, so it's tough to get started. Like DC Fan said you have to be willing to work a lot and shoot all kinds of races, no matter how small they are.

Shoot, shoot, then shoot some more; be ruthless when editing and cull out anything sub par - only show your best work. Always look for new angles and shots, experiment and don't follow the "herd" - if everyone gathers in the same spot to shoot, find something/someplace different and make your pictures stand out from the mass. Scout out the best locations before the race.

Always be on your best behavior, no matter who you are dealing with - drivers, officials, spectators, security etc. Get to know the key people and what the written and unwritten rules for any race/track/event are. Follow those rules.

Work fast. Get your pictures online/to editors as soon as possible and caption them with correct information.

Know your gear and always have backup - you cannot re-shoot a race. Establish a good working relationship with other photographers; it's good to have friends around when you might need help.

So yes, it all comes down to hard work. Start at the bottom, be there, be reliable and don't give up.

If you are lucky, you might have five years to try to make a name for yourself.
Before you can do that you need to be bloody good. Real bloody good.
A friend of mine is in his late 20's and now works for LAT Digital in the UK doing F1
He left Aussie about 5 years ago and shot for Suttons - mostly at his own expense - to do exactly what you want to do - and is only now starting to get established..
He is doing OK, but just OK after living on the bones of his backside and definitely is not making a fortune.
When he left Oz, he was just starting to make people notice his work here.
What he did was a brave call.

Now read this...

I've posted this several times elsewhere on POTN - people are probably sick of seeing it.
It's essentially related to motorsports photography but the principles are the same for any sport.
It's a bit long, I know, but It covers most things you probably need to know and, dare I say, it tells it like it is.

A quick few words about my background.
I started my motorsport photography over 20 years ago when I stopped competing in rallies.
The biggest problem I and fellow competitors had back then was getting pics of ourselves.
When I finally parked the rally car, I still wanted to be involved. I picked up the camera and started taking pics at club level events to national championship level from spectator areas and selling them to competitors.
After a while I started submitting to a couple of motorsport magazines. It took a while but eventually, after about 3 years, I started getting some images published and then it snowballed from there to the point where I was able to get accreditation.
Today, I cover all types of motorsport and supply several magazines and agencies with images. I have also covered a number of different sports and events for image libraries including Federation Cup Tennis, International Netball, Wrestling, Pro Golf, AFL Football, International Soccer, Pro Cycling and several other sports and events.

A couple of questions you need to ask yourself...

Firstly, what is your reason for wanting media credentials.
Are you a member of the media?
What can you give the organizers by your presence?

Media creds are usually only given to WORKING media. This means people working for and supplying bona fide media outlets ie: Magazines and newspapers and other recognised media outlets such as websites and press agencies.
I’ve been shooting sport, mainly motorsport for over 20 years, and still do club level and grass roots sports.
I supply several magazines and newspapers as well as photo agencies.
I often get asked…
"How do I get a pass to shoot from where you are?”
My reply usually goes something like this…
“How long have you been photographing (insert name of sport) and what outlet do you work for?
To which they reply something like…”Oh I never do. I just want to get in and shoot from where you are. I’m just taking photos for myself”
Ask yourself this…
If you’ve never taken a photograph of an American Football (substitute for any sport) game, would you approach the NFL (again substitute relevant organization) and say to them “Hey Mr NFL Media Man, I’ve never taken a photo of a grid iron game before but I think I’m a pretty good photographer, I’m not shooting for anyone except myself so you won’t get any publicity but can I have a media pass for the Superbowl…"
Seriously, what do you think they would say.
It would probably be cool to be there and you’d get off on it and brag to your friends, but seriously…
Unless you are working media, why should you be there.

Media credential's ARE NOT a free pass to get in to an event.

