I did pro motorsport photgraphy for 9 years. For panning it’s better to be in the inside corner because then the focusing has less to do. It’s a good idea to try to keep the sun behind because it tends to give you blue sky. My system evolved to first starting with guaranteed shots. That is fast time, kill speed, get sharp. This made sure I had the photos for my client. The cars come again and again so you can take several rounds. First guaranteed shots of all cars. And then let ambition to lengthen the exposure time and concentrate more on the star cars. But, once you are at 1/30 s and the cars go like 200 km/h your successrate will go down - even to 1/100 - but that one will be worth it. I also urge you to practise the body rotation. You should have your body in a relaxed position once you at the firing angle. You should pan the car as long as you can and do a few rotations first without shooting just to get comfortable. My best ever shot was taken at 1/30 s from around 25 m distance. I chacked from the lines from the final picture what the speed of the car was - 216 km/h. The illusion of speed was very good but yet you could read clearly ”Brembo” through the spokes. Long distance races are best because they give you the best and most changing ambient light. Short races are usually run at when sun is quite high (boring). For hobby photographers historic and club races are good because you can shoot more freely without the need of accreditation. In 1999 the Le Mans 24 was still good for a photographer but by 2007 it was already made difficult - for safety reason. Accreditation had gone multi level (pit, near area and other trak side separated). I never got the F1 races but did a few FIA F1official tests. Ultimately in 2008 I just got fed up and I did not touch the camera basically for five years. Too much repetition. It’s fun as long as you learn but once you know for sure what you are going to get - it is just repetitive. I stopped everything: motorsport, cars, scenery, portraits, fashion. Took five years to forget and find pleasure again.
Just to say... your videos... are like stepping into another dimension with a touch of vintage and a lot of passion. It's immersive and addictive. A lot of awsome car photographers on youtube but not many in my eyes are like you. It's the world you create I'm almost 42 and i'm a beginner in photography but, when I watch one of your videos, It reenergizes me and makes me tell myself that I will never stop taking photos and now i know why. It's because photos are about art, the emotions they send back to us and it's a feeling that feeds my soul. THANKS
Great vid and some well articulated points that will resonate more with folks AFTER they've discovered how challenging this can be. A few thoughts: (a) these vintage racing or local SCCA type events are great practice, you get a fun variety of cars (I've actually shot at least two of the cars in this video up here in Colorado) and lots of repetitions as they make multiple laps, plus there's really cool opportunities in the paddock as well, (b) if you get a 10-15% "hit" rate you're doing pretty well, harder to achieve the lower shutter speed but the more dramatic the shots, (c) forming relationships with these clubs sometimes provides unique opportunities (for shooting and selling), (d) I have tried panning mode and IS off on my longer lenses with about equal results, I can't prove it but somethings I think IS works against you particularly at lower speeds, (e) I try to avoid shooting from inside a turn as the cars don't look quite as attractive leaning away from the camera but it does give you that 3-wheel moment (f) the more perpendicular the car's travel to your location (car remaining as equidistant as possible) the less demand on the camera's autofocus system, (g) I use a monopod primarily as an arm-saver in between shots, I tend to lift the camera (and monopod) off the ground during the pan, and finally (h) it's helpful to think of your hips as a tripod, try to keep the base of your body still, elbows in tight, and rotate/swivel at the hips. Enjoy the channel! @david.m.kaley70 on IG
Hi David, thanks for the kind words and this extremely insightful comment! I agree with everything you said, and honestly hadn't given a ton of thought to inside the corner versus outside of the corner, but outside definitely gives a more appealing perspective of a car mid-corner. Agree about the monopod as well. Cheers!
What I love about the panning shot is you don't need a low aperture i.e expensive lens to do it. It's all about the timing of the shot. Dialing in that shutter speed to suit. After 100's of shot's your doing well to get a handful of great shots!
This is such a cool and extremely underrated channel🤯 I've watched several videos of you in the last 2 hours and the quality and knowledge just blow me away. I'm familiar with almost all of your tips from your vids but getting confirmed right in what I and my friend do is just such a good feeling. Especially from you and your calm attitude. I immediately subscribed🙌 Please keep the good work up Greetings from Germany ✌️
thanks so much for your thoughtful comment! I am so thrilled that there is an audience on RUclips for calm presenters. 😄 Hearing from people such as yourself is the most rewarding part of making these videos! Thanks again
Awesome video! I've been driving racecars for years, but I am just now getting into photographing them. This video gave me some great ideas - although my favorite part was spotting our transporter in the background at 1:12 haha (white Renegade)
You definitely have a new subscriber. Motorsports photography is my passion. Been doing it since 2009/10. Always looking to improve my skills and shots.
