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Wes and I met just outside of the VIR race track at a Bed & Breakfast. Each morning, Wes would be one of the first finished with breakfast and on his way to the track to start his work. At the next race, Petit LeMans, I bumped into Wes running with all his gear to his next photo spot. It was fascinating to see both a "behind-the-scenes" and "work-mode" version of Wes as his career includes lots of travel, different lodging situations, and sorting through lots of photos! Thank you, Wes for participating and I look forward to seeing you at all the races next season!
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Who are you and what do you do?
I’m an automotive photographer, writer, and Mustang nerd. A highlight of my photography career was covering the Ford GT IMSA racing program for Ford Motor Company. I write technical articles for Mustang Hub Magazine, have a YouTube channel named FixBody Mustangs, and wrote a book called How to Build and Modify: 2011-2014 Mustang. I’m often tapped to photograph products and events for Ford Motor Company (usually related to their Ford Performance category), but the bulk of my current photography work is in IMSA, where colleague Bob Chapman and I cover the Porsche Carrara Cup for Porsche Motorsport North America.
How did you enter the world of motorsports photography and can you provide a brief explanation of how it works?
I always had a passing interest in photography, but never enough to buy any serious equipment. It wasn’t until an entry-level Canon digital camera purchased in 2004 and a trip to Road Atlanta’s Petit Le Mans that I realized how much I enjoyed the craft. The instant feedback of a digital camera really got me hooked. I didn’t have to wait to get the photos back from the lab to find out if a particular shot was sharp or exposed the way I envisioned. Results were just a button push away. The photos in Racer Magazine really inspired me as well. When my first child was born, I decided to quit my day job so I could care for him and try my hand at motorsports photography. It’s grown into a rewarding career that continues to fascinate and challenge me.
What cameras and gear are mainstays in your kit?
I keep it pretty simple. Two Nikon D500 camera bodies. Lenses: Tokina 11-16mm, Nikon 24-70mm, Nikon 70-200mm, and Nikon 180-400mm. SB5000 flash. Step stool, monopod, some spare batteries, polarizing filters for all lenses, a sun hat, and fitted ear plugs. All of this fits into a backpack that I take everywhere. It’s about 40 lbs of gear, but consequently I’m *always* prepared for every situation. I prefer Nikon equipment because of the stability of controls across models and their ease of use. I haven’t made the jump to mirrorless cameras yet—I’m a creature of habit and muscle memory. If I’m fighting a new camera body, not only is that frustrating—but I miss opportunities. Once I’m convinced that a mirrorless body will help more than frustrate me, I’ll make the switch.
What tracks do you enjoy shooting at most?
It’s hard to pick a favorite track, because they’re all different. Catch fencing limits creativity because you’re stuck photographing through pre-cut holes or dealing with the fence. Daytona is the least inspiring, as it’s a battle to avoid ugly things in the background. VIR is the opposite: very little fencing and lots of natural terrain for backgrounds. I also like street circuits because they’re so different than a natural terrain road course.
How do you see the industry impacted by social media and the need for instant content?
Public Relations reps need content more quickly for social media, so it makes my job more hectic…but I understand why it’s necessary. A consequence of needing immediate content is the quality can suffer. Often, a quick cell phone photo is all that’s needed…but beyond being quick…is the image exciting? Does it showcase your brand? Will it be useful beyond the day’s news?
What photo are you most proud of?
Picking a favorite photo is like picking a favorite child…they’re…different. However, One of my most “satisfying” photos was of the Mustang Cobra Jet 1400 launching because it’s a combination of vision, planning, experience, skill, and luck. I only had a couple attempts to get this shot, as the car was only doing a few test runs that day. I used my experience to set up my strobe lights in spots that I estimated would achieve the look I wanted, I picked a focal length that was an educated guess for the subject to properly frame the subject but also not require excessive cropping, I had to time the shot when the car was at its peak attitude, I needed to get the Christmas tree light in the shot, and I needed to be lucky enough that the car would do a proper wheel stand where I wanted. All these things combined into the shot that I had in mind.
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