Night Photography - Le Mans
Discussion
Anybody got any advice on how to achieve fairly decent results for night time shooting at Le Mans (or any other night race!)?
All I seem to get are race numbers, sponsor decals, lights and lots of black!!
I've got a Minolta Dynax 404si + assorted lenses, whats the best type of flash (if any?) to use?
What about film? - what speed should I be using? 200, 400 or faster/slower?
All help greatly appreciated
Chris
All I seem to get are race numbers, sponsor decals, lights and lots of black!!
I've got a Minolta Dynax 404si + assorted lenses, whats the best type of flash (if any?) to use?
What about film? - what speed should I be using? 200, 400 or faster/slower?
All help greatly appreciated
Chris
You'll need the biggest flash you can lay your hands on (preferably with second curtain sync), fast film (800ASA+), a fast medium telephoto, and a willingness to burn through a lot of film (or memory card space)!
The fast film will give you the best range from your flash for a given aperture. If you go for a slowish shutter speed of about 1/15 sec and pan with the cars, you'll get some nice blurry highlights from the lights. The burst of flash should then freeze the car outline - 1/15 at f2.8 with 800ASA film won't be enough to capture any of the detail of the car unless you're under floodlights, so the blur will be limited to the illuminated bits. 1/15 will really blur the fairground lights etc in the background, adding to the atmosphere.
The second curtain sync on the flash is invaluable, as it means the sharp image is frozen at the end of the exposure - useful if you want to take long non-panning shots showing a tail of head and tail-lights behind the car.
The lens to use depends where you'll be standing. Some places like the straight between Indianapolis and Arnage, and Tetre Rouge, can be dealt with by something around the 100-200mm mark, along with flash. The grandstands and terraces on the start/finish straight will be better suited to a fast 300-400mm, and are really too far away for the flash approach.
Hope this helps,
Pete
p.s. Check out David Lord's web site for some inspirational examples - that man is a motorsport photography god!
>> Edited by pete on Tuesday 23 March 14:31
The fast film will give you the best range from your flash for a given aperture. If you go for a slowish shutter speed of about 1/15 sec and pan with the cars, you'll get some nice blurry highlights from the lights. The burst of flash should then freeze the car outline - 1/15 at f2.8 with 800ASA film won't be enough to capture any of the detail of the car unless you're under floodlights, so the blur will be limited to the illuminated bits. 1/15 will really blur the fairground lights etc in the background, adding to the atmosphere.
The second curtain sync on the flash is invaluable, as it means the sharp image is frozen at the end of the exposure - useful if you want to take long non-panning shots showing a tail of head and tail-lights behind the car.
The lens to use depends where you'll be standing. Some places like the straight between Indianapolis and Arnage, and Tetre Rouge, can be dealt with by something around the 100-200mm mark, along with flash. The grandstands and terraces on the start/finish straight will be better suited to a fast 300-400mm, and are really too far away for the flash approach.
Hope this helps,
Pete
p.s. Check out David Lord's web site for some inspirational examples - that man is a motorsport photography god!
>> Edited by pete on Tuesday 23 March 14:31
Obviously, the main problem with taking photos at night, is getting the film/memory stick to capture as much light from the scene as possible, throughout the exposure. A faster film will shorten the exposure time needed to capture the shot.
Regarding the flash question. Flash will only be useful if the subject is fairly close. (depending on your tackle and flash - up to 10 metres. Ideal for around the pits etc.. Better flash will be further). This will obviously freeze the shot.
How about taking a tripod, and doing some time exposures shots, therefore 'trailing' the the car lights etc. Also by using the tripod and the flash, you can do both.
Tripod would be fantastic to capture the fairgroud atmosphere.
>> Edited by kojak69 on Tuesday 23 March 14:38
Regarding the flash question. Flash will only be useful if the subject is fairly close. (depending on your tackle and flash - up to 10 metres. Ideal for around the pits etc.. Better flash will be further). This will obviously freeze the shot.
How about taking a tripod, and doing some time exposures shots, therefore 'trailing' the the car lights etc. Also by using the tripod and the flash, you can do both.
Tripod would be fantastic to capture the fairgroud atmosphere.
>> Edited by kojak69 on Tuesday 23 March 14:38
I got some excellent shots of the trailing lights on the straight section after the Mulsanne corner. A very good accesable straight. (ie, you can get very near to the circuit.
Also arnarge is good for capturing the glowing brake discs.
For night shots I have only ever gone for the trailing lights effects. LM is a good place to practice this since you get so many chances and all night to get it right!
Also arnarge is good for capturing the glowing brake discs.
For night shots I have only ever gone for the trailing lights effects. LM is a good place to practice this since you get so many chances and all night to get it right!
As Dusty says, just have a practise.
I did al Le Mans last year and although you can't see a single car some of the effects are reasonably pleasing.
Have a look at www.final-design.com go to the pictures page, then events and Le Mans.
I would have posted the link but it seems to be buggering about. Again.
I did al Le Mans last year and although you can't see a single car some of the effects are reasonably pleasing.
Have a look at www.final-design.com go to the pictures page, then events and Le Mans.
I would have posted the link but it seems to be buggering about. Again.
pete said:
You'll need the biggest flash you can lay your hands on (preferably with second curtain sync)...
The second curtain sync on the flash is invaluable, as it means the sharp image is frozen at the end of the exposure - useful if you want to take long non-panning shots showing a tail of head and tail-lights behind the car.
>> Edited by pete on Tuesday 23 March 14:31
Not wanting to sound thick... (but I probably will!!) could you explain about the 'second curtain sync' please?, i.e. what it is etc.
Cheers
Chris
woody said:
Not wanting to sound thick... (but I probably will!!) could you explain about the 'second curtain sync' please?, i.e. what it is etc.
Ah ha! I think I might actually be able to answer this one, having read it in my flash gun manual earlier!
Normally, when a camera takes a photo with flash, the flash fires when the shutter blind is first fully open.
Using second curtain sync, the flash is synchronized with the end of the exposure.
The difference being that if you synch at the beginning of the exposure, you'll have a stationary car, then light trails leading forward from that position as the flash exposes the car at the beginning, then it's only the lights that are bright enough to register for the rest of the exposure.
If you fire the flash at the end of the exposure, you get the lights registering for the main part of the exposure, then the flash fires exposing the car at the end. This gives an image showing a trail of lights leading up to the car.
I think that's right, I'm sure someone will put me right if it's not.
In addition to the above, and as kojak notes, definitely take a tripod.
If you don't have one yet, you can buy examples that fold really well to compact sizes.
Any long exposures need it to prevent blurring (and by long, I mean half sec or so or more, and the former only if you have inage stabilising lenses).
If you don't have one yet, you can buy examples that fold really well to compact sizes.
Any long exposures need it to prevent blurring (and by long, I mean half sec or so or more, and the former only if you have inage stabilising lenses).
YarisSi said:
I'm doing some nighttime photos in town. Using tripod and getting blurred light etc. Should I just use iso100 good quality negative?
Thanks
Si
How are you releasing the shutter?
You need to make sure the camera/tripod are firmly set up, and then release the shutter using the countdown timer or a remote (using the button will move the camera and set up small vibrations that are highly likely to show).
Also be wary in windy conditions as these can unsettle a your setup even if it *looks* solid.
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