Very helpful information. I live near COTA and would like to get someone's perspective on how to get permission for access to have a better vantage point. I am shooting a lot through or over the cyclone fencing and you can imagine how that comes out. Had 3700 images from the last F1 race with about 30 of those I consider "ok" for amateur me. Thanks again!
thanks for your comment - I love COTA, but it's extremely challenging for photos without media access because it's a modern track built to FIA standards (huge runoffs and fencing everywhere). Older tracks like Laguna Seca or Road America have some fence-free vantage points that anyone can access. The only way to get access to a better vantage point at COTA is by getting media accreditation. I don’t recommend trying to get credentials for F1 (good luck), but for smaller events (SVRA, GT World Challenge), you should give it a shot. The race organizers, sponsors, and teams all want publicity for their series and for the event. If you apply, they’re generally not looking at your skill level, they’re looking to make sure you have an outlet to publish photos that will be seen by an audience. For this, you might have to get imaginative. Reach out to an automotive site or local news agency to see if you can cover it for them, and then apply for credentials as part of that organization - that will make it a lot easier. You might send a dozen messages (to sites and orgs) and never hear back, so that might be tough without a foot in the door or a connection. You can try offering to cover the event for a small race team or one of the team sponsors - that would be of value them, and it could give you media access if you’re ‘with the team.’ If you’re part of a local car club, offer to cover the event for their newsletter, and try to apply that way. The smaller and more grassroots the event, the better your chances. If you get credentials, take it seriously, and make the most of it. At bigger events, the photographers travel around the world, and have come here to do a job and make a living, so leave them space, and don’t park at the prime photo window in the fence for half a day. Photo credentials are limited - if you get a vest, it’s quite possible that someone else was denied a vest, so just keep that in mind. Good luck!
Been shooting Laguna Seca, Monterey CA for a few years. A health event has put a disability to my left hand. Last year I was able to take the D500 out to the track, and still do OK. I have some other lenses I want to practice with, as well as a D850 as a body. Challenges with less than optimal hand control, but still looking for a good race season in California.
@@capturingthemachine not really sure. Kind of like how in a 30 second night exposure with flashes of light on different moving objects and the appear to be still and in focus and not streaky. like a picture within a picture. I think a flash would allow for say a full second of pan blur with a crisp car in frame (before or after car will be blurry) might look weird but worth a try I think. Even for a 1/20 1/30 shot, might be “cheating” maybe lower flash intensity.
@@kignacio Sounds cool, you could definitely shoot a really slow shutter and then use the flash to have a chaotic background with a sharp car, the only issues is the wheels are frozen, but sometimes this is okay! I have seen flash used with night rally racing photography and it is pretty cool: i.ytimg.com/vi/8ITcJncLRYs/maxresdefault.jpg www-dirtfish.imgix.net/2021/10/2021FINLAND_FD_-095.jpg?fm=pjpg&ixlib=php-1.2.1&q=70
we were at F1 in imola this weekend, and i tired this, the problem was there was a chainlink fence obscuring the whole track, so if wasn't the pattern of the chains it was the metal posts holding them up that cut every single car in the middle.
Fences are an unfortunate reality, especially at a modern FIA circuit, and especially where F1 races. I made a video about getting media accreditation earlier this year - this wouldn't help for F1, but if you wanted to try shooting smaller events and getting closer to the action, this might get you on the right path: ruclips.net/video/9-7pDGFvCYU/видео.html
@@capturingthemachine thank you. what i ended up doing was manually focusing on something behind the fence, and just locking that and panning and shooting when they passed, i got a few decent ones, but most of the cars then got cut in half by the poles! even when i did burst you had to time it exactly or it seemed it took every singe pole in the series!
I think it's VC Mode 2 that's intended for panning. I'm not 100% sure, I no longer have this lens and have been using the Nikkor Z 70-200 for the last 2 years - my memory is hazy 😭
The best lens I have is a cheap all manual cine lens, so I usually prefocus the thing, then blast away at 3fps :( but if I nailed it, the result are actually great because the lens is 85mm, almost a telephoto on APS-C
Great tip, thanks for sharing! 85mm is great for panning and manual focus is helpful for taking a lot of variables out of it and focusing on your movement.
