First Post: How to get press creds for auto racing?

[jwil6902]

Hello everyone,

I'm working on building a portfolio of automotive photography, and I want to shoot some racing. I don't expect to start shooting F1 or IRL right off the bat, but that's the type of thing I'd like to work up to. I can start with smaller SCCA or regional CART type racing events, but to get decent shots I'd need to have press creds to get into the restricted paddocks. This brings me to my question: can anyone tell me how to go about this if I'm not shooting on assignment for a magazine?

All input would be appreciated. Thanks.

[FocusingOnFlorida]

I am not entirely sure, but if you work out a deal with your local paper and work freelance, they may be able to help you out with that. It wouldn't hurt to ask. You could also ask around at the track. I'm sure someone will know something. You may have to show a portfolio with some of your work to show them you are serious.

Hope this helps.

[jcboyd]

Moderator's Note:
We recommend strongly against following this suggestion. The reasons are outlined in the posts that follow.


With today’s graphics programs you could create your own.

First of all, be honest in what you put on the pass. I created one about 10 years ago. What I listed as affiliates were true affiliations. Mark the pass as “Freelance”

Some affiliations I had listed:
Senior Editor - La Plama Publications (Advisor to a high school yearbook)
Event Photo (Photographed large events, races, graduations, etc)

I also listed several other types that I was actively involved with at the time. Again, be honest in what you list.

I never tried to get into large events but some small venues were accessible. There are many photographers who are not connected with publications who get into events as “Freelance Photographers”. The will pitch ideas and stories to publications in the hopes of being picked-up.

Another thing to do would get into the pits. This will cost a few extra dollars at the gate but is open to all who pay. You could start to build a portfolio of cars in the pits. If well done these crews like photos of their cars. You would need to provide something beyond the snapshot that they could take themselves.

Good Luck in you pursuit.
john

[Blinky]

At VIR in Virginia... which is a gorgeous track, the general pits are open to anybody who wants to check'em out. I can't say I even saw any trackside pits. Last year, a professional Photographer's pass was $150 per day which gets you inside the crowd barriers at all the key turns plus an official property release.

Chip

[Jim_Sykes]

Originally Posted by jcboyd

With today’s graphics programs you could create your own.

.....

I cant believe I am ever reading this on a photo site. DO NOT EVER TRY THIS, you will get caught and you will be banned from any admittance in the future to such events. Trust me, if you want any credibility or have any desire to do this kind of photography DO NOT DO THIS.

Being at an event is a JOB, its not a game, its not a place to sneak into and its not a place to be just cause you want to be there. There are poeple working there and there are people that base their eating on whether or not they are getting the shots they need. Going to the races for fun is completely out the window when you get on that side of the fence. I often dont have any idea who is winning or what happened during an event when working, thank God for TiVo.

To get press credentials you need to be there working and have a reason to be there. You have to have some kind of media affiliation or you need to be working for some major entity within the series that makes it worth it to the series/promotor to give you the credential.

What benefit does the series get by giving you a credential to "build your portfolio?" In order for them to give you free admission to the event, access to areas that are off limits to the general public, access to areas that are VERY dangerous, and benefits that are not given to the general public, then they need to be getting something in return. In the case of the media, you are giving them promotion of the event that will hopefully garner more fans and more interest in the series.

You need to contact media outlets and and try to work for them. You can contact them as a freelancer and suggest something that they might be interested in and then they will get your credential for you.

As far as building your portfolio and needing a credential to do that...that couldnt be further from the truth. All of us on the media side of the fence all found ways to take photos that would impressed someone enough to get that first media credential. You just need to look a little harder sometimes.

Many tracks have plenty of access for the general public. Most will have open paddock areas, that ALMS and Grand Am for instance always have completely open paddocks. There are a lot of places to shoot at most tracks that will provide great photo opportunities. As a matter of fact, I shoot often from general public areas if they offer a better shot than the track access, which can often be the case.

You need to experiment, look around and look for options. Several tracks with good spectator access are, Road Atlanta, Lime Rock, Mosport, Infineon, Laguna Seca, Sebring, VIR, and Road America. There are others too.

You can also look to local SCCA and amateur events. No one says that a portfolio needs pro series images in it, just pro photographer quality images. You can get those at many local tracks and those often have even better access and opportunity than the big ones.

Its just a matter of being a good photographer and finding the shots that you need to fill your portfolio. Then use those images to show people that can get you into the events as work.

