Scott Jones, Ducati Corse
Most images from a race weekend are tossed for one reason or another. Either they are flawed somehow (out of focus, part of subject cut off, etc.) or they are simply uninteresting and not worth showing on PHOTO.GP. There are often many of these boring shots, because sometimes I'll notice a section of track where riders occasionally do something cool. So I may photograph many bikes coming through that section in case the magic happens, and find later when viewing the images on the computer that nothing at all happened the entire time, so I toss the whole batch. But if this strategy pays off with even one really good image, then it was worth the time and effort (and is a good example of the kind of thing we can do in digital photography that would've been prohibitively expensive on film).
Of the small percentage of images that become contenders for display to fans and customers, only a small percentage of those make it into the Portfolio collection on PHOTO.GP. To make it there, the image has to have something special about it that sets it apart.
At the second MotoGP round in Austin, I spoke to Sergi Sendra, Director of Dorna Sports TV Production, about what goes on behind the scenes when bringing MotoGP to TV audiences around the world. Mr. Sendra graciously found more time for MotoMatters at Laguna Seca, so that we could ask him about the popular slow motion shots, among other things. You may want to read the first part of this interview, here, before continuing on to the conclusion of the interview below.
MotoMatters: Now that we have some idea about the complexity of the TV production, I’d like to know how you manage the logistics of getting everything from race to race. For example, last weekend we were in Germany, and now we’re at Laguna Seca, so in a couple of days you had to get everything packed up, flown across an ocean, and then set up again.