77MM: The Mega Gallery

Members’ Meeting is a feast for the eyes, the ears and the senses.

In fact, the same can be said for any Goodwood event; Festival of Speed, Revival and MM are all unique in their own special ways, but they all have one thing in common: they’re fantastic events to photograph.

With both myself and Paddy on the ground during the 77th Members’ Meeting, as well as Technical Editor Ryan Stewart wandering around, there was much Speedhunting done, and as a result many, many images that we took that don’t really fit into any of the stories from the event.

So, what better way to round off our 77MM coverage that with a mega gallery just focusing on the photography? We’ve also included some nice geeky technical info about each image, as well as a bit of our thought process behind the shots. Enjoy!

Utterly Butters

Nikon D850, 24-70mm f/2.8 lens.
Exposure: 1/1600sec at f/2.8 (ISO 80)

Brightly-coloured car, race number. The obvious way to capture this was from above head height – thankfully my camera has a tilting LCD screen, which makes lining up shots like this easy.


Nikon D750, 24-70mm f/2.8 lens.
Exposure: 1/40sec at f/2.8 (ISO 640)

It’s easy to get tunnel vision at events and just focus on the cars, but the people are vital to the atmosphere of gathering such as Members’ Meeting. The hundreds upon hundreds of Edison bulbs hanging from the market hall’s ceiling made for a pretty nice setting for some candid portraits.


Nikon D850, 50mm f/1.4 lens.
Exposure: 1/320sec at f/1.8 (ISO 250)

Always tinkering. Anonymous hands making adjustments makes an obvious connection between human and machine. I went with a more gritty black and white edit here to emphasis the dirty, mechanical nature of the job.


Nikon D850, 300mm f/2.8 lens.
Exposure: 1/320sec at f/4.5 (ISO 400)

I set up at the end of the Lavant straight as sunset approached, just in case there was some spectacular back-lighting. Sadly the sunset never really materialised, but it did provide a nice glow in the sky as the final Gerry Marshall Trophy race of the day unfolded.


Nikon D850, 50mm f/1.4 lens.
Exposure: 1/640sec at f/1.4 (ISO 100)

As the drivers sat in their cars in the staging area, I wandered around snapping small details, such as gloves gripping steering wheels, and drivers buckling up. I liked the complimentary colours of the details on this driver’s race suit and car.


Nikon D850, 300mm f/2.8 lens.
Exposure: 1/125sec at f/8 (ISO 100)

This was shot from the exit of the chicane back towards Goodwood’s iconic pit lane. I just had to wait for someone to run slightly wide of the corner exit. Of course it was an Escort!


Nikon D750, 24-70mm f/2.8 lens.
Exposure: 1/4000sec at f/3.2 (ISO 500)

You have to dress up for Goodwood. Only your finest tweeds, furs and hats please. The attire does make for far more interesting people-watching. I’d just been shooting indoors and had left my ISO too high here, but it works still.


Nikon D850, 300mm f/2.8 lens.
Exposure: 1/400sec at f/3.5 (ISO 100)

I wanted a closer crop of someone running wide after the final chicane, but had no idea who was going to stay on circuit and who wasn’t. This dirt drop took quite a few attempts to finally get.


Nikon D850, 300mm f/2.8 lens.
Exposure: 1/200sec at f/2.8 (ISO 40)

Looking back towards the chicane from the start of the pit wall. Goodwood Circuit is a bit of a trek on foot, so most of the images you’ll see from there are taken in close proximity to the paddock. Of course, that’s where you’ll find the crowds too, which add some nice background to the images.


Nikon D850, 300mm f/2.8 lens.
Exposure: 1/100sec at f/5.6 (ISO 64)

As we’ve already covered, the Mini racing was epic at this year’s Members’ Meeting. The soft, warm light of sunset made for some pretty nice opportunities. There was a tall grass bank between me and the cars, but it helps add some depth to the image, I feel.


Nikon D850, 24-70mm f/2.8 lens.
Exposure: 1/500sec at f/4 (ISO 125)

The Ford GT40 is such an instantly-recognisable shape that you only need catch a glimpse of it to know what it is. Only at Members’ Meeting would you see so many of them used on circuit in anger.