Great tips! I was recently gifted for Christmas a 75-300mm lens for my canon t7 and after some research it appear most of the community says the 75-300 is a terrible lens. I just need a lens to be able to take photos of cars from a distance (like at a track) do you know any other lenses that could do the job or should I stick with the 75-300?
I don't know Canon well, or that lens, so it's hard to say without knowing what the deficiencies are (if people say it's terrible). If it's slow to autofocus, that would be a problem for panning shots. A lot of lenses get criticized for technical things, like image sharpness at corner edges, and that doesn't matter too much on action shots with blur. A used Canon 70-200 f/4 might be a semi-affordable option (under $400) in the ballpark of the 75-300 lens, and it's almost certainly a higher quality lens that will give more consistent results.
@@capturingthemachine I have a question on general car photography lens. If you could answer. I have been using kit 18-55. But now looking for a prime lenses. I have a crop 1.6 and wanna buy for around 250$. Is 50mm or 85mm the best? And with this in mind, does autofocus matter, given the fact that they are clunky (Canon 50mm 1.4/Sigma 1.4 (not art)). There are some manual focus lenses which are a little bit sharper (so they say). Would be great to know.
@@edwartvonfectonia4362 manual focus is too frustrating for me, but others might prefer it! Getting the *ultimate* lens sharpness isn't a main consideration for me, especially for work that will be mostly posted online or social media. As a primary lens, the 50 will be a more versatile and satisfying compared to 85, especially with the crop factor. I have had a number of 50 1.8s and 50 1.4s, and I think the 1.8 is just as good in most applications.
@@capturingthemachine Yeah! Today I have decided to settle on 50mm 1.8, giving it will be cheaper and I am not at the "high" level of my professionalism or career. Ambition, commitment and steady hands is far more important, especially at the beginning. Thanks for peace of knowledge.
Thank you! For me the monopod helps with managing the weight of the lens throughout the day, but I don't find it necessarily helps with panning smoother.
Hi man, can I ask you a question? I want to buy a zoom lens and I don't really know, just for car photography. I own a fuji camera, can you recommend me something please?
Hi, I don't really know Fuji at all, or what types of car shooting you're doing, but I see there's a 50-140mm f/2.8 for Fuji and that seems like a solid and versatile lens. This is equivalent to 70-200 on full frame, and that is probably my favorite lens that I use every day. (but you need a bit of space to have some distance from your subject) I have another video about focal lengths and car photos, I'm not sure if you saw it already, but it might be helpful: ruclips.net/video/TKpu8-T1-hg/видео.html
Hey, I never did panning but this video helped me to understand some things. Do you think It's best to take a single shot and evaluate my results every time, or take multiple photos with continious burst mode and hope one of them will be better than rest?
Great question, I can't believe I didn't articulate this in the video, but you should burst fire a bunch of photos. You can review them after the car you're shooting has passed. Pressing on the shutter can apply unwanted movement to the camera, so if you're only pressing/releasing it once, you might be introducing unwanted vertical force that can affect the shot. The thinking is that if you can hold the shutter down, that button-press movement stops being an issue after the first frame. "Spray and Pray" tends to get best results, and you can always delete the bad ones later.
Electronic shutter can create rolling shutter distortion. Many of the benefits of electronic shutter - silence, high shutter speed, less vibration - aren't suited to panning shots, which are generally at 1/100 or slower.
the CPL pretty much stays on my telephoto all the time, so I wasn't necessarily using it. But you can fine tune the CPL position (for clearest glass or best highlight on the car surface, for example) when one car goes by, and that position will work for every other car that goes past for the rest of the session, until you change corners or perspective.
I don't know if anybody has commented this yet but "Never shoot into the sun" was also a saying for preventing the sun from either burning holes in the shutter cloth in film cameras or damaging the sensor in digital cameras. Just something to think about too.
Great point! I remember seeing pics of people who had fried their cameras and sensors shooting the big eclipse a few years ago, and I didn't realize that was possible.
