Critique Required Drag Racing

[Grant Young]

Here is a couple of photos from the local test and tune this past Sunday. I've been torn to pieces over the guard rail in the tri-5 photo but it doesn't bother me a bit really. I don't know that it would be any better without it. Thoughts? With the subject so large in the frame, my eyes go right past it. Anything else I should look out for at all?

 

[Pete Askew]

I hardly noticed the rail Grant but I found the heads more distracting. In general, I'm a fan of a bit more of the surroundings in shots like this to put the vehicle in more context and give them space to 'move into' if you see what I mean. I think that is why, for me, the second works better in some ways.

 

[Grant Young]

Thanks Pete. I too like the surroundings at times, and the heads were a nuisance the whole day. People just loooove to stand in the staging lane. I guess they feel important that way. Who knows? I will try to shoot a bit more from down track this Sunday, it may allow for no rail and more atmosphere.

 

[Chris Dodkin]

Grant, I like the low angle of view on #1 - getting under the car to see the wheel lift

I think the guard rail works as a diagonal with the track, so no worries there

I'd clone out the heads to clean it up a little

What lens are you using? I wonder if you can go wider aperture and blur the backdrop more?

Shot #2 I think you loose the emotional connection to the car and driver, as you only get to see the underside as it does the wheelie .

Any chance of getting more side on to the action, and maybe panning with the launch to get that feeling of speed/lift?

I know access is usually a challenge, as is reaction time when they launch - but you get a real feel for speed vs a sharp but stationary target.

I still have holes in my photographers vest from the ammonia? the top fuel dragsters use on their tires!

 

[Grant Young]

We are track side, with no access rules to speak of. We can go wherever we want. I've got a 17-40 f/4L and a 70-200 f/2.8L II IS. I honestly don't remember if these were with the 17-40 or the 70-200.

 

[Chris Dodkin]

That's a major bonus if you have no restriction on access - definitely worth trying the 70-200 at f/2.8 to blur the background out as much as possible

 

[Nihat Iyriboz]

I like the separation and the dynamics on the second one, Grant.

 

[Peter Blake]

I know these are action pics but, is it worth re-evaluating the situation and taking a more documentary approach, bringing the bodies into picture and forming a definite element? since these people will always be there. b/w nicely toned could work well, contrasting the textures of the track, with the gleaming (?) carbodies.

both shots seem to have been shot on the 70-200, if you wanted to remove the distracting backgrounds I'd be sticking to the 200 end, even at the expense of losing some of the car.