Its all about needing to be there. If you dont NEED to be there, then you belong with the other spectators. I'm not trying to be harsh or a jerk, but those are the facts. There are already too many people on the working side of the fence that shouldnt be there because they know somebody at the track or something like that. Many series are starting to crack down on this and making it more difficult to get in.

However, if you get work and do need to be there, by all means, c'mon over. But you need to work on your stuff and find someone willing to have you work for them. That is the way to get a credential.

Good Luck.

[Paul Shields]

I agree with Jim - isn't faking an ID tantamount to fraudulent behavior? I'm surprised that it would be that easy to get into the golden circle though... :-\

[jcboyd]

Notice: Put "Freelance" on your ID. This means you are not shooting for a publication. This does not mean you cannot have affiliations with publications. Many photographers work freelance and sell there work to publications only after the event. Again, do not put anything on your ID that is not true. That would be fraud. Using my ID, images created during shoots were used in our yearbook. This fact means no fraud. The larger events do want you to be working for a newspaper, magazine, etc. Smaller events are less concerned about this. They do want some sort of ID though. If not working for a publication where would you get some sort of ID. Talking with officials I have gained access to areas normally restricted. I have sold images to local newspapers and publications. Again, be honest.

[Blinky]

Note to all reading this topic:

OK, I've struggled with this, I've read and re-read JCBOYD's, JIM_SYKES and PAUL's posts. I apologize for not acting sooner.

First, I will state that as a commercial photographer who often shoots on location, I have laminated ID badges which I created myself which are nothing more than modified business cards for people working with me on a shoot. The idea is to make ourselves easily distinguishable to site officials, security personnel and law enforcement when a shoot is in progress.
So, in that respect, I see nothing wrong with making your own ID as long as it doesn't mis-represent anything.

I can also see how someone might use such an ID to gain access to restricted areas but I advise against it for the very reasons outlined by JIM_SYKES. Restricted areas are restricted for good reasons and slipping in without pre-arranged authorization is, at best un-ethical, and and worst very dangerous. One photographer's mis-behavior can affect other photographers negatively in a range of ways. As a group, we have to respect our subjects, the property of others and obey the regulations set down by event officials, property owners and government. That's at the core of all professional behavior.

JCBOYD, you are clear that one should be honest about what they put on such an ID but at the same time your examples are mis-representative. 'Senior Editor - La Plama Publications' for example obfuscates what you placed in parentheses... That's not honest in my estimation and it definitely isn't generally accepted professional practice.
'Freelance' means self-employed as opposed to 'Staff Photographer'. Typically a Freelance shooter is on assignment and will be carrying additional credentials related to the assignment. If you're shooting solely for stock or portfolio, you are unaffiliated regardless of whether you're Freelance or not and have no more status and privileges than the general public.

At the tracks Jim_Sykes mentioned, you will find lots of people who will allow you as much access as they can reasonable offer if you're simply honest about your intentions and perhaps offer to send them some shots. Racing is a photographer friendly sport and most road tracks offer excellent vantage points for shooting.

I've decided to not delete JCBOYD's posts at this point because I believe this is an important discussion. I also believe he never intended dis-honesty but simply didn't grasp fully the ramifications of his idea. He is not suggesting counterfitting or legally fraudulent behavior.

As photographers, both professional and amateur, we have to recognize the consequences of of our behavior on the future of ALL photographers. Many people already look on us with suspicion because of the actions of a few unscrupulous characters. Professional behavior is crucial to our future.

Professionalism is not about getting paid, it's about conduct.

Chip
Moderator, Selling Your Photography

[FocusingOnFlorida]

Well said Chip.

[Nikonfreak]

Man, definitely true. My post regarding the fun I had with security at the Latin Billboard Awards show highlights this point very well.

Though it was kind of a mix up and I didn't have press credentials, I was given crew credentials, I had authorization by the venue to shoot the event for my client, who had hired me. Press credentials for the shoot were issued to only 6 photographers because of the size of the press box, and that was tight for them all (standing room only). All the security team was finally advised that I was authorized to be there and shoot the entire event, but given the high profile of the event, I wouldn't have dared trying to sneak in photographic equipment. In fact, until I got my credentials, I left my gear in the car.

You can get credentials for lower profile events as long as media outlets and others have not requested them. Be prepared to be rejected at some venues. That's just the name of the game. If you're applying for credentials and Getty Images is as well, guess who's getting the creds.

