![]() ![]() The TSA is rolling out CT scanners that are verifiably deadly to film of any speed. Slap in a roll of Ektar 100 to start (and finish) before a sunny qualifying ends if you're otherwise going with a higher-speed film. Pick some priorities to shoot every time you see them, like fans celebrating (or in dismay).Īlternate your ISOs. The classic panning shot is an obvious case here, but it's also good for maximizing the chance of getting a very fast car in a specific part of a composition.Ĭome up with non-negotiables. Sometimes the shot you really want is the moment just before or just after the one you were trying to capture.ĭevote a whole roll to high priorities. Not every opportunity lends itself to this approach, but your timing isn't perfect. But if you're on the first third of your roll and halfway to your deadline, you know to get trigger-happy. ![]() If it's 11:59 and you have 15 frames, don't waste them. Decide to finish your first roll at noon or before you get to your seat. Just take the fucking shot! But if that sounds easier said than done, I recommend setting up some rules and sticking to them (within reason). I dragged some "special occasion" rolls of discontinued Fuji Pro 400H to Miami and back only to shove them back in the freezer, probably until a less special occasion. ![]() The biggest waste is failing to shoot all the film you budgeted for the trip. I got to be uncommonly up close and personal with the Aston Martin V8 Vantage safety car (I even got a tragically awful photo from inside!) and a view into the back of the garage during a practice session, resulting in a few particularly nice photos that serve as the backbone of my series.Īt an F1 race (or any big event, really), these habits serve you poorly. I could only get results as good as I did because I attended the Miami GP as a guest of Aston Martin, which let me get closer to the cars for longer than the average grandstand attendee. So it'll pay to come up with some clever ideas for what the hell it is you are doing, artistically, ahead of time. Plus, you'll probably have trouble seeing them from more than a single, static vantage point. Not only are the cars extremely fast, they're also usually far away and frequently occluded. If you walk in with a vague plan to take neat pictures of cool cars, you're in for an almost impossible challenge. But an F1 Grand Prix weekend demands a more thoughtful approach. My default photography strategy has always been to lurch from shot to shot as they occur to me, chasing the breeze and maybe pulling a theme out of the raw material in the edit. ![]()
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