Always raw. Things happen fast and if you don't get the exposure completely perfect it's great to have the flexibility to adjust a little bit later, maybe recover some highlights (it's usually sunny and outdoors), things like that. The files are big but to me it's always worth the tradeoff.
it's been a long time since I've done this (and I was very young and was unsuccessful). The same applies, but you can't look at the result to see if it's sharp. Definitely err on the side of higher shutter speed (less blur), and I guess bring lots of extra film 😭
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
I did pro motorsport photgraphy for 9 years. For panning it’s better to be in the inside corner because then the focusing has less to do. It’s a good idea to try to keep the sun behind because it tends to give you blue sky. My system evolved to first starting with guaranteed shots. That is fast time, kill speed, get sharp. This made sure I had the photos for my client. The cars come again and again so you can take several rounds. First guaranteed shots of all cars. And then let ambition to lengthen the exposure time and concentrate more on the star cars. But, once you are at 1/30 s and the cars go like 200 km/h your successrate will go down - even to 1/100 - but that one will be worth it.
I also urge you to practise the body rotation. You should have your body in a relaxed position once you at the firing angle. You should pan the car as long as you can and do a few rotations first without shooting just to get comfortable.
My best ever shot was taken at 1/30 s from around 25 m distance. I chacked from the lines from the final picture what the speed of the car was - 216 km/h. The illusion of speed was very good but yet you could read clearly ”Brembo” through the spokes.
Long distance races are best because they give you the best and most changing ambient light. Short races are usually run at when sun is quite high (boring).
For hobby photographers historic and club races are good because you can shoot more freely without the need of accreditation. In 1999 the Le Mans 24 was still good for a photographer but by 2007 it was already made difficult - for safety reason. Accreditation had gone multi level (pit, near area and other trak side separated). I never got the F1 races but did a few FIA F1official tests. Ultimately in 2008 I just got fed up and I did not touch the camera basically for five years. Too much repetition. It’s fun as long as you learn but once you know for sure what you are going to get - it is just repetitive. I stopped everything: motorsport, cars, scenery, portraits, fashion. Took five years to forget and find pleasure again.
thanks for your insights! I'm pinning this comment so more people can see it
Great advice!
hi! Is there any place where I can see this "best shot" of yours that you said? It seem quite interesting. Anyway, best regards
Just to say... your videos... are like stepping into another dimension with a touch of vintage and a lot of passion. It's immersive and addictive.
A lot of awsome car photographers on youtube but not many in my eyes are like you. It's the world you create
I'm almost 42 and i'm a beginner in photography but, when I watch one of your videos, It reenergizes me and makes me tell myself that I will never stop taking photos and now i know why.
It's because photos are about art, the emotions they send back to us and it's a feeling that feeds my soul. THANKS
Thanks so much, you've really made my day!
Great vid and some well articulated points that will resonate more with folks AFTER they've discovered how challenging this can be. A few thoughts: (a) these vintage racing or local SCCA type events are great practice, you get a fun variety of cars (I've actually shot at least two of the cars in this video up here in Colorado) and lots of repetitions as they make multiple laps, plus there's really cool opportunities in the paddock as well, (b) if you get a 10-15% "hit" rate you're doing pretty well, harder to achieve the lower shutter speed but the more dramatic the shots, (c) forming relationships with these clubs sometimes provides unique opportunities (for shooting and selling), (d) I have tried panning mode and IS off on my longer lenses with about equal results, I can't prove it but somethings I think IS works against you particularly at lower speeds, (e) I try to avoid shooting from inside a turn as the cars don't look quite as attractive leaning away from the camera but it does give you that 3-wheel moment (f) the more perpendicular the car's travel to your location (car remaining as equidistant as possible) the less demand on the camera's autofocus system, (g) I use a monopod primarily as an arm-saver in between shots, I tend to lift the camera (and monopod) off the ground during the pan, and finally (h) it's helpful to think of your hips as a tripod, try to keep the base of your body still, elbows in tight, and rotate/swivel at the hips. Enjoy the channel! @david.m.kaley70 on IG
Hi David, thanks for the kind words and this extremely insightful comment! I agree with everything you said, and honestly hadn't given a ton of thought to inside the corner versus outside of the corner, but outside definitely gives a more appealing perspective of a car mid-corner. Agree about the monopod as well. Cheers!
What I love about the panning shot is you don't need a low aperture i.e expensive lens to do it. It's all about the timing of the shot. Dialing in that shutter speed to suit. After 100's of shot's your doing well to get a handful of great shots!
Great observation, and well said!
I love your approach to cars. It's super poetic and passionate
What a nice and thoughtful comment, this made my day!
