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