Behind the Barrier: What It Really Takes to Get Media Accreditation in Motorsport

If you’ve ever looked through the fence at a race and thought, “I want to be in there,” you’re not alone. It’s easy to romanticise the idea of shooting from trackside, feeling like part of the event instead of just another spectator.

But before you start chasing media access, ask yourself a simple question: why?

Is it because you’re trying to build a career in motorsport photography? Is it about getting your work published? Or is it just for the prestige of wearing the vest?

If it’s the last one, stop here. Because media accreditation isn’t a reward — it’s a responsibility. You’re not there to enjoy the show. You’re there to work, under pressure, in a high-risk environment, where mistakes have real consequences.

This post isn’t just about what you need to get accredited — it’s about what the job actually involves once you are. Because shooting behind the barrier isn’t just a privilege. It’s a job, and one that demands real professionalism, skill, planning, and discipline.

You Need the Work Before You Get the Pass

You don’t get access so you can build a portfolio. You build a portfolio to prove you deserve access.

That starts with grassroots motorsport, club racing, time attack, hill climbs, or even just car and coffee meets. You need to learn how to track motion, handle changing light, understand composition, and deliver clean, consistent results under pressure.

You don’t get your first break in F1 or at Le Mans. You earn it by proving yourself at the lower levels — and building up from there.

Many current F1 photographers came up the ranks shooting Lewis Hamilton or George Russell when they were karting. The drivers and teams know them.

You’re Not Impressing the Circuit — You’re Impressing the Outlet

Circuits and organisers don’t accredit individuals per se. They accredit media outlets. So your goal isn’t to convince the circuit you’re a good photographer, it’s to convince a publication, PR rep, or team to commission you.

You need to be contributing to something credible. A motorsport magazine, a respected editorial website, or a race team with a real media need. Instagram alone won’t cut it unless you’ve got major traction and a publishing structure behind it.

What You’ll Be Asked For

Most proper applications will ask for:

• Proof of Public Liability Insurance (minimum £5 million cover)

• A signed editor’s letter confirming your assignment

• At least three published examples of your motorsport work, clearly credited

Even with all of that, you might still not get in. Circuits have quotas and space is limited. Your application needs to be professional and on point.

What You Need to Know If You Do Get Access

Getting accredited is just the start. Once you’re through the gate, the real responsibility begins.

Safety First

Motorsport is dangerous. You’ll be working near live cars, pit lanes, moving equipment, hot surfaces, and high-speed track activity. You need to be alert, aware, and out of the way.

That means:

• Knowing where you can and can’t shoot. Every circuit has red zones — restricted areas that are completely off limits.

• Only accessing the circuit via approved media posts. No wandering through fences.

• Following marshal instructions without delay.

• Staying aware of vehicles, escape roads, and recovery operations.

• Respecting pit lane conduct. That space isn’t for you, it’s for the crews.

At some circuits, you’ll need a fireproof suit, closed footwear, or even a helmet to enter high-risk areas. If you don’t have the right gear, you won’t get access.

Know Your Gear Inside Out

You don’t have time to fiddle with dials while cars fly past. You need to understand your camera settings cold — shutter speed, aperture, ISO, autofocus modes, button functions, everything.

No second chances. If you miss the shot, you missed the shot. That’s on you.

Be Where the Action Happens

You’ve got access, so use it smartly. Know where to be — and when.

Plan your day around:

• The race start

• First-lap action

• Pit stops and driver changes

• Safety car restarts

• Podium ceremonies

Know the timetable. Know how long it takes to get from turn 3 to parc fermé. Know the angles. Prepare your shots. The best moments go to the photographers who were there early — not the ones running in late.

And Be Ready to Feel Overwhelmed

Being accredited for the first time, especially at a new track, can be daunting. You’re trying to navigate layouts, follow schedules, get shots, stay out of the way, and not mess up. It can feel like too much.

That’s normal. Breathe. Be respectful. Watch what experienced shooters do. Learn fast. Ask questions when you need to. You’ll grow into it but only if you stay calm and take the job seriously.

Working as Media Is Hard

This is not a fun day out with a camera.

You’ll be working long hours, often in terrible weather, carrying heavy gear, walking for miles. While others are enjoying the race, you’re watching lighting, anticipating moves, planning your next shot.

And when the race ends, you’re not done, you’re editing until midnight while everyone else is at the bar.

If you’re doing this for the prestige or a few Instagram likes, you won’t last. If you’re doing it because you love the work, it’s one of the best jobs in the world.

