Fireside Chat w/ Mark Sutton

Lets start the Season 2 of F1 Fanfiction with a banger! We present to you a very interesting Fireside chat that we can with none other than the world renowed F1 photographer Mark Sutton!

Mark has had an illustrous career of 20+ years as a F1 photographer. If you are an F1 fan it is 100% guaranteed that you have atleast seen 1 photograph clicke by mark. From lengendary photos like the Flying Finn under his belt, mark has a fun chat with us where we discuss about his life, his career and ofcourse a lot of banter. 

Listen in and hope you enjoy the episode as much as we did.

Please visit Mark on his socials:

Instagram: @F1SUTTON (@f1sutton) Twitter: MARK SUTTON (@marksutton65) LinkedIn: Mark Sutton

Join us at Socials:

Twitter: @f1fanfictionInstagram: @f1fanfictionTiktok: @f1fanfiction

Music:

Intro: Howling (Sting) - Gunnar OlsenOutro: Your Intro by Audionautix

**Summary of the Podcast Episode Transcript**

**Introduction**

- The podcast episode features a candid conversation with Mark Sutton, a renowned Formula One photographer with a 40-year career.
- Mark's illustrious career includes capturing iconic moments in F1 history, such as the "Flying Finn" shot of Mika Häkkinen's airborne McLaren in 1993.
- Mark's passion for photography and his ability to be in the right place at the right time have contributed to his success.

**Early Career and Notable Moments**

- Mark's interest in motorsport began at a young age, influenced by his father, who was an amateur photographer.
- He started taking pictures at local tracks and eventually joined his brother in establishing Sudden Photographic, which specialized in motorsports photography.
- Mark's big break came in 1992 when he secured a contract with a Japanese magazine to provide race photos.
- In 1993, Mark captured the famous "Flying Finn" shot, which became one of his most iconic images.
- He recalls the story behind the shot, including the technical challenges and the excitement of capturing such a unique moment.
- Mark also discusses other memorable moments, such as being on stage with Prince and Lady Gaga, and attending concerts with backstage access.

**Challenges and Experiences as an F1 Photographer**

- Mark reflects on the challenges of being an F1 photographer, including the need for quick reflexes, technical expertise, and the ability to adapt to changing conditions.
- He emphasizes the importance of experience and being in the right place at the right time to capture the best shots.
- Mark shares anecdotes about his interactions with drivers, team members, and other photographers, highlighting the camaraderie and respect within the F1 community.
- He also discusses the evolution of technology in F1 photography, from film cameras to digital and the impact it has had on his work.

**Reflections on the 2021 Abu Dhabi Grand Prix**

- Mark provides his perspective on the controversial 2021 Abu Dhabi Grand Prix, which saw Max Verstappen overtake Lewis Hamilton on the final lap to win the championship.
- He explains his decision to cover the race from a helicopter, which gave him a unique vantage point but limited his ability to capture certain moments.
- Mark acknowledges the disappointment and frustration of fans and drivers involved in the incident but emphasizes the need to move forward and focus on the upcoming season.

**Conclusion**

- Mark expresses his excitement for the upcoming Formula One season and shares his anticipation for the new cars and the battles that will unfold on the track.
- He encourages fans to appreciate the sport and the drivers' skills, regardless of their personal preferences or allegiances.
- Mark emphasizes the importance of respecting the drivers and their achievements, recognizing the immense talent and dedication required to compete at the highest level of motorsport. ## Navigating the World of Formula One Photography: A Conversation with Mark Sutton

### Introduction:

- Mark Sutton, a renowned Formula One photographer, joins the podcast to share his experiences and insights from over 20 years in the industry.
- His illustrious career has produced iconic photographs, including the legendary "Flying Finn" shot.
- Mark engages in a lively conversation, discussing his life, career, and the banter that comes with the territory.

### A Journey Through Time:

- Mark reflects on his early days as a photojournalist, capturing moments in Formula One before the dominance of digital photography.
- He emphasizes the importance of having the right knowledge and skills, or the ability to connect with a mechanic and become one.
- The rise of COVID-19 has impacted the photography business, leading to stricter restrictions and limited access for photographers.
- Mark expresses optimism for a more open season with increased fan presence, citing the success of the latter races in 2021.
- He recalls the electrifying atmosphere at the Abu Dhabi season finale, highlighting the emotional reactions of fans and drivers.

### Family Traditions:

- Mark shares the story of the famous "knickers mat," a family heirloom passed down through generations.
- The mat originally belonged to Mark's father and was used by his brother before being handed down to him.
- He reveals that the "knickers mat" was actually a Pratika camera, not a Pentax, which he used to capture iconic shots of Senna and Bundle.
- Mark's son briefly pursued a career in racing but realized he wasn't suited for it, eventually finding his niche in social media for the same company Mark worked for.

### Evolving Technology and Partnerships:

- Mark discusses the impact of camera technology advancements and the role of manufacturers like Canon and Nikon in Formula One.
- He explains how Canon's partnership with Williams brought about a service and support system for photographers, leading many to switch from Nikon.
- Nikon approached Mark to become an ambassador, offering him equipment and input into the improvement of their cameras and services.
- Mark acknowledges his ongoing relationship with Nikon UK and Europe and expresses excitement about testing the new Z9 mirrorless camera in Barcelona.

### Navigating COVID-19 Restrictions:

- Mark reflects on the challenges faced by photographers during the COVID-19 pandemic.
- He highlights the special exemptions and strict testing protocols that allowed photographers to continue working.
- Mark expresses gratitude to the FIA and Formula One for prioritizing the safety of photographers and ensuring a continuation of the championship.
- He emphasizes the importance of following rules and regulations, including mask mandates and vaccination requirements, to maintain a safe environment.

### Controversies and Insights:

- Mark addresses the ongoing debate surrounding Toto Wolff's decision not to wear a mask in the garage, suggesting that it may be related to his personal rules and preferences.
- He shares his thoughts on Logan Sargeant's entry into Formula One, expressing mixed feelings about the young driver's path to the sport.
- Mark acknowledges the potential impact of Sargeant's wealth and connections on his career, while also recognizing the talent and skill required to succeed in Formula One.

### Behind the Lens: Mark's Photography Kit:

- Mark provides a detailed overview of his photography equipment, including lenses, bodies, and accessories.
- He explains the specific uses and advantages of each lens, from the fish-eye to the prime lens.
- Mark emphasizes the importance of proper maintenance and servicing to ensure the longevity and performance of his equipment.
- He shares his preference for British Airways due to their lenient baggage policies, allowing him to carry his camera bag as hand luggage.

### Embracing the Formula One Lifestyle:

- Mark discusses the physical demands of being a Formula One photographer, requiring extensive walking and carrying heavy equipment.
- He describes his routine of doing track walks to familiarize himself with new circuits and identify potential shooting locations.
- Mark highlights the importance of building relationships with teams and mechanics, emphasizing the crucial role they play in the success of a driver.
- He acknowledges the demanding schedule of Formula One photographers, working long hours and traveling frequently, but expresses his passion for the sport.

### Conclusion:

- Mark Sutton's extensive experience and insights provide a unique perspective on the world of Formula One photography.
- His passion for the sport and dedication to capturing iconic moments have made him a respected figure in the industry.
- Mark's journey through time, from the early days of photojournalism to the digital age, reflects the ever-evolving nature of Formula One photography.
- His willingness to embrace new technologies and adapt to changing circumstances showcases his commitment to excellence. **I. Introduction:**

- The podcast episode transcript features a lively conversation between the host and Mark Sutton, a renowned Formula One (F1) photographer with over 20 years of experience.

- The discussion centers around Mark's illustrious career, his unique approach to capturing F1 moments, and various insights into the world of F1 photography.

**II. Mark's Approach to F1 Photography:**

- Mark emphasizes the importance of providing a comprehensive package in F1 photography, encompassing not just the racing action but also the surrounding atmosphere, celebrities, and various aspects of the event.

- He highlights the need for photographers to be versatile and adaptable, capable of capturing a wide range of shots, from artistic and slow-motion images to editorial and sponsor pictures.

- Mark acknowledges the challenges of shooting F1 due to the fast-paced nature of the sport and the need to work within various constraints, such as limited access and time pressures.

**III. Capturing the Essence of F1:**

- Mark discusses the significance of capturing the emotions and stories behind the races, emphasizing the importance of showcasing the passion and dedication of the drivers, teams, and fans.

- He stresses the need for photographers to have a deep understanding of the sport, its history, and the personalities involved to create meaningful and impactful images.

- Mark also highlights the importance of capturing the technical aspects of F1, such as the intricate details of the cars and the strategies employed by the teams.

**IV. Artistic Expression in F1 Photography:**

- Mark shares his perspective on artistic expression in F1 photography, acknowledging the need for creativity and experimentation to create visually stunning images.

- He discusses the use of slow shutter speeds, panning techniques, and unique angles to convey a sense of motion, drama, and artistic flair.

- Mark emphasizes the importance of finding the right balance between artistic expression and the need to provide informative and engaging content for viewers and readers.

**V. The Evolution of F1 Photography:**

- Mark reflects on the changes he has witnessed in F1 photography over the years, particularly the transition from film to digital cameras and the impact of social media.

- He discusses the challenges and opportunities presented by these technological advancements and how they have influenced the way photographers approach their craft.

- Mark also touches on the increasing importance of videography in F1, acknowledging its potential to provide a more immersive and dynamic experience for audiences.

**VI. Advice for Aspiring F1 Photographers:**

- Mark offers valuable advice to aspiring F1 photographers, emphasizing the importance of passion, dedication, and perseverance in pursuing a career in this competitive field.

- He stresses the need for photographers to constantly learn, experiment, and develop their skills, both technically and artistically.

- Mark also highlights the importance of building relationships with teams, drivers, and other professionals in the F1 community to gain access and create unique opportunities.

**VII. Conclusion:**

- The podcast episode concludes with Mark expressing his continued passion for F1 photography and his excitement about the future of the sport.

- He acknowledges the challenges posed by the fast-paced nature of F1 but emphasizes the immense satisfaction and fulfillment he derives from capturing the essence of the sport through his lens. **Summary of the Podcast Episode: A Fireside Chat with Renowned F1 Photographer, Mark Sutton**

The podcast features a captivating conversation with Mark Sutton, a world-renowned Formula One photographer with over 20 years of experience capturing iconic moments in the sport. The discussion delves into Mark's illustrious career, his passion for F1, and the art of capturing the essence of Formula One racing.

**Key Takeaways:**

* **Mark's Journey in F1 Photography:** Mark began his career in F1 photography in 1992, and since then, he has witnessed and documented some of the most memorable moments in the sport's history. He shares anecdotes and insights from his experiences covering races, interacting with drivers and teams, and capturing iconic photographs that have become synonymous with Formula One.

* **The Art of F1 Photography:** Mark emphasizes the importance of understanding the sport, the drivers, and the technical aspects of racing to capture compelling images. He discusses the challenges of working in fast-paced environments, the need for quick reflexes, and the ability to anticipate crucial moments. Mark also highlights the importance of maintaining a professional and respectful relationship with drivers and teams to gain access to exclusive moments.

* **Behind-the-Scenes Stories:** Mark shares fascinating stories from his time behind the lens, including anecdotes about interactions with legendary drivers like Michael Schumacher, Ayrton Senna, and Lewis Hamilton. He recalls memorable races, such as the 1993 European Grand Prix, where he captured the iconic image of Ayrton Senna's McLaren flying through the air.

* **Favorite F1 Era:** When asked about his favorite era in Formula One, Mark reflects on the intense competition and iconic moments of the 1990s, particularly the rivalry between Ayrton Senna and Alain Prost. He also expresses his excitement for the upcoming season, with new cars and regulations promising thrilling races.

* **Advice for Aspiring Photographers:** Mark offers valuable advice to aspiring photographers interested in pursuing a career in F1 photography. He emphasizes the importance of passion, dedication, and perseverance. He encourages photographers to study the sport, learn from experienced professionals, and network with people in the industry.

* **Mark's Social Media Presence:** Mark encourages listeners to follow him on social media platforms such as Instagram (@F1Sutton) and Twitter (@marksutton65) to stay updated with his latest work and behind-the-scenes content from the world of Formula One.

The podcast concludes with Mark expressing his gratitude for the opportunity to share his experiences and insights with F1 Fan Fiction and the listeners. He looks forward to continuing his journey in Formula One photography and capturing more iconic moments in the sport's history.

