First NHRA National Event

Have the chance to shoot my first nhra national event with media credentials at the upcoming maple grove race for Friday and Saturday qualifying and wondering if you guys think I should just use my current gear or if I should rent a 300L II or a 200L F2. Reading the rules the nhra doesn't allow flash so I was leaning towards the faster 200L for night photos and because the nhra restricts how far down track I can go and I don't want to risk running into the issue of the 300L cropping things to tight. Would trying to hand hold either of those for 10-12 hours be a bad idea? (I'd imagine I'd only take said rented lens and my 16-35 and a 1.4x TC with me)

BB70Chevelle wrote in post #17143868
Have the chance to shoot my first nhra national event with media credentials at the upcoming maple grove race for Friday and Saturday qualifying and wondering if you guys think I should just use my current gear or if I should rent a 300L II or a 200L F2. Reading the rules the nhra doesn't allow flash so I was leaning towards the faster 200L for night photos and because the nhra restricts how far down track I can go and I don't want to risk running into the issue of the 300L cropping things to tight. Would trying to hand hold either of those for 10-12 hours be a bad idea? (I'd imagine I'd only take said rented lens and my 16-35 and a 1.4x TC with me)

Nearly all NHRA credentialed photographers work from the start line area. Typically, they'll use a wide-to normal lens or a medium telephoto. A common combination is a 24-70mm f/2.8 and a 70-200mm f/2.8.

Of course, you've already read the NHRA's photo rules and are ready to learn the written and unwritten procedures of drag racing photo etiquette.

You'll find that the most important part of the job at the start line is the effectiveness of your hearing protection and your ability to tolerate nitromethane fumes. You'll also need to be careful to watch for flying chunks of rubber and heavy smoke from burnouts.

DC Fan wrote in post #17144074
Nearly all NHRA credentialed photographers work from the start line area. Typically, they'll use a wide-to normal lens or a medium telephoto. A common combination is a 24-70mm f/2.8 and a 70-200mm f/2.8.

Of course, you've already read the NHRA's photo rules and are ready to learn the written and unwritten procedures of drag racing photo etiquette.

You'll find that the most important part of the job at the start line is the effectiveness of your hearing protection and your ability to tolerate nitromethane fumes. You'll also need to be careful to watch for flying chunks of rubber and heavy smoke from burnouts.

I do shoot monthly at other local tracks outlaw heads up small tire races so I have a very good understanding of the unwritten rules and etiquette of drag racing photography and that the most commen pair of lenses is the 24-70 and 70-200 (which is why I use a 16-35 and 100-400 to get a different look on my day photos then everyone else and my 70-200 at night only) but, those tracks allow me to shoot from anywhere along the track and to use flash at night, two things the nhra doesn't allow at national event. So I was trying to think of how to give my shots a little different look vs everyone else so that's what got me thinking about renting either a 200L or 300L II. Good hearing protection I'm definitely open to suggestions and hoping the best with dealing with the nitro.

BB70Chevelle wrote in post #17144124
I do shoot monthly at other local tracks outlaw heads up small tire races so I have a very good understanding of the unwritten rules and etiquette of drag racing photography and that the most commen pair of lenses is the 24-70 and 70-200 (which is why I use a 16-35 and 100-400 to get a different look on my day photos then everyone else and my 70-200 at night only) but, those tracks allow me to shoot from anywhere along the track and to use flash at night, two things the nhra doesn't allow at national event. So I was trying to think of how to give my shots a little different look vs everyone else so that's what got me thinking about renting either a 200L or 300L II. Good hearing protection I'm definitely open to suggestions and hoping the best with dealing with the nitro.

Angles are so limited at trackside that the first trick to get a different look which comes to mind is the zoom-burst technique. It's worth a try as long as you don't mind discarding lot of frames that don't work.

For hearing protection, NRR 30-rated foam ear plugs are a good place to start, and the extreme sound levels of supercharged nitro engines may also require ear muffs on top of plugs to defend your hearing.

DC Fan wrote in post #17144329
Angles are so limited at trackside that the first trick to get a different look which comes to mind is the zoom-burst technique. It's worth a try as long as you don't mind discarding lot of frames that don't work.

For hearing protection, NRR 30-rated foam ear plugs are a good place to start, and the extreme sound levels of supercharged nitro engines may also require ear muffs on top of plugs to defend your hearing.

Never done that before, will have to give that technique a try some time.

Will definitely bring with me both ear plugs and muffs in case I need both to help block out the sound.

Went ahead and ordered up a 24-70 VC to fill out and complete my lens lineup. Hopefully it should cover any situation I come across during the race. Thinking about ordering up some ND filters and a polarizing filter for the 24-70 but this 82mm stuff is expensive.

Went ahead and rented a 6D for the race also. I don't know how the lighting will be there at night and with no flash I wanted to be safe and get a body I could crank the ISO up with and still get usable shots.

Which track are you going to? I know the light is quite good at the start line(on one side) at Pomona(that's only one I've shot at under the lights). I'd image the lights would be just as good if not better(since Pomona only has 1 big bank of lights pointed at the start finish line and overs may have more than that). I don't think you'll need the high ISO of the 6D and you should be able stay well bellow where you 7D's ISO goes to hell(unless you use excessively high shutter speeds).

I'm not sure how well that Tamaron lens will do on the Top Fuel cars, even from where you'll be shooting they'll accelerated for 0 to faster than the sportsman car cross line. I'm sure you'd still be able to get plenty of keepers, it's also a lot better than their older lenses.

It'll be at maple grove raceway. A friend of mine shoots for RPM magazine and shoots at that track quite often and he's the one who suggested I rent the 6D and said I'd want to be able to shoot at 2500 ISO. I've never been to the track before so I'd rather be say then sorry if the lighting there isn't great. I also have been wanting to try out the 6D for awhile anyway because the track I normally shoot at month has probably the worst lighting you'll ever come across at a race track and there is no way around not using flash and high ISO once the sun sets so, doing this race gives me an excuse to rent it for a few days.