One of the most interesting misconceptions about photography is the belief that the image captured is what you actually saw. When it comes right down to it, that is the biggest load of hog wash I have ever heard. At no point in the history has there ever been an image that was EXACTLY what the photographer took in with their own eyes. And this is one of the coolest concepts in photography.
I try to create images that represent what I WANT to see.
In cycling photography this is especially true. Photography stops the action. It puts a hold on time. It carves out a second or fraction of a second that will forever be still. So, with something as dynamic as cycling and racing, how does one go about capturing the action and the speed associated with the sport?
Blur. BBBBBBBLLLLLLUUUUUURRRRRRR.
I jump at the chance to use a good amount of blurr. The action lives longer when the image streaks across the screen. When riders throw themselves into corners, charging through at 30 and 4o mph, the action is anything but still. Colors blend together, noise becomes a howl and the rush of the peloton mimics the summer wind.
Corners are the absolute best place to get this type of motion. The riders look as though they will careen straight through the lens. And their eye are locked into the turn, riveted to the tarmac just behind.
Another “can’t-do-without-it” is flash. Every time I’m snapping off images in the corners I’m also pounding the subject with flash. It helps to fill the dark shadows under the helmet and it also darkens the sky behind the rider. There is one other key element that the flash provides. Focus. Without the flash the entire image will be blurry and critical focus is lost. Most of the time I have the flash set on full power. This allows for a slow shutter of around 160 or even 125 and greatly effects the amount of blur.
The trickiest part of the shot is combining all of the elements to get exactly what you want. It is all in panning, framing, shooting and repeating….until you get an image you like.