If I wasn't shooting for the company doing the lighting for the show, I couldn't have obtained credentials to shoot the Billboards.

Julio

[jcboyd]

You are correct that I never intended anyone to be dishonest in the representation of oneself.

When running my yearbook I treated this as a chance for young people to be exposed to the business world. In that respect we all had jobs we were assigned to. My staff included reporters, photographers, sales reps, photo editor, assistant editor, editor and a senior editor. My job during this time was as the senior editor.

This class functioned like a real publication company, in truth we were a publishing company. We followed the same rules as other companies. We had a budget we worked with and we sold a product in which we tried to make a profit. Holding his position was something I was and still am proud of.* I believe treating this class as a living/breathing business was an exceptional experience for my employees. During these years in I ceased to be a just teacher to these students. I was the person who had the final say on whatever went into our publication. When anything went wrong I was the one who took the flack. When one of our employees failed it was my job to right the problem. This sounds like the same things the senior editor might have control of.

No matter the size of the publication, daily, weekly, yearly, no matter the run, 500 or 500,000 copies during this time I was the senior editor.

I do not agree with you that my stating the position I held was a misrepresentation. Sorry.
john

[Blinky]

John, I never meant to imply that your work as Senior Editor/Advisor to a High School Yearbook was inferior or somehow not a true editorial job. Producing a yearbook is a big and important editorial job with all the difficulties and issues concommitant to publishing a large, image rich, glossy book, regardless of circulation volume.

I do think listing it on an ID (or CV for that matter) as 'La Plama Publications' is not an accurate representation for a road-race official to make a judgment from, particularly so assuming that isn't the official legal designation of the organization. Rather, I think you should list it as 'Senior Editor, La Plama High School Yearbook'.

The idea is that, in the eyes of the public, photographers are not your typical breed of professional and our behavior is crucial to the future of all photographers. How many other professions have an equivalent to the paparazzi? We should not carry and flash credentials unless we are expected. To do otherwise moves the profession as a whole closer to the paparazzi and further from artist/journalist. I've seen your web gallery... you're a skilled artist/journalist, not a paparazzi.

Something that still amazes me even though I've seen it 100's of times is how people are so wide open to having their picture taken. All you have to do is ask first. Sure, there are events and organizations that exclude photographers because of marketing rights... but they've got that sewed up anyway so even if you do get by the officials, you can't legally use the images.

For the purposes of this thread though, we do not want to encourage other photographers to make IDs that are even a little bit questionable. If you are not assigned by a client or race affiliate to shoot in the pits, it's unprofessional and probably unethical to use such an ID to gain access no matter how honest the information is.

I make no judgment about what you did as Senior Editor, nor should anyone else. What you put on a homemade ID is your own business. I intended no offense.

Chip

[Jim_Sykes]

I may have misinterpreted your intentions as well, however, here are the reasons for my concerns.

Someone asked about legitimately obtaining photo credentials to an auto racing event.

You suggest that using your home printer and graphics program you could create your own.

That, without any interpretation is wrong and fraud. By creating your own credential, you did not obtain it through the proper channels, you were not granted permission and access by the sanctioning body of the event and you counterfeited a working credential.

Now, if your intent was to create your own little ID to try to use that to apply for credentials, that is entirely different. Still rather unethical, but not quite as bad as the original idea as the sanctioning body would then have the opportunity to accept or deny your request for credentials.

I can tell you now, you are not going to walk up to a professional event with a home made ID badge (no matter how good it looks) and be granted a credentail or access. Credential applications are submitted to the track/sanctioning body weeks before an event and are approved based on who you are there to represent. If you are there to work for Getty or USA Today, you are in, if you are there to represent a well qualified website, you are likely to get in, if you are there to represent some local rinky dink paper, school yearbook, or homepage just put up on the web, you are likely to be denied access as the promotor would gain nothing from your coverage of the event.

Also, John, if you really wanted to run your yearbook as a true business, then what you would do is contact an event you wanted to cover prior to the event, talk to their PR/Media staff and request credentials in the name of your yearbook for the photographer that would be attending the event. Most will ask for a letter of assignment to be faxed or mailed to them, explaining the reason for your coverage and how you will be covering the event. And most events will also follow up with some of the more "boarderline" requests they granted after the event and see what kind of coverage your provided them. If you say you are going to be writing an article and that article doesnt appear (which makes it look like you made it up to get someone in), you will often be put on a list that will get denied in future years. So its very important that you act accordingly.

