Articles Tagged with: Motorcycles
Yan Morvan | Bikers

I think the very first photo I took was in 1967 at the Monaco Grand Prix. I was 13 and photographed race cars with my dad. That was the year that Lorenzo Bandini crashed and burned, and I took photos of it with my Kodak camera.

– Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan

Bikers, 1978 © Yan Morvan


Clubracer | Fontana Raceway

I always say that I see in black & white. Then non-photographers think that I mean that I am color blind. Or other photographers think that I am being a pretentious, arty B&W snob. I should instead say that I see in Black & White film.

It doesn’t always happen or the results are not always an exact match for what I thought I saw in the moment, but there are many moments where I can see exactly how the darkroom print will look.

This shot is a great example. I had been shooting this series of Clubracers in California and I entered the Pirelli truck and saw this moment. I metered quickly off the floor at the feet of this man to get the proper exposure of the floor, which I knew would make him a silhouette and would blow out the background. One frame.

When I got the proof sheet back, this tiny image popped. It was exactly as I envisioned it.

Doesn’t always happen, but it is a nice moment when it does.

Fontana, California; Leica M6 TTL 0.58, 35mm Summicron, Agfa APX 400 © Doug Kim

Fontana, California; Leica M6 TTL 0.58, 35mm Summicron, Agfa APX 400 © Doug Kim


Willow Springs Racetrack | Turn Five

I spent two years shooting the club racing circuit in California and it was a challenge for numerous reasons. Technically and aesthetically, road racing shots are incredibly boring: the same shot of a guy on a knee at a turn over and over again. Even at some tracks, the racers complain that the track shooters take exactly the same picture of them at the same turn every year.

I wanted to convey the speed of racing. I picked one of the best turns in SoCal, turn five at Willow Springs racetrack for shooting. The turn comes after a succession of s-curves and is at the top of a hill so that the racers tend to accelerate as they get ready for a downhill s-curve then a big stretch of flat.

I was shooting film and trying for a whip pan effect. I didn’t want to track the racer and have him or her be in focus with the background blurred. I wanted the rider and the background both blurred with the racer and bike an intelligible smear on the frame.

It took several months and many rolls of film to finally nail down the technique which was to have the aperture shut down, almost at f22 in the bright California sun, and to shoot at sub 1/60 shutter speeds. I was also whipping so fast that I would press the shutter when the bike wasn’t even in the frame, then whip the lens right to left, following through so that my lens was almost behind me. There were many, many blurred empty frames until I started getting my timing right.

I must say after all of this effort, I think I finally created an image that conveys the sense of speed of road racing.

Nikon F5, 80-200mm, Kodak Tri-x

Nikon F5, 80-200mm, Kodak Tri-X © Doug Kim


Bike Wreck at Buttonwillow

I found it to be extremely tough to shoot bike wrecks. Not for lack of trying. When shooting a race, you are normally viewing the world through a long lens, focused on a single rider or pack of riders on a far turn. When you finally take the camera from your eye, you see the cloud of dust and wreckage right in front of you and the ambulance already on its way.

After shooting two seasons of the club racing circuit in California, I was able to capture a handful of wrecks on film. Here is the sequence of the only one in color from the Buttonwillow Raceway Park in November of 2005. Shot with a Nikon D200, 80-200mm.

bikewreck0011bikewreck0032bikewreck0041bikewreck0061bikewreck0081bikewreck0121bikewreck0131

Click here to view an animated gif of the wreck.