Nikon D850, 24-70mm f/2.8 lens.
Exposure: 1/640sec at f/4 (ISO 125)

I see a lot of photographers getting frustrated at busy events, or waiting to try and get a person-free shot of a car. In my eyes, they’re often far less interesting than those that do include a human element. This lady was struggling, just like me, to get a clear view at Senna’s McLaren MP4/5B.


Nikon D850, 35mm f/1.4 lens.
Exposure: 1/1250sec at f/1.4 (ISO 64)

I spent far more time in the staging area and paddock at Members’ Meeting than out on track. The faces tell the story of whats about to happen – these riders are clearly excited about taking to the circuit.


Nikon D850, 35mm f/1.4 lens.
Exposure: 1/640sec at f/2 (ISO 64)

This wasn’t the shot I’d first envisaged here. The return lane from the refuelling area to the paddock ran between two warehouses, and I wanted a head-on symmetrical shot of a car coming down the alleyway. However, as I waited I noticed that the floor was sloped and the cars weren’t coming down it straight-on, so symmetry wasn’t happening. I moved to the side and snapped a quick shot just as this gentleman signalled right. I think I prefer how this turned out.


Nikon D850, 300mm f/2.8 lens.
Exposure: 1/400sec at f/5.6 (ISO 64)

When the last time you saw an incredibly expensive and incredibly rare Mercedes-Benz 300SL Gullwing being chucked into a corner by David Coulthard? Me neither. He was occasionally clipping the board leaning on the right-hand well with his front bumper.


Nikon D850, 24-70mm f/2.8 lens.
Exposure: 1/4000sec at f/2.8 (ISO1000)

The famous ‘Beast Of Turin’ finally spits to life after some cranking in the pitlane. Just one of the issues of running a race car built in 1910. I chose a far higher ISO than needed to give me a fast enough shutter speed to freeze the flames as much as possible.


Nikon D850, 70-200mm f/2.8 lens.
Exposure: 1/50sec at f/8 (ISO 100)

It wasn’t until I was going through my images after the event that I spotted the driver of this Ford Capri giving his team on the pit wall the thumbs up.


Nikon D850, 24-70mm f/2.8 lens.
Exposure: 1/2000sec at f/4 (ISO 200)

The gorgeous lines of the Porsche GTS 904 against brooding rainclouds. The Graham Hill Trophy for pre-19 66 closed-cockpit GT cars was probably the best-looking grid at 77MM.


Nikon D850, 35mm f/1.4 lens.
Exposure: 1/1250sec at f/1.6 (ISO 100)

A quiet moment of contemplation before a race; it’s striking just how exposed the drivers are in these historic cars.  I love the look and perspective from the Sigma 35mm f/1.4 Art lens – I really need to use it more often.


Nikon D850, 300mm f/2.8 lens.
Exposure: 1/125sec at f/6.3 (ISO 100)

This Mk1 Golf GTI was absolutely sending it out of the final chicane at 77MM. I love how much lean there is in the front right tyre, and how the left rear is fighting to stay on the ground.


Nikon D850, 24-70mm f/2.8 lens.
Exposure: 1/100sec at f/4 (ISO 64)

It takes some balls to wrestle a 1916 Indianapolis Sunbeam around Goodwood on four tyres, let alone three! If anyone can do it and come out smiling, it’s Julian Majzub.


Nikon D850, 300mm f/2.8 lens.
Exposure: 1/400sec at f/4.5 (ISO 320)

Cocking a leg coming into the final chicane during the Betty Richmond Trophy. When looking for moments like this I’ll aim to use a fast enough shutter speed to capture some wheel movement, but with an emphasis on freezing a split second when the wheel lifts.


Nikon D850, 24-70mm f/2.8 lens.
Exposure: 1/320sec at f/2.8 (ISO 800)

A nice detail I spotted in the paddock – this owner has collected all of the race tags from events the car has attended. That’s an impressive resume!


Nikon D850, 300mm f/2.8 lens.
Exposure: 1/250sec at f/6.3 (ISO 100)

Minis racing furiously at sunset. Goodwood’s daffodils were past their best at this year’s 77MM, but there were still a few nice examples to use as a big of out-of-focus foreground.