[00:00.000 -> 00:09.220] you know, you watch that final race in Abu Dhabi, you can hear the crowd screaming at the last hairpin where they have...
[00:09.220 -> 00:11.000] Sorry, not crash, the incident.
[00:11.000 -> 00:14.400] The incident, yes.
[00:14.400 -> 00:19.600] The incident, Michael Matthews.
[00:33.000 -> 00:40.880] Folks, what you're hearing right now is as formal as it gets on the show. This episode, after the intro rolls out, is the best amount of fun we've ever had.
[00:40.880 -> 00:46.320] The most unplugged we've ever been, the most candid and banterful we've ever been.
[00:46.320 -> 00:51.120] This is the best season 2 opener that we could have asked for.
[00:51.120 -> 00:58.000] Once the intro rolls, it's free will, free roll into a beautiful side of F1
[00:58.000 -> 01:01.920] with a special guest that you will find out soon into the episode
[01:01.920 -> 01:04.160] or you've read it on the thumbnail already.
[01:04.160 -> 01:05.160] We are
[01:05.160 -> 01:11.080] your hosts I am Akash and I'm Saran and let's get into it.
[01:11.080 -> 01:16.360] So I was at the at the Indian Grand Prix the first year I think it was it
[01:16.360 -> 01:22.460] 2011? Yeah 11-13. So I think it was either the first year or the second year he said
[01:22.460 -> 01:30.640] he said yeah just do you want to come to the after party? And I said, yeah, okay. Um, I said, um, who's playing?
[01:30.640 -> 01:35.880] He said, I was lady Gaga. I said, wow. Yeah. We spent a lot of money bringing it to the
[01:35.880 -> 01:39.920] deli to the Grand Prix. Um, you can come as my guest. I said, how many, how many passage
[01:39.920 -> 01:46.880] do you want? I said, Oh, have you got six? He said, yeah, no problem. I went to see all my work
[01:46.880 -> 01:51.720] colleagues. This is when it was and I asked him, would you like to come to the concert?
[01:51.720 -> 01:57.680] And he went, none of them went. Yes. And I was just surprised. So I ended up inviting
[01:57.680 -> 02:02.200] some of my Indian colleagues and they took me there. They, they took me home afterwards
[02:02.200 -> 02:06.240] because I was a bit drunk. The guy said to me, so bring
[02:06.240 -> 02:10.160] your camera. So I was able to take pictures right at the front of my camera as well, professional
[02:10.160 -> 02:14.640] pictures. And she was amazing. Absolutely amazing. But it was like a private concert, like
[02:14.640 -> 02:20.800] five people. I think they spent a million dollars. That's crazy. Yeah. Yeah. Awesome. So that was a
[02:20.800 -> 02:26.240] great, that was a great opportunity. You can't miss those things. Those pictures went all over the world afterwards.
[02:26.240 -> 02:28.000] So yeah, those sort of opportunities.
[02:28.000 -> 02:29.640] And then like I was saying before,
[02:29.640 -> 02:30.800] we talked about Prince.
[02:30.800 -> 02:33.360] I was on stage with Prince in,
[02:33.360 -> 02:35.160] I think this was 2000,
[02:35.160 -> 02:37.080] I think this was 2011 or 12.
[02:37.080 -> 02:39.440] I think it might have been 11.
[02:39.440 -> 02:41.280] And we'd gone to the concert,
[02:41.280 -> 02:42.520] I had some wristbands,
[02:42.520 -> 02:44.840] a bit similar to this carbon fiber bracelet.
[02:44.840 -> 02:49.160] And we'd gone to the front, we're at the front, and we're just having a nice drink and chilling
[02:49.160 -> 02:52.440] to the music, and then Prince said, does anybody want to come on stage?
[02:52.440 -> 02:53.440] And I was like shocked!
[02:53.440 -> 02:59.400] I looked at my friend, who's a BA pilot, who's gone, and said, I said, did he really just
[02:59.400 -> 03:00.400] say that?
[03:00.400 -> 03:01.400] He said, do you want to go on stage?
[03:01.400 -> 03:05.560] You've got to remember, there's like of people, even at the front.
[03:05.560 -> 03:11.720] And then we literally just dropped off and then jumped over the barrier.
[03:11.720 -> 03:14.520] And then we're at the front, we're on stage in front of him.
[03:14.520 -> 03:15.520] And I couldn't believe it.
[03:15.520 -> 03:17.480] I think it was about the iPhone.
[03:17.480 -> 03:19.480] I think it was the iPhone three at that point.
[03:19.480 -> 03:20.920] It was like iPhone three or four.
[03:20.920 -> 03:21.920] I can't remember.
[03:21.920 -> 03:22.920] Anyway, I shot some video.
[03:22.920 -> 03:23.920] I did some stills.
[03:23.920 -> 03:29.040] We were up there for about three songs dancing. I kept getting, I was taking pictures and videos.
[03:29.040 -> 03:33.200] I kept getting all these messages coming through. What the hell are you doing on stage? What
[03:33.200 -> 03:40.520] is that? Why are you doing this? It was so funny. And then there was like 35,000 people
[03:40.520 -> 03:45.920] at the concert. It was crazy. But what a, what a moment and experience because, I mean,
[03:45.920 -> 03:54.000] obviously he passed away later on, just to have been there. But the sad thing was, and my one guy
[03:54.000 -> 03:58.720] will actually probably kill me if he, he knows the story anyway, but it was, we had an editor.
[03:58.720 -> 04:03.200] So the reason I could leave was we had an editor who did all the editing of the pictures, and we'd
[04:03.200 -> 04:05.120] just give him our card, give him our cards, and he'd do all the editing of the pictures and we just give him our cards
[04:05.120 -> 04:08.200] and he'd do all the editing of the pictures, send them back to the office so we could carry
[04:08.200 -> 04:14.080] on working. And he was the biggest Prince fan ever. And when he found out I was on stage,
[04:14.080 -> 04:21.880] he wasn't. He was still working on the computer. I was on stage with him. That only had gone
[04:21.880 -> 04:26.000] to the concert. But anyway, yeah Anyway, yeah. Those sort of moments you
[04:26.000 -> 04:28.000] treasure forever.
[04:28.000 -> 04:30.000] That's probably the two
[04:30.000 -> 04:32.000] biggest, I say
[04:32.000 -> 04:34.000] pop moments, but
[04:34.000 -> 04:36.000] certainly, yeah, crazy in
[04:36.000 -> 04:38.000] my career that
[04:38.000 -> 04:40.000] you got on stage and then you did that
[04:40.000 -> 04:42.000] concert with Gaga. Yeah, that was amazing.
[04:42.000 -> 04:44.000] I'd imagine how that conversation
[04:44.000 -> 04:48.400] went with your buddy. It'd be like, hey, what did you do over the weekend, Mark? I'm like,
[04:48.400 -> 04:52.160] nothing much. I just went on the stage with Prince and we had a dance.
[04:54.720 -> 04:59.920] I don't know whether he did it every concert. I mean, there was another concert. I went to
[04:59.920 -> 05:04.880] a concert here in North, when I was still living in Northampton, and it was Alexander O'Neill. I
[05:04.880 -> 05:08.160] don't know if you've heard of him, but he was a guy that was sort of around the 80s 90s
[05:08.160 -> 05:15.280] he was a black singer sort of sang quite a lot soul and beautiful music I loved his songs and
[05:15.280 -> 05:22.160] he came to Northampton and we went as a Christmas party to Northampton for our for our works do
[05:22.160 -> 05:26.800] and um he said come on stage but he hadn't agreed it with the management
[05:32.320 -> 05:38.360] You could literally fall through the stage but we were we were up there with Alexandra O'Neill and he was amazing guy
[05:38.360 -> 05:40.360] I mean, he's now in his 50s late 50s
[05:41.720 -> 05:45.360] Great singer Wow, if you ever get chance to see him, he's still alive.
[05:45.360 -> 05:54.400] Alexander O'Neill. He's a great, great singer. A bit like Tony Hadley. Tony Hadley from Spandau
[05:54.400 -> 05:59.200] Ballet was my sort of era. My, my, my era was the eighties. Really. I was a bit of a new romantic,
[06:00.960 -> 06:13.440] a bit of a DJ. I was a DJ at the local club. Yeah, well, it was all still vinyl. I've still got my vinyl
[06:13.440 -> 06:18.560] collection actually. I've still got all my, my 12, I had a lot of 12 inch singles and they're
[06:18.560 -> 06:23.040] quite special to me. You know, they mean a lot. I've got a lot of limited edition 12 inch singles
[06:23.040 -> 06:25.600] that I collected in the 80s and
[06:30.480 -> 06:35.440] yeah it disappeared in the 90s when the CD's... It's back now though. Yeah it's coming back. Yeah it is. I haven't bought any because I'm still waiting to buy a house. I'm looking to buy a house
[06:35.440 -> 06:39.520] very soon. Yeah this one's got... I've got a stereo. I'm actually in my garage here. I've got a stereo.
[06:40.800 -> 06:47.880] Well you have I can see it yeah with a CD player. It's got CD, it's got a rack system,
[06:47.880 -> 06:53.840] it's got the full deck, it's even got cassette players, double cassette player. It's an old
[06:53.840 -> 07:00.200] stack system from the early 90s. Yeah, it's brilliant. Pioneer. Classic, yeah, classic.
[07:00.200 -> 07:04.300] So yeah, we're diversifying from what the key thing is, I guess.
[07:04.300 -> 07:06.480] No, this is fun. This is all good.
[07:08.800 -> 07:13.600] I've been around a long time, obviously from the 80s. I mean, my first, just to start you off,
[07:13.600 -> 07:19.680] really, I mean, I started, my brother was a keen amateur. My dad was an amateur as well,
[07:19.680 -> 07:26.080] taking photos of Alton Park, where we used to live in Manchester. It's in Cheshire. And it's a very
[07:26.080 -> 07:31.360] famous track. It had a race called the Gold Cup, which a lot of Formula One drivers used to go to
[07:31.360 -> 07:38.640] in the 60s and 70s. And Jim Clark and Graham Hill used to go there and compete. And then my dad used
[07:38.640 -> 07:44.160] to take me to the races when I was a young boy. My mum was a nurse. And my dad used to get literally
[07:44.160 -> 07:45.520] kicked out the house. Don't
[07:45.520 -> 07:49.920] take the kids away for the weekend. I don't want to see them again. We used to come back, but
[07:49.920 -> 07:54.560] um, yeah, so that was my thing really. So I got into motorsport really from buying little
[07:54.560 -> 07:59.600] model cars, you know, in the little shop and then racing along the ground. And then as I got older,
[07:59.600 -> 08:06.940] I, I, my brother started to take pictures when he was 18 at the local track. And then I sort of saw him doing that.
[08:07.240 -> 08:11.500] I've actually got one shot from 81 where I've got Senna, Senna's with his Formula
[08:11.500 -> 08:13.380] Four car and I'm in the background.
[08:13.380 -> 08:15.720] So there's that, that sort of history.
[08:15.720 -> 08:20.420] And then I started taking pictures, uh, professionally that was, or 16 in that
[08:20.420 -> 08:20.760] photo.
[08:20.760 -> 08:24.340] And then when I was 18, cause you can't really, you can't take pictures legally
[08:24.340 -> 08:24.980] till you're 18.
[08:24.160 -> 08:33.840] in that photo. And then when I was 18, because you can't really, you can't take pictures legally till you're 18. So I took my first ever race taking photos was Alton Park, of course, the local track.
[08:33.840 -> 08:38.880] My brother said, come down, just go out the back. I mean, nothing will happen. Go out the back and
[08:38.880 -> 08:45.840] take some pictures. Just get some experience. I was still at college at that point doing photography and then
[08:51.760 -> 08:57.760] believe it or not Senna and Brundle crashed in front of me. So the same move like he did in Suzuka. He went down the inside. He went down the inside of Brundle. Martin Brundle who's a commentator.
[08:57.760 -> 09:01.520] I was just going to say it feels very weird when you say Brundle and Senna together crashed.
[09:01.680 -> 09:02.720] Brundle and Senna together crashed. It just like...
[09:02.720 -> 09:04.640] Martin's a good friend.
[09:04.640 -> 09:09.800] So Martin, he went down the inside and then Senna landed on top of Brundle's car,
[09:09.840 -> 09:11.520] literally on top of his head almost.
[09:11.680 -> 09:12.920] I mean, that's without the halo.
[09:12.920 -> 09:13.400] Yeah.
[09:13.760 -> 09:17.320] And if you look at the pictures in black, black and white, and I've got them side
[09:17.320 -> 09:20.120] by side, so, but I didn't have a camera with a motor drone.
[09:20.160 -> 09:20.680] Yes.
[09:20.760 -> 09:24.280] I had to take the picture and then wind it on to the next frame.
[09:24.880 -> 09:29.560] So it was, it was those days. And then you go back and process the black and white, and then
[09:29.560 -> 09:30.060] you do.
[09:30.060 -> 09:33.600] So, but they landed on top of each other and I've got the shot afterwards of the car on
[09:33.600 -> 09:38.120] top of the other car with Brundle and Senna just looking around the cars.
[09:38.120 -> 09:39.120] And that was a great moment.
[09:39.120 -> 09:41.600] It was, I mean, that was the start of my career.
[09:41.600 -> 09:48.160] You got to imagine that taking those photos, being, not being out the back of the circuit, as my brother said, and nothing will ever happen.
[09:48.960 -> 09:52.160] Those pictures are still used all over the world. I mean, Martin's still there, isn't he?
[09:52.160 -> 09:52.560] Yeah.
[09:52.560 -> 09:57.200] In covering football. So it's great to have that. Obviously Ayrton's not there anymore, but
[09:58.080 -> 10:04.240] we know the story of that. But 83, that was, so then 84, I worked in a studio in Manchester,
[10:04.240 -> 10:06.240] doing massive room sets.
[10:06.240 -> 10:11.400] So I was learning about lighting, learn about decorating, learn about everything really
[10:11.400 -> 10:12.400] in life.
[10:12.400 -> 10:15.440] And then, and then 85 I joined my brother, we set up Sudden Photographic.
[10:15.440 -> 10:17.440] That was the first name.
[10:17.440 -> 10:18.920] And then from then it just grew really.
[10:18.920 -> 10:21.440] I mean, I started doing national motorsports.
[10:21.440 -> 10:25.920] So Formula 3, British touring cars, bit of Formula 3000,
[10:25.920 -> 10:31.800] Formula Ford. And then I started, I did Le Mans. I did Le Mans in 85. So I did 85 to
[10:31.800 -> 10:37.880] 95 in Le Mans. I did 10 years of Le Mans. But my big break came in 92. So I've done
[10:37.880 -> 10:43.360] six years of national racing, learning my apprenticeship, learning how to take pictures,
[10:43.360 -> 10:50.320] learning how to be a person, learning how to talk to people. And then really it was my big break in 92. We got a contract with a
[10:50.320 -> 10:56.560] Japanese magazine where we had to provide them with the film. So it's still film. I give them
[10:56.560 -> 11:01.760] the films and then they sent them back to Japan. They produced the magazine on the Wednesday after
[11:01.760 -> 11:05.840] the Grand Prix, which is quite revolutionary. Oh, the films went back to practice.
[11:06.080 -> 11:08.080] Then the films went back after the race by courier.
[11:08.080 -> 11:08.640] Interesting.
[11:08.640 -> 11:11.840] Special courier back to Japan, pick the pictures, lay them out,
[11:12.080 -> 11:15.600] produce the magazine on a Wednesday, and it was called F1 Week.
[11:16.080 -> 11:17.920] So it was not a weekly magazine.
[11:17.920 -> 11:19.760] It was only two weeks because of the Grand Prix.
[11:20.600 -> 11:21.120] So, yeah.
[11:21.880 -> 11:26.080] So we had one film for the Japanese magazine and then one film for Sutton.
[11:26.080 -> 11:27.080] So we had one for each.
[11:27.080 -> 11:31.880] So it was difficult to decide which one you were going to do.
[11:31.880 -> 11:35.800] Because obviously, generally when you shoot, obviously when you shoot in the start or main
[11:35.800 -> 11:37.800] race, you've got a long lens.
[11:37.800 -> 11:40.480] And that tends to be your main pictures.
[11:40.480 -> 11:42.680] So when you have film, it was very difficult to choose.
[11:42.680 -> 11:46.520] But you know, you'd pick, if it was the incident, you'd probably give it to the magazine.
[11:46.520 -> 11:48.080] You knew you were going to get back.
[11:48.080 -> 11:52.280] But obviously there was, you know, we got all those films back eventually about five
[11:52.280 -> 11:53.280] years later.
[11:53.280 -> 11:58.360] But yeah, I mean, there's lots of images in there that were probably great for the archive,
[11:58.360 -> 12:02.640] but they only saw that, you know, the day of light in that magazine.
[12:02.640 -> 12:06.480] But yeah, and then obviously 93, I took the famous picture of the flying spin.
[12:06.480 -> 12:08.360] Obviously, yeah.
[12:08.360 -> 12:10.200] And that was just a bit of luck,
