This is Monza, the entry to the Parabolica. It’s the last corner before the start-finish straight, so getting out of it quickly is crucial, hence Mr Ferrari-driver (I think it was Tim Mullen driving at the time) being so keen to get past the Saleen…
I’d found my way to a gantry originally built as a marshal’s post but now used as a spectating point, and literally seconds after I arrived I got this. No, it’s not sharp, but it captures the moment.
Kenny P, Canon EOS 1N (28-70mm lens)
We were at London’s Smithfield Market, it was a December night, around 10pm, and after a few hours of action shots in and around Farringdon, it was time to do the static.
The look we were aiming for was that of an American downtown scene. Fortunately, for once the British weather co-operated – it rained, making the pavements shine, reflecting the city lights. The rain got on the lens and diffracted yet more light and there it was: downtown Smithfield!
Andy Morgan, Mamiya RZ 6x7 (50mm lens)
Ty Croes, Anglesey. Some shots are just pure luck; this was one of them. Fellow photographer Antony Fraser and myself had spent half an hour trying to get the Porsche into a position for a ‘hero shot’ with virtually no light to play with. Then without warning the clouds started to let rays of sunshine through onto the sea. Divine intervention!
Andy Morgan, Rollei 6008 integral (50mm lens)
Special because of the light but also because of the sharpness achieved by the XPan. This was one of the very first times I’d used it. I love the definition, from the first blade of grass in the frame all the way to the background. And there’s a massively dark sky with a storm coming in, which becomes a feature of the pic; if it was merely cloudy it would be just another white-grey sky. Of course, the fact that it’s a great looking car helps too.
Gus Gregory, Hasselblad XPan (standard 45mm lens)
My favourite shots are the ones that capture the moment. The whole Westfield XI build story was special for me, because I followed the project all the way through and even got stuck-in myself when I wasn’t taking pics.
This was the end of the trip to the Le Mans Classic, where we were waiting to board the ferry home. It had been an incredible rollercoaster ride, but we’d achieved everything we set out to do, and as the cars waited in the evening light, it was a moment to savour.
Kenny P, Canon EOS 1N (70-200mm lens)
La Spezia, Italy. At the end of a long day, Chee, John Hayman and myself took the Ferrari, along with a Lamborghini Gallardo and the camera car, a Porsche Cayenne, off into the mountains. We found a yet-to-be-opened section of road with a tunnel on it.
The Cayenne’s headlights were used to illuminate the back of the 360 CS. The Gallardo is the car in the top right of the photo and is lighting up the tunnel wall while I use a flash to illuminate the engine of the Ferrari. The shot took just over two and a half hours to do.
Andy Morgan, Rollei 6008 integral 6x6 (80mm lens)
We’re on familiar ground here for evo, on the roads near Betws-y-Coed in North Wales. It’s a fairly standard tracking shot, taken at around 40mph with the camera bolted to the tracking car, though the subject is more distant in the frame than it normally would be.
Once again, the light is special. It’s completely backlit, so the road has almost whited-out. Again, there’s a brooding black sky – a storm had just missed us and passed by. But it’s the subject matter here that makes the difference, and the F40 is a beautiful, beautiful car.
Gus Gregory, Mamiya Six (65mm lens)
On the face of it this is a fairly standard rear cornering shot. What makes it stand out for me is the sense of action, the way you can see the blocks of tread, and it’s obvious the car is going fast. Then there’s the colour of the sky – fantastically dark – and the sunlight picking out the GT3 badge. It’s all those things together.
But the underlying thing is that it’s an ordinary shot made extraordinary by the light. I probably took it lying on the tarmac, and to me this is exactly how a 911 should be viewed. It’s the optimum angle.
Gus Gregory, Nikon F5 (200mm lens)
Aston Vantage & Bentley Continental R
I’d wanted to do this trip for years and it seemed a fittingly epic journey for two monumental British GTs. The northern tip of Skye has a strange but beautiful mountainscape called the Quiraing, with a very useful road snaking through it.
I’d taken a huge Fuji 6x17 panoramic camera purely for this shot – a bit of a risk given that I’d never used one before. It turned out to be a bastard to operate, made worse by the rapidly fading light and the legendary swarms of midges that ruined most of the frames. However, for a brief moment it just about came together.
David Shepherd, Fuji 6x17 panoramic
Shelby Daytona Coupe v Shelby GT500 Mustang
Seven years after the Bentley/Aston shot on Skye, things have advanced a little. No more film, a nice small digital camera with a permanent electronic Polaroid screen.
Let me stamp on your rose-tinted specs: shooting action is so much easier now, no need to change rolls during a run, and you know when you’ve got the shot. Now I’d bin the Fuji and let my software stitch the panorama together for me. As photographers, we’ve never had it so good.
David Shepherd, Canon Eos 1Ds MK 2 (17-40mm lens)