Nikon D750, 24-70mm f/2.8 lens.
Exposure: 1/1000sec at f/4 (ISO 320)

This was one of the first shots I took on the day. It’s not what I was originally going for, as I wanted more of the puddle reflection in frame, but I love the juxtaposition between the airbrushed American lowrider and the bemused English gentleman in country wear.


Nikon D850, 24-70mm f/2.8 lens.
Exposure: 1/320sec at f/4 (ISO 80)

The simplicity of a single-seat racer view from above. I really enjoy finding symmetry in compositions, so this caught my eye. That exhaust too…


Nikon D850, 35mm f/1.4 lens.
Exposure: 1/6400sec at f/1.6 (ISO 64)

Some cars are so legendary that you only need to see a glimpse to know what it is. Shot through some wooden fencing to frame the McLaren’s cockpit. The gentleman behind’s jacket almost matching the livery is a happy accident.


Nikon D750, 24-70mm f/2.8 lens.
Exposure: 1/800sec at f/4 (ISO 320)

As I said – embrace the crowd. You couldn’t get a clear shot of the F1 for love nor money, but a bit of quick timing captures it between passing feet.


Nikon D750, 24-70mm f/2.8 lens.
Exposure: 1/1250sec at f/2.8 (ISO 200)

Just two lads taking in a morning coffee by the fire pit. I asked them both if I could take a quick portrait, and I’m glad only one turned around – it seems more of a candid moment that way.


Nikon D750, 24-70mm f/2.8 lens.
Exposure: 1/200sec at f/3.2 (ISO 500)

Some times as a photographer you need to watch other photographers. I’ll fully admit I saw Paddy taking a similar shot from this angle, and knew with the light streaming in and Edison bulbs dangling it would look great. Yoink.


Nikon D850, 24-70mm f/2.8 lens.
Exposure: 1/100sec at f/4 (ISO 200)

Americana in England. A lowrider and a Z06 – not the usual Members’ Meeting fodder. Resting the camera on the floor works well with low cars, as long as you can’t see the underpinnings or chassis.


Nikon D850, 35mm f/1.4 lens.
Exposure: 1/2000sec at f/1.4 (ISO 64)

When shooting characterful events such as Members’ Meeting, I’ll keep ta mental tally of the sorts of shots I’m getting to ensure variety, ranging from action to paddock, cars and people.


Nikon D750, 24-70mm f/2.8 lens.
Exposure: 1/500sec at f/4 (ISO 100)

I’m not sure if I was supposed to be standing on the circuit at this point, but I saw other photographers were so took it upon my own authority to do the same. Sometimes it’s better to ask for forgiveness than permission.


Nikon D750, 24-70mm f/2.8 lens.
Exposure: 1/4000sec at f/4 (ISO 100)

A simple silhouette that’s instantly recognisable as Goodwood.


Nikon D750, 70-200mm f/2.8 lens.
Exposure: 1/250sec at f/4 (ISO 100)

I don’t claim to be any kind of authority figure on classic cars (Google helps me a lot), and I’ll confess I don’t know what this is (apart from a Maserati). It’s gorgeous though, and deserved a photo.


Nikon D750, 70-200mm f/2.8 lens.
Exposure: 1/60sec at f/11 (ISO 100)

A straightforward panning shot through the chicane – you can only really get a shot or two off from this angle, as the cars have just changed direction, which often causes slight oversteer (as shown).


Nikon D850, 300mm f/2.8 lens.
Exposure: 1/400sec at f/4 (ISO 64)

Most of the more interesting angles at Goodwood Circuit can be found on the first and last corner or two, and especially through the chicane before the finish line. The 917s weren’t driven at full race speed, so it’s one of the few places on the track where they actually moved around a bit on the track.


Nikon D750, 70-200mm f/2.8 lens.
Exposure: 1/15sec at f/13 (ISO 50)

It’s that Maserati again, shot from the outside of the circuit against a packed grandstand. Red cars work so well for slow pans, and crowds make for ideal backdrops in racing, especially when blurred at speed.