[12:10.200 -> 12:13.080] but also being in the right place at the right time.
[12:13.080 -> 12:15.720] There was actually 10 of my colleagues with me
[12:15.720 -> 12:17.880] and I was the only one to get the picture.
[12:17.880 -> 12:22.280] And it shot at 1 25th of a second, really slow speed,
[12:22.280 -> 12:29.280] but I was doing a pan shot against the fence and I didn't refocus, just
[12:29.280 -> 12:34.200] kept my finger on the button, got about four frames and yeah, and the story goes then,
[12:34.200 -> 12:38.000] the film was processed overnight, we got it back in the morning and then we're looking
[12:38.000 -> 12:43.640] on the light box in the morning in the circuit and my brother went, wow, that's amazing,
[12:43.640 -> 12:48.360] it's there, it's high, it's 25 feet in the air, whatever, you know, it
[12:48.360 -> 12:55.920] wasn't that high. But he was spectacular. Yeah. And when you shoot at that speed, you
[12:55.920 -> 13:00.560] never know whether the first, the second or third one might be sharp. It could be the
[13:00.560 -> 13:03.760] one where he's going in the air. It could be the one where he's in the air or where
[13:03.760 -> 13:07.160] he's going. And it was luckily the one where he's going in the air. It could be the one where he's in there or where he's going out. And it was luckily the one where he's highest point.
[13:07.200 -> 13:09.280] And I think this was before autofocus, right?
[13:09.720 -> 13:11.120] So you had to as well.
[13:11.280 -> 13:15.720] It was autofocus, but I didn't use it for this shot because I was doing a pan shot
[13:15.720 -> 13:18.320] against the fence and the curb.
[13:18.680 -> 13:22.600] And actually, if you look in autocourse that year, my pictures are on the same
[13:22.600 -> 13:24.960] page, two pictures, one on either page.
[13:25.040 -> 13:25.400] And there's the pan shot of two pictures, one on either page.
[13:29.720 -> 13:32.560] And there's the pan shot of what I was doing on one side, and then there's the flying fit on the other. So it sort of proves the point, really.
[13:33.640 -> 13:35.280] I just got some people that have come back.
[13:35.520 -> 13:37.400] Would you mind closing the door for me, guys?
[13:38.600 -> 13:39.640] Would you mind closing the door?
[13:39.640 -> 13:40.520] Just doing an interview.
[13:40.520 -> 13:43.960] Thank you, guys. So, yeah, it was a great moment.
[13:43.960 -> 13:46.240] And no, no, can you shut this door
[13:46.240 -> 13:52.560] for the uh thank you cheers thank you so yeah it was a great moment we then we then what happened
[13:52.560 -> 13:57.920] with them was we the lab that just brought the films they went and printed three big prints
[14:00.560 -> 14:02.000] he's been locked out that's what it is
[14:04.000 -> 14:08.000] he's been locked out that's what it is now he's gone back
[14:08.000 -> 14:12.000] we'll try and close it, I think he'll want to go out
[14:12.000 -> 14:16.000] so then they printed three things, so the three prints came back, I said the lad can have one
[14:16.000 -> 14:20.000] but when they all came back, they came back together, and I gave
[14:20.000 -> 14:24.000] I showed Micka, I went over straight away to show Micka, and his engineer came over
[14:24.000 -> 14:26.720] and said, we wondered why there was a blip on the
[14:26.720 -> 14:28.720] telemetry
[14:29.540 -> 14:32.000] Computers yeah, there's a blip on the telemetry
[14:32.000 -> 14:33.000] We didn't see any John T
[14:33.000 -> 14:33.500] Huh?
[14:33.500 -> 14:39.920] And now your picture proves that there was a blip the reason was he went over the curb and actually I found out later when
[14:39.920 -> 14:42.820] He landed he damaged the nose when he landed on the ground
[14:42.820 -> 14:47.000] I didn't know that but I met Mika about three or four years ago in Japan,
[14:47.000 -> 14:49.000] when we did the 25th anniversary.
[14:49.000 -> 14:51.000] He said, oh yeah, damaged my front wing.
[14:51.000 -> 14:54.000] And when they got back, all they cared about was the front wing.
[14:54.000 -> 14:56.000] I said, well, you were about six foot in the air.
[14:56.000 -> 14:58.000] He said, yeah, your picture was in the air.
[14:58.000 -> 15:00.000] And then after that, he signed it, the flying fin.
[15:00.000 -> 15:02.000] So then he became literally the flying fin.
[15:02.000 -> 15:03.000] Yeah, yeah, yeah.
[15:03.000 -> 15:05.640] That picture got me everywhere. And I gave one to the lab Finn. That picture got used everywhere.
[15:05.640 -> 15:08.480] And I gave one to the lab, I gave one to Mika,
[15:08.480 -> 15:11.400] and I've still got the 93 one signed by him.
[15:11.400 -> 15:15.280] And the funny thing was, about one year later,
[15:15.280 -> 15:18.480] that picture came up in an advertising,
[15:18.480 -> 15:21.000] not an advertising campaign, but an advertising,
[15:21.000 -> 15:26.200] like you do a, like a, I can I think of the word, I can't think
[15:26.200 -> 15:27.200] of the word.
[15:27.200 -> 15:32.440] So when you do, when you send a brief out to the photographers and from an agency, they're
[15:32.440 -> 15:34.760] going to put a load of pictures together of what they want.
[15:34.760 -> 15:37.840] And what they'd included was my shot, the flying thing.
[15:37.840 -> 15:43.200] So they wanted the photographers to repeat my picture, which I thought ain't going to
[15:43.200 -> 15:44.200] happen.
[15:44.200 -> 15:46.080] It might happen, but it won't happen exactly like
[15:46.080 -> 15:51.760] that on that angle, on that height. You know, but those moments, nobody else got it. The other 10
[15:51.760 -> 15:56.720] photographers looked round at each other. I didn't say anything at that particular point. I knew I
[15:56.720 -> 16:02.160] wasn't even sure I got it. So, and there's one guy, there's one guy I still speak to called Terry
[16:02.160 -> 16:05.400] Griffin. He's an American photographer lives in San Francisco
[16:05.400 -> 16:10.740] And we he was next to me actually I didn't know and he said yeah mark you got it
[16:13.600 -> 16:17.340] It was quite funny and then obviously Sutton's got sold in
[16:17.920 -> 16:23.760] 2017 to motorsport and I look through the archive and LAT do actually have a frame of the same shot
[16:24.000 -> 16:30.080] But they have it from above. And it means nothing from above really, because all you see is the car
[16:31.440 -> 16:37.440] floating in the air, but it's not got the height. So it's like, I think about rally photographers,
[16:37.440 -> 16:42.720] if they shot them higher, you wouldn't get that height. You want to be as low down as possible.
[16:42.720 -> 16:45.540] And we were behind some advertising,
[16:46.300 -> 16:49.260] a concrete wall and we were literally quite low.
[16:49.260 -> 16:53.700] And then obviously the essence of the height is because we were quite low and
[16:53.700 -> 16:56.260] also because we were behind a concrete wall, but yeah,
[16:57.220 -> 17:01.300] that's probably one of my famous shots. I was going to change the background
[17:03.300 -> 17:05.560] back to us, all the photographers and they're the all are here.
[17:05.760 -> 17:11.360] This is this is the background here is Herad 97 when you had that famous moment with them.
[17:11.400 -> 17:13.760] I didn't capture it by the way, I wasn't in the right place.
[17:14.280 -> 17:16.240] That's the thing about being a photographer.
[17:16.560 -> 17:17.320] You never capture it.
[17:17.320 -> 17:17.640] Really.
[17:18.640 -> 17:23.680] You know what your experience, your experience does help being in the right place at the right time.
[17:23.680 -> 17:26.640] But it's also about having the right lens, the right exposure.
[17:26.640 -> 17:31.320] There's lots of things to think about, but the experience does help.
[17:31.320 -> 17:36.800] I mean, having 30 years of experience like I've got, you know, a lot of these guys that
[17:36.800 -> 17:39.920] you see here on this picture, they've gone.
[17:39.920 -> 17:46.720] There's one still there at the front and that's me. I'm just like, if you look below my shoulder
[17:46.720 -> 17:55.200] here, that's me there with the dark hair, not grey hair. Fritz van Eldik, he's still
[17:55.200 -> 18:00.960] going. Second row up, second from the end, he's still going. He's the Canon ambassador
[18:00.960 -> 18:05.360] now. I'd say there's probably about three or four photographers
[18:05.360 -> 18:11.280] out this whole of them still go, which is incredible. If you think about some of them
[18:11.280 -> 18:16.080] have sadly passed away. Some of them moved on to do weddings. Some of them moved on to do
[18:16.080 -> 18:28.000] one guy in particular, there's a Japanese guy at the front three, three along. He works for the Japanese driver, what's his name?
[18:28.000 -> 18:30.000] Hideki, you know?
[18:30.000 -> 18:32.000] Oh, I got it.
[18:32.000 -> 18:36.000] I know whom you're talking about, I just don't remember.
[18:36.000 -> 18:38.000] Japanese driver, I can't remember his name.
[18:38.000 -> 18:40.000] I can't remember his name, I've gone mind-blown.
[18:40.000 -> 18:44.000] He drove for Jordan as well, so I know him quite well, but I can't remember his name.
[18:44.000 -> 19:06.160] I've got so much going on in my brain. But yeah, he works for him now in IndyCar. the you're talking about but I don't remember his name right now. I don't know if it's Hideki Noda.
[19:12.000 -> 19:14.400] No, it's not Noda. I just I was thinking that. It's not. Anyways, it comes to Sato. Takuma Sato.
[19:22.000 -> 19:29.880] You've created such an amazing set stone for the whole episode. I mean, I'm just all mind blown because you've set this up so well for us. Well, if you carry on from the flying fin, then you go to certain images and moments
[19:29.880 -> 19:31.760] throughout the different years.
[19:31.760 -> 19:40.200] I mean, even from the last year with Lewis and Max, you weren't always in the right place.
[19:40.200 -> 19:46.520] I guess the right place would have been the old first corner, COPS at Silverstone. If you'd have been there, that would have been, you know, the old first corner. So sorry, cops, cops at Silverstone, if you'd have been there, you know,
[19:46.520 -> 19:47.960] that's, that would be the crash.
[19:48.240 -> 19:51.160] But because the circuits change, you don't go there anymore.
[19:51.160 -> 19:55.800] It's not really a place where there's overtakes or crashes, but then there's
[19:55.800 -> 20:02.080] the big crash of Max and Louis, you know, we actually, somebody offered
[20:02.080 -> 20:04.000] me the photos from, from the crowd.
[20:04.040 -> 20:05.200] They, Oh yeah. the photos from the crowd. Right, oh.
[20:05.200 -> 20:12.080] Yeah, someone shot it, so I ended up buying like four frames of, they've got one shot,
[20:12.080 -> 20:15.840] I posted it today on my Instagram, I don't know I didn't post it, it's within the same
[20:15.840 -> 20:16.840] selection.
[20:16.840 -> 20:22.720] I bought those from somebody in the crowd, you know, but most times you tend to be not
[20:22.720 -> 20:25.280] in the right place or someone from the agency will get it.
[20:25.280 -> 20:30.320] We've got six photographers at every Grand Prix. So we're going to get something. You'd hope I was,
[20:30.320 -> 20:35.920] um, I guess the French Grand Prix, I guess the Bahrain Grand Prix. There's quite a few races
[20:35.920 -> 20:40.240] where I was in the right place, but there for the overtake, I think the best one probably was the
[20:40.240 -> 20:47.120] French Grand Prix where they were really close at the end. Oh yeah. Those sort of moments
[20:47.120 -> 20:51.440] and then for Abu Dhabi I was actually in a helicopter. Oh really? Believe it or not for the
[20:51.440 -> 20:57.760] whole race so I had no idea what was going on. Wow. Absolutely no communication. This is interesting
[20:57.760 -> 21:08.880] because we do have a section about this that we want to ask you about what happened in 2021 with Abbey. Ask me some questions if you want. No, no, no. I'm just going on random stuff. Far away.
[21:08.880 -> 21:13.360] No. Far away if you like. All right, all right, then let's do this. Let's just sort of like
[21:13.360 -> 21:17.760] formally introduce ourselves. Are they quick fire? Yeah, no, no, let's formally introduce ourselves,
[21:18.480 -> 21:24.320] get our audience into the groove. Hey folks, this has been one of the best
[21:27.420 -> 21:32.340] the groove. Hey folks, this has been one of the best fireside starts that you've heard if you've been following us for the whole year now. No introduction here.
[21:32.340 -> 21:41.300] Yeah, you've heard the whole EP here already. Nothing to do with Formula One whatsoever.
[21:41.300 -> 21:45.040] This is a fun one. We are F1 Fan Fiction.
[21:45.040 -> 21:49.600] This is a banger of a start to Fireside Series for season two.
[21:49.600 -> 21:51.040] There's no introduction required.
[21:51.040 -> 21:53.640] We've got Mark Souton as our host number
[21:53.640 -> 21:55.200] three on today's episode.
[21:55.200 -> 21:56.000] Thank you, Mark.
[21:56.000 -> 21:58.400] All right.
[21:58.400 -> 21:59.120] Hi, guys.
[21:59.120 -> 22:00.000] Hey.
[22:00.000 -> 22:00.800] Hey.
[22:00.800 -> 22:04.240] We don't see your face, but hello.
[22:04.240 -> 22:04.840] Hello.
[22:04.840 -> 22:05.000] Come on, say hello. How's it going?
[22:05.000 -> 22:06.000] We are your hosts.
[22:06.000 -> 22:07.000] I am Akash.
[22:07.000 -> 22:08.000] And I'm Sarang.
[22:08.000 -> 22:09.000] I'm Mark Sutton.
[22:09.000 -> 22:10.000] Let's get into it.
[22:10.000 -> 22:11.000] So Mark, before we begin, right?
[22:11.000 -> 22:12.000] 575 Grand Prixs.
[22:12.000 -> 22:28.000] And almost a four decade career into being.
[22:28.000 -> 22:32.280] So this is just mind-boggling numbers out there.
[22:32.280 -> 22:39.880] Yeah, nearly 40 years to be honest, 40 years because my first race was 93.
[22:39.880 -> 22:44.400] My first Grand Prix was 94 actually, but my first ever race was 93, as we said, with the
[22:44.400 -> 22:45.600] Senna-Brundle crash.
[22:45.600 -> 22:48.800] So, what was the first question? I missed it.
[22:48.800 -> 22:56.240] No, no, no. There wasn't one. But let's start with one that at least Sarang and I have loved over the last season.
[22:56.240 -> 23:02.960] Someone asked Lewis on one of the Fridays or the Thursdays, a fan meetup that these guys do.
[23:02.960 -> 23:05.920] So, the question is, how are you Mark Sutan? How
[23:05.920 -> 23:09.160] are things with you? How are things going? You've recently recovered from COVID. How
[23:09.160 -> 23:14.760] are you? I didn't have any symptoms at all. I mean it literally, my girlfriend's
[23:14.760 -> 23:19.040] kids caught it at school and then my girlfriend obviously caught it as well
[23:19.040 -> 23:24.880] and I was feeding them. They were isolated in each bedroom. I was just leaving the food outside and
[23:24.880 -> 23:26.560] eventually I did catch it.
[23:26.560 -> 23:30.760] I didn't feel too bad, I had a bit of a sore throat, a bit of a headache and that was it
[23:30.760 -> 23:31.760] really.
[23:31.760 -> 23:34.600] I'm lucky I've got the double vaccine and I've got the booster.
[23:34.600 -> 23:39.680] So I was very lucky, you know, I did my, I did eight days of isolation, seven days or
[23:39.680 -> 23:43.800] eight days of isolation and then came out because I had two negative tests and I feel
[23:43.800 -> 23:44.800] really good.
[23:44.800 -> 23:48.640] I don't feel any after symptoms and I'm ready for the season. My cameras are all in, I nick
[23:48.640 -> 23:53.480] on for cleaning and checking and they'll be back next week and then the season sort of
[23:53.480 -> 23:57.920] starts quite soon. I've got a couple of film days coming up with some of the teams, so
[23:57.920 -> 24:02.760] I get to see the cars, but those images obviously are for the team, so they'll release them
[24:02.760 -> 24:08.080] themselves. So, yeah, so we'll see what's going on but and then obviously we head to Barcelona at
[24:08.080 -> 24:11.760] the end of the month that's the first real running of all the cars together so
[24:11.760 -> 24:16.360] there'll be three days 23rd of February and then you can wish me a happy
[24:16.360 -> 25:05.000] birthday because my birthday is on the 24th. I'm actually working on my birthday! that's amazing that that the Pedro de la Rosa.