Admittedly, sometimes I have seen some people with creds who probably shouldn't have them - and people who probably should have them who don't - most of the time however it's not for me to make that decision.
I do sympathise with people who wish they could get creds for events and can't.
Event organizers are after publicity. You shooting for yourself does not give them that publicity and they do not have an obligation to give you a media pass just because you think you should have one. It is up to you to justify why you should be accredited.
Remember that the 'togs you see shooting at a track or sporting event etc are being paid by somebody therefore IT IS A JOB. They are not there for the fun of it.
Imagine if somebody came into your work place and thought it looks like cool job, do you think they'd just be able to start doing what you were for the fun of it?
Also, there is a whoooole lot more to it than just standing by the track and taking photo's. There are deadlines (sometimes very short) to meet and as a rule I would suggest that for the same amount of time spent trackside there is at least 1/2 to 3/4 of that time to be spent on editing, sending images etc when the day at the track has finished. If you spend 8 hours at the track, then you will usually spend another four to six hours, at least, once you have left the track on editing etc.
Not to mention arguing with editors about what to send etc...

I attend a lot of events where I don't have creds so I do know what it's like from behind the fence or in the bleachers, but I still manage to get good and sometimes great images.
It makes you see things differently and find different angles and ways of shooting.
I'd estimate that about 50% of events I go to, I don't have the magic press pass and pay to get in like everyone else.
Sometimes I'm just there for being there, and sometimes it might be a sport I've never shot before but want to see what it's like. Occasionally I do manage to sell some images.
Also, just because you have good gear doesn't mean you should be there either.
I've seen some 'togs with basic DSLR's and kit lenses take some better stuff than guys with 1D's and white lenses (and Nikon equivalent). I occasionally use a 400D with the 10-22 lens and have had those images published. I also use a sigma 10mm fisheye.
In closing, I will say this...
THERE ARE NO SHORT CUTS.
If you want to have creds for big events, start shooting the grass roots of that sport (no it's not glamorous like the big events - but you'll probably make more money) and start supplying images to publications etc.
This is a great way to get yourself known to event organisers. They learn to know who you are and that you are committed to photographing their sport and being known is half the battle. This is not going to take 5 minutes and may take several years, yes... I did say years.
To do this you need to have passion for both the sport and your photography.
You must be prepared to put up with the elements, rain, hail, shine, and depending on the hemisphere, maybe snow (not generally an issue in Australia) etc etc.
Just like any job, sometimes it will NOT be fun and just plain hard work.
It just depends on how hard you are prepared to work to get there.

Except when learning to swim, always start at the bottom.
I see too many people trying to start right at the top. It doesn't work that way.
The only thing you start from the top is digging a hole.

Apologies if this appears blunt and straight to the point, but it is fact.

philwillmedia wrote in post #14428711
If you are lucky, you might have five years to try to make a name for yourself.
Before you can do that you need to be bloody good. Real bloody good.
A friend of mine is in his late 20's and now works for LAT Digital in the UK doing F1
He left Aussie about 5 years ago and shot for Suttons - mostly at his own expense - to do exactly what you want to do - and is only now starting to get established..
He is doing OK, but just OK after living on the bones of his backside and definitely is not making a fortune.
When he left Oz, he was just starting to make people notice his work here.
What he did was a brave call.

Now read this...

I've posted this several times elsewhere on POTN - people are probably sick of seeing it.
It's essentially related to motorsports photography but the principles are the same for any sport.
It's a bit long, I know, but It covers most things you probably need to know and, dare I say, it tells it like it is.

A quick few words about my background.
I started my motorsport photography over 20 years ago when I stopped competing in rallies.
The biggest problem I and fellow competitors had back then was getting pics of ourselves.
When I finally parked the rally car, I still wanted to be involved. I picked up the camera and started taking pics at club level events to national championship level from spectator areas and selling them to competitors.
After a while I started submitting to a couple of motorsport magazines. It took a while but eventually, after about 3 years, I started getting some images published and then it snowballed from there to the point where I was able to get accreditation.
Today, I cover all types of motorsport and supply several magazines and agencies with images. I have also covered a number of different sports and events for image libraries including Federation Cup Tennis, International Netball, Wrestling, Pro Golf, AFL Football, International Soccer, Pro Cycling and several other sports and events.

A couple of questions you need to ask yourself...

Firstly, what is your reason for wanting media credentials.
Are you a member of the media?
What can you give the organizers by your presence?