Nikon D750, 300mm f/2.8 lens.
Exposure: 1/1000sec at f/2.8 (ISO 200)

I waited in position for a good five to 10 minutes for this shot. I knew that the BMW Procars were up next, and they’d filter to the holding area through an access road. I set up with a long prime lens at the end of the road, resting it on the ground for a low perspective, and waited. I used a long lens to compress the perspective and draw the alleyway of trees in.


Nikon D750, 70-200mm f/2.8 lens.
Exposure: 1/50sec at f/9 (ISO 100)

Yet more daffodils – their presence is kind of iconic during Members’ Meeting. I’d shot a track day at Goodwood the week before, so recce’d this panning shot then – it’s at the end of the pit wall so the cars are travelling pretty fast as they pass you.


Nikon D750, 70-200mm f/2.8 lens.
Exposure: 1/80sec at f/4 (ISO 200)

Just as I was heading back to the media centre I spotted this Ferrari F40 hiding on the outside of the circuit. It’s a nice representation of Members’ Meeting – an incredibly special car yet with everyone looking the other way at the racing on track. F40 + sunset = you can’t go wrong.


Nikon D850, 50mm f/1.4 lens.
Exposure: 1/400sec at f/1.6 (ISO 100)

The perfect way to close, and to hand over to our illustrious leader Mr McGrath. I captured the moment Paddy committed a cardinal sin and made eye contact with Ryan whilst eating a sausage. Never make eye contact. [I will have my revenge, Butters - PMcG]

The Irish

PMcG: I’d like to preface this with the caveat that it’s been a while.

Since taking over the role of Editor in Chief on Speedhunters, I don’t shoot nearly as much as I used to. That’s okay, because I’ve had to learn to deal with and understand new challenges that my new role has brought me. I still love photography, and I still consider myself very much as a photographer before anything else.

The last thing I shot for Speedhunters (which wasn’t my GTI) was the annual AE86 Festival at Mondello Park last August. So, there were lots of cobwebs to be blown off at Goodwood earlier this month.

2019 Best of 77MM Gallery Speedhutners by Paddy McGrath-1

Canon EOS-1DX MKII, 135mm f/2 lens.
Exposure: 1/250sec at f/2 (ISO 100)

I love Goodwood, and in particular I love the Goodwood Motor Circuit, which is a separate venue to where the famous Festival of Speed takes place. It’s immaculately prepared for every event and has a charm like no other venue I’ve ever shot at.

There is one drawback to the place, and that’s the difficulty of shooting cars in the paddock. It’s beautiful to walk around, but incredibly difficult to find a good angle to shoot the cars where they wait between sessions. Every car is packed in tight, and often with a wooden post either side preventing a 3/4 shot. It’s usually a head-on shot or bust, so I’ve taken to trying to shoot through other enclosures to add something extra to the shots.

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Canon EOS-5D MKIV, 35mm f/1.4 lens.
Exposure: 1/3,200sec at f/1.6 (ISO 100)

While Goodwood’s Members’ Meeting doesn’t require the mandatory vintage clothing that the Revival does, it seems that most people abide by this unwritten rule anyways. With McLaren (who will likely never speak to us again after Jordan’s recent – but accurate – Senna GTR piece) sponsoring the event, there were models from across their range randomly scattered around the venue.

I enjoyed the contrast between the two gentlemen in their old garb and the very modern looking 720S against the clean background.

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Canon EOS-5D MKIV, 35mm f/1.4 lens.
Exposure: 1/400sec at f/2 (ISO 200)

In my attempts to find new angles for areas which have already been heavily documented, I took to trying to shoot through the branches to capture this Mini in waiting. In hindsight, perhaps I should have waited for a more colourful example, but I still like the muted tones.

Focus and trying to judge depth of field here was tricky, so a couple of shots were required to get it right.

2019 Best of 77MM Gallery Speedhutners by Paddy McGrath-4

Canon EOS-1DX MKII, 300mm f/2.8 (+1.4x) lens.
Exposure: 1/320sec at f/4 (ISO 100)

Shooting trackside is my happy place. The final chicane at Goodwood is perhaps the most recognised part of the otherwise plain circuit (all airfield based circuits are notoriously difficult to shoot due to the lack of elevation changes), so it was on my list to capture the standard car exiting chicane shot straight away.

