Archive for September, 2009

Driving Mr. Haywood

Sunday, September 13th, 2009

Student of Speed that I strive to be, I’ve had the luck to log innumerable laps of track instruction alongside many superb wheelmen. Bob Bondurant, Danny McKeever, Jacques Couture, David Murry, Al Unser Sr., Parnelli Jones, Peter Gregg…I’ve learned much by revealing my ineptitude to people fully qualified to criticize me.

But the toughest passenger I’ve had is Hurley Haywood.

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The man brooks no fault. See, unlike commercial schoolmasters, who tend toward tolerance, Hurley wastes no concern on nurturing repeat business. He works for Porsche, a hard bunch anyway, and feels no need for soft soap. Drive around with Mr. Haywood and you hear precisely what he thinks of your driving.

HH has the credentials, for sure. Think of all those wins at Daytona, Sebring, Le Mans. I think of Road Atlanta and riding as his passenger in a race-prepped Nissan 300ZX. “I’ve never driven one of these,” he remarked cheerfully as we blasted away from the pits. By Turn 5 he was its master.

I’ll admit our scholastic relationship got off on the wrong foot. The first time I strapped in to his left, some years ago in a 996-type 911 at Willow Springs, out of habit I used our warm-up lap through the long, long Turn 2 to see what this model did if I lifted the throttle.

You’d think I’d kicked his dog.

“WHAT THE HELL ARE YOU DOING???” he inquired conversationally. “YOU NEVER, EVER DO THAT!!!” he offered helpfully.

Sensing there was no point in attempting to explain myself, I shut up and planted my foot. Driven like that it was quite a nice car. Hurley kept on muttering, but didn’t actually yell at me again.

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Next time we met over a gear lever was at California Speedway’s infield course in Fontana. I’d never so much as seen a map of the lap, and the car was an evilly-glinting new Carrera GT. Priced at $440,000. Packing 605 hp.

“BE CAREFUL!!!” were his first words of counsel.

That outburst was provoked by my getting on the gas in the wrong place. Even 302.5 hp was too much, and the silvery serpent let us know it. Viciously.

A couple of corners later, the Haywood hand appeared atop the steering wheel and yanked us onto the correct line.

We proceeded on around our five allotted laps. Long laps. He might have spoken gently to me once or twice more, I don’t know, my brain was all froze up.

The good news was, Porsche’s program for the day paired us up five more times in five more cars. A great day of driving great machines under the guidance of one of the greatest, most accomplished drivers in the history of sports car racing.

I kept fancying he hid a wince every time he recognized me sliding in beside him.

Tough love does work. Like a horse under the lash, I knew I had to step up. I tried to raise my line-learning pace, tighten my apexes, widen my perceptions. During our second five-lap session, in a 997 Coupe, I think, a third fist only appeared under my nose once, and I only detected a couple of angry shouts.

By my third run, Mr. Haywood was confining his guidance to hand signals.

Our fourth car was a Boxster S (it was my favorite), and at one glorious moment, as I finished throwing us through a sequence, the corner of my eye caught a subtle nod of approval.

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And all around all five laps of our very last session, Hurley’s hands remained in his lap and he didn’t utter a sound until we stopped and I was climbing out of a very fine 911 Cabriolet. Then I distinctly heard him say, “Good job.”

I wear those words like a medal on my puffed-out chest. Coming from Mr. Haywood, they carry worth.

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Story and all photos © by Pete Lyons

(From a story first published in 2007 on the AutoWeek magazine website, www.autoweek.com)

Some published work …

Monday, September 7th, 2009

FAST LINES

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Bruce’s Legacy

by Pete Lyons

Bruce Leslie McLaren won the first-ever Grand Prix of the United States in 1959, but really established his life’s legacy eight years later. It was September 3, 1967, at Road America when his Can-Am team began a five-year run of dominance in the fastest kind of road racing the world had ever seen.

So strong and so solid was the foundation laid then that McLaren remains one of the greatest names in motorsports today.

Kiwis can be crusty (they’re not alone in this), but Bruce was blessed with one of the sunniest natures ever to venture north from New Zealand. Open of face, friendly of manner, self-effacing and always on the brink of a laugh, he had a gift for bringing talented and ambitious racers—not the easiest of personality types—together in a loyal, tight-knit, intensely competitive team.

McLaren also stood out for blending exceptional driving ability with his education in engineering. He was always bubbling with ideas to improve his cars, which he would then personally evaluate at speed. Yet, entirely typical of the man, he would grinningly discount himself in both areas. Bruce showed no reluctance to hire drivers even faster than he was, and when discussing new concepts with his designers and fabricators he’d say, “Make it simple enough even I can understand it!”

The simple, sturdy, eminently pragmatic racing cars his company turned out reflected Bruce’s own straightforward approach to life.

