TFC Editors Note: With summer just around the corner, we're back with part two of sport and adventure photographer John Rourke’s blog, this time diving into an action-filled stretch of his 2024 road trip, all captured with the Elinchrom THREE. If you missed the first part, you can catch up over on our blog.
by John Rourke
The Adventure Bike Festival UK
I had barely been home a few days following my journey through the Alps, when it was time for the ABR festival at Ragley Hall in the UK. I was shooting for a couple of clients, and hosting Peak Designs stand for product advice for bikers. Four days of adventure bikes, plenty of networking, and great weather.
Two YouTube adventure riders Leonoor and Runa were there too, promoting brands. I had missed Leonoor by 24hours when passing through the Tirol part of the Alps during the first leg of my adventure, so we made plans to finally organise an adventure photo shoot, for a week or so, while they were touring the UK. We managed to shoot a few dark and moody portraits for their promotional materials.
Red Bull Racing
No sooner had I returned from the festival than Auto Hebdo (a French motorsport magazine, I’ve worked with before) called—they needed a photographer for an interview at Red Bull Racing in Milton Keynes. It was a quick job, just a few hours, capturing Pierre Wache, the technical director of Red Bull Racing F1, during a carpool-style interview.
Upon arrival, there was no time to unpack. I quickly grabbed the Elinchrom THREE for a bare-bulb style shot with the included diffuser, and we took a shot surrounded by the F1 collection of cars, and then we jumped in the car. Since Pierre could find flash distracting while driving, I captured as much as possible without it. We visited the secret wind tunnel test center for a quick outdoor shot with the flash despite the rain, then returned to headquarters for a few more portraits before Pierre was whisked away. The whole shoot was probably around 45mins!
As we were leaving, we managed a couple of portraits of Formula 2 driver Isack Hadjar by an F1 car mounted in a glass box. The tight space made lighting tricky, but the THREE handled it well.
As we wrapped up, the journalist asked about my weekend plans. When I mentioned I was trying to take a weekend break, he informed me I’d be shooting F1 at Silverstone instead. Naturally, F1 takes priority, so I headed home to repack, charge everything, and prepare for the weekend at Silverstone.
Silverstone F1
I arrived at Silverstone with enough time to sort out my passes and scope out the track. Thankfully, I know Silverstone well. I scanned the red zones and checked the timetable. This was my first F1 event, and hopefully not my last! I quickly realized that I’d have to shoot fast and have a bit of a plan. Unlike endurance racing, where you have 6 to 24 hours, F1 sessions are short — the race itself is only 1.5 hours maximum.
The next day was a crash course in all things F1. I spent most of the day on track action, with no flash required. I realized I could carry the flash unit in a waist-mounted pouch where I normally carry spare lenses, the 300mm pouch from Think tank fits the ONE or THRE
Race day arrived, and I got some tips from regular photographers on must-see moments, and places to shoot from. Flash use was limited, but I kept it on hand just in case. I hit the grid, capturing drivers preparing, then sprinted to my chosen track spot for the start. I shot from five different track sections, getting a variety of angles.
After the race, I headed to the podium early to secure a good spot before the area filled with photographers, fans, TV crews, and journalists. I captured some great shots of Lewis celebrating his win before heading out of the circuit, beating the crowd.
Goodwood FOS
As I was downloading images from Silverstone, Sony called, asking me to work at the Goodwood Festival of Speed. They wanted me to advise photographers on their cameras and lenses. I also arranged a quick photoshoot with endurance race driver Gabriel Aubry. Anticipating a fast shoot, I packed light, throwing the flash in my 45L backpack with other gear, and planned to capture some arty shots from the paddocks for potential posters.
Using the 18 cm reflector and grid, I controlled the light in the harsh sun. After photographing interesting race car parts, I met Gabriel for some cool portraits before his Hillclimb run. The flash drew some attention, and others were amazed by its power. When I showed them the images, they couldn’t believe they were taken on location in bright daylight — they look like studio shots.
Walking back through the paddock, I spotted F1 champion Damon Hill signing autographs. I used the THREE like a large speedlight and captured a great shot of him with fans, along with a few other faces, before returning to the Media center.
Up next was the red arrows and Drift cars! I am sure you could do this with lighting but it would have been difficult and possibly distracting.
Versatility of the Elinchrom THREE
The THREE really works straight out of the bag. You can use it with all the careful planning of a studio environment, but I find the THREE is perfect for the times when there is no plan, just an idea, or for that spur of the moment shot when no one has time. The only delay in firing that shot is pulling the flash out of the bag, putting the trigger on the camera, and turning both units on. I prefer full manual, but TTL is there if you want. The size and weight means you can carry in a bag easily all day, and I found walking with it in my hand is just as easier. I haven’t found any reason not to carry the THREE, it’s a bag essential.
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Follow John's work
www.johnrourke.com
Instagram: @thejohnrourke
This article was originally published on Elinchrom.com on 14th October 2024.