I was hoping for a little more brushing of the ‘wall’ on the inside of the corner, but was more than happy with the three-wheeling Escort coming through. Shooting head-on like this often removes most of the movement and dynamism from an image, so  you need to seek out those moments which emphasise a car’s movements.

2019 Best of 77MM Gallery Speedhutners by Paddy McGrath-5

Canon EOS-1DX MKII, 300mm f/2.8 (+1.4x) lens.
Exposure: 1/10sec at f/16 (ISO 100)

Shooting from the inside of Woodcote, a long sweeping right hander was perfect panning practice. This was more of an exercise in getting my shutter speeds as low as possible, which was made even more difficult by the long focal length of 420mm.

There’s a point you reach when shooting slow shutter pans where your technique can be perfect, but your subject can bounce, drift or wobble even slightly and ruin the shot. Practice and patience are required.

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Canon EOS-5D MKIV, 35mm f/1.4 lens.
Exposure: 1/6400sec at f/1.4 (ISO 100)

When I arrived at my hotel on the Saturday night, I made a mental note to capture more of the environment the next day. While they often make for less exciting photographs when compared to say a flame-throwing M1 Procar, they’re a vital piece of the story telling puzzle in order to really give the viewer a sense of place and location.

Like Jordan, I enjoy symmetry in photography while I also shot wide open in order to add another element of interest to the image.

2019 Best of 77MM Gallery Speedhutners by Paddy McGrath-7

Canon EOS-1DX MKII, 300mm f/2.8 (+1.4x) lens.
Exposure: 1/13sec at f/20 (ISO 100)

Slow panning, but from the outside of Woodcote this time.

I wanted to frame this with the track in the foreground to show the car’s route, while also shooting slow enough to show the driver’s commitment through here. In this instance, the slow shutter has created the illusion of the car almost floating on the surface due to my slightly lower vantage point.

To further reiterate the risks of slow shutter shooting, had the driver got on the brakes heavily here, the subsequent nosedive would have rendered the shot unusable.

2019 Best of 77MM Gallery Speedhutners by Paddy McGrath-8

Canon EOS-5D MKIV, 35mm f/1.4 lens.
Exposure: 1/20sec at f/22 (ISO 100)

Shooting wide and slow is a much easier task than shooting tight and slow, as the wider focal length offers more forgiveness for camera shake during the pan. Again, this was an attempt at capturing more of the environment than anything else.

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Canon EOS-5D MKIV, 35mm f/1.4 lens.
Exposure: 1/2500sec at f/2 (ISO 100)

This would be pretty much the opposite to the above, but with the same ethos behind it. Corner works and safety marshals might have the best view in the house, but it’s not without risk or tedium. While the weather was decent at 77MM, these men and women would still be stood here if it was torrential rain or blizzarding snow.

2019 Best of 77MM Gallery Speedhutners by Paddy McGrath-1

Canon EOS-1DX MKII, 300mm f/2.8 (+1.4x) lens.
Exposure: 1/200sec at f/5 (ISO 100)

I tend to not shoot portrait very often (as it means a separate export batch, but felt that it worked well here with Goodwood Race Course in the very background. Again, I chose a shot with some oversteer to show the car is actually moving, and not parked stationary at the corner exit.

2019 Best of 77MM Gallery Speedhutners by Paddy McGrath-11

Canon EOS-1DX, 135mm f/2 lens.
Exposure: 1/320sec at f/2.8 (ISO 160)

Nothing bores me more than looking through a gallery of images which is the same shot over and over again, just featuring different cars. I’ll always try to extract as much from any single shooting location by trying different focal lengths, shutter speeds and shifting around within my vantage point as much as possible.

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Canon EOS-5D MKIV, 35mm f/1.4 lens.
Exposure: 1/1000sec at f/2 (ISO 100)

There’s no real point in staying in the one spot all day, unless you absolutely must capture one very specific shot, so once you’ve seen the same cars pass a couple of times, it’s time to move on.

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Canon EOS-1DX MKII, 300mm f/2.8 (+1.4x) lens.
Exposure: 1/200sec at f/4 (ISO 100)

Sometimes, a little bit of luck is required, but you still need to be able to capitalise on the opportunity. Rather than about to run three-abreast down the main straight, these M1 Procars were actually queueing to turn back into the paddock at the end of their high speed demonstration runs.