Born in August 1937, the son of an Auckland garage owner, McLaren started competing with his own small Austin car at 16. By 20 he was driving Cooper racing cars, and in 1958 won his enthusiastic nation’s annual driver-to-Europe scholarship program. Cooper gave him a Formula 2 ride, and he did so well that in 1959 they moved him up to F1 to partner Jack Brabham.

That was Black Jack’s first championship season, of course, but at the British GP young Bruce set fastest lap and finished third. Then, at Sebring in the inaugural U.S. Grand Prix right at the end of the year, McLaren was holding second when Brabham ran out of gas. Presto, the 22-year-old rookie was a winner.

That early success in America seems to have set a path for McLaren, as he went on to be a major player in professional sports car racing in both the U.S. and Canada. While still at Cooper, on the side he become a constructor in his own right. With a small group of buddies, including Americans Tyler Alexander and Teddy Mayer, he further modified a former Cooper F1 chassis that Roger Penske had turned into a sports racer (the “Zerex Special”) by installing Oldsmobile’s aluminum V8.

Dubbed the “Jolly Green Giant,” this unabashed hot rod promptly won its first race at Mosport in 1964—Bruce beating the likes of Jim Hall in a Chaparral and A.J. Foyt in a Scarab.

That fall McLaren finished his first all-McLaren sports car, the M1A. This and successors earned good money in North America and elsewhere through early 1966, but when the big-bucks Canadian-American Challenge Cup series launched in September of that year, Bruce felt personally humiliated to find himself left behind by Chaparral and Lola.

Determined to step up its program for 1967, McLaren’s team designed an all-new car, the M6. It featured a stiff monocoque chassis rather than the tube frames used earlier, a high-downforce body reflecting Bruce’s experience with the Ford GT40 program (he co-drove to a Le Mans win in 1966), and stout small-block Chevy engines featuring fuel injection, then a novelty, tuned by another American, Gary Knutson.

But McLaren knew design is one thing, development another; aided by BRM running late on the engines he wanted to use in F1, Bruce spent months fine-tuning his sports car. As his new team mate, fellow Kiwi Denny Hulme, later commented, “We got those cars perfect, so when we came racing, we were ready to go racing. We weren’t ready to go testing.”

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Turned out in a bold caramel color, the two McLarens sparkled at the head of the long Road America grid. Bruce won pole with a lap ten seconds better than any previous time there. An oil leak stopped him in the race, but Denny effortlessly took over, winning at an average speed higher than the previous single-lap record.

So began the Can-Am’s “Bruce and Denny Show.” The Kiwis went on to win five of that year’s six races, and McLaren himself became the 1967 series Champion. Hulme took the title the next year and McLaren repeated in 1969—a year with 11 races, of which Bruce or Denny won every one.

Ten days before the 1970 Can-Am was to start, Bruce McLaren died in a testing accident. The tragedy only seemed to toughen his team, with Bruce’s good friend Dan Gurney stepping in to win the first two races and Hulme finishing the year with another championship. In 1971 another American, Peter Revson, earned McLaren’s fifth title in a row.

The strong little team Bruce built managed two more victories in 1972 against the well-funded might of Penske’s turbocharged Porsches. Then Teddy Mayer had to face financial reality and pull out of the Can-Am. But if you know your F1 and Indycar history, you know the rest of the Bruce McLaren legacy. It’s one of the brightest in all of auto racing.

(From Pete’s monthly “Fast Lines” column in Vintage Racecar magazine, published September 2007. For more photos of Bruce McLaren, see the “People” section of our Gallery. )

Stories behind the pictures

Monday, September 7th, 2009

[words-in-process]

On Photography

Monday, September 7th, 2009

Melting Speed

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Let’s talk technique today. Way back when I was learning to photograph race cars, and then how to develop the film and make the prints, one night in the darkroom my dad was looking over my shoulder and commented, “You’re good at panning.”

What a thrill of pride went through me! Dad might only have been making a casual observation, but as a callow teenager I took it as invaluable validation. I was good at something!

That little ego boost came my way over 50 years ago, but ever since I’ve been especially conscious about the technique of tracking moving cars in the viewfinder.

Such action photography is enormous fun for me. It’s like a shooting sport with firearm or bow, but without the social stigma.

However, I find I have to fight falling into complacency. When shouldering cameras and setting out on a day’s hunt for trophy race cars, it’s tempting to use all of today’s technological firepower. It’s so easy to freeze the speeding vehicle in its tracks. But maybe I should be letting it melt a little.

I did know that, but what made me realize it anew happened a little while ago when, as a gift, I made a print of a friend’s vintage car in action at the Monterey Historic Races. On the spur of the moment, mostly as a learning exercise, I used Photoshop to speed-blur the background.

