First off, congratulations. Getting media accreditation is a big moment. It’s the step that takes you from the public side of the fence to the working world of motorsport. That pass around your neck feels like gold. But once the excitement settles, the question hits: what now? You’ve earned access, now it’s time to show you can handle it.

Accreditation isn’t just about walking through the gates. It’s about being prepared, professional, and switched on. Here’s how to approach your first accredited event and make it count.

Know Your Purpose Before You Pick Up the Camera

Before you even start packing your kit, ask yourself who you’re shooting for.

If it’s a team, you’ll need to cover their car in every context — pit lane, track action, driver portraits, and detail shots in the garage. If you’re working for a publication, they’ll want variety, atmosphere, and storytelling. And if you’re shooting for yourself, that’s fine too, but still treat it as a professional assignment.

Most beginners chase the classic “hero” shots: the car in motion, sparks flying, tyres loaded through a corner. They’re great, but everyone shoots them. The photographers who stand out go deeper. They capture the story, the emotion, the character of the weekend. That’s what separates a photographer from someone simply taking pictures.

Remember that you may be visiting the same tracks and series each year and you want to have different shots in your bag ready to go.

Do the Work Before Race Day

Preparation makes or breaks your weekend. The old saying fits perfectly here: fail to plan, plan to fail.

Get to the track early if you can. Walk the circuit, study how the light moves across the corners, and look for clean backgrounds. Maybe there’s a raised bank where you can pan through trees, or a reflection in a glass wall that gives you something different. Those small discoveries save time when the track goes live. (this is what we call the photographers eye - blog post coming on this shortly)

If it’s a new venue, mark your own notes on a printed or digital map — tunnels, bridges, access gates, and photographer windows. For endurance races, I’ll even note where the sun rises and sets, and plan where to stand for each. Knowing that ahead of time gives you an edge. - I keep my maps for the next visit and keep adding to them if needs be. Its also worth noting how long it can take to walk to a spot, for example the walk from the media centre here to the sunrise spot is at least 17-20 mins at a fast pace.

Get your shots in at Practice & Qualifying, you may not get the chances at the race.

**Map that shows the Turn Numbers for quick reference**

Don’t ignore public areas either. Some of the best shots come from grandstands or general admission zones. I often shoot from the top of a stand with a wide-angle lens, panning cars as they cut through the scene. The perspective can be surprisingly cinematic.

And think ahead for key moments. The start of a race or the podium at the end will be packed with photographers. If you want a clear shot, get there early. It’s not just about skill; timing and positioning matter. This year at Barcelona I waited an hour at the sunrise spot and at least 45 mins at the podium and I still wasn't the first person there.

Master the Practical Basics

When you collect your pass, you’ll probably get a media map. Study it. Know where the access gates, marshal posts, and crossovers are. They’ll save you a lot of walking.

Mark the media centre too. That’s your base — where you’ll sign on, charge batteries, get Wi-Fi, and often upload images. Build that into your routine.

Keep a printed timetable in your pocket. Phones die and screens glare in sunlight. A paper copy will never let you down. The programme is equally useful, listing every car and driver. It saves time when you’re captioning or trying to figure out who’s behind the wheel.

If it’s a short race and you need to move around, wait for a yellow flag or safety car. Those slower laps are your best chance to reposition without missing key moments.

Respect the Marshals

Marshals are your friends. They’re there for your safety, as well as the drivers. If they tell you to move, just do it. And take the time to say hello or give a nod as you pass.

I’ve got to know many marshals over the years, and it’s always good to see them again. They often help more than people realise, whether that’s a heads-up about track conditions or a quiet tip on a better shooting spot. Treat them with respect and appreciation.

Think Differently: Hero Shots and Beyond

Everyone gets the classic panning shots. You should too, but don’t stop there. Look for the in-between moments — the ones that tell the story.

It might be a mechanic leaning against a wall after a long stint, a driver sitting quietly before strapping in, or a reflection of a car in a puddle. It might be fans pressed up against the fence, or the motion blur of colour as the grid rolls past. These are the shots that show your eye, not just your equipment.

I tend to prefer the Pit Lane shots, the people. There’s only so many shots of panning cars you can take. Look for thiose moments and angles.

