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Formula 1 race photographers
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<blockquote data-quote="editorial_use_only" data-source="post: 679872" data-attributes="member: 40895"><p>I don't shoot F1 but I shoot series like IndyCar, NHRA, IMSA, WSBK.</p><p></p><p> It's not like the Olympics. We don't have runners or miles of cable running from the field back to an editing room with staff churning new work constantly. </p><p></p><p> Typically, we walk back to the media tent/building, then we start the ingest and edit. If you're filing on deadline or shooting for a team, then the race schedule dictates how often you're back in the tent. You'll be back in after each session to submit your latest. There's practice, qualifying, race, podium, interviews. Race - podium - interviews has no breaks. And each class will have every session. For example, for IndyCar, there was Historic Trans Am, and Porsche GT3, and IndyCar. Each one has their own practice, qualifying, race, podium sessions.</p><p></p><p> It's a hassle to walk back to the media tent. It can be a mile or more out then a mile or more back in, and you'll walk from window to window around the track. Dirt trails and hills with treacherous footing, locked gates with irritating rusty balky combination locks that weep rusty WD-40 all over your hands, and you have all your gear in your hands and on your back. Some of the photographers have small scooters to get them around the track more quickly. Sometimes we can get a ride in a shuttle. But typically if you're not on deadline, you minimize your walking. At least I do. If I don't need to come back in between sessions, I stay out.</p><p></p><p> There are some outlets/teams that do have a dedicated graphics person, I think I have seen some husband-and-wife teams do this. I forget which series, but every time I came in to the media tent, she was in the same seat, editing photos on a laptop. Whole day, she was in the same seat, editing photos. She didn't have any photo gear around her and she didn't have a photo vest. But that's somewhat rare. Typically we all edit our own stuff. The video crews sometimes have a dedicated editor, but a lot of the video shooters I know edit their own stuff.</p><p></p><p> Nikon shooters are not a minority. Opposite, from what I see. Five-plus years ago, it was a lot more Canon, I'd guess two-thirds of what I saw in the hands of photographers on this side of the fence was Canon. Now, it's a lot of Nikon in every series I shoot. I'd guess that it's more than 50% Nikon, it's more Nikon than everything else put together. The D500, D850, D5 are popular. At NHRA there were a few D300s bodies.</p></blockquote><p></p>
[QUOTE="editorial_use_only, post: 679872, member: 40895"] I don't shoot F1 but I shoot series like IndyCar, NHRA, IMSA, WSBK. It's not like the Olympics. We don't have runners or miles of cable running from the field back to an editing room with staff churning new work constantly. Typically, we walk back to the media tent/building, then we start the ingest and edit. If you're filing on deadline or shooting for a team, then the race schedule dictates how often you're back in the tent. You'll be back in after each session to submit your latest. There's practice, qualifying, race, podium, interviews. Race - podium - interviews has no breaks. And each class will have every session. For example, for IndyCar, there was Historic Trans Am, and Porsche GT3, and IndyCar. Each one has their own practice, qualifying, race, podium sessions. It's a hassle to walk back to the media tent. It can be a mile or more out then a mile or more back in, and you'll walk from window to window around the track. Dirt trails and hills with treacherous footing, locked gates with irritating rusty balky combination locks that weep rusty WD-40 all over your hands, and you have all your gear in your hands and on your back. Some of the photographers have small scooters to get them around the track more quickly. Sometimes we can get a ride in a shuttle. But typically if you're not on deadline, you minimize your walking. At least I do. If I don't need to come back in between sessions, I stay out. There are some outlets/teams that do have a dedicated graphics person, I think I have seen some husband-and-wife teams do this. I forget which series, but every time I came in to the media tent, she was in the same seat, editing photos on a laptop. Whole day, she was in the same seat, editing photos. She didn't have any photo gear around her and she didn't have a photo vest. But that's somewhat rare. Typically we all edit our own stuff. The video crews sometimes have a dedicated editor, but a lot of the video shooters I know edit their own stuff. Nikon shooters are not a minority. Opposite, from what I see. Five-plus years ago, it was a lot more Canon, I'd guess two-thirds of what I saw in the hands of photographers on this side of the fence was Canon. Now, it's a lot of Nikon in every series I shoot. I'd guess that it's more than 50% Nikon, it's more Nikon than everything else put together. The D500, D850, D5 are popular. At NHRA there were a few D300s bodies. [/QUOTE]
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