[25:05.000 -> 25:06.000] Wow.
[25:06.000 -> 25:10.000] And then there's one other famous guy.
[25:10.000 -> 25:12.000] He was the designer.
[25:12.000 -> 25:16.000] Well, he was the one that owned this company I'm doing the computer on.
[25:16.000 -> 25:18.000] And my phones.
[25:18.000 -> 25:20.000] Same day.
[25:20.000 -> 25:22.000] Not around anymore.
[25:22.000 -> 25:24.000] He invented the iPhone.
[25:24.000 -> 25:25.000] He invented Apple., he invented Apple.
[25:25.000 -> 25:27.120] So there you go.
[25:27.120 -> 25:28.120] Three famous people.
[25:28.120 -> 25:35.000] So Mark, I think you were destined for a great career then, wasn't it?
[25:35.000 -> 25:37.840] I could have been a driver as well, but...
[25:37.840 -> 25:39.720] That was actually one of our questions.
[25:39.720 -> 25:44.960] And since you mentioned it, let me ask that because it's clear that you're a big fan of
[25:44.960 -> 25:49.320] motorsport and you are passionate about it. So was it ever an option? Like, did you
[25:49.320 -> 25:50.820] ever think about becoming a driver?
[25:50.820 -> 25:54.620] It was never an option really. It was always going to be that was a photographer because
[25:54.620 -> 25:58.880] you need, you need to start at a very early age, sort of eight, maybe even younger, maybe
[25:58.880 -> 26:03.800] six to eight years old. You've got to start in junior cars. You look at the Formula One
[26:03.800 -> 26:05.040] drivers and their kids are
[26:05.040 -> 26:11.200] growing up. So like Robin, Robin Riken, and now he's at an age where he's in junior carting.
[26:11.200 -> 26:15.760] You look at all the drivers that have come through, they started at a very young age.
[26:15.760 -> 26:21.200] I was already too old, you know, to be honest. Actually, it's quite funny because my son,
[26:21.200 -> 26:26.560] my son became a swimmer, but he started at 10. So I think even he, he got
[26:26.560 -> 26:32.080] penalized for starting too late. So just to give you an idea, he became, he did, he swam in the
[26:32.080 -> 26:38.160] nationals in England. He was top 20 in the UK, but he just didn't start early enough. So actually
[26:38.160 -> 26:46.400] starting at six to eight years old, I wasn't going down that career path. So you need to have that input from your family or your wealthy
[26:47.040 -> 26:49.040] Gents to be that the wealthy
[26:49.360 -> 26:55.480] Parents, but honestly, it's true. You look at Lando Norris. You look at George Russell. They're very well parents
[26:55.480 -> 27:01.440] I don't think that was the same with them with Lewis. His father was struggling with money. He was using old tires
[27:01.440 -> 27:05.760] He was using old engines. He was a little struggle, but he was found by
[27:05.760 -> 27:10.320] Mercedes, you know, and he was looking at that break. So a lot of drivers either have the look
[27:11.360 -> 27:15.440] and they have the skill and they make it, or it's tends to be there's money behind them.
[27:15.440 -> 27:21.280] It's from the family. Um, but I wasn't going that path. You know, I, I decided very early on that I
[27:21.280 -> 27:27.840] wasn't ever going to be a driver. I was just, the sport and my actual hero was Emerson Fittipaldi.
[27:27.840 -> 27:28.840] Wow.
[27:28.840 -> 27:29.840] Interesting.
[27:29.840 -> 27:35.840] And I've met Emerson quite a few times and he didn't know and I told him and yeah, he's
[27:35.840 -> 27:38.240] a really nice guy.
[27:38.240 -> 27:41.800] Always signs with the number seven, believe it or not, which is quite funny because Micah
[27:41.800 -> 27:43.800] Hacken was number seven as well.
[27:43.800 -> 27:45.880] So yeah, interesting.
[27:46.320 -> 27:47.520] And, um, yeah, so yeah.
[27:47.600 -> 27:51.760] Um, my career was going more photography and my dad was a keen amateur.
[27:51.760 -> 27:52.920] You know, he took a lot of pictures.
[27:53.120 -> 27:57.000] He's got a beautiful picture of Mike Hawthorne from 1957.
[27:57.880 -> 28:01.520] And he took the Alton parks, a beautiful picture, but he was just a keen amateur.
[28:01.520 -> 28:04.320] And it was drivers were more accessible back in the early days.
[28:04.320 -> 28:05.000] Well, I mean, you look at some of the stories where people were But he was just a keen amateur and it was drivers were more accessible back in the early days.
[28:05.000 -> 28:11.000] I mean, you look at some of the stories where people were actually started pretending to,
[28:11.000 -> 28:14.880] I remember this story of, there's a guy that we bought the archive called David Phipps
[28:14.880 -> 28:21.000] and he, he just wore a, wore a, like a, like a little lanyard and became part of a team.
[28:21.000 -> 28:26.400] I mean, literally no one even checked or knew, you know, now obviously security,
[28:26.400 -> 28:30.160] we have a special pass, a Formula One pass that we wear, you have to go through a swipe
[28:30.160 -> 28:33.840] gate, there's lots more security. But in the old days, you could easily mix in with the
[28:33.840 -> 28:40.800] team if you had the, you know, the knowledge to do it, or the guy, you know, you could
[28:40.800 -> 28:49.400] easily mix with him and become a mechanic. He became a photographer and he was a photojournalist, but now it's mainly photographers.
[28:49.400 -> 28:54.800] But COVID, COVID has destroyed a little bit of the business, you know, it's very restricted now.
[28:54.800 -> 28:58.800] Hopefully this year will be more open. Lots more fans back.
[28:58.800 -> 29:02.400] I mean, the last races of last year proved it.
[29:02.400 -> 29:11.200] America, we had 350,000. Zanderwood was crazy. Mexico was great. Brazil amazing.
[29:11.200 -> 29:16.880] I mean even in Saudi, there wasn't many fans in Saudi, but we had a great crowd. Abu Dhabi,
[29:16.880 -> 29:21.840] again full crowd. It was an amazing end to the season with all those fans back.
[29:21.840 -> 29:26.960] You could hear the emotion from the fans. That was the great thing. And that, you know, you listen, you
[29:26.960 -> 29:32.320] watch the, you watch that final race in Abu Dhabi, you can hear the crowd screaming, the
[29:32.320 -> 29:37.320] last hairpin, where they had to crash. Sorry, not crash, the incident.
[29:37.320 -> 29:39.320] The incident, yes.
[29:39.320 -> 29:46.000] The incident, Mike Pomat Africa, are you listening? Yeah, the incident.
[29:46.000 -> 29:49.000] We'll see what happens with the investigation.
[29:49.000 -> 29:52.000] But yeah, I can't comment too much.
[29:52.000 -> 29:54.000] I was in a helicopter.
[29:54.000 -> 29:56.000] I was just about to ask you that.
[29:56.000 -> 29:57.000] I got all the excuses in the book.
[29:57.000 -> 29:58.000] I was just about to ask you that.
[29:58.000 -> 30:00.000] I got all the excuses in the book to get out of that one.
[30:00.000 -> 30:05.360] But I landed, came down, and then tried to get into it all to find out what was happening.
[30:05.360 -> 30:11.840] But also then to actually go into all the problems, obviously we had all the people appealing and
[30:13.040 -> 30:17.200] stewards and we had to wait there till about 11 o'clock in the evening to take a picture
[30:18.400 -> 30:30.640] of Max celebrating. And, uh, but it was, it was great to stay. And even though there was only about 15 to 20 photographers left, a lot of them got flights.
[30:30.640 -> 30:35.840] You always have this thing when they lift the driver up on the shoulders, there's always
[30:35.840 -> 30:39.880] a bit of a fight between all the... not fight!
[30:39.880 -> 30:44.760] It's what they call the elbow fight.
[30:44.760 -> 30:47.680] All these guys here that are in the picture, they're all fighting it,
[30:47.680 -> 30:53.360] it's the same people. We work with them all year and we have a bit of a bum, what they call a bum
[30:53.360 -> 30:57.840] fight and it's all about shoulders. Shoulders at dawn are coming out, you know, and everyone's
[30:57.840 -> 31:02.320] elbowing each other and trying to get the best picture and they're trying to get Max at the front
[31:02.320 -> 31:08.160] to lift the champagne or whatever they're trying to get the best pitch. I got some nice pictures, but at the end of the day, it's just
[31:08.160 -> 31:15.600] the buzz, the buzz of it. Yeah. Yeah, of course. And going back before that to Senna and Schumacher
[31:15.600 -> 31:20.160] and the, you know, not the fights, but the, the battles we had with all the great, great, it's
[31:20.160 -> 31:29.120] all good fun. Most of those guys, excuse me, are still around.
[31:33.920 -> 31:36.640] So yeah, I've progressed on a bit again. What was it? What were we talking about?
[31:42.800 -> 31:45.320] Yeah. So yeah. And then even, even my son, my son started to work for the same company I did doing social media because social media
[31:45.320 -> 31:47.080] has become a huge thing.
[31:47.080 -> 31:50.160] I can just see the platforms growing and growing.
[31:50.160 -> 31:53.800] I took him to a, he probably won't like me for this, but I took him to a car race at
[31:53.800 -> 31:55.920] Milton Keynes to have a bit of a run.
[31:55.920 -> 32:00.280] And he literally came out the pits and went straight into the tire wall.
[32:00.280 -> 32:01.280] I've been driven it.
[32:01.280 -> 32:02.280] And he'll hate me for saying that.
[32:02.280 -> 32:07.000] And I knew at that point he wasn't going to be a very good driver.
[32:07.000 -> 32:18.000] But he did pass his test at 17 like I did, first time. When I took my test, I didn't have to take a, you have to take a written exam now in the UK.
[32:18.000 -> 32:25.840] When I did it, there was no written exam, but he failed his written a few times but eventually passed.
[32:30.800 -> 32:31.520] So because you mentioned this I want to go a bit like on a family route at this point which is
[32:36.720 -> 32:41.040] tell me about the knicker mat because you mentioned your father you mentioned your brother and now you're mentioning your son and what we've read or heard is there's this famous knicker mat in
[32:41.040 -> 32:45.280] your family which has been handed down through your
[32:45.280 -> 32:48.880] father to your brother and then he gave it to you. So where is that at right now?
[32:48.880 -> 32:52.360] No it wasn't a knicker mat, that was the Pentax.
[32:52.360 -> 32:58.400] Okay. No, it was a Pratika. So the pictures I took with the
[32:58.400 -> 33:11.800] the Sena and Bundle, that was taken with the Pratika, it was an old, very old camera. And then we went to Nikon, um, very basic Nikon kit. And then we got some nice Nikon kit. And then eventually,
[33:11.800 -> 33:17.040] well what happened was Canon did a partnership with Williams. Remember it was on the back
[33:17.040 -> 33:21.080] of the radio. It was a big, huge sponsorship deal. But what they started to do was bring
[33:21.080 -> 33:28.820] a bus to the races that brought all the kit that you couldn't buy. And also they did a service thing where they'd service the camera kit for you.
[33:28.820 -> 33:33.780] So a lot of people changed because of that input from the camera manufacturer.
[33:33.780 -> 33:39.400] So we changed then to Canon and it was a great relationship for about 25 years.
[33:39.400 -> 33:44.780] And then what happened was we had an agent in Japan who said that Nikon are looking to
[33:44.780 -> 33:45.840] get into Formula One
[33:45.840 -> 33:50.960] and they're having you, they don't want to sponsorship anything, but they're interested
[33:50.960 -> 33:57.880] in making you an ambassador and giving you the kit, moving you across from Canon to Nikon,
[33:57.880 -> 33:59.080] but also they want input.
[33:59.080 -> 34:03.720] They want to see how they can improve the cameras, how they can improve the relationships
[34:03.720 -> 34:08.340] with the photographers, how they can improve their servicing and also to show what the
[34:08.340 -> 34:12.540] percentages they wanted to know how many Canon photographers are, how many Nikon
[34:12.540 -> 34:16.800] photographers, each race because in each country fluctuates, it goes up and down,
[34:16.800 -> 34:22.100] you understand? Because in Europe it can be like in Italy, it's huge for
[34:22.100 -> 34:25.280] Nikon, small for Canon. In France, it's the other way
[34:25.280 -> 34:30.800] around. So in different countries, it changes. In America, like for example, in America, Nikon is
[34:30.800 -> 34:35.920] huge, but Canon is smaller. So, and then you go to the Olympics, it's a lot different as well. So
[34:35.920 -> 34:40.480] you have all these things. So they wanted us to be ambassadors. So we moved across.
[34:40.480 -> 34:45.240] They were also paying us to be ambassadors. They were giving us kits every year. So we
[34:45.240 -> 34:49.040] couldn't really refuse that, that deal. And I've, I've still worked with Nikon now, you
[34:49.040 -> 34:55.240] know, Nikon UK and Nikon Europe. I don't deal with Nikon Japan anymore, but my relationship
[34:55.240 -> 35:00.200] with Nikon UK is, is amazing. You know, I'm going to be testing in Barcelona, but we tested
[35:00.200 -> 35:05.840] the new Z9, the mirrorless camera. So that's going to be amazing to test that camera
[35:06.960 -> 35:13.360] in those beautiful light conditions, you know, the early morning, sunrise and sunset in the evening
[35:13.360 -> 35:18.160] to see how they work. So hopefully we'll have access to the pits and access to go and shoot
[35:18.160 -> 35:21.760] the drivers getting in the cars. And well, hopefully we'll have everything in Barcelona.
[35:21.760 -> 35:28.880] We'll have to see, we don't know yet because it's all very vague at the moment. Obviously at the end of the season, it was all over,
[35:28.880 -> 35:34.080] but we're going, we've had the Omnicrom virus and we don't know what's how it is in Spain.
[35:34.080 -> 35:37.520] We don't know what the teams are going to want in terms of photographers. So
[35:37.520 -> 35:42.720] Bahrain, I think will be open because they have strict testing facilities in Bahrain.
[35:42.720 -> 35:49.200] As soon as you land, you have to be tested. Right. And you need the vaccines. But Spain maybe is a bit more lenient.
[35:49.200 -> 35:50.000] But we'll have to see.
[35:50.000 -> 35:57.800] Spain's changed their rules also recently. I think day before yesterday, they came out of the fact that you don't need a vaccine anymore or whatever. RT-PCR actually, sir.
[35:57.800 -> 35:59.400] You don't need a PCR report done.
[35:59.400 -> 36:05.120] Yeah. So England's the same. Today today or yesterday we changed the rules.
[36:05.120 -> 36:06.800] We don't need masks anymore.
[36:06.800 -> 36:09.800] That's why I'm not wearing a mask.
[36:09.800 -> 36:12.800] No, no, I'm just joking.
[36:12.800 -> 36:15.520] So England's completely changed.
[36:15.520 -> 36:19.280] Obviously Scotland, Wales and Ireland have different rules.
[36:19.280 -> 36:23.680] They can enforce different rules, even though they're part of a United Kingdom, but they
[36:23.680 -> 36:25.960] have different rules and they've just relaxed.
[36:25.960 -> 36:28.200] There's a little bit, they're not gone fully out like we are.
[36:28.200 -> 36:31.720] I mean, to be honest, we're all vaccinated now in the UK.
[36:31.720 -> 36:38.120] So really the symptoms, I think on public transport, you still need to wear the mask
[36:38.120 -> 36:44.240] and obviously flying, flying, you have to wear masks in certain stores, but the stores
[36:44.240 -> 36:46.680] themselves, they can have a policy of wearing masks. certain stores for the stores themselves. They can have a policy of wearing masks
[36:46.880 -> 36:51.840] That's that's down to them completely. So you still have to have masks with you just in case
[36:52.560 -> 36:59.000] Generally, it's gonna be a lot more open. So I'm hoping fingers crossed that we'll have a full season with fans
[36:59.720 -> 37:01.720] Yes
[37:01.720 -> 37:08.880] I love Australia and the fan. Yeah, The fans are so fanatical, you know, going to Japan again and Singapore and these
[37:08.880 -> 37:11.100] races that we haven't been to for a long time.
[37:11.100 -> 37:13.980] We need, we need to go back to those races that we've missed for two years.
[37:13.980 -> 37:14.420] Yeah,
[37:14.500 -> 37:14.900] certainly.
[37:14.940 -> 37:17.820] I think one, one, since we are on the topic of COVID, right.
[37:17.820 -> 37:19.420] I kind of wanted to get this question.