This is such a cool and extremely underrated channel🤯
I've watched several videos of you in the last 2 hours and the quality and knowledge just blow me away. I'm familiar with almost all of your tips from your vids but getting confirmed right in what I and my friend do is just such a good feeling.
Especially from you and your calm attitude.
I immediately subscribed🙌
Please keep the good work up
Greetings from Germany ✌️
thanks so much for your thoughtful comment! I am so thrilled that there is an audience on RUclips for calm presenters. 😄
Hearing from people such as yourself is the most rewarding part of making these videos! Thanks again
Awesome video! I've been driving racecars for years, but I am just now getting into photographing them. This video gave me some great ideas - although my favorite part was spotting our transporter in the background at 1:12 haha (white Renegade)
that's awesome! I love SVRA, good luck with your photography. If there's a topic you think I should cover, I am always open to suggestions. 😄
So much to learn, I can’t wait !
Glad to hear it!
You definitely have a new subscriber.
Motorsports photography is my passion. Been doing it since 2009/10. Always looking to improve my skills and shots.
Awesome, thank you so much!
Thank you for making this video. Very clear and you had some great shots. 🎉🎉🎉
Glad you enjoyed it, and thank you!
I like your calm presenting. Great content! Earned my sub from East Africa😊
thanks for watching, glad you enjoyed it!
Great video, really sound advice 👌🏻📷
Thank you, I'm glad it was helpful!
Quality level of these videos 😍😍😍
thank you for watching!!
Love these tips for us amateurs
Glad you like them, keep at it! 😄
Very helpful information. I live near COTA and would like to get someone's perspective on how to get permission for access to have a better vantage point. I am shooting a lot through or over the cyclone fencing and you can imagine how that comes out. Had 3700 images from the last F1 race with about 30 of those I consider "ok" for amateur me. Thanks again!
thanks for your comment - I love COTA, but it's extremely challenging for photos without media access because it's a modern track built to FIA standards (huge runoffs and fencing everywhere). Older tracks like Laguna Seca or Road America have some fence-free vantage points that anyone can access.
The only way to get access to a better vantage point at COTA is by getting media accreditation. I don’t recommend trying to get credentials for F1 (good luck), but for smaller events (SVRA, GT World Challenge), you should give it a shot. The race organizers, sponsors, and teams all want publicity for their series and for the event. If you apply, they’re generally not looking at your skill level, they’re looking to make sure you have an outlet to publish photos that will be seen by an audience. For this, you might have to get imaginative.
Reach out to an automotive site or local news agency to see if you can cover it for them, and then apply for credentials as part of that organization - that will make it a lot easier. You might send a dozen messages (to sites and orgs) and never hear back, so that might be tough without a foot in the door or a connection. You can try offering to cover the event for a small race team or one of the team sponsors - that would be of value them, and it could give you media access if you’re ‘with the team.’ If you’re part of a local car club, offer to cover the event for their newsletter, and try to apply that way. The smaller and more grassroots the event, the better your chances.
If you get credentials, take it seriously, and make the most of it. At bigger events, the photographers travel around the world, and have come here to do a job and make a living, so leave them space, and don’t park at the prime photo window in the fence for half a day. Photo credentials are limited - if you get a vest, it’s quite possible that someone else was denied a vest, so just keep that in mind. Good luck!
great tutorial. thanks ☝🏽
Thanks for watching!
I wanted to try panning shots in Forza Horizon 5 and I just couldn't get it right. Taking these tips has really helped me! Thanks!
this rules, that is amazing to hear and I never would have expected this!
Been shooting Laguna Seca, Monterey CA for a few years. A health event has put a disability to my left hand. Last year I was able to take the D500 out to the track, and still do OK. I have some other lenses I want to practice with, as well as a D850 as a body. Challenges with less than optimal hand control, but still looking for a good race season in California.
Laguna Seca is one of the very best places to shoot - good luck and thank you for watching! 👍
Great video. I want to pan under dappled light under tree foliage so I am looking to a flash to help reduce spotting.
Thank you! I love that light-through-tree-foliage light. A flash, like a strobe/speedlight?
@@capturingthemachine not really sure. Kind of like how in a 30 second night exposure with flashes of light on different moving objects and the appear to be still and in focus and not streaky. like a picture within a picture. I think a flash would allow for say a full second of pan blur with a crisp car in frame (before or after car will be blurry) might look weird but worth a try I think. Even for a 1/20 1/30 shot, might be “cheating” maybe lower flash intensity.
