>> Interview with Kerbe Photography
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Brighton | 20 June 2005
I simply love shooting people in sport. I enjoy capturing the spirit of what drives someone to do it. The opportunity came up for me to shoot racing drivers, so I decided on the theme of 'A Love of Speed'. I wanted a concept that would allow me to shoot portraits of drivers from many different formulae, yet they would all have one thing in common: a driven passion and a will to win.
Many photographers are involved in sport but for me, the interesting bit is in the person, rather than the performance. I want to capture the times before and after they deliver; a driver seconds before he rolls his machine out of the garage, or wide-eyed and sweating as he pulls off his balaclava after 50 laps of defending his lead. Being there to witness these often unseen moments tell you so much more about the determination and character of the person than hours of watching them fighting on track.
Martin Brundle and Mark Blundell of 2MB Sports Management very kindly invited me to photograph their two racers. Tim Bridgman drives for the F3 team Hitech Racing and Sam Bird races Formula BMW for Fortec Racing. Both teams are competitive this year and consequently busy people, yet they were incredibly accommodating and took the time to make sure I had the access I needed. I was allowed to flank their cars in the garage and watch the drivers sitting in the cockpit.
With their helmets on, it is only the driver's eyes that offer a human element. It's telling to watch them communicate via radio to their engineers over the heavy bass notes and growl of the engine. Every tiny movement of their eyes reveals a separate emotion and it's fun to try and work out what's being said. You can always be sure when it's time for them to leave the garage however, as there is a definite confirmation in the body language. Whether it's a nod, wink, or a thumbs-up, each driver has a way of letting you know that they're good to go.
Once the car is gone, you're left with a very different vibe in the garage. The noise is gone but not the activity. Each member of the team now has a different set of tasks to perform. This makes for good shots, as they are so involved in preparation for when the car comes back in, or in communicating with the driver on track, that they never realise you're shooting. These unposed shots are always best.
I had 10 minutes with Tim to get the portrait done. By the time he had returned after 10 minutes of lapping Snetterton, I had already set up my lights and checked my settings. With one light placed high in the corner of the garage and directed at the diffuser, I asked Tim to sit on the garage floor and lean his back against the rear wing of his car. The harsh light reflected nicely off the body work and created shadow across his hair. I also had the all-important focus on his eye - for me, the key to the portrait I wanted. Tim was easy to work with and like many modern drivers, happy and comfortable in front of the camera. He looks relaxed and the mood of the shots portrays an air of confidence.
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