[37:20.980 -> 37:22.780] What has been your experience?
[37:22.780 -> 37:26.560] I mean, everybody's kind of suffered in their own way during the last few years of COVID,
[37:26.560 -> 37:33.200] but with traveling, going from race to race and, you know, kind of being a photographer,
[37:33.200 -> 37:36.320] how has the experience been, you know, dealing with COVID?
[37:36.320 -> 37:37.600] And we've been very lucky, haven't we?
[37:37.600 -> 37:42.960] I mean, we've been very lucky that we've, we've almost been like, I hate to say it,
[37:42.960 -> 37:45.320] we've almost been like Novak Dokovic
[37:47.320 -> 37:47.520] Although he got kicked out of Australia
[37:53.200 -> 37:57.880] Because we've had special exemptions, you know, most countries have been very welcoming to the media, you know We've got to be very thankful to the FIA and Formula One because they eventually
[37:58.720 -> 38:02.580] Decided to have a championship. They invited team photographers back. So
[38:03.280 -> 38:06.840] We our company as a whole works for four teams.
[38:06.840 -> 38:12.280] So we've allowed four photographers to work within the team and then four to work outside
[38:12.280 -> 38:13.280] the team.
[38:13.280 -> 38:17.720] So that's what they decided just to bring in the, in the beginning.
[38:17.720 -> 38:23.820] And then also people like agencies, so like Reuters, AP, AFP, I think about five agencies
[38:23.820 -> 38:24.820] were also invited.
[38:24.820 -> 38:28.000] So you've got to consider that was only 25 photographers.
[38:28.000 -> 38:33.640] So no race by race passes, only permanent passes as well.
[38:33.920 -> 38:37.800] So 10 working in the teams, 10 only on the app.
[38:38.200 -> 38:38.640] That's it.
[38:39.760 -> 38:43.360] We had no fans, so we were very lucky and they were very scared.
[38:43.360 -> 38:49.900] I mean, you've got to remember, they didn't have, they didn't really know what was happening. We got tested almost every
[38:49.900 -> 38:55.900] day, test before you go. And then obviously when the vaccines came in, we have to have
[38:55.900 -> 39:00.460] the vaccines as part of the rules. And that became stricter in certain countries. And
[39:00.460 -> 39:04.980] also each country was so different. And then all the paperwork we needed to print out,
[39:04.980 -> 39:06.320] you know, and then obviously to get back
[39:06.320 -> 39:11.200] to the UK, we had to fill a locator form, a test on the day two, day eight.
[39:11.200 -> 39:16.080] There's lots of things we have to do that people don't realize what we had to do.
[39:16.080 -> 39:17.080] Right.
[39:17.080 -> 39:18.080] It's part of our job.
[39:18.080 -> 39:22.040] And we really, I think we have to say thanks to the FIA and thanks to Formula One because
[39:22.040 -> 39:23.480] we wouldn't have had a job.
[39:23.480 -> 39:29.280] I might not have even had a job, even though I've been here so long. You know, it's true. You have to be thankful. Obviously,
[39:29.280 -> 39:33.280] I've got a job working for a company and I work for Motorsport Network. You know, you've got to
[39:33.280 -> 39:37.360] be thankful that we work for those teams and those sponsors. And obviously at the end of it,
[39:38.160 -> 39:43.360] by Abu Dhabi, we saw probably about 50 photographers in Formula One, a lot more
[39:43.360 -> 39:47.640] journalists and a bit more openness, you know, completely the paddock was open.
[39:47.960 -> 39:51.800] Pit lane still restricted to about 20, 25 people.
[39:52.800 -> 39:56.000] Pit wall was back to normal, 10 photographers on the pit wall.
[39:56.400 -> 39:58.760] And then generally around the track, you could go any way you wanted.
[39:58.760 -> 40:00.720] So it was restricted.
[40:00.800 -> 40:04.800] We had to wear the masks even around the circuit, which is honest is a bit.
[40:05.640 -> 40:07.680] And actually I was walking around the track in.
[40:08.480 -> 40:09.120] Where was it?
[40:09.800 -> 40:16.280] I was walking around the track in Saudi, Saudi Arabia, and Michael Massi was coming
[40:16.280 -> 40:19.400] towards me and he said, then he said, Mark, why are you wearing a mask?
[40:19.400 -> 40:21.880] I said, well, I thought we still had to wear it as part of the rules.
[40:22.120 -> 40:25.280] He said, no, you don't need masks outside or on the track.
[40:25.840 -> 40:28.960] Right is that the facts Michael? He went yes.
[40:30.400 -> 40:32.560] I don't trust anything.
[40:34.880 -> 40:38.560] Maybe you know he's there next year but that was the FIA.
[40:40.240 -> 40:47.280] After that I didn't wear a mask on the track. On that topic, Mark, I want to ask something that we've also covered in a few of our episodes is,
[40:47.280 -> 40:52.400] if it's only allowed at those places, why is Toto not wearing his mask in the garage?
[40:52.400 -> 40:56.640] That's his rule. That's their rule, isn't it?
[40:56.640 -> 40:58.320] I mean, the idea is quite funny.
[40:58.320 -> 41:00.400] But also, Christian Horner.
[41:00.400 -> 41:01.120] Yeah, yeah.
[41:01.120 -> 41:02.160] He's just not allowed to.
[41:02.160 -> 41:04.720] He never wore a mask at all coming into the circuit, ever.
[41:04.720 -> 41:25.040] Well, I think he did maybe in the beginning. that I didn't want to catch you, but I think it's probably better to catch it off season than
[41:25.040 -> 41:26.040] catch it in season.
[41:26.040 -> 41:31.800] So I think it's probably just to get it good and get it out of the way.
[41:31.800 -> 41:35.120] You know, my, I can't think of the word now.
[41:35.120 -> 41:38.600] My, yeah, my, I can't think.
[41:38.600 -> 41:39.600] I can't think of the word.
[41:39.600 -> 41:40.600] No worries about it.
[41:40.600 -> 41:41.600] It'll come out eventually.
[41:41.600 -> 41:45.760] Yeah, so I've got the best...
[41:45.760 -> 41:48.240] Yeah, I can't think of the word.
[41:48.240 -> 41:53.600] We'll go to the next one. So speaking of moving around though,
[41:53.600 -> 41:59.120] I want to know, so logistically I feel like...
[41:59.120 -> 42:01.280] Antibodies! Antibodies! It came to me!
[42:01.280 -> 42:02.320] Ah, okay.
[42:02.320 -> 42:03.440] Sorry, what's that?
[42:03.440 -> 42:05.280] Antibody. You've got your... Antibodies, yeah, yeah, yeah, okay. Sorry, what's that? Eventually. Antibody.
[42:05.280 -> 42:06.280] You've got your antibodies.
[42:06.280 -> 42:07.280] Antibodies, yeah.
[42:07.280 -> 42:09.280] You've got the most recent ones.
[42:09.280 -> 42:16.280] Two AstraZeneca vaccines, then the Pfizer and then COVID antibodies.
[42:16.280 -> 42:17.280] I've got everything.
[42:17.280 -> 42:20.280] I'm probably at 99.9999%.
[42:20.280 -> 42:21.280] Yep.
[42:21.280 -> 42:22.280] You know.
[42:22.280 -> 42:23.280] Okay, far away.
[42:23.280 -> 42:26.000] Speaking of logistics, right, like I figured this is going to be a nightmare because I the the the
[42:26.000 -> 42:28.000] the
[42:28.000 -> 42:30.000] the
[42:30.000 -> 42:32.000] the
[42:32.000 -> 42:34.000] the
[42:34.000 -> 42:36.000] the
[42:36.000 -> 42:38.000] the
[42:38.000 -> 42:40.000] the
[42:40.000 -> 42:42.000] the
[42:42.000 -> 42:44.000] the
[42:44.000 -> 42:47.840] the the him. What's that? You want me to tell you the truth? Go ahead. Go ahead. Your stage. He's a
[42:47.840 -> 42:53.840] nice guy. He's a nice guy, but he's a very wealthy guy. So basically he's coming to Formula One.
[42:53.840 -> 42:59.760] He's not really got, he's not coming the hard way. He's coming the easy way. You've got to
[42:59.760 -> 43:05.840] remember that I did six years of doing all the lower formulas, learning my career, you know, I started
[43:05.840 -> 43:11.600] at the bottom from nothing, got to know people. I didn't buy my way in, which is what he's done.
[43:11.600 -> 43:17.120] I'm not dishing the guy in any way. If you've got money, why not? He's a multimillionaire.
[43:17.120 -> 43:20.320] He's a multimillionaire. I've seen him fly in first class everywhere.
[43:22.320 -> 43:28.240] None of the photographers fly first class. I mean, if someone's going to pay us to do it, we'll do it.
[43:28.240 -> 43:33.000] He's using his money that he makes from his company to spend on Formula 1.
[43:33.000 -> 43:37.640] So he's taking, he's taking, you know, business away from people, from people that have to
[43:37.640 -> 43:41.240] use, the people that, that, that, it's Formula 1 is their life.
[43:41.240 -> 43:42.240] Formula 1 is their career.
[43:42.240 -> 43:48.960] Formula 1 is their business, you know, and he's taking possible clients away from them in the future. We don't know
[43:48.960 -> 43:52.520] what he's going to do. He does his social media, which is fine. And that's the, what
[43:52.520 -> 43:55.160] he's playing at the moment, but we don't know where he's going to go. If he starts taking
[43:55.160 -> 44:00.200] clients from people and he's paid his way in, it's not really right, is it? It doesn't,
[44:00.200 -> 44:05.040] it doesn't feel right. Look, he's a nice guy. He's Australian. He spent a year away from
[44:05.040 -> 44:10.000] Australia last year. I feel sorry for him. Yeah. Yeah, I saw that. I saw that.
[44:11.360 -> 44:16.240] And his wife came out, his wife came out to join him for a couple of weeks or about a month. And
[44:16.240 -> 44:21.040] she had to quarantine, you know, quarantine. Obviously, a lot of countries, he had to keep
[44:21.040 -> 44:28.120] going getting his visa because he was Australian. He was kicked out of a few countries because he had to go to another country to redo the
[44:28.120 -> 44:29.120] visa and come back.
[44:29.120 -> 44:32.280] So I mean, look, he was staying in nice hotels.
[44:32.280 -> 44:34.440] He's staying in first class.
[44:34.440 -> 44:38.120] He's living the life, you know, all on his own money.
[44:38.120 -> 44:41.080] Most people are, the freelancers have to pay for themselves.
[44:41.080 -> 44:49.280] The freelancers have to pay for all the flights, the hire cars, their accommodation, you know, and that's, it's, I felt sorry for them. I'm a staff photographer,
[44:49.280 -> 44:55.760] my company calls for everything. So I don't fly first class. I don't buy business or even economy.
[44:55.760 -> 45:00.800] Plus I travel economy only, you know, and I pay for everything. My cameras are paid for
[45:01.440 -> 45:08.240] from certain days. And obviously I've upgraded my cameras cameras I've got the D6 now and a few other lenses but I haven't spent fortune on kit
[45:08.240 -> 45:11.920] because things are tight you know you may think that we're earning lots of
[45:11.920 -> 45:15.760] money and I mean the company turns over a good amount of money but we have
[45:15.760 -> 45:20.240] things to pay for. So what is in your kit? Let's get into that like what's in your kit and then
[45:20.240 -> 45:25.240] Well it's all in for servicing so That's fine. But like, that's fine. Just
[45:27.240 -> 45:31.000] every lens needs to be hammered over here.
[45:31.280 -> 45:35.080] We used to have servicing every race where they cleaned it and they checked it, but we
[45:35.080 -> 45:35.800] don't have anything.
[45:35.800 -> 45:36.080] Right.
[45:36.280 -> 45:38.840] So we have to get it either mid season or the end of the year.
[45:38.840 -> 45:42.800] So I've got the first lens I'll start with is a fish on it or not.
[45:42.800 -> 45:50.040] So it's like my eyes, it's curved. It's a 10.5 millimetre. So it's a really wide lens, but it's fish's eye. So
[45:50.040 -> 45:54.720] it's curved and everything. It's not for everybody and it's not, it's not a lens you use all
[45:54.720 -> 46:02.480] the time. So, and then we go on to a 14, so wide, super wide angle, 14 to 24 millimetre
[46:02.480 -> 46:07.680] zoom F 2.8. That's a beautiful lens, really beautiful. And I use that in
[46:07.680 -> 46:14.280] Monaco a lot because you're really close. It distorts the car a little bit, but it doesn't,
[46:14.280 -> 46:20.360] you know, it doesn't curve it like the fish. And then 24 millimeter to 70 millimeter. That's
[46:20.360 -> 46:25.980] probably one of my favorite lenses. That's a nice wide angle, but with a sort of mid telephoto zoom
[46:25.980 -> 46:31.220] So 70 millimeter is not a bad little zoom and that's 2.8. Excuse me
[46:31.220 -> 46:34.380] and then the prime lens probably one of the prime and
[46:35.060 -> 46:40.340] One lens I really really enjoy is a 70 to 200. So 70 millimeter
[46:40.940 -> 46:43.620] 200 millimeter zoom again f 2.8
[46:43.620 -> 46:44.320] millimeter 200 millimeter zoom again f 2.8
[46:50.160 -> 46:50.360] With this lens you can add a 1.4 or a 2 point times converter
[46:54.720 -> 46:55.800] So you can double the focal length all the way you lose one stop
[47:02.120 -> 47:02.720] That's okay, and they've got a 1.4 mark 3 Nikon 1.3 X
[47:06.000 -> 47:12.520] 1.4 X sorry, and it's beautiful like an extra bit of glass that extends it to about 280 and then my prime lens is a 180 to 400
[47:12.520 -> 47:17.440] millimeter that actually has a built-in converter so that I have an external
[47:17.440 -> 47:22.200] converter for that zoom but I also have a converter built-in so I've got a
[47:22.200 -> 47:26.700] little flick button where I can put the 1.4 into
[47:26.700 -> 47:34.220] the lens either in or out. It just flicks it. But then I've got 560, it goes up to 560
[47:34.220 -> 47:39.980] millimetre, 5.6. So I'll lose a stop. But in most conditions where it's sunny, it's
[47:39.980 -> 47:48.360] fine, you know, and with the cameras nowadays with the ISO, you can go up to 3,200, 6,400.
[47:48.360 -> 47:50.640] So you don't have to worry about it really.
[47:50.640 -> 47:57.040] And the D6, so the D6, the Nikon D6 is an incredible 14 frames a second.
[47:57.040 -> 47:58.480] It's unbelievable.
[47:58.480 -> 48:00.520] And the autofocus is so quick.
[48:00.520 -> 48:02.000] I'm about to order my second one.
[48:02.000 -> 48:03.340] I had one last year.
[48:03.340 -> 48:05.460] I'm getting my second one. Hopefully fingers crossed
[48:05.460 -> 48:09.640] I've got two d5s the older model is an incredible improvement on that
[48:10.380 -> 48:12.380] and then I will test the
[48:12.480 -> 48:14.480] z9 in
[48:14.800 -> 48:18.360] Barcelona and maybe keep it for the first races. I'll see
[48:19.080 -> 48:21.320] So I might just keep it between
[48:21.400 -> 48:26.360] I might just keep it between you.
[48:29.000 -> 48:32.200] How do you, how do you get past airport security though? Cause like I figured like with all of this, it's going to be a nightmare
[48:32.200 -> 48:33.800] getting past airport security.
[48:33.800 -> 48:34.300] How's that?
[48:34.880 -> 48:35.240] Yeah.
[48:35.280 -> 48:39.520] I mean, I carry it as hand luggage because I want to make sure that it's safe and on
[48:39.520 -> 48:40.040] the plane.
[48:40.040 -> 48:40.540] Yeah.
[48:40.920 -> 48:47.760] It was again, we need to keep quiet because look at literally luckily most airlines are very good British Airways
[48:47.760 -> 48:51.780] I try and travel British Airways because they have a policy where they don't weigh the bag
[48:51.780 -> 48:58.040] So they don't weigh your hand baggage and actually there's a policy really where it's unlimited weight
[48:58.380 -> 49:02.060] So I can carry my I can carry my camera bag on the plane
[49:02.060 -> 49:06.660] It all fits in a beautiful a a very small Alpine stars bag.
[49:06.660 -> 49:09.620] So my clothing is Alpine stars.
[49:09.900 -> 49:14.540] It fits in a bag lengthways, two bodies, two other lenses, and then a few
[49:14.540 -> 49:16.020] things on top with my monopod.
[49:16.260 -> 49:19.020] I've actually, the only thing I've probably got here is my monopod.
[49:19.020 -> 49:19.700] Where's my monopod?
[49:20.020 -> 49:21.020] I had it here before.
[49:21.340 -> 49:23.500] So yeah, my monopod is where my long lens goes.
[49:23.500 -> 49:28.920] So that's my monopod that goes in the bag.. So the bags probably about that. I even sent the bag
[49:28.920 -> 49:33.000] So what I did to Nick on for the repairs, I sent them the whole bag in a box
[49:33.000 -> 49:38.720] I just sent the whole lot and then that's probably my kit and I've got to carry one flash
[49:38.720 -> 49:41.720] I don't really use much very often
[49:41.720 -> 49:46.200] But sometimes if it's very very hard like, like a very, very dark room,
[49:46.200 -> 49:48.800] you need it just for that occasion.
[49:48.800 -> 49:49.800] So I carry a flash.