@@kignacio Sounds cool, you could definitely shoot a really slow shutter and then use the flash to have a chaotic background with a sharp car, the only issues is the wheels are frozen, but sometimes this is okay! I have seen flash used with night rally racing photography and it is pretty cool:
i.ytimg.com/vi/8ITcJncLRYs/maxresdefault.jpg
www-dirtfish.imgix.net/2021/10/2021FINLAND_FD_-095.jpg?fm=pjpg&ixlib=php-1.2.1&q=70
@@capturingthemachine oof I didn’t realize that, I love blurry wheels sweet jump though!
Love it, I have found all this to be true, great presentation and great information. New sub, this is a fantastic niche
Awesome, thank you so much!
Good advice!
Glad it was helpful!
we were at F1 in imola this weekend, and i tired this, the problem was there was a chainlink fence obscuring the whole track, so if wasn't the pattern of the chains it was the metal posts holding them up that cut every single car in the middle.
Fences are an unfortunate reality, especially at a modern FIA circuit, and especially where F1 races. I made a video about getting media accreditation earlier this year - this wouldn't help for F1, but if you wanted to try shooting smaller events and getting closer to the action, this might get you on the right path: ruclips.net/video/9-7pDGFvCYU/видео.html
@@capturingthemachine thank you. what i ended up doing was manually focusing on something behind the fence, and just locking that and panning and shooting when they passed, i got a few decent ones, but most of the cars then got cut in half by the poles! even when i did burst you had to time it exactly or it seemed it took every singe pole in the series!
Amazing tips, thank you 😊 🙏
Glad it was helpful!
What setting do you use for the lens? I see you are using the Tamron 70-200. I know it has like three modes. I have the same one.
I think it's VC Mode 2 that's intended for panning. I'm not 100% sure, I no longer have this lens and have been using the Nikkor Z 70-200 for the last 2 years - my memory is hazy 😭
Great video! If only Zandvoort wasn't totally fenced off because of the F1 circus...
thank you! I know that feeling, the last time I went to Laguna Seca some of my favorite spots were off limits 😢
Feels bad man haha@@capturingthemachine
The best lens I have is a cheap all manual cine lens, so I usually prefocus the thing, then blast away at 3fps :( but if I nailed it, the result are actually great because the lens is 85mm, almost a telephoto on APS-C
Great tip, thanks for sharing! 85mm is great for panning and manual focus is helpful for taking a lot of variables out of it and focusing on your movement.
COTA's porta-potty situation is out of control - they're everywhere! great for when I'm six beers in at F1, not so great during any other event lol
lol, well said! 🤣
Great tips! I was recently gifted for Christmas a 75-300mm lens for my canon t7 and after some research it appear most of the community says the 75-300 is a terrible lens. I just need a lens to be able to take photos of cars from a distance (like at a track) do you know any other lenses that could do the job or should I stick with the 75-300?
I don't know Canon well, or that lens, so it's hard to say without knowing what the deficiencies are (if people say it's terrible). If it's slow to autofocus, that would be a problem for panning shots. A lot of lenses get criticized for technical things, like image sharpness at corner edges, and that doesn't matter too much on action shots with blur.
A used Canon 70-200 f/4 might be a semi-affordable option (under $400) in the ballpark of the 75-300 lens, and it's almost certainly a higher quality lens that will give more consistent results.
Thank tou!
thanks for watching!
@@capturingthemachine I have a question on general car photography lens. If you could answer. I have been using kit 18-55. But now looking for a prime lenses. I have a crop 1.6 and wanna buy for around 250$. Is 50mm or 85mm the best? And with this in mind, does autofocus matter, given the fact that they are clunky (Canon 50mm 1.4/Sigma 1.4 (not art)). There are some manual focus lenses which are a little bit sharper (so they say). Would be great to know.
@@edwartvonfectonia4362 manual focus is too frustrating for me, but others might prefer it! Getting the *ultimate* lens sharpness isn't a main consideration for me, especially for work that will be mostly posted online or social media. As a primary lens, the 50 will be a more versatile and satisfying compared to 85, especially with the crop factor. I have had a number of 50 1.8s and 50 1.4s, and I think the 1.8 is just as good in most applications.
@@capturingthemachine Yeah! Today I have decided to settle on 50mm 1.8, giving it will be cheaper and I am not at the "high" level of my professionalism or career. Ambition, commitment and steady hands is far more important, especially at the beginning. Thanks for peace of knowledge.