I’ve played with the post-work since it was last used as a cover image on Jordan’s M1 story, but I think there’s still more to extract from the image once I find the time.

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Canon EOS-1DX, 135mm f/2 lens.
Exposure: 1/250sec at f/2 (ISO 400)

Shooting through something to shoot something else is pretty standard, but I enjoyed this shot of Senna’s MP4/5B as it was shot through the wing of McLaren’s Senna road car.

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Canon EOS-1DX MKII, 16-35mm f/2.8 lens.
Exposure: 1/500sec at f/2.8 (ISO 100)

Evening time in the Mini paddock was quite nice, as the sun made a rare appearance. The atmosphere definitely relaxes considerably towards the end of the day, which makes it a great time to explore and walk around with less people about.

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Canon EOS-1DX, 135mm f/2 lens.
Exposure: 1/640sec at f/2 (ISO 100)

Exposing for the highlights creates this abstract representation of the several Ford GT40 race cars in the paddock. As previous, due to the construction of the paddock’s wooden shelters, you really have to work hard to find an interesting perspective and to avoid several hundred head-on photographs.

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Canon EOS-5D MKIV, 16-35mm f/2.8 lens.
Exposure: 1/250sec at f/2.8 (ISO 2000)

Modern DSLRs do make our lives a lot easier than they used to be. Not only is their ability to handle noise so impressive, but the additions of live view and touchscreen focusing make the process of finding new angles a lot easier than before.

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Canon EOS-5D MKIV, 16-35mm f/2.8 lens.
Exposure: 1/320sec at f/3.2 (ISO 640)

The scene at pit #226/227 was one of chaos for most of the event, as the Alan Mann Racing mechanics completed an engine swap on the ground in front of the car overnight. I wanted to show as much of the scene as possible, so my rarely used ultra-wide was deployed. The flat lighting was a bit of a downer, but you sometimes have to shoot what’s in front of you.

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Canon EOS-1DX MKII, 300mm f/2.8 (+1.4x) lens.
Exposure: 1/320sec at f/4 (ISO 100)

Despite the incredible access to the drivers, I still prefer to shoot extremely long lens portraits of them. It’s much easier to isolate them from their backgrounds, and also to capture a more natural portrait.

Any photographer will tell you that there’s nothing more annoying than just about to nail a candid shot like this, until the driver spots you and gives you a big ol’ shit-eating grin and a thumbs up. Not this time.

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Canon EOS-1DX, 135mm f/2 lens.
Exposure: 1/1250sec at f/2 (ISO 100)

Spend enough time around legends, and you really start noticing the details rather than the overall form factor. Previously, I’d never noticed these cat emblems within the headlights of the Porsche 917K. Turns out there’s an interesting story behind them

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Canon EOS-1DX MKII, 300mm f/2.8 lens.
Exposure: 1/15sec at f/16 (ISO 100)

There are little tricks you can try when shooting slow shutters, like stopping the pan before the shutter closes again, or increasing/decreasing your panning speed during the exposure to make strange things happen. While it might not be the most technically perfect photograph, it still captures a mood and vibe that’s borderline painterly.

It’s always good to capture variety. What’s the worst that could happen?

Jordan Butters
Instagram: jordanbutters

Paddy McGrath
Instagram: pmcgphotos
Twitter: pmcgphotos



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Great stuff , that pic with the carbs !!!!! With the 16-35 lens !! Wallpaper !!!!!


I saved a LOT of potential wallpapers from this one.

Naveed Yousufzai

Well done gents... well done.


Wow, thank you all for the explanation, your work and the stunning pictures.

My two favorites are the Capri running wide and the F1 head on. The picture of that Capri is so crisp and sharp and yet there's movement and blurred background.
And i have to admit i have never seen a picture that highlights the central driving position of the F1 car like that here.


That Maserati looks to be an early example of the 3500 GT, though with a health dose of resto-modding, it would seem?!
I'm a sucker for anything mid-century Italian!


That shot of The Beast of Turin. I could be there... Pure Genius.


As someone who isn't a photographer I always enjoy these posts where you describe the photos and the ideas behind them. Makes me really appreciate the work you all put in!