The Art Of Racing Photography: Capturing Speed At 40mph
Masters Behind The Lens Reveal Their Secrets
When thundering hooves meet the turf at breakneck speeds, racing photographers must capture not just the moment, but the very essence of the sport. Armed with cutting-edge technology and decades of experience, these visual storytellers face unique challenges from battling ever-changing weather conditions to positioning themselves mere yards from horses travelling at 40mph. Through exclusive interviews with three of Australia's most accomplished racing photographers, we explore the technical mastery and artistic vision required to freeze racing's most iconic moments in time.
The Challenge Of Capturing Lighting
Grant Guy, who has been photographing Australian racing for over three decades, explains the complexity of modern race day coverage.
"Well, the technical challenge is when you get a day where you've got ever-changing weather conditions during the races. With digital camera settings, it only takes one setting to be off slightly to make a big difference," Guy reveals. "On a busy day, the races are busy. You have to be focused and fully concentrated. The clouds and the different light make a big difference between the right shot and a photo that's just a bit off."
Vince Caligiuri, who has covered five Olympics and works for Getty Images, describes the modern photographer's juggling act. "Probably these days, you might go to a big event like Group One races with five or six cameras orthree or four cameras under the finishing line."
"The hardest thing these days is photographing big race meetings on your own with the one hand-held camera while pressing the remote trigger to fire the other cameras at the same time," Caligiuri explains. "During something like the Melbourne Cup in Australia, you're trying to press the remote and fire your hand-held camera at the same time, hoping that you put the remote cameras in the right position."
The Stories Behind Iconic Images
Bruno Cannatelli's most treasured image perfectly illustrates the unpredictability of capturing racing history.
"My most iconic shot is a photo I took of legendary trainer Bart Cummings with Saintly, one of his 12 Melbourne Cup winners," Cannatelli recalls. "Something caught the horse's attention, and he turned towards me. As he did, Bart looked up to admire his horse, which resulted in a perfect shot for me from that angle. What makes this pic so iconic is that Bart, at the best of times, rarely posed for the camera, and if he did, he would give you seconds at the most to get a shot."
For Vince Caligiuri, his defining moment came during Black Caviar's remarkable winning streak. "I always come back to the photo I took of Black Caviar. At the time, we had so many great horses in Melbourne, Australia, but we were just looking for that superstar."
"One day, I took a photo at Flemington. There were so many young kids and people with flags. I'd never seen this sort of thing at the racetrack before," Caligiuri describes. "I remember seeing old photos of Phar Lap when I was a kid. This photo of Black Caviar as she came onto the track reminded me of those photos back in the old days."
Grant Guy's most memorable shot takes him back to racing's golden era. "In my early days, it was the 1994 Cox Plate at Moonee Valley. It was a four-horse finish, with all the jockeys' arms and horses' reins raised in the air. That one shot was just head by head by head by head."
The Digital Revolution
The transition from film to digital photography has fundamentally transformed racing photography. The most immediate change was the volume of shots possible.
"With digital, in the old days, someone would get a roll of 36, right? You really had to be selective. You needed to save film for the finish. But now you just shoot away, and it doesn't matter. On a big day, I'm shooting 10,000 photos in one day," Guy explains.
Bruno Cannatelli echoes this transformation. "During the film days, I would go to the track with 2 or 3 rolls of 36-image film, which meant I would take less than 100 images for the day. Today I will take more than 100 images in just one race."
However, the digital age has created new pressures. "The thing with digital these days, when you're working for media, is that once you photograph that first race, you go back to the press room and you're editing that race, getting it up online to the publications. You just don't stop," Caligiuri describes.
The technology has opened creative possibilities. "Modern technology has opened up an avenue of doors in the digital world. Being able to edit and manipulate the images in Photoshop and related apps allows me to be creative with my images," Cannatelli notes.
Equipment And Innovation
Modern racing photography demands precision equipment capable of capturing split-second moments with crystal clarity.
"I use a Canon 7D Mark II with a 2.8 70 to 200mm lens. That's the lens for running to the barrier, the starting gates, and the finish shot," Guy explains his setup.
Caligiuri has embraced the latest mirrorless technology. "I use a Nikon Z9, which is unbelievable compared to what we used to use. When I first started, the cameras shot 5-8 frames a second. Now the Z9 takes 30 frames, 60 frames, to 120 frames a second."
The practical benefits extend beyond speed. "The reason I love using mirrorless is that one of my favourite things to photograph is track work in the morning. With mirrorless, you can put it on silent. The horses don't hear anything, and they don't get spooked."
Cannatelli favours Canon equipment. "I have been shooting with Canon cameras most of my professional life and at the moment I am using Canon D Mark II with a 70-200mm lens. But my favoured form of photography is using a remote on a camera positioned under the inner running rail."
Access And Relationships
Success in racing photography extends far beyond technical skill, requiring building relationships and understanding the industry's unique culture.
"I've got good relationships with a lot of trainers and jockeys. You speak to them in a friendly manner at the races. I tend to speak more on a quiet sort of day. On the big days, they've got big amounts of money pressure, so you just leave them alone a bit," Guy explains.
Cannatelli brings a business perspective. "My philosophy as a business person has always been that building relationships is the foundation of any business. Many of the relationships I have built have also turned into friendships over the years."
The access challenges have evolved with modern safety regulations. "One of the most technical challenges we face today, due to our stringent health and safety rules, is the ability to position yourself where you feel you can get a photo away from the ordinary," Cannatelli notes.
Caligiuri describes how relationships pay dividends. "I try to get relationships with the track riders and strappers because they help you out at track work. They help me identify horses because they can look the same in the dark."
The Territory Wars
The competitive nature of racing photography creates tensions that can rival the races themselves.
"In the old days, 20-30 years ago, there was none of that protection. It was just survival of the fittest," Guy reflects. "These photographers, the way they look at it, is that anyone who turns up at a track with a camera on a professional basis is a threat to their existence."
The Economics Of Excellence
The financial reality of racing photography is sobering. Guy provides stark statistics. "In Australia, there'd be no more than 20 people making a decent, full-time living from doing that alone. Very few, maybe 25, and that's out of a country of 25 million. And most of those people making the money are the ones who work for the clubs, who sell to the owners."
Looking Forward
Despite the challenges, these photographers remain passionate about their craft. Caligiuri draws inspiration from international colleagues. "People influence me these days through social media. I follow a lot of photographers on Instagram. I've got UK guys like Alan Crowhurst from Getty, Edward Whitaker from Racing Post and Alex Evers in the USA."
The digital age has democratised photography critique. In the past, the published photo in the paper was all that people would see. "But now with Instagram, and other social media, you can just put up your favourite photos and everyone can see them," Caligiuri notes.
As racing continues to evolve, these photographers adapt their techniques while maintaining their passion for capturing the sport's most compelling moments. Their cameras may have changed, but their dedication to freezing time at 40mph remains unwavering. The art of racing photography continues to evolve while the fundamental challenge remains the same: capturing the perfect moment when speed, skill, and destiny converge on the turf.