Now an ID badge might work at a high school football game or to get past a police line at an accident due to an unwary cop, but its not going to get you past the gate at any professional event.

Chip, that was a good post and I'm glad you have allowed the discussion to continue.

I'm not here to chastise John for what he has suggested, I am here to try and impress upon all those reading just how wrong that his apparent suggestion was and how to go about doing it the right way. You need to follow the guidlines set forth by the promoter, you need to have a real reason to be there, you need to have a client/media outlet that can supply that reason for you, and you need to apply through legal channels to get the access. If you meet those things, you should not have a problem getting in and doing your job.

[jwil6902]

Wow. The last thing I wanted to do was start a dabate about press credentials.

Thanks to all for a lot of useful information and advice from seeral perspectives. I would never try tro create my own press pass because this isn't a hobby to me and I wouldn't want to jeopardize my future in the business that way. My question was just from the perspective of the catch 22 of needing to shoot stuff to attract publications that will get you a media pass, and needing a media pass to get into some areas to shoot.

Jim, I can assure you that I'm not the guy that shows up to an event with the point & shoot and gets into the restricted paddocks because I'm a friend of a friend, nor am I just trying to score a free pass for the weekend. The situation that lead to my original post is that I wanted to get a media pass for the Rolex Challenge at Lime Rock this month, but the media management at Lime Rock won't distribute passes to anyone without an assignment letter from an editor. My interest in a media pass is also not just in having greater access to the track, but also in having less to worry about where I can and can't go or what I can and can't take photos of.

It's the same reason I get permits for street shooting and shooting on private property. I like to play by the rules so I don't have anything to worry about. That said, if tracks like Lime Rock don't have any programs to cater to freelance photographers that aren't on assignment, then I can work other racing events until I can get an assignment to shoot there. Not a big deal, just a disappontment. I had hoped that there might be a professional that could point out something I'd missed or overlooked, through their experience in this kind of situation.

[Jim_Sykes]

jwil, I didnt mean to imply that you were trying to get in when you shouldnt, just trying to clarify what goes on and how you can go about getting a valid credential. However, getting a credential to fill a portfolio is not a valid reason to get a credential, that was the point I was trying to make. The entire reason for a press credential is to do a job, if you dont have a job to do...

I can understand that it LOOKS frustrating, but I can assure you that you dont need a media credential to fill a portfolio. I never shot with a credential till I was shooting on assignment. LRP is probably one of the easisest tracks to shoot without a credential and still get shots similar to the pros. Its one place where you are basically only seperated from the credentialed shooters by a chest high fence and two or three feet of grass. Getting shots good enough to put in a portfolio are readily available at a variety of tracks if you just look around and create your images.

These are all examples of shots that were taken, or could have been taken from general access areas.













And there are any host of others at different tracks.

There are any number of shots that you can get while shooting from spectator areas. I encourage you to go to LRP and shoot. Go to other tracks and shoot. You CAN get the shots. Then show them to local newspapers, magazines, websites that cover the series you want to shoot, etc. If you show a competency in your shots, you should be able to find someone that is willing to put you on assignment for them to cover an event.

You dont need to be worried about what you can and cant shoot, there are no issues with that at these events. Anywhere you can get to and anything you can see you are welcome to photograph. What you can do with them is different, you arent allowed to just sell them to anyone for any reason, but you can take anything you want. So dont worry about access from that respect, take what yoiu want and dont worry about it.

Also, dont be opposed to doing some writing. Writers are much harder to find and many people are looking for people to write for them on assignment. The benefit is that they can then get you the media credentials you want and as long as you hold up your writing end of the bargain, you can go out and shoot as well. I know the site I work with is looking for writers, so the possibilites are out there.

There are no tracks that will credential a non-assignment shooter. There are a few that offer "super photo passes" for a large fee that will allow for a little more access than the regular paying customers. I think that Road America and Mid Ohio still do this along with the Long Beach GP. But the bottom line is the best way to do what you want is to contact people that can get you the access you want in return for you doing a job for them. They are out there and there are a lot of possibilities that do not require a portfolio full of images that were shot from credentialed areas. Just look for the oppotunities that are available to you around the track.

So keep at it. Go to the races, put together some good shots and start to contact people that can help you. That is how you get a credential.