DW: Hi Darren, thank you so much for making time for this interview. As a racing fan and photographer, there’s so much I’m curious about. Let’s begin with gear. What cameras and lenses do you normally shoot with?

DH: My pleasure! During most of the 2019 F1 season the kit I used at every race consisted of the following:

• Two Canon EOS-1D X Mark III bodies

• Canon lenses in 11-24mm f/4.0, 50mm f/1.2, 50mm f/1.0 (for twilight and night races), 135mm f/2.0, and 400mm f/2.8 focal lengths.

• 1.4x and 2x Teleconverters

• ND filters, monopod, flash cards, and assorted accessories

DH: As someone who doesn’t respond well to authoritarian attitudes I applaud those that push back against them, however, Formula 1 is by its very nature a dangerous sport with fast-moving machinery and the potential for disaster an ever present reality. For this reason, I believe passionately that safety concerns need to be of paramount importance. Rules need to be made and adhered to when working in and around the cars.

When it comes to working around the teams and drivers, one always needs to be respectful of the high pressure of top-level sport. Having said that, I have a need to get a job done—so finding a balance between the two is key.

One rule I will not break is to never photograph people eating! 

DH: It can be a sobering sight, and a valuable lesson to see first-hand the awesome forces released when a racing car leaves the track and suffers a shunt. Such are the speeds of modern day F1, that when a car gets in trouble and makes contact with barriers and/or fences the energy released can be akin to a light aircraft crashing rather than an automobile.

There are numerous dangers all around the environs of a Grand Prix weekend. Fuel, machinery, cars on pit lane, and more, all mean it’s of paramount importance that one remains aware of what’s happening, and ever mindful of the many dangers.

DH: I seriously can’t remember when I last used flash other than to ‘steal’ the bright-light bursts of fellow photographers’ flashguns of course!

Very often my images display a lot of contrast. I like using intense directional lighting to isolate subjects. I’m constantly thinking about lighting when planning a photograph. This helps me make sure that as often as possible I’m in the right location when the lighting is best.

Camera exposure settings are used to maximum effect to achieve the results I desire—especially to darken down shadow areas as much as possible.

Darren’s racing-car photography kit at Monaco 2019 © Darren Heath 2020

DW: Do you have a favorite lens? Is there a lens that’s both comfortable and an extension of your eye?

DH: I’d say it’s the 50mm. The f/1.0 is difficult to use, but the look of the pictures it delivers are unique, and well worth the effort!

DW: The quest for the perfect camera bag can be never-ending. Which three bags do you use for carrying minimal, average, and larger quantities of gear?

DH: I only use two! A Think Tank Photo CityWalker 10 Messenger Bag (no longer available), and the dedicated Canon LS400 soft case for the Canon EF 400mm f/2.8L IS III USM lens.

DW: How do you protect your gear from hot, cold, and rainy weather?

DH: I don’t use anything for hot weather. For wet conditions, I use two Think Tank Hydrophobia DSLR/mirrorless 300–600 V3.0 Rain Covers.

DW: Let’s move on to shooting. What are the most critical challenges you face when photographing racing from moving vehicles such as cars and aircraft?

DH: I guess the challenge is to always stay true to my photographic principals. The actual practical challenges of shooting fast-moving subjects is something I’ve never found too difficult—but that doesn’t mean I don’t work incredibly hard at improving my technique. I’m always pushing hard to produce imagery that interests and inspires the end viewer.

DW: In terms of behavior at the track, what are some of the do’s and don’ts that photographers should be aware of?

Michael Schumacher, France 2005 ©Darren Heath 2020

DW: Do different photographs appeal to different people such as race drivers, crews, fans, and others? And what one thing appeals to you most in a racing photo?

DH: The various groups of people involved in Formula 1—just as in wider society—have their own ideas as to what constitutes a good picture. So in this respect, F1 is no different to everyday life. Personally I’ve always believed it to be a very flattering experience when anyone likes one’s pictures—whomever they are and whatever they do.

Drivers are—in my experience – particularly bad to poor when it comes to appreciating photography. As a professional who never wants to be thought of as a terrified sycophant, I rarely seek their opinion.

At the end of the day, as long as my clients and potential new ones appreciate what I do—and want to pay for it—I’m happy!  

DW: Is race photography dangerous? And what do you do to stay safe?

Nick Heidfeld, Spain 2011 — © Darren Heath

DW: Your volume of work is extensive. Do you work with support staff such as assistants, editors, and image processors?

DH: During a Grand Prix weekend I employ the services of a Photoshop technician. Brad is a genius when it comes to extracting a great deal of photographic information from a file, and has really improved my ability as a photographer. I mean that in the sense of me becoming aware, while working with him, of just how much one can bring out of a digital file. This has helped me particularly when it comes to tricky lighting situations.

Apart from Brad, that’s it! I work entirely on my own.

DW: What’s a typical day of race photography like?

DH: Just like so many jobs, the day-to-day process of being a photographer of F1 becomes formulaic in its make-up.

Typically, for a Grand Prix weekend practice day, I’ll arrive at the circuit by about 8am, get set-up in the media room, have breakfast, check emails and the weather forecast, and then get either on track or in the pit lane for the first practice session. Once back in the media center I’ll edit my shots in a raw converter, convert into jpg, and then send the images to my technician in London, England. Afterward it’s lunch, then an afternoon track session, and more editing before leaving—usually around 8pm.

Race day arrival is generally a little later than that of the practice days. Shooting commences at lunchtime for the Drivers’ Parade, and then on to the grid by 2:20pm for the pre-race ceremonies. Once the post Grand Prix podium celebrations are in the can, I’ll generally edit my work for a couple of hours, and transmit deadline material, before making my way to the airport.

Of course we now have races at sunset and into the night, so timings evolve relative to the events. But as far as the time periods and structure of the day is concerned, everything remains almost always constant.

DW: What are some of the ways you approach low-light and night racing photography? Do you, and can you, shoot with flash?

Marina Bay Circuit Singapore - © Darren Heath 2020

DW: Is there one photo you’re especially proud of?

DH: There are pictures that I’m pleased with, but I really do regard, and think of, my photographic output as a body of work. If one or two stand out, then that’s great. But my approach is to tell a story of a race weekend in a creative, artistic, and visually stimulating fashion.

DW: Oh, before I forget—let me ask you the most repeated interview question of all time—when did you know you loved race cars?

DH: Well, they say a photograph is worth a thousand words…