@@edwartvonfectonia4362 awesome, you’ll love it, good luck!
Great video! Thank you very much for sharing. Do you prefer to shoot with the monopod? Does it make a big difference?
Thank you! For me the monopod helps with managing the weight of the lens throughout the day, but I don't find it necessarily helps with panning smoother.
Hi man, can I ask you a question? I want to buy a zoom lens and I don't really know, just for car photography. I own a fuji camera, can you recommend me something please?
Hi, I don't really know Fuji at all, or what types of car shooting you're doing, but I see there's a 50-140mm f/2.8 for Fuji and that seems like a solid and versatile lens. This is equivalent to 70-200 on full frame, and that is probably my favorite lens that I use every day. (but you need a bit of space to have some distance from your subject)
I have another video about focal lengths and car photos, I'm not sure if you saw it already, but it might be helpful: ruclips.net/video/TKpu8-T1-hg/видео.html
great video!!!
Thank you!!
Hey, I never did panning but this video helped me to understand some things. Do you think It's best to take a single shot and evaluate my results every time, or take multiple photos with continious burst mode and hope one of them will be better than rest?
Great question, I can't believe I didn't articulate this in the video, but you should burst fire a bunch of photos. You can review them after the car you're shooting has passed.
Pressing on the shutter can apply unwanted movement to the camera, so if you're only pressing/releasing it once, you might be introducing unwanted vertical force that can affect the shot. The thinking is that if you can hold the shutter down, that button-press movement stops being an issue after the first frame. "Spray and Pray" tends to get best results, and you can always delete the bad ones later.
@@capturingthemachineHow can I enter such mode? I can onyl take 1 at a time
@@Keuneollie There should be a Continuous shooting mode (as opposed to S for Single photo)
@@capturingthemachine I found it, will try to shoot some nice photos at the Formula 1 Belgian GP next week! Thanks
@@Keuneollie awesome! I went to Spa for the 24H once and loved it, I'm jealous 😄
Does electronic vs mechanical shutter make a difference?
Electronic shutter can create rolling shutter distortion. Many of the benefits of electronic shutter - silence, high shutter speed, less vibration - aren't suited to panning shots, which are generally at 1/100 or slower.
Cpl for panning ? Bacause how do you turn your cpl when the cars are going too fast
the CPL pretty much stays on my telephoto all the time, so I wasn't necessarily using it.
But you can fine tune the CPL position (for clearest glass or best highlight on the car surface, for example) when one car goes by, and that position will work for every other car that goes past for the rest of the session, until you change corners or perspective.
I don't know if anybody has commented this yet but "Never shoot into the sun" was also a saying for preventing the sun from either burning holes in the shutter cloth in film cameras or damaging the sensor in digital cameras. Just something to think about too.
Great point! I remember seeing pics of people who had fried their cameras and sensors shooting the big eclipse a few years ago, and I didn't realize that was possible.
Sir thank you for the tips ❤❤
So nice of you, thanks for watching!
When shooting these moving shots do you tend to shoot in Raw or JPEG?
Always raw. Things happen fast and if you don't get the exposure completely perfect it's great to have the flexibility to adjust a little bit later, maybe recover some highlights (it's usually sunny and outdoors), things like that. The files are big but to me it's always worth the tradeoff.
how can i shoot panning photos on 35mm film?
it's been a long time since I've done this (and I was very young and was unsuccessful). The same applies, but you can't look at the result to see if it's sharp. Definitely err on the side of higher shutter speed (less blur), and I guess bring lots of extra film 😭
Is it difficult to get photo credentials for COTA for an SVRA event?
No, I don’t think it is, definitely try
Is this Justin Verlander in disquise?
Shhh, don't tell everyone 😅
The damn porta potties!!! 😭
hahahah right??
Mine was a large utility box in background at an event I shot, but shooting location was convenient. Cars blocked it at 90 degrees 😅
This is like my 14th video of yours ive watched today….. at this rate, im gonna run out and i wont know what to do.
wow! Thanks for watching, so glad you're here 🍻
your hair is growing to "glorious" length
so nice of you to say Doug 😊
The photography is growing even longer🙃
I hope Blair sees this.
savage 😭
okokokokokokok
Next time spend more time on the camera settings please .
thanks for your feedback, what did I leave out?