Media creds are usually only given to WORKING media. This means people working for and supplying bona fide media outlets ie: Magazines and newspapers and other recognised media outlets such as websites and press agencies.
I’ve been shooting sport, mainly motorsport for over 20 years, and still do club level and grass roots sports.
I supply several magazines and newspapers as well as photo agencies.
I often get asked…
"How do I get a pass to shoot from where you are?”
My reply usually goes something like this…
“How long have you been photographing (insert name of sport) and what outlet do you work for?
To which they reply something like…”Oh I never do. I just want to get in and shoot from where you are. I’m just taking photos for myself”
Ask yourself this…
If you’ve never taken a photograph of an American Football (substitute for any sport) game, would you approach the NFL (again substitute relevant organization) and say to them “Hey Mr NFL Media Man, I’ve never taken a photo of a grid iron game before but I think I’m a pretty good photographer, I’m not shooting for anyone except myself so you won’t get any publicity but can I have a media pass for the Superbowl…"
Seriously, what do you think they would say.
It would probably be cool to be there and you’d get off on it and brag to your friends, but seriously…
Unless you are working media, why should you be there.

Media credential's ARE NOT a free pass to get in to an event.

Admittedly, sometimes I have seen some people with creds who probably shouldn't have them - and people who probably should have them who don't - most of the time however it's not for me to make that decision.
I do sympathise with people who wish they could get creds for events and can't.
Event organizers are after publicity. You shooting for yourself does not give them that publicity and they do not have an obligation to give you a media pass just because you think you should have one. It is up to you to justify why you should be accredited.
Remember that the 'togs you see shooting at a track or sporting event etc are being paid by somebody therefore IT IS A JOB. They are not there for the fun of it.
Imagine if somebody came into your work place and thought it looks like cool job, do you think they'd just be able to start doing what you were for the fun of it?
Also, there is a whoooole lot more to it than just standing by the track and taking photo's. There are deadlines (sometimes very short) to meet and as a rule I would suggest that for the same amount of time spent trackside there is at least 1/2 to 3/4 of that time to be spent on editing, sending images etc when the day at the track has finished. If you spend 8 hours at the track, then you will usually spend another four to six hours, at least, once you have left the track on editing etc.
Not to mention arguing with editors about what to send etc...

I attend a lot of events where I don't have creds so I do know what it's like from behind the fence or in the bleachers, but I still manage to get good and sometimes great images.
It makes you see things differently and find different angles and ways of shooting.
I'd estimate that about 50% of events I go to, I don't have the magic press pass and pay to get in like everyone else.
Sometimes I'm just there for being there, and sometimes it might be a sport I've never shot before but want to see what it's like. Occasionally I do manage to sell some images.
Also, just because you have good gear doesn't mean you should be there either.
I've seen some 'togs with basic DSLR's and kit lenses take some better stuff than guys with 1D's and white lenses (and Nikon equivalent). I occasionally use a 400D with the 10-22 lens and have had those images published. I also use a sigma 10mm fisheye.
In closing, I will say this...
THERE ARE NO SHORT CUTS.
If you want to have creds for big events, start shooting the grass roots of that sport (no it's not glamorous like the big events - but you'll probably make more money) and start supplying images to publications etc.
This is a great way to get yourself known to event organisers. They learn to know who you are and that you are committed to photographing their sport and being known is half the battle. This is not going to take 5 minutes and may take several years, yes... I did say years.
To do this you need to have passion for both the sport and your photography.
You must be prepared to put up with the elements, rain, hail, shine, and depending on the hemisphere, maybe snow (not generally an issue in Australia) etc etc.
Just like any job, sometimes it will NOT be fun and just plain hard work.
It just depends on how hard you are prepared to work to get there.

Except when learning to swim, always start at the bottom.
I see too many people trying to start right at the top. It doesn't work that way.
The only thing you start from the top is digging a hole.

Apologies if this appears blunt and straight to the point, but it is fact.

Amen to every word above.

Frankly it is almost impossible to make a living from motorsport photography these days. It was always hard but the availability of DSLRs with all the auto this that and the other, combined with a shortage of clients who care more about imagery than bottom line means that it is a very small marketplace to operate in.

I would only add that if you can write or develop yourself as a journalist you will be much more likely to succeed. Look at how John Dagys on Speed.com does it.

I have been at this game even longer than Phil above and it gets harder and harder each passing season.

I am not pouring water on your dreams merely warning you of the realities that lurk ahead.

Don't look at it as a hobby you want to make a living out of! Like any job sometimes you have days where you really don't want to go in, assignments you don't want to do, but you do because it puts food on the table and keeps the door open for the better jobs.