[49:49.800 -> 49:55.080] I've got my computer, my hard drives, obviously my XQD cards.
[49:55.080 -> 49:59.800] The Nippons use a special card called the XQD that was developed by Sony.
[49:59.800 -> 50:07.120] The very, very quick, quick to write, first of all, from the camera body to the actual card, but also to
[50:07.120 -> 50:12.640] download. So that's the main thing really. And that's all I need. That's pretty much it. And
[50:12.640 -> 50:18.000] then you just need an internet. Most races now, well, pretty much all the races, we've got free
[50:18.000 -> 50:25.120] wifi or free cable at most races. So gone are the days where we used to pay a thousand pound of debt, a race,
[50:25.920 -> 50:28.960] some race spent a thousand pounds. Wow. That's a lot.
[50:28.960 -> 50:35.120] For an ISDN line. ISDN line. Crazy. Absolutely crazy. So yeah, those days have gone now it's
[50:35.120 -> 50:41.440] all free internet and actually in COVID, one great little insight is one great thing is that
[50:41.440 -> 50:51.000] you probably see I put a little bit of weight on, but actually the FIA had a rule where they had to provide breakfast, lunch and dinner for all the photographers and journalists.
[50:51.000 -> 50:52.000] Okay, that's nice.
[50:52.000 -> 50:57.000] I put a little bit of extra weight on based on eating too much probably.
[50:57.000 -> 51:00.000] But yeah, so that rule hopefully will continue.
[51:00.000 -> 51:01.000] Right.
[51:01.000 -> 51:03.000] Even if it's a sandwich or something.
[51:03.000 -> 51:05.600] I don't really care about hot food during the day. Really.
[51:05.600 -> 51:12.000] It's more about I can get breakfast at the hotel. If I have a snack, a pocket lunch,
[51:12.000 -> 51:16.640] you know, like a small salad or a sandwich, as long as you've got drinks, really soft,
[51:16.640 -> 51:20.720] sugary drinks to keep the energy going. That's more. And then obviously I have a dinner out in
[51:20.720 -> 51:22.960] the evening with my colleagues, you know, to talk about the day. Nice.
[51:22.960 -> 51:26.720] So talking about sugary drinks that give you some energy, you know,
[51:27.280 -> 51:28.320] I wanted to ask about that.
[51:28.320 -> 51:32.240] You're going to go Red Bull versus Monster now, isn't it?
[51:32.240 -> 51:38.480] So my question was, how much do you actually move around during a race on the track? And,
[51:38.480 -> 51:43.440] you know, like, I'm pretty sure with all the gear that you have, the lenses and everything,
[51:44.160 -> 51:45.100] how do you manage it?
[51:45.160 -> 51:46.240] Or do you carry all your lens?
[51:46.800 -> 51:47.980] What about, what about this one?
[51:48.160 -> 51:49.480] This, this one's quite appropriate.
[51:51.980 -> 51:53.260] That's probably appropriate for now.
[51:53.260 -> 51:54.120] And do you know what that is?
[51:56.280 -> 51:58.000] Who can, who can not know Boris Johnson?
[51:58.000 -> 51:58.160] Yep.
[51:59.440 -> 52:00.120] Well, this one,
[52:02.800 -> 52:03.480] he's a classic.
[52:03.480 -> 52:09.360] I mean, you can't get, you can't miss Boris. He's a classic. So yeah, I'll go back to the
[52:09.360 -> 52:14.480] photographers. I'll go back to a nice scene from San Francisco. My favorite city.
[52:14.480 -> 52:16.280] I used to live there.
[52:16.280 -> 52:17.800] Yeah, going back to what did he say?
[52:17.800 -> 52:28.000] Sorry. So with all the lenses and the gear that you have and moving around through the track, right? Like, how much effort does it take, you know,
[52:28.000 -> 52:35.440] as a photographer, just being there? How many miles do I do? Yeah, it tends to be like with the new tracks,
[52:35.440 -> 52:40.640] the new tracks, I'm going to switch this off. I'm going to put the lights on because it's so, so dark.
[52:41.760 -> 52:51.080] So yeah, so yeah, how many miles do I do? So like to give you an example of the new tracks, I always try and do a track walk.
[52:51.080 -> 52:57.700] So Saudi Arabia, Qatar, Zandvoort, I did complete track walks of the whole circuit.
[52:57.700 -> 52:59.040] So I go backwards.
[52:59.040 -> 53:01.380] So you always go the backward way of the track.
[53:01.380 -> 53:10.080] So you go against the cars so you can see the cars coming at you. Yeah. It makes sense. It makes sense. I promise you. So then you go and look at the circuit,
[53:10.080 -> 53:13.840] but you also go and look at the left and the right of the barrier where the holes are,
[53:13.840 -> 53:18.800] where the fences are, and that can take probably about two to three hours to do that properly.
[53:18.800 -> 53:23.840] And that's quite a long walk. And some of the races where there are night race, I might do that
[53:23.840 -> 53:28.300] twice because I like to do it in the day, but I also like to do it in the evening.
[53:28.600 -> 53:32.040] So generally on a Thursday, Thursday, we've got drivers arriving.
[53:32.040 -> 53:37.240] So as you saw with Kim Ilman, he just copied what I do really basically.
[53:37.900 -> 53:40.760] He does the drivers getting out the cars, drivers arriving in the
[53:40.760 -> 53:44.160] circuit, that's how he's made his name basically.
[53:44.360 -> 53:46.240] And then, um, obviously
[53:46.240 -> 53:50.640] then the drivers will go into the pits and paddock. We'll then go do the press conference.
[53:51.360 -> 53:55.520] I might go and do some technical pictures, but we weren't allowed in the pit. So we had to shoot
[53:55.520 -> 54:00.240] them from the pit wall, which was stupid, but we still managed to do it. Now we're allowed in the
[54:00.240 -> 54:07.760] pits sometimes on a Thursday and then you do your track walk. So it all sort of flows really, but then also you might have to do the press
[54:07.760 -> 54:08.320] conference.
[54:08.600 -> 54:11.840] Now, what they did with the press conference, you probably don't know again,
[54:11.840 -> 54:15.720] a bit of an insight is that if I, in the early days, I did quite a lot of press
[54:15.720 -> 54:16.320] conferences.
[54:16.640 -> 54:22.120] It was four and a half hours in the press conference room on your own with the
[54:22.120 -> 54:22.560] driver.
[54:22.880 -> 54:26.720] So you, a cameraman and one photographer, and that
[54:26.720 -> 54:32.000] was me, it was four and a half hours. And they'd come in their twos, you'd do 15, 20 minutes,
[54:32.000 -> 54:36.560] and the next two, next two. And it was constant. And we had to send the pictures on the back of
[54:36.560 -> 54:42.000] the camera because those pictures were for the world. So the pictures that you took in the pool,
[54:42.000 -> 54:50.400] it was called the FIE pool. So you did the pictures for the pool and then they were pulled out. You understand? So you're under pressure. So I did
[54:50.400 -> 54:55.760] Lewis when he won the championship in 2020. And that was a great moment to be in there when he
[54:55.760 -> 55:02.240] was almost crying. It was emotional actually to be in there to do that. I didn't do Max this year,
[55:02.240 -> 55:05.320] but I did quite a few of them again with the drivers.
[55:05.320 -> 55:08.560] And it's nice to be in there. Some of them are great. They give you a great reaction.
[55:08.560 -> 55:12.360] Some of them are giving the fist bump. I mean, some of them are really, I'll tell you what,
[55:12.360 -> 55:17.240] he was a really nice guy. I don't really know Mick Schumacher that well, but he always came
[55:17.240 -> 55:22.240] in when I was in there and fist pumped everybody. I mean, normally some of them come in there
[55:22.240 -> 55:29.440] and just do Tom Clarkson, the DFA guy cameraman. That's awesome. Everybody, Mac, Nick always did it to me as
[55:29.440 -> 55:34.240] well. And that was a really nice. And you see them in the garages as well. Yeah. See Daniel
[55:34.240 -> 55:39.920] Ricardo, you see, you see a lot of the drivers, this pumping all the mechanics when they get in
[55:39.920 -> 55:45.680] in the morning every day, because they got to have that trust and relationship with the
[55:45.680 -> 55:48.640] teams and the mechanics are so important.
[55:48.640 -> 55:52.280] Not even the engineers are that important really, it's the mechanics.
[55:52.280 -> 55:56.200] The driver has to rely on that mechanic for his life really.
[55:56.200 -> 56:01.560] He has to make sure that everything's correct on that car and done up and tight and to a
[56:01.560 -> 56:06.480] certain point and safe, you know, so the mechanics are so important and they work bloody hard.
[56:06.480 -> 56:09.120] They work harder than the photographers and anybody in Formula 1.
[56:09.200 -> 56:09.700] Of course.
[56:11.000 -> 56:14.280] They will get, they will get, so we, if we do a back to back race, they will get the
[56:14.280 -> 56:16.720] Monday off and Monday is a travel day.
[56:17.160 -> 56:18.800] So their day off is a travel day.
[56:19.200 -> 56:20.520] So it's not really a day off.
[56:20.800 -> 56:21.920] And they'll arrive in the hotel.
[56:21.920 -> 56:22.960] They'll have a lot of drinks.
[56:22.960 -> 56:25.200] I mean, Monday night can be their drinking night.
[56:25.200 -> 56:27.320] Just to give you a bit of a tip for Denver.
[56:27.320 -> 56:29.320] They deserve it.
[56:29.320 -> 56:36.560] They've had to pack everything up Sunday night until like 12, 1 o'clock, 2 in the morning.
[56:36.560 -> 56:41.440] Then get to the hotel, have a few hours sleep, get on the flight to go to the next race.
[56:41.440 -> 56:42.920] And then have that one day off.
[56:42.920 -> 56:43.920] Then they're in on Tuesday.
[56:43.920 -> 56:47.260] Then they work Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday, do it all again.
[56:47.260 -> 56:50.080] So you can imagine the triple-headed, how tired they are.
[56:50.420 -> 56:50.780] Yeah.
[56:51.220 -> 56:53.580] The photographers, slightly different.
[56:53.580 -> 56:55.540] We get Monday, Tuesday, Wednesday off.
[56:56.700 -> 57:00.520] We actually get three days, but if it's a new track, we might go to the circuit on the
[57:00.520 -> 57:02.300] Wednesday, but generally we'll get three days off.
[57:02.300 -> 57:06.040] So we, we are too bad to be honest, but we do work hard.
[57:06.360 -> 57:07.280] It's a long day.
[57:07.520 -> 57:08.160] It's so pretty.
[57:08.160 -> 57:10.480] Heck, generally a 12 hour day.
[57:10.640 -> 57:14.280] Uh, we work, I, I tend to get in early and leave late.
[57:14.680 -> 57:15.400] That's just the way I am.
[57:15.400 -> 57:16.840] I'm passionate.
[57:16.880 -> 57:21.660] I'm, I'm, I'm totally immersed in the whole thing of every formula one.
[57:21.660 -> 57:25.840] It's not just about the racing or the pictures of the car on track.
[57:25.840 -> 57:30.600] It's about the drivers. It's about, like you said, getting shots of Toto without a mask
[57:30.600 -> 57:38.280] or him, or Christian Horner or Jerry Horner or Jerry Halliwell or whatever she's called.
[57:38.280 -> 57:41.840] But anyway, it's the celebrities as well. It's everything that goes on one. And obviously
[57:41.840 -> 57:45.720] when we started having the fans back, it was the fans, Formula One.
[57:50.160 -> 57:54.800] Everything, Formula One and being a photographer is not just about cars on track. It's about everything, you know, and that to me, that's how, if he, if he's, you know,
[57:54.800 -> 57:58.840] that's the thing with Kim, Kim Ilman's great at taking the picture of the drivers arriving, but
[57:58.840 -> 58:01.560] he's not necessarily so good at action shots.
[58:01.560 -> 58:04.680] He's not so good at being in the right place at the right time.
[58:06.520 -> 58:13.320] You know what I mean? So it's about a photographer really in Formula One is about providing a whole package, providing
[58:13.320 -> 58:17.560] everything that goes on, showing that you can show showcase everything that goes on
[58:17.560 -> 58:18.560] in Formula One.
[58:18.560 -> 58:23.200] And even if it's a fan in the audience or whatever, or the drivers doing the donuts
[58:23.200 -> 58:26.680] or team celebrating on the pit wall or whatever, you know drivers doing the donuts, or team celebrating on the pit wall, or whatever,
[58:26.680 -> 58:27.960] or a different helmet.
[58:27.960 -> 58:30.080] I mean, all those helmet changes
[58:30.080 -> 58:32.000] that they get during the season now is crazy
[58:32.000 -> 58:34.480] because trying to photograph them is beyond,
[58:34.480 -> 58:36.040] you know, it's bonkers.
[58:36.960 -> 58:39.120] But yeah, that's the passion.
[58:39.120 -> 58:42.440] So tell me this, like, I was reading about this,
[58:42.440 -> 58:48.160] Vladimir Rais once said that he usually tries to follow shadows
[58:48.160 -> 58:52.120] and he's looking for those colors when he's chasing a shot.
[58:52.120 -> 58:56.280] But what is your mojo when you're trying to look for a shot?
[58:56.280 -> 59:02.440] Again, you've got, in Formula One, like in probably most sports, you've got different
[59:02.440 -> 59:04.760] photographers that do different things.
[59:04.760 -> 59:11.040] Now Vladimir is Red Bull's photographer. He's a Red Bull. He's what you call the Red Bull's own
[59:11.040 -> 59:17.680] artist. So he creates the artistic images really just for Red Bull. He's employed totally by Red
[59:17.680 -> 59:22.640] Bull. Originally he was employed by Getty, but now he's got to do it directly with Red Bull
[59:22.640 -> 59:26.600] to provide artistic, sexy, doesn't matter
[59:26.600 -> 59:29.120] what they are just totally wacky pictures.
[59:29.120 -> 59:34.080] They don't really care to be honest, they'll use anything that he shoots and you can see
[59:34.080 -> 59:37.200] him when you see him on track, you think what the hell is he doing?
[59:37.200 -> 59:38.320] What was he doing there?
[59:38.320 -> 59:43.600] You know, you just got to ignore him and just do your own thing.
[59:43.600 -> 59:48.080] I try to be artistic. I try to be artistic and shoot slow
[59:48.080 -> 59:53.440] shutter speed and get shadows and light, but it's not that easy when you've got to shoot
[59:53.440 -> 59:59.680] editorial pictures and sponsor pictures and team pictures and driver pictures and work for the
[59:59.680 -> 01:00:06.080] circuit. You can't be an artist and he's only an artist. He's creating artistic all the time.
[01:00:06.080 -> 01:00:07.080] Kim's doing his thing.
[01:00:07.080 -> 01:00:11.360] Kim's doing the drivers arriving at the circuit with the girlfriends or whatever.
[01:00:11.360 -> 01:00:12.800] Everyone's got their own thing.
[01:00:12.800 -> 01:00:19.280] I'm a sort of editorial stroke, media stroke, artist stroke, a bit of everything as you
[01:00:19.280 -> 01:00:20.280] can say really.
[01:00:20.280 -> 01:00:24.240] That's how I've always been really since the beginning.
[01:00:24.240 -> 01:00:26.000] Obviously shooting from film days, you know,
[01:00:26.000 -> 01:00:28.140] you've got to remember I've been shooting a long time.
[01:00:28.140 -> 01:00:30.280] I've gone from film to digital.
[01:00:30.280 -> 01:00:33.000] I've gone through the whole path of even both.
[01:00:33.000 -> 01:00:35.360] At one point we were shooting film and digital.
[01:00:35.360 -> 01:00:38.160] It was crazy, really, it was crazy.
[01:00:38.160 -> 01:00:41.960] And at one point when Sutton's was one of the biggest agents,
[01:00:41.960 -> 01:00:43.960] well, it was the biggest agency in Formula One,
[01:00:43.960 -> 01:00:49.800] we were shooting so many, one race, to give you an example, we shot 500 rolls of film.
[01:00:49.800 -> 01:00:50.800] Wow.
[01:00:50.800 -> 01:00:55.800] I can't tell you what year it was, 500. But it's not just the films, the cost of the films
[01:00:55.800 -> 01:01:00.720] first of all, they're about five pounds each. So that's two and a half thousand pounds just
[01:01:00.720 -> 01:01:10.080] on film. And another two and a half thousand pounds to profess. Then all the time of going through all those pictures, you've got to check every frame.
[01:01:10.080 -> 01:01:13.440] I'm just trying to work out how many pictures that is.
[01:01:13.440 -> 01:01:20.400] I'm going to work it out on my, on my, on my, that's 36 frames times 500.
[01:01:20.400 -> 01:01:25.960] I mean, it's not a lot, but that's 18,000 pictures. Wow. Wow. Wow. With your eye.
[01:01:25.960 -> 01:01:26.800] With your eye.
[01:01:26.800 -> 01:01:27.640] My God.
[01:01:27.640 -> 01:01:29.800] So it's all changed from those days.
