Bradley Ray at Snetterton, framed through the eye of a spectator during British Superbikes. On a circuit that does not give photographers much to work with, the composition does the heavy lifting here. Credit: Michael Clarke Photography
Michael Clarke spends much of his season photographing British Superbikes and Bemsee rounds, with the off-season taking him to motocross and enduro events as well. But the way he sees motorcycle racing was shaped by more than motorsport alone. Before racing became his main focus, he spent years shooting landscapes, street photography, and portraits, and that still shows up in the way he works now.
Niccolò Antonelli at Donington Park during World Superbikes, caught through a slow shutter pan that lets the surrounding figures and gazebo hold the frame without distracting from the rider. Credit: Michael Clarke Photography
What Catches My Eye at the Track
When I’m at a bike event, there usually isn’t one single thing that catches my eye first. Sometimes it’s the way the light is hitting someone. Sometimes it’s the way a rider, mechanic, fan, or bike is framed for a second. A lot of it just comes down to being aware of what is happening around me and being ready when something lines up.
Scott Redding on the grid at Donington Park during World Superbikes, locked into the quiet pre-race focus before the lights went out. It was also his final WorldSBK weekend before moving across to British Superbikes for the rest of the season. Credit: Michael Clarke Photography
More Than Speed and Impact
A lot of motorsport photography is built around speed and impact, and that is part of it. But the images that feel the most human to me usually come from emotion, especially before and after the races. With motorcycle racing, that side of it is always there. You can see it in the way riders move on the bike through corners, and sometimes in their eyes if the visor is clear enough.
The paddock shows a different side of things. Away from the noise and speed of the track, you get a better sense of the people around the rider. On track, you mostly see the individual. In the paddock, you see the team, the waiting, the tension, and the smaller moments that say a lot without looking dramatic.
Storm Stacey at the Melbourne Loop during British Superbikes at Donington Park, his bike breathing fire on corner entry. The flame gets the attention, but the clear visor gives the image its pull, with Stacey’s eyes visible through the turn. Credit: Michael Clarke Photography
The Shots That Stay With You
For me, the photo that stays with you isn’t always the one that is technically perfect. You can have a crystal-clear image that doesn’t really leave much behind. Some of the shots I value most are not perfect at all. Sometimes a composition appears and you have to react quickly. The aperture might not be exactly where you want it, or the ISO might end up higher than you wanted, but you got the moment. I’d still rather have that than miss it trying to make everything perfect.
I come back to fans a lot. Their reactions and gestures are some of my favourite things to photograph. I also keep coming back to the quiet moments on the grid before a race starts, especially between the rider and the team. There can be a lot happening there, even when it looks still.
Ryan Vickers, Danny Kent, and Tommy Bridewell on the cool down lap at Brands Hatch during British Superbikes. Vickers and Kent meet in celebration while Bridewell sits dead centre in the background, acknowledging the crowd. Credit: Michael Clarke Photography
Read the Full Story in TrackDNA Issue 2
That’s what I keep coming back for. Not only the action, but everything around it that gives the sport its human side.
Read the full story in our upcoming Issue 02.
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