When my friend looked at his photo, the first thing he said was, “Oh, good, you made the car look fast. Most pictures make it look like it’s standing still.”

What a wave of guilt went through me! My friend might only have been extending a casual compliment, but I knew it was undeserved. I’d fallen into the habit of setting fast shutter speeds, simply because it pretty much guaranteed a sharp image of the car.

Then I’d faked the impression of velocity.

Not cool.

Since then, as another learning exercise, I’ve been spending a lot of my time at races with the camera set at slower shutter speeds, sometimes as low as 1/30.

You know, it’s a lot harder to get sharp pictures that way!

Here’s an example of a relatively successful attempt at 1/30 sec, showing a Viper diving into the Laguna Seca Corkscrew:

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I’d rather not display my many less successful attempts.

Back in the days of film, when you had to stop and reload every 36 exposures—each exposure having to be paid for in film and processing expenses—it seemed important to make every shot count. Some of my race film would be going straight to a magazine, to illustrate my report, and I wanted to give them sharp pictures. So I strove for a high percentage of “keepers” by using short exposure times.

But digital photography has set us free. Pixels don’t cost a penny. Best of all, you get the luxury of reviewing your work on your laptop and selecting only the best frames to transmit to the client.

So go out and run wild, like you’re firing at will in a shoot-em-up computer game!

I did just that at the recent Toyota Grand Prix of Long Beach, and I learned a lot.

First, let me show what I think is a pleasing speed-blurred photo:

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This image is exactly what I was looking to capture. The Porsche may be going about 50 mph around the very tight fountain turn at Long Beach, but a shutter speed of 1/125 (I know, because the digital camera records such details) makes it look faster. The speed-blurred background—real, not Photoshopped—lets the sharp front end of the car stand out.

Of course, only the nearer front corner of the car is sharp. Parts farther away from the point I was tracking, especially the rear wing, were moving enough in relation to the camera sensor to show speed-blur even at 1/125, which is an infinitesimal snap of time to our human perceptions.

I feel it’s important, in a view like this, to have the nose of the car look crisp. If your hands lag just a little, so the camera is tracking a point farther back on the car, the result looks like this:

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Though this attempt at 1/60 may look successful at first glance, it isn’t what I was trying for. What’s tracked is the region of the BMW’s door number. That would be fine if I were trying to showcase the driver, or perhaps a certain sponsor decal, but I wasn’t.

To my eye, it’s unsatisfying that I failed to capture this car’s particularly distinctive face. In this tight crop of the same image, see how the grillwork is blurred:

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Comparing the relatively stationary lower wheel spokes with the blurry upper ones proves I wasn’t swinging the camera fast enough to keep up with the front end of the car as it arced past me.

I fired at this same BMW with the same camera settings on half a dozen other passes, but none of them were any “better” than this. It wasn’t until later, reviewing the day’s take onscreen, that I realized how often I’d missed.

My takeaway lesson: Facing this particular panning challenge, keep your eye on the front of the target. And shoot a lot.

Other panning situations exist, of course. When a car is coming straight at you, you really aren’t panning, but still you have choices in your shutter speeds. If you set a very fast exposure time, it keeps the whole car sharp, rather than letting everything around the center speed-blur radially. During my Long Beach safari, this shot of two Corvettes was made at 1/1000 of a second:

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It’s an adequately sharp, publishable photo, but these cars might be parked. My fast shutter speed robs the image of a sense of speed. I can only hope the tight crop, the tilted frame and the bright colors make up for that.

But what about the much older, b&w picture posted at the top? It’s one of my personal favorites, because it represents an experiment that worked. I took that shot after sundown at the Daytona 24 Hour in 1971, across from the pits at about the S/F line. The car, of course, is the magnificent Penske Ferrari 512M driven by Donohue/Hobbs.

The situation was similar to that with the Corvettes above in that the Ferrari was coming more or less at the camera, although its velocity was vastly higher. This 600-hp race car would have been going something near 200 mph, and even 1/1000 of a second would have yielded a decent amount of motion-blur.

But the very low light required a pretty long exposure (sorry, that was way before digital and I kept no records of my settings). This risked speed-blurring the whole car out of recognition. Obviously a hopeless situation that you would normally avoid when trying to give your client publishable images.

But I’d already made a lot of conventional pictures that day, and I remember banging off a dozen of these gambles just to see what would happen.

As I found in the darkroom later, not much good happened. Every one of those other photos was a waste of film. But in this one case the experiment worked.

What makes it work, I think, is that something specific to the car, its nose number, remains recognizable amidst all the speed-zoomed violence.

That was pure blind panning luck. I was simply playing. But, for once, play paid off.

Long live play.

(Below, the Porsche 917K of Elford/Larrousse winning Sebring in 1971)

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Contents and concept copyright © 2009 by Pete Lyons