[01:01:29.800 -> 01:01:31.120] And then we did duplicates.
[01:01:31.120 -> 01:01:32.640] So we would pick a pack of pictures.
[01:01:32.640 -> 01:01:33.960] So you pick the best.
[01:01:33.960 -> 01:01:35.480] We started with 24.
[01:01:35.480 -> 01:01:36.400] We went 48.
[01:01:36.400 -> 01:01:39.920] Eventually we got to 72 best pictures, and then we dupe them,
[01:01:39.920 -> 01:01:42.240] that's copy them 72 times.
[01:01:42.240 -> 01:01:47.920] So we were doing like 6,000, 7,000000 Jews on a Monday and sending them out by DHL
[01:01:47.920 -> 01:01:54.000] All over the world. That's before and that's how we got really big because people were using pictures everywhere
[01:01:54.360 -> 01:01:57.840] Double-page spreads and then digital came in and it changed it a little yeah
[01:01:57.840 -> 01:02:04.640] It's not as artistic really but it is down to the photographer. It is like you said, it's about choosing the line
[01:02:04.640 -> 01:02:05.000] It's about finding the right angles. It is like you said, it's about choosing the line.
[01:02:05.000 -> 01:02:07.960] It's about finding the right angles.
[01:02:07.960 -> 01:02:11.640] It's sometimes staying a little bit later in the evening at the races because you need
[01:02:11.640 -> 01:02:13.080] that golden light.
[01:02:13.080 -> 01:02:17.680] I mean, I'm hoping that the new rules that they've got coming in with the, with the three
[01:02:17.680 -> 01:02:23.920] day weekends, if you look at, if you look at FP2, it's a really late session.
[01:02:23.920 -> 01:02:28.720] If that, if that is the truth, I don't know, they've not announced anything yet, but the story
[01:02:28.720 -> 01:02:33.200] is going around that there'll be a three day weekend and FP2 will be quite late because
[01:02:33.200 -> 01:02:37.120] they have to combine what was a Thursday into a Friday.
[01:02:37.120 -> 01:02:41.720] They'll have to extend it a bit more, but the second session will be really late in
[01:02:41.720 -> 01:02:42.720] the evening.
[01:02:42.720 -> 01:02:47.240] So you've got 5.30 to 6.30 or 5.30 to 7 o'clock session,
[01:02:47.400 -> 01:02:48.640] which will be incredible.
[01:02:48.640 -> 01:02:49.480] The golden hour.
[01:02:50.760 -> 01:02:52.240] All the lights, you know, that light,
[01:02:52.240 -> 01:02:53.960] the sun will be just setting beautifully.
[01:02:53.960 -> 01:02:55.240] So we'll have to see.
[01:02:55.240 -> 01:02:57.880] So we'll be creating some really sexy pictures.
[01:02:57.880 -> 01:02:59.600] In Bahrain, we have that anyway.
[01:02:59.600 -> 01:03:00.440] Of course.
[01:03:00.440 -> 01:03:04.520] When testing, we get the beautiful sunset, golden light.
[01:03:04.520 -> 01:03:06.200] So yeah, we'll have to see what happens
[01:03:06.200 -> 01:03:11.480] But I'm hopeful fingers crossed that we have that some those new rules and right we can go a bit late
[01:03:11.480 -> 01:03:15.480] We'll save some money actually. Yeah, all the team will save a lot of ours. Yeah
[01:03:16.240 -> 01:03:18.240] rooms
[01:03:18.440 -> 01:03:23.560] Maybe the maybe the mechanics will actually get another day. Oh, yeah, and that would be awesome for them
[01:03:24.120 -> 01:03:25.060] Yeah, because we don't need to go to the tracks or Wednesday probably Maybe the mechanics will actually get another day off. And that would be awesome for them. Put work in their favor.
[01:03:25.060 -> 01:03:28.800] Because we won't need to go to the tracks on Wednesday probably.
[01:03:28.800 -> 01:03:30.380] So they'll get Monday, Tuesday off.
[01:03:30.380 -> 01:03:34.740] So actually everybody will work a lot better on a back to back.
[01:03:34.740 -> 01:03:38.660] On the topic of photography, one question I wanted to ask was to think about it like
[01:03:38.660 -> 01:03:43.760] F1 is literally the one of the fastest cars that are out there.
[01:03:43.760 -> 01:03:46.160] And photographs are still image as such.
[01:03:46.160 -> 01:03:49.240] And it's awesome to think about,
[01:03:49.240 -> 01:03:51.600] like, you know, even when I see photos,
[01:03:51.600 -> 01:03:54.080] we still see the speed of the car somehow.
[01:03:54.080 -> 01:03:55.260] It does feel like it.
[01:03:56.200 -> 01:03:57.880] Oops, here you go.
[01:03:57.880 -> 01:03:58.720] So how do you-
[01:03:58.720 -> 01:04:01.480] Yeah, that's about freezing it.
[01:04:01.480 -> 01:04:04.200] So you can either pick a fast shutter speed
[01:04:04.200 -> 01:04:05.120] and freeze the action. pick a fast shutter speed and freeze the action.
[01:04:05.120 -> 01:04:05.520] Yeah.
[01:04:05.560 -> 01:04:11.520] So faster to be, whether it's 500 to a thousand to slightly more, you freeze the
[01:04:11.520 -> 01:04:14.080] action and that's, that's, that's nice.
[01:04:14.080 -> 01:04:15.400] You know, that's what everybody wants.
[01:04:15.480 -> 01:04:19.720] Maybe race pictures, but then you've got Vladimir, he'll shoot a 15th or an eighth
[01:04:19.720 -> 01:04:21.840] of a second and it blurs the pictures.
[01:04:22.080 -> 01:04:28.960] So the cars necessarily going very fast, but because you've reduced the shutter speed,
[01:04:28.960 -> 01:04:30.360] it looks like you're going fast.
[01:04:30.360 -> 01:04:34.760] So he may pick a corner where it's a little bit slower, but he can reduce the shutter
[01:04:34.760 -> 01:04:37.560] speed and make it look like it's really fast.
[01:04:37.560 -> 01:04:42.840] So most Formula One cars, I think the maximum speed is like 230, which is similar to an
[01:04:42.840 -> 01:04:48.400] Indy car, but Indy cars are generally doing that on an OBS continually around that whole lap.
[01:04:48.400 -> 01:04:52.440] And IndyCar is quite difficult to shoot except for it's on a banking, but it's quite easy
[01:04:52.440 -> 01:04:53.440] to pan.
[01:04:53.440 -> 01:04:58.400] I mean, also about panning, you can have a faster to speed on panning if you need to
[01:04:58.400 -> 01:04:59.400] get the tire marks.
[01:04:59.400 -> 01:05:02.560] So we work for Pirelli, our company works for Pirelli.
[01:05:02.560 -> 01:05:07.600] So Pirelli want to see, or the Pirelli's blurred company works for Pirelli. So Pirelli want to see the Pirelli sign. Or
[01:05:07.600 -> 01:05:10.920] the Pirelli's blurred and what's the point of that? So you need to shoot past shutter
[01:05:10.920 -> 01:05:15.920] speed. So anything above a thousand will freeze that logo on the wheel. Yeah. A lot of people
[01:05:15.920 -> 01:05:20.440] don't like that. People like, well, the background looks like it's static. Is it moving? Do you
[01:05:20.440 -> 01:05:27.520] know what I mean? So you've got to keep everyone happy. So it's the same situation again about being artistic and being, you have to keep, but
[01:05:27.520 -> 01:05:30.000] also, you know, you've got to try and keep the sponsors happy.
[01:05:30.000 -> 01:05:32.000] You've got to try and keep the team happy.
[01:05:32.000 -> 01:05:36.800] And also editorially, editorially doesn't really, it doesn't matter, but it doesn't
[01:05:36.800 -> 01:05:38.260] matter so much.
[01:05:38.260 -> 01:05:41.400] It's more about keeping those sponsors and teams happy.
[01:05:41.400 -> 01:05:44.080] And then the rivals as well, because they pick up on the team's pictures.
[01:05:44.080 -> 01:05:46.720] But so yeah, so it's all about the shutter speed.
[01:05:46.720 -> 01:05:52.400] I'd say it's really about the shutter speed, excuse me, and how you work with that shutter
[01:05:52.400 -> 01:05:53.400] speed.
[01:05:53.400 -> 01:05:57.320] I mean, I've seen people, you know, like on their iPhones, they'll, they'll go up to a
[01:05:57.320 -> 01:06:03.440] corner and they'll, yeah, they can take a picture by just freezing it.
[01:06:03.440 -> 01:06:10.760] And you can do that. You literally can do that if you want and how do you do that? You increase the shutter speed?
[01:06:11.620 -> 01:06:14.340] Something like four five six seven thousand
[01:06:15.280 -> 01:06:21.740] Second and it will freeze up even if it comes right leave it on. So if you're shooting for a French and you can't move
[01:06:22.000 -> 01:06:23.380] Yeah
[01:06:23.380 -> 01:06:25.040] Yeah, I've done it a few places.
[01:06:25.320 -> 01:06:29.480] So one example was if you look at my Brazil picture of Daniel Ricardo, when he
[01:06:29.480 -> 01:06:33.800] came back on the slow down on the first lap, he came back, I just shoot it through
[01:06:33.800 -> 01:06:34.480] the fence.
[01:06:34.600 -> 01:06:35.480] I couldn't move it.
[01:06:36.040 -> 01:06:37.520] I thought I'll try and get something.
[01:06:37.760 -> 01:06:39.360] I'll whack the speed right up.
[01:06:39.760 -> 01:06:41.560] Keep my finger on there.
[01:06:41.600 -> 01:06:42.560] It's a wide shot.
[01:06:42.760 -> 01:06:44.720] And as he comes past, I just kept my finger on the phone.
[01:06:45.280 -> 01:06:50.000] Nice. I froze it, but you have to increase the speed and that's what a lot of guys.
[01:06:50.160 -> 01:06:54.080] So when the rally photographer shoot on a remote, they'll whack the shutter speed
[01:06:54.080 -> 01:06:58.200] right up to freeze the action when it's up in the air, they don't, they're not
[01:06:58.200 -> 01:06:58.600] panning.
[01:06:58.600 -> 01:07:01.960] See, so you can't, you can't panic on a, on a remote.
[01:07:02.240 -> 01:07:02.800] Interesting.
[01:07:02.920 -> 01:07:04.920] Are you going to get, yeah, that's, that's how it works.
[01:07:04.920 -> 01:07:05.000] So there you go. A little bit of an insight, get, yeah, that's, that's how it works.
[01:07:05.000 -> 01:07:06.000] So there you go.
[01:07:06.000 -> 01:07:08.000] A little bit of an insight, but yeah.
[01:07:08.000 -> 01:07:12.800] So it's about shutter speeds and I recommend that people experiment with shutter speeds.
[01:07:12.800 -> 01:07:16.240] One guy contacted me today on Instagram and sent me some pictures and I said, they just
[01:07:16.240 -> 01:07:17.240] all look a bit static.
[01:07:17.240 -> 01:07:18.240] You need to experiment a bit.
[01:07:18.240 -> 01:07:19.240] Drop shutter speed.
[01:07:19.240 -> 01:07:20.240] Just even just because it's on digitally, it doesn't cost you anything.
[01:07:20.240 -> 01:07:21.240] Once you spend the money on the camera, what have you got to do?
[01:07:21.240 -> 01:07:22.240] All you've got to do is put it in your computer and edit it.
[01:07:22.240 -> 01:07:23.240] I mean, you can look on the back of the camera and edit it.
[01:07:23.240 -> 01:07:24.240] You can look at the back of the camera and edit it.
[01:07:24.240 -> 01:07:26.800] You can look at the back of the camera and edit it. You can look at the back of the camera and edit it. You can look at the back of the camera and edit it. You can look at the back of the camera and edit it anything. Once you spend the money on the camera, what have you got to do?
[01:07:26.800 -> 01:07:29.120] All you've got to do is put it in your computer and edit it.
[01:07:29.120 -> 01:07:31.840] I mean, you can look at the back of the camera and see it.
[01:07:31.840 -> 01:07:35.880] Most cameras now, my Nikon, you can look on the back at 100%.
[01:07:35.880 -> 01:07:39.200] So what it will be on the screen, I can look straight away and see it.
[01:07:39.200 -> 01:07:40.200] I'd be sure.
[01:07:40.200 -> 01:07:41.880] That's, that's the key thing.
[01:07:41.880 -> 01:07:43.800] I know obviously you can put it into a computer.
[01:07:43.800 -> 01:07:45.440] So yeah, just experiment.
[01:07:45.520 -> 01:07:47.280] You know, what, what, what, what could you got to lose?
[01:07:47.520 -> 01:07:50.800] When I was shooting the film, it was costing 10 pound each time.
[01:07:50.840 -> 01:07:51.320] Yes.
[01:07:52.320 -> 01:07:53.880] And most of them did go in the bin.
[01:07:53.880 -> 01:07:58.440] You know, that's, that's the thing, you know, maybe 50% went in the bin, but
[01:07:58.440 -> 01:08:01.480] as it got better, it became 75%, 90%.
[01:08:02.000 -> 01:08:03.040] So you got better and better.
[01:08:03.040 -> 01:08:04.720] The more you shoot, the better you get.
[01:08:04.920 -> 01:08:06.440] It's like anything in this life.
[01:08:06.800 -> 01:08:09.160] It's like, you know, think about George Russell.
[01:08:09.160 -> 01:08:11.960] Now he's come up from carting all the way through his career.
[01:08:12.440 -> 01:08:13.720] He's got better and better.
[01:08:13.720 -> 01:08:14.040] Yes.
[01:08:15.280 -> 01:08:16.520] And now he's with the best team.
[01:08:16.520 -> 01:08:16.720] Yep.
[01:08:21.040 -> 01:08:22.200] We are the best team.
[01:08:23.960 -> 01:08:26.800] We'll see how he competes, but he will be up there.
[01:08:26.800 -> 01:08:27.800] He proved it at a testing.
[01:08:27.800 -> 01:08:32.240] I remember when he tested in Abu Dhabi for Mercedes for the first time, he was up there
[01:08:32.240 -> 01:08:33.240] with Lewis.
[01:08:33.240 -> 01:08:34.880] That's the key to it.
[01:08:34.880 -> 01:08:38.520] We don't know what tires or fuel he's on.
[01:08:38.520 -> 01:08:40.520] Testing is very false, but you have an idea.
[01:08:40.520 -> 01:08:43.160] If you see a car on track, you know it.
[01:08:43.160 -> 01:08:48.160] I can see on track if a car's quick. If it's got the right line, it sticks to the road,
[01:08:48.160 -> 01:08:54.720] if it's coming through that corner, bloody flat out quick and it's grip and I can see straight away it's a quick lap.
[01:08:54.720 -> 01:09:01.440] Even as a photographer, shooting, not watching. So now that everything's gone digital though,
[01:09:01.440 -> 01:09:05.800] but so how many, what's your click to print ratio now?
[01:09:05.800 -> 01:09:07.320] Because earlier everything was print,
[01:09:07.320 -> 01:09:08.760] but now how much do you print?
[01:09:08.760 -> 01:09:10.720] Well, you've got to remember,
[01:09:10.720 -> 01:09:12.920] I mean, my colleagues say I shoot too much,
[01:09:12.920 -> 01:09:13.760] my editors say,
[01:09:13.760 -> 01:09:16.320] it's probably true,
[01:09:16.320 -> 01:09:19.600] but it's a fact of life,
[01:09:19.600 -> 01:09:21.200] I'm probably like a machine gun.
[01:09:21.200 -> 01:09:26.640] I'm always waiting for that moment moment if you're not there ready.
[01:09:26.640 -> 01:09:34.320] I mean another example the way that my camera works is that the camera is always on autofocus.
[01:09:34.320 -> 01:09:39.920] The camera and the lens together is always on autofocus but I can manually adjust the
[01:09:39.920 -> 01:09:45.320] lens on the front button. So when I use the front button it's
[01:09:45.320 -> 01:09:53.820] not autofocus. Oh! Autofocus on the back button. So if anything ever happens I've got my back button to go
[01:09:53.820 -> 01:10:00.340] autofocus. The front button is manual, but I've always got autofocus there
[01:10:00.340 -> 01:10:05.000] because the lens will still work manually and with auto focus.
[01:10:05.000 -> 01:10:07.160] And the way you can always set it up as well,
[01:10:07.160 -> 01:10:09.480] if you're shooting slow shutter speed,
[01:10:09.480 -> 01:10:11.560] you can set one button on the camera
[01:10:11.560 -> 01:10:14.080] that gives you 500 straight away.
[01:10:14.080 -> 01:10:16.400] So even if you were shooting at a 15th,
[01:10:16.400 -> 01:10:17.240] if something happened,
[01:10:17.240 -> 01:10:20.240] you can flick straight away to 500 on another button.
[01:10:20.240 -> 01:10:22.560] So you've got auto focus on that back button.
[01:10:22.560 -> 01:10:24.280] You ask any of the sportsman over there,
[01:10:24.280 -> 01:10:25.320] they'll be shooting the same.
[01:10:25.760 -> 01:10:28.600] But you, you, you pre-settle the buttons.
[01:10:28.600 -> 01:10:35.080] So that is auto focus, but on the back button and it will still manually focus.
[01:10:35.080 -> 01:10:39.080] So most of the time when you're doing a pan shot, you just focus on the
[01:10:39.080 -> 01:10:40.840] ground and then you pan through.
[01:10:41.400 -> 01:10:42.840] You don't need auto focus.
[01:10:42.920 -> 01:10:48.760] It's just really for head on or for drivers walking towards you or for certain things.
[01:10:48.760 -> 01:10:51.400] You don't need auto-focus for say the press conference.
[01:10:51.400 -> 01:10:56.000] He's not moving really, but he may twitch a little bit either side.
[01:10:56.000 -> 01:10:57.000] It's more about the hand movements.
[01:10:57.000 -> 01:11:01.160] When I want to go to the press conferences, I always want to see a bit of hand movement.