Trackside Is Only a Small Part of the Job

Most people think being an accredited motorsport photographer is all about standing trackside in a vest, getting the hero shots with nothing between you and the cars. That’s the glamorous bit they imagine from the grandstands.

But the truth is, that’s only a small percentage of the job.

The rest? Planning, pitching, negotiating access, shooting pre-race setup, capturing paddock life, editing late into the night, delivering on deadline, managing files, talking to teams, juggling logistics, and staying alert from first light until well after the flag drops.

And if you’re travelling abroad to cover a race, you’re also your own travel agent. You’re booking flights, hotels, hire cars, airport transfers, baggage allowances, backup plans — and making sure it all lines up with media sign-on times and track schedules. You need to be organised, detail-driven, and able to sort out problems quickly when things go sideways.

Trackside shooting is just the visible part. What makes you a professional is everything you do before and after you hit the shutter.

Even Then, You Might Not Get In

Circuits limit how many media can be on-site. If an event is over-subscribed, or the track is small, or the series is high-profile, you might get rejected even with a solid application.

Don’t take it personally. Be early. Be professional. Be persistent.

Try a Media Access Photography Course

If you’re serious but not quite ready to apply solo, there’s another option.

Courses like Trackside Focus give you real access at live motorsport events but with the added benefit of structured training and supervision. You’ll be briefed, insured, and mentored by professionals who’ve been there and done it.

And more importantly, you’ll be taught how to behave safely and professionally on track. Circuits expect you to know that before you ever step behind the barrier. This is your chance to learn it properly, without the pressure of full accreditation. I guarantee you’ll be shocked at how much hard work it is.

It’s not cheap, but it’s a smart move.

https://www.tracksidefocus.com

Speak to Greg! Tell him Chris sent you.

If You’re Serious About a Career in Motorsport Media

Treat it like a career. That means acting like a professional well before you ever get a pass.

At the very least, you should have:

• Public Liability Insurance

• A professional website

• A curated motorsport portfolio

Then start building experience:

• Shoot cars and coffee meets to refine your camera control and composition

• Cover grassroots motorsport like club racing or time attack

• Target circuits like Brands Hatch, Goodwood, or Donington that allow strong photography from public areas

Once you’ve built a body of work, start being proactive.

• Approach publications. Reach out to editors with a professional introduction, examples of your work, and a clear offer of how you can contribute.

• Approach motorsport media companies. Many are hired to cover events but outsource work to freelance shooters. These are often the best way to get first-time access and build relationships. As luck would have it Im Co-Editor for Pitlane News & Media, check it out! We are even running a competition looking for new motorsport photographers.

https://www.pitlane-news.com

• Prepare a media kit. A simple PDF or web page with your bio, portfolio samples, contact info, gear list, and proof of insurance.

• Join LinkedIn. It’s where editors, PRs, circuit media teams, and decision-makers live. Post your work, network professionally, and stay visible.

• Contact car shows and event organisers. Many need photographers for media coverage of events held at circuits. It might not pay much — or anything — but it’s all experience and relationship building.

And most importantly — network. This industry is built on trust and relationships. Reach out. Even if someone can’t help you right now, they might later. One conversation today could be your access point in six months. Stay visible, stay professional, and keep showing up.

Do You Actually Need Media Access?

Not always.

Plenty of brilliant photos are taken from grandstands, spectator banks, and behind the fence. Media access gives you options but it doesn’t guarantee quality. Your eye, consistency, and timing matter more than your accreditation status.

If you’re just building a portfolio or exploring your style, you don’t need a vest to make great work.

Final Word

Media accreditation is not a souvenir. It’s a professional tool for people doing a professional job.

And if you’re applying just for the experience, ask yourself if you’re taking the place of someone who depends on that access to earn a living. These slots are limited. Make sure you’re using one for the right reasons.

If you want this to be your career, build it properly. Take the time to learn the craft, build your portfolio, meet the right people, and do the work. Show that you belong behind the barrier, not just because you want to be there, but because you’ve earned it.

If you already know all of this, you’ve been applying for media access, and you’re still getting rejections, then it’s time to take a hard look at your portfolio. Maybe you’re just not ready yet. Motorsport photography is an entirely different skillset from shooting static cars at Sunday coffee meets. If your images aren’t strong enough, improve them. Focus on technique, timing, consistency, and storytelling. Then come back stronger.

Every single weekend.