Your goal is to make people feel what it was like to be there. Deliver what your client expects, but add something they didn’t. That’s how you build a voice as a photographer, not just a portfolio.

Act Like a Professional, Not a Tourist

Once you’re accredited, you’re part of the working environment. How you behave matters.

Don’t block another photographers shot or walk through their frame. I will give priority to the tracks/series photographers
Keep your gear tidy in the media centre and pit lane.
Follow instructions from officials and PR staff without debate.
Never post restricted or sensitive material before it’s cleared.
Thank the people who helped make your access possible.

Your attitude is as important as your images. Accreditation is based on trust, and once that’s gone, it’s hard to get back.

Safety and Awareness Trackside

This should be obvious, but safety has to come first.

Never turn your back on a live circuit. Always have an escape route, and if you don’t, move. Don’t stand in run-off zones or behind barriers unless it’s confirmed safe. Stay alert.

And remember, track awareness isn’t just about the cars. In the pits, be aware of the crew. Mechanics can be moving wheels, brakes, or tools in tight spaces, and they won’t always check who’s behind them. They’re there to do their job — you don’t want to get in their way. They wont be gentle in moving you out of their way either!

Gear and Backup Essentials

Everyone has their preferred kit, but there are a few non-negotiables.

Two camera bodies if you can — one wide, one long.
A telephoto zoom (70–200mm or 100–500mm) and a fast wide (24–70mm). These are my three go to lenses
Rain covers, cloths, and microfibres. - weather is unpredictable and you don’t want to be caught out halfway around a 7km track. (I learnt this the hard way at Spa)
More batteries and memory cards than you think you’ll need.
Ear protection, sunscreen, and plenty of water.
Compact food for quick breaks.
A power bank for your phone and laptop.

And the golden rule: travel light. Leave spares in the media centre. You’ll move quicker and last longer.

Understanding Light and Weather

Light is everything. Circuits transform throughout the day.

Harsh midday light works for contrast and reflections. Overcast skies are perfect for clean tones and detail. Golden hour gives drama and warmth. And rain? Don’t hide from it. Rain brings reflections, spray, and mood — often the best shots of all.

For endurance races, plan your light. Know where the sun will rise and set. Some of the best images you’ll ever take will come from those transitions when the light hits just right.

Working With Teams and PR Staff

Motorsport runs on relationships. How you handle them matters as much as your photography.

Introduce yourself to team PR staff early. Ask if they have anything specific they need — pit lane coverage, driver portraits, or garage shots. Deliver those first. Then shoot creatively once the essentials are done.

If you get a great shot of their car or driver, show them a preview. Send a few images after the event as a thank-you. Small gestures like that build long-term trust. People remember professionalism and courtesy.

Deliver Quickly and Professionally

Motorsport doesn’t wait. Teams want photos for social media within minutes, and editors often need selects before the race is even over.

Have a workflow ready. Flag keepers in-camera, cull quickly, and use simple presets for consistency. Keep edits clean. Fast and reliable always beats slow and dramatic.

(There’ll be a future blog post on workflow and culling in more detail.)

Post-Event Workflow and Follow-Up

When the weekend ends, the work continues.

Back up everything in at least two places. Label and file properly so you can find images later. Send a thank-you to the event media staff. Post a curated selection online, tag teams and sponsors, and avoid flooding your feed with everything you shot.

Finally, take notes for next time. What worked? What didn’t? How could you move quicker or shoot smarter? Every event builds experience if you treat it like one.

Look After Yourself

This job is physically demanding. It’s long hours, heavy kit, and often brutal weather. Stay hydrated, eat properly, and take breaks when you can.

You’ll perform better if you’re not running on empty. Your health is part of your professionalism.

Above All, Remember Why You’re There

Yes, it’s pressure. Yes, it’s hard work. But it’s also a privilege. You’re trackside, part of the story, closer to the action than most people will ever get. Enjoy it.

Let that energy drive your creativity. Stay sharp, stay humble, and never stop learning. Every shot you take is another step toward mastering your craft.

ARTICLE: I Finally Got My Media Accreditation, What Do I Do Now?