[01:11:01.160 -> 01:11:08.560] When a driver's just stood there, some of them are told, some of the some immediate training is that they're told to put their hands there like that because then they
[01:11:08.560 -> 01:11:17.360] don't. Yeah. So tuck your hands in and don't do any movement. But I prefer, firstly, as you can
[01:11:17.360 -> 01:11:22.640] see now I've had a bit of immediate training, you prefer to see hand movements, whether it's like
[01:11:22.640 -> 01:11:26.160] this or like that, you know, you need to have interaction.
[01:11:26.440 -> 01:11:28.040] And that's why I look sometimes about Lewis.
[01:11:28.040 -> 01:11:29.640] He's got great interaction in the press.
[01:11:30.320 -> 01:11:31.800] Daniel Ricardo is another one.
[01:11:32.080 -> 01:11:36.320] He's laughing and joking and doing various crazy things.
[01:11:36.320 -> 01:11:39.680] But, um, um, some drivers never move the hands.
[01:11:39.680 -> 01:11:41.680] They're just static and it's not aura.
[01:11:41.680 -> 01:11:42.400] Give me, yeah.
[01:11:41.000 -> 01:11:42.000] Kimi? Kimi, yeah.
[01:11:42.000 -> 01:11:43.000] Kimi's gone.
[01:11:43.000 -> 01:11:50.000] I'm sure he's still loved by millions.
[01:11:50.000 -> 01:11:52.720] He's retiring on.
[01:11:52.720 -> 01:11:58.400] I guess the next ones to go, probably Fernando, probably Lewis.
[01:11:58.400 -> 01:12:00.880] Those are the next two oldest drivers.
[01:12:00.880 -> 01:12:02.680] Daniel's getting there as well.
[01:12:02.680 -> 01:12:03.680] Vettel too.
[01:12:03.680 -> 01:12:04.680] Vettel, yeah.
[01:12:04.680 -> 01:12:06.000] Sorry, Vettel. Speaking ofetteldo. Wetteldo. Wetteldo. Yeah, sorry, Wettel.
[01:12:06.000 -> 01:12:09.000] Hey, speaking of Daniel, I want to ask you this.
[01:12:09.000 -> 01:12:12.000] So you've said this multiple times.
[01:12:12.000 -> 01:12:15.000] You've got the famous belly flop image of him.
[01:12:15.000 -> 01:12:16.000] Belly flop.
[01:12:16.000 -> 01:12:19.000] Yeah, but what I want to ask you is,
[01:12:19.000 -> 01:12:20.000] what I want to ask you is,
[01:12:20.000 -> 01:12:22.000] you've said, and correct me if I'm wrong,
[01:12:22.000 -> 01:12:24.000] is you camped out at that place
[01:12:24.000 -> 01:12:29.800] because you knew this was going to happen. Well, we didn't camp out but all the photographers did.
[01:12:29.800 -> 01:12:33.520] But why did you choose that place because I've got a your photo has all the all the
[01:12:33.520 -> 01:12:37.080] photographers on the back and you're the only one sitting this side why was that?
[01:12:37.080 -> 01:12:42.920] Because if you imagine in front of me is the team shot yeah I was in
[01:12:42.920 -> 01:12:46.440] the middle so the other photographers from agency, one was at the back.
[01:12:47.880 -> 01:12:48.400] That's smart.
[01:12:48.720 -> 01:12:49.220] Yeah.
[01:12:49.320 -> 01:12:53.160] So, so I'm next to the Red Bull photographer, Mark Thompson, who works for
[01:12:53.160 -> 01:12:55.040] Gatsby, he shoots for Red Bull.
[01:12:55.240 -> 01:12:57.280] I know everyone looking at him.
[01:12:57.720 -> 01:12:58.220] I'm next.
[01:12:58.720 -> 01:12:59.800] I'm going to get it in smart.
[01:13:00.280 -> 01:13:03.760] I think there was an Italian photographer who did actually get my picture.
[01:13:03.760 -> 01:13:05.280] He gets in our pictures a lot.
[01:13:05.280 -> 01:13:06.280] Cripper, Alberto Cripper.
[01:13:06.280 -> 01:13:10.560] Sometimes it's a bit of a smash in the head.
[01:13:10.560 -> 01:13:12.520] But that's Italians for you sometimes.
[01:13:12.520 -> 01:13:16.520] But Alberto Cripper gets in the picture a lot.
[01:13:16.520 -> 01:13:18.960] And he's in my picture on the belly flop.
[01:13:18.960 -> 01:13:20.440] I had to crop it a little bit.
[01:13:20.440 -> 01:13:23.240] But yeah, so originally it was the picture of the whole team.
[01:13:23.240 -> 01:13:25.300] And then people started jumping in and then
[01:13:29.800 -> 01:13:31.800] Eventually Daniel turned up and he just went to the edge and I didn't know where he was gonna go They don't know where someone's gonna go and do it
[01:13:31.800 -> 01:13:34.760] You could have done it in the middle in front of me and I would have been a head-on shot
[01:13:34.760 -> 01:13:40.980] I might have not got it. I was actually on a fourth. I was on that 14 millimeters about I was actually on my lens
[01:13:40.980 -> 01:13:42.980] So I've actually got Alberto Kripper in it
[01:13:44.340 -> 01:13:49.560] He's lean for last as all as he does all the time, he leans forward into your picture.
[01:13:50.120 -> 01:13:51.600] He's a sack across the head, you know.
[01:13:51.600 -> 01:13:54.400] Anyway, sometimes.
[01:13:54.920 -> 01:13:58.120] But the belly flop was just a sequence of pictures, you know.
[01:13:58.320 -> 01:14:00.200] Some people have got it in the back, some have got it in the front.
[01:14:00.400 -> 01:14:02.880] And yeah, I mean, obviously I posted that.
[01:14:02.880 -> 01:14:03.800] Daniel loved it.
[01:14:03.800 -> 01:14:07.040] I mean, I was working for Formula One at that time, so they posted it.
[01:14:07.480 -> 01:14:10.160] And, um, I thought it'd be great charity pitch.
[01:14:10.160 -> 01:14:14.640] And so I went to see Daniel, I think two races later in Germany.
[01:14:15.160 -> 01:14:17.320] And, um, I said, would you sign it?
[01:14:17.320 -> 01:14:19.000] And he said, yeah, I'm going to do it for charity.
[01:14:19.000 -> 01:14:19.960] Sign five for me.
[01:14:19.960 -> 01:14:22.560] Cause I've got five for charity and then sign one for me.
[01:14:22.560 -> 01:14:24.600] I said, just put a little comment on there.
[01:14:27.720 -> 01:14:30.880] He said, Mark, I'm an early flower.
[01:14:32.160 -> 01:14:34.360] It's a great moment. That's very in character for Daniel.
[01:14:34.360 -> 01:14:37.200] And also and also my photographer,
[01:14:38.480 -> 01:14:42.200] Manuel, Manuel, Manuel Gorilla is a is a great
[01:14:42.480 -> 01:14:44.400] Australian photographer lives in Perth.
[01:14:44.400 -> 01:14:45.440] He worked in Formula One for
[01:14:45.440 -> 01:14:51.840] about three years with me. And he took Daniel's picture in Monaco where he stood on the car
[01:14:51.840 -> 01:14:56.800] and he's gone like that on this full length shot, beautiful picture. And Daniel used it,
[01:14:57.600 -> 01:15:06.080] but didn't credit it. So when he went to see him, it's like twofold, you know? So when he went to see him, it's like twofold, you know, so when he went to see him, I said,
[01:15:06.080 -> 01:15:10.800] Oh, can you do one to Manuel, but can you also put a common one?
[01:15:10.800 -> 01:15:14.040] And he did one thing and then he put redemption.
[01:15:14.040 -> 01:15:19.280] So it means redemption because Handel sort of won two years before, shouldn't he?
[01:15:19.280 -> 01:15:24.560] But he had a missed pit stop and that's redemption for that, but also redemption because he didn't
[01:15:24.560 -> 01:15:25.440] credit him. And I told because he didn't credit him.
[01:15:25.440 -> 01:15:30.160] And I told him the story about no credit. He went, yeah, well, he means two things.
[01:15:30.160 -> 01:15:34.400] So he's got that. He signed it the same time as he's got that. I gave that to him.
[01:15:35.200 -> 01:15:40.080] And then obviously the year later, we, sorry, the previous year we've done the golden moment.
[01:15:42.080 -> 01:15:46.720] Golden moment with Lewis next year, Lewis signed ten of them. He didn't want the five
[01:15:46.720 -> 01:15:48.560] I'd given Louis five he didn't want him
[01:15:48.560 -> 01:15:51.720] So I got ten so ten of them signed to charity which is great
[01:15:51.720 -> 01:15:54.680] And then the year after was the max one. Yes the two max one
[01:15:56.280 -> 01:15:57.600] Yep
[01:15:57.600 -> 01:16:02.320] So I've missed two years. I need to bring them back at some point this year
[01:16:03.040 -> 01:16:07.840] Hopefully, I mean they've been signing some stuff stuff, but I didn't want to push it.
[01:16:07.840 -> 01:16:08.040] Right.
[01:16:08.040 -> 01:16:10.600] But then, so I want to bring that back.
[01:16:10.680 -> 01:16:12.920] So you say that you've missed something.
[01:16:12.920 -> 01:16:16.960] And on that note, the thought that comes to my mind is obviously you can't be
[01:16:17.160 -> 01:16:19.880] everywhere on a track when so much is happening.
[01:16:20.200 -> 01:16:23.000] What have been your like some, Oh shit, I just missed this.
[01:16:23.000 -> 01:16:23.600] I should be.
[01:16:25.800 -> 01:16:27.280] I'm not even sure to tell you.
[01:16:33.440 -> 01:16:35.360] There's one really famous moment.
[01:16:35.600 -> 01:16:37.760] Well, there's a couple of moments actually.
[01:16:38.920 -> 01:16:40.800] Now I'm trying to think which one should I tell.
[01:16:43.240 -> 01:16:47.680] Going back, going back, going back to the moment where I was shooting film
[01:16:48.880 -> 01:16:56.880] and I was at the end of the race in Monza. It's when Christian Fittipaldi went up the back of,
[01:16:57.680 -> 01:17:03.600] I'm not even sure, might have been Pierluigi Martini in the Minardi, and he went up the back
[01:17:03.600 -> 01:17:05.600] of him and went through the air like that and then
[01:17:05.600 -> 01:17:12.720] landed on the ground upside down across the line. Yeah. And yeah. And I'm going to go in a minute.
[01:17:12.720 -> 01:17:22.240] Anyway. So this is my last story, if you don't mind. Anyway. So, yeah. I was shooting films.
[01:17:22.240 -> 01:17:25.200] I used to put one role in and in those days you could shoot
[01:17:26.800 -> 01:17:28.480] leave it on without putting a film in.
[01:17:32.480 -> 01:17:37.360] I followed the car, flipping in the air, in autopilot, landed on the ground, an incredible
[01:17:37.360 -> 01:17:43.600] sequence, I go oh I've got the whole lot, I'm so happy, it's brilliant, it's amazing, it's amazing
[01:17:43.600 -> 01:17:46.560] and I go to open the back of the camera and it's
[01:17:46.560 -> 01:17:55.040] not there man no film inside can you believe that's what it is so yeah it's uh it's an amazing story
[01:17:55.040 -> 01:18:00.720] and uh one I'll never forget but everyone makes mistakes this life is about making mistakes
[01:18:00.720 -> 01:18:05.440] you learn by your mistakes your mistake was don't have a camera where you can't put film.
[01:18:07.200 -> 01:18:11.160] So now you can, you've got a custom function button where it stops.
[01:18:11.160 -> 01:18:12.440] You've been taking any pictures.
[01:18:12.760 -> 01:18:14.520] If you haven't got a card in it, that's nice.
[01:18:14.520 -> 01:18:14.640] Yes.
[01:18:16.880 -> 01:18:21.080] If the camera has been reset, it comes back to you.
[01:18:21.280 -> 01:18:22.120] You shoot something.
[01:18:22.440 -> 01:18:26.680] Another example, not my, not my sequence, but one photographer that worked for
[01:18:26.680 -> 01:18:30.680] Sutton's, um, he does actually work back in Formula One, used to work for Sutton's.
[01:18:31.520 -> 01:18:32.880] He was there in Australia.
[01:18:33.760 -> 01:18:37.400] He put the camera down and then Michael Schumacher came towards him in the
[01:18:37.400 -> 01:18:39.680] Ferrari and barrel rolled, he put them in.
[01:18:40.200 -> 01:18:43.480] He went to pick the camera up, the camera had gone into silent mode.
[01:18:43.800 -> 01:18:45.040] So sometimes in the old days, the the camera gone into silent mode. So sometimes in the old days
[01:18:46.880 -> 01:18:51.560] They took him two seconds about two or three seconds for the camera to wrapped in
[01:18:52.200 -> 01:18:55.080] The camera just the car the car just hit the top
[01:19:01.160 -> 01:19:05.840] Functions of the buttons of the camera, not reading his manual probably.
[01:19:05.840 -> 01:19:08.840] Like most men, they never read the manual.
[01:19:08.840 -> 01:19:12.840] So yeah, there you go.
[01:19:12.840 -> 01:19:15.840] So that's an antidote of...
[01:19:15.840 -> 01:19:16.840] Go on, fire away.
[01:19:16.840 -> 01:19:19.840] No, I know you have to go.
[01:19:19.840 -> 01:19:20.840] I'm going to go now.
[01:19:20.840 -> 01:19:22.840] Yeah, but one thing before we wrap this up.
[01:19:22.840 -> 01:19:31.000] You've been through almost all F1 eras, four decades in this, which one has been your favorite F1 era?
[01:19:37.000 -> 01:19:50.800] I think not eras, but because I tried to do it year on year out. I think last year, I think the first year, my first year, 1992,
[01:19:50.800 -> 01:19:56.000] Nigel Mansell's year, five Grand Prix's he won, the first five Grand Prix's. That was
[01:19:56.000 -> 01:20:08.960] my first famous year, Flying Finn, 93. I'm going tozenberg's tragedy. So, I mean, to me, last year was just incredible.
[01:20:09.360 -> 01:20:10.880] It was tense every race.
[01:20:10.880 -> 01:20:15.840] It was one of the mind blowing seasons of ever I've covered in Formula One.
[01:20:16.200 -> 01:20:17.640] And I think that's what I'm going to stick by.
[01:20:17.720 -> 01:20:20.800] Netflix is going to be just incredible.
[01:20:21.080 -> 01:20:22.440] I can't wait to watch that.
[01:20:22.440 -> 01:20:23.480] Everyone's waiting for next year.
[01:20:23.480 -> 01:20:29.000] Last year was incredible. And I was just so happy to be there at every Grand Prix.
[01:20:29.000 -> 01:20:30.000] And I'm really thankful.
[01:20:30.000 -> 01:20:35.000] The FIA, Formula 1, and to my company, Motorsport Network.
[01:20:35.000 -> 01:20:39.760] And if you want to go and see any of the images, they're on motorsportimages.com.
[01:20:39.760 -> 01:20:42.520] And my Instagram, I'm going to get it in.
[01:20:42.520 -> 01:20:46.320] At Toph1Sutton, if you want to go and see my Instagram posts this year,
[01:20:46.920 -> 01:20:50.160] and going to be more interactive at the tracks, still give you the, the, the,
[01:20:50.160 -> 01:20:54.000] the behind the scenes and nice talks through the circuit and things like that.
[01:20:54.000 -> 01:20:55.320] So it's going to be great, great year.
[01:20:55.600 -> 01:20:57.040] I'm not sure about spa.
[01:20:57.320 -> 01:21:00.040] I'm going to say, I'm not looking forward to spa.
[01:21:00.160 -> 01:21:02.080] I know who destroyed it.
[01:21:03.520 -> 01:21:04.320] What have they done?
[01:21:04.720 -> 01:21:06.080] What have they done to my Oru?
[01:21:06.080 -> 01:21:07.280] Oh, no.
[01:21:07.280 -> 01:21:09.840] Oh, yeah. They're going to change that too.
[01:21:09.840 -> 01:21:14.880] I'm looking forward to going back to Australia, to Melbourne. I love Melbourne. It's beautiful.
[01:21:14.880 -> 01:21:15.360] Yes.
[01:21:15.360 -> 01:21:18.880] It's just, it always used to be great to go there for the first race, but anyway,
[01:21:19.680 -> 01:21:22.800] it just works very well with Bahrain and the testing and everything. So,
[01:21:24.240 -> 01:21:29.120] yeah, it should be a great season. Miami. Miami's going to be incredible as well. I'm really looking forward to Miami.
[01:21:29.120 -> 01:21:33.440] I think my kids are going to come to Miami for the Grand Prix. If I can get them tickets.
[01:21:34.000 -> 01:21:41.040] My girlfriend doesn't want to hear that. Mark, this has been, thank you so much.
[01:21:41.040 -> 01:21:48.960] All the insights that you've shared have been awesome. My pleasure guys. Great to chat and I'm looking forward to the new cars, the new season ahead.
[01:21:48.960 -> 01:21:51.400] It's going to be absolutely incredible.
[01:21:51.400 -> 01:21:54.640] Just keep watching my Instagram and we're going to have fun and we're going to hopefully
[01:21:54.640 -> 01:21:57.120] watch this very, very soon on YouTube.
[01:21:57.120 -> 01:22:00.720] Yeah, YouTube, Apple, Apple Podcasts, Spotify.
[01:22:00.720 -> 01:22:01.720] Spotify everywhere.
[01:22:01.720 -> 01:22:02.720] It's going to be everywhere.
[01:22:02.720 -> 01:22:03.720] It's going to be everywhere.
[01:22:03.720 -> 01:22:04.720] All over the world.
[01:22:04.720 -> 01:22:06.000] Yes, yes. And thank you for
[01:22:06.000 -> 01:22:08.000] hopefully a lovely relationship
[01:22:08.000 -> 01:22:10.000] we've built with F1 Fan Fiction and Mark
[01:22:10.000 -> 01:22:12.000] Sutan. So, thank you so much.
[01:22:12.000 -> 01:22:14.000] Thank you so much for joining us.
[01:22:14.000 -> 01:22:16.000] Thank you. Cheers. Bye.
[01:22:16.000 -> 01:22:18.000] Thank you.
[01:22:18.000 -> 01:22:20.000] This is F1
[01:22:20.000 -> 01:22:22.000] Fan Fiction signing off.
[01:22:22.000 -> 01:22:34.800] Bye. FanFiction signing off. Bye!