Fi­nance de­posit

Motorcycle News (UK) - - Comment -

What in­spired you to be­come a Grand Prix pho­tog­ra­pher? Gareth Har­ford: It was the rac­ing posters in Per­for­mance Bikes mag­a­zine and MCN when I was a teenager; I thought it must be amaz­ing work­ing in that in­dus­try. It looked glam­orous. Pa­trick Gosling: I did photography at school, then I went to col­lege study­ing de­sign. While I was there I was into bikes; I had a Suzuki AP50 with a bikini fair­ing and a Mi­cron ex­haust. I also had a friend who was a mar­shal at Cad­well. He’d go there ev­ery week­end on a Yamaha XS750, and I’d go on the back, stand next to him at the mar­shal post and take pic­tures. Don Mor­ley: I was born be­fore the war; mad keen on photography from the age of 11. I had no in­ter­est in mo­tor­cy­cles, but a friend told me about a bike race at Os­mas­ton Manor near Derby and said shall we go and see it? I was en­thralled; cap­ti­vated; I wanted to race. By 1953 I’d saved up enough to get a road bike and had be­gun to link my love of photography to my love of bik­ing. I also raced grasstrack, scram­bles, tri­als – I joined Derby and Pathfind­ers club, and made friends with John ‘Mooneyes’ Cooper, Bill Lo­mas, David Tye. We were all rid­ers, but I was tak­ing pic­tures as well. When I started work­ing for Mo­tor­cy­cle News I had to come to an ar­range­ment where I could ride in the heats and the semi-fi­nals, but if I made it to the fi­nals I couldn’t race be­cause I had to take pic­tures.

What skills help you be a Grand Prix pho­tog­ra­pher? PG: Cer­tain things in my life have helped me be good as an ac­tion pho­tog­ra­pher. One was shoot­ing full-bore ri­fles at school, be­cause it teaches you the body-me­chanic dis­ci­pline of how to breathe us­ing a long lens – which is very im­por­tant... GH: ...and I was an RAF marks­man in the air cadets when I was 16... DM: ...and I was a very good clay pi­geon

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