Top techniques for conveying motion when photographing speeding bikes in action
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Ask anyone to sum up the highoctane action of motorsport in one word and they’ll probably choose speed. But conveying movement in a still image isn’t paticularly easy. Some of the best motorbike images retain their sense of movement due to three indicators of motion: the position of the rider; spinning wheels; and sweeping strands of motion blur.
Shooting on a corner will ensure that your rider occupies a dynamic position that would be impossible if the bike wasn’t moving, giving your shot a strong sense of motion. Spinning wheels and motion blur, meanwhile, can be captured using the method of panning. This technique requires you to track your subject from afar, match its speed, frame and focus on it accordingly, and press the shutter button – all in one fluid movement.
Do it correctly and you’ll capture a tacksharp subject, surrounded with smooth lengths of motion blur and plenty of motion in the wheels. Get it wrong, however, and you’ll end up with a blurry mess.
Panning is arguably the most physical technique in photography, so how you hold and move the camera will impact the success of your shot. Once you’ve familiarised yourself with how to do it, get trackside and shoot a few laps. Here’s the technique you’ll need.
Inset BEFORE
THE BIKE LOOKS STATIONARY, AS THERE’S NO MOTION BLUR AND THE WHEELS ARE ALMOST COMPLETELY LOCKED. THIS IS DUE TO USING A 1/1000 SEC SHUTTER SPEED
BEFORE
1
CLOSE THE GAP Spectators are usually positioned far from the track. Use a lens that’s over 200mm (35mm equivalent). Zoom lenses are preferable here, as different parts of the track will require different focal lengths. Some lenses feature image stabilisation that’s designed for panning.
2
MAINTAIN FOCUS Using Continuous-servo AF will enable you to maintain focus on your subject as you pan. The focal point is the rider’s helmet. Precisely target this using Single-point AF – visualise where you intend to frame the helmet, and then move the AF point accordingly.
3
FRAME THE SHOT Switch to Manual mode and frame where you intend to capture your subject. The focal length of zoom lenses should be adjusted now to avoid having to do so while you’re panning. Also, take note of your camera’s light meter so you can expose for this very spot.
AFTER AT 1/320SEC, LASHINGS OF MOTION BLUR AND SPINNING WHEELS CONVEY A CLEAR SENSE
OF MOTION. THE TILTED FRAME ENHANCES THE SENSE OF SPEED AND CREATES A DYNAMIC IMAGE
6
PAN AND SHOOT Half-press the shutter button to engage autofocus, and pan by pivoting your hips. Avoid stopping suddenly by continuing to pan after taking the shot. If you’re struggling to frame your subject, set your drive mode to Continuous High, and shoot a burst as you pan.
4
INPUT YOUR SETTINGS Slower shutter speeds increase motion blur but make it harder to capture a sharp subject. 1/320sec is a good middle ground to start with (increase the speed if you’re struggling). Try to keep your aperture between f/4 and f/8, and adjust your ISO accordingly.
5
SIGHT YOUR SUBJECT Stand with your feet shoulder-width apart and pointing to where you intend to take the shot. Look through the viewfinder and support the lens barrel with your hand. Support your elbows against your torso, and sight your subject as it comes into view in the frame.