Why not?
Was the thought as I copied the Snetterton race schedule onto my phone. Let’s go and shoot the event with my Rolleiflex 2.8f. It can’t be too hard can it?
A keen supporter of Motorcyle racing since my Dad took me on a family outing to Mallory Park, Leicestershire in the late 70’s. We got to see a round of the Transatlantic Trophy, Britain versus the USA, during the era of Barry Sheene. A days worth of action captured, on Kodachrome using my trusty Kodak Instamatic.
Several terabytes of digital images later, how many motorcycle road racing shots does a man need? I am drawn back into the world of film. As I age, I have developed a rather strange belief, that the process of photography should be a challenge. I want to feel that I have had an input into the end product, its just not satisfying if its too easy, looking at you iPhone!
There is something strangely rewarding in being constrained to one camera/lens/film roll in covering an event. One benefit of using the Rolleiflex is the focal length of the lens, you are forced into taking environmental shots giving some context of the location as well as the event. Pit access being the exception where portrait shots are possible.
Was it fun? It was certainly challenging, shooting through a chain linked fence requires a specific approach in ensuring the taking lens is not obscured, as opposed to the viewing lens you are framing the shot with. Perhaps the biggest change to the digital world was just the number of people that wanted to stop for a chat. ‘My grandad had one of those,’ was one of my favourites comments.
Would I do it again? I am undecided, rather selfishly intending to use any feedback I receive here as my guide. Thanks for viewing.
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Paul Quellin on TLR Challenge – British Superbikes with a Rolleiflex 2.8f
Comment posted: 29/03/2025
I live in the Isle Of Man. In 2024 I decided to try to shoot the MGP on film. I even began with a vague notion of vaguely matching cameras to relevant eras with the bikes, but that was just fanciful for so many reasons. I did shoot some rolls on 35mm and I used my Mamiya C220 for some with mixed results. I think you choose exactly the right subjects for the Rolleiflex. Capturing the event and the atmosphere is important and a TLR might have a number of advantages for that. There is always a fear of missing out on a great bike shot... riders eyes through the visor whilst cranked over etc. I generally go out for TT and MGP races with some quite serious and very heavy digital kit, but this year I'll use the Mamiya more for spectator and perhaps paddock scenes. Race fans do though tend to be quite mechanically minded and I have found old cameras can attract friendly attention. This is nice of course, but can also happen at just the wrong moment. I tried some panning shots of bikes at a slightly slower point with the Mamiya. I wasn't a million miles out and the success rate was inevitably lower than my Canon 1DX mkii, mainly because I just didn't have many frames to choose from.... one pan, one button press. I decided that it noble idea for the racing, but probably unaffordable. I still to digital or the Canon EOS 5 with a modern lens attached for the racing and the Mamiya and others for the atmosphere.
I enjoyed the photos you included and they reflect the TLR strengths. Bikes on the move... I think its too high a loss rate, but it is so important someone captures the atmosphere. I think you have done that with the Rolleiflex.
Thank you
Comment posted: 29/03/2025
George Rogers on TLR Challenge – British Superbikes with a Rolleiflex 2.8f
Comment posted: 29/03/2025
Comment posted: 29/03/2025
Comment posted: 29/03/2025
Philip Harvey on TLR Challenge – British Superbikes with a Rolleiflex 2.8f
Comment posted: 29/03/2025
I'm going to the le mans classic in July and will be using a Yashica Matt to capture the atmosphere.
this will be my 6th trip to this event and I've used digital mostly so have plenty of close up shots of great cars going around the track.
limiting myself to this format and lens will make me work to get some good pictures.
I will probably go for a mix of black and white and colour film thought.
thanks for the inspiration and showing it's possible.
Comment posted: 29/03/2025
Curtis Heikkinen on TLR Challenge – British Superbikes with a Rolleiflex 2.8f
Comment posted: 29/03/2025
Comment posted: 29/03/2025
Art Meripol on TLR Challenge – British Superbikes with a Rolleiflex 2.8f
Comment posted: 29/03/2025
Comment posted: 29/03/2025
Geoff Chaplin on TLR Challenge – British Superbikes with a Rolleiflex 2.8f
Comment posted: 29/03/2025
Comment posted: 29/03/2025
Andrew B on TLR Challenge – British Superbikes with a Rolleiflex 2.8f
Comment posted: 29/03/2025
Comment posted: 29/03/2025
Scott Ferguson on TLR Challenge – British Superbikes with a Rolleiflex 2.8f
Comment posted: 30/03/2025
I loved this post and the creative process that went into it, and ultimately love the photos you created. I shoot 35mm (with an M3) and medium format (with a Hasselblad) and both feature interchangeable lenses. I don't currently have a TLR, but am very interested how different camera systems influence the process and results of the photos one takes with them. I am fascinated by how you leaned into the limitations of a fixed lens TLR and some of the hurdles you were dealing with to make sure you were aware of the taking lens as you worked to create very precisely framed and focused images. I love the layers of depth and detail in every shot, and that you see what is ostensibly the main event -- speeding motorbikes on a track -- deep in the frame seen through layers of foreground detail, whether it's a chainlink fence, trees or the crowd of racing fans. Like many on 35mmc, I'm relatively recently returned to shooting film, and through a combination of luck/gifts and a bit of beginners GAS, I've accumulated a variety of lenses for both cameras, including some interesting vintage bargain Leica lenses from 1949-1960, as well as a couple of 21st century lenses that were a bit more of a $ stretch, and lenses ranging from 60mm - 250mm on the Hasselblad. While there is something amazing about being able to look at a scene or situation and swing a lens to get a more perfect frame, if you are carrying around 3-4 lenses and like shooting with filters, the process can become incredibly fumbly and the time I spend groping through all of my pockets looking for the lens cap or the back cap or switching the LTM adapter from the 50mm to the 28mm is taking away from the time I'm spending looking through the viewfinder and thinking about what I'm trying to capture in front of me. I've been thinking of trying to reduce the amount of gear I take out with me when I go out shooting, and your post is inspiration for embracing a single lens and letting the limitations turn into virtues. Thank you!
Comment posted: 30/03/2025
Comment posted: 30/03/2025
Comment posted: 30/03/2025
Jeffery Luhn on TLR Challenge – British Superbikes with a Rolleiflex 2.8f
Comment posted: 31/03/2025
Shooting a racing event with a TLR is a challenge!! I think you did a good job. The shot of 'sidecars in the pit lane' was my favorite. The portrait of Peter Hickman was very good. All of the images had great sharpness and tonal scale.
Back in the 1970s I was shooting for the San Francisco Chronicle newspaper and the sports section always did a spread on races at Laguna Seca and Sears Point. Of course the editor always wanted spin-outs and crashes. I photographed the grandstands collapsing one day and many people were seriously injured. Racing fans were hopping mad about showing that. I agreed. it didn't belong in the sports section!
I feel there was more interest in motor sports back then. Maybe it's just me, but it seems there's more spectator sports to see and more video games competing for attention today. That's why I enjoyed your pix.
Comment posted: 31/03/2025
Myles on TLR Challenge – British Superbikes with a Rolleiflex 2.8f
Comment posted: 31/03/2025
Comment posted: 31/03/2025