Hungaroring through the lens

Hungaroring - HUN

Davide Durante 

Hungaroring through the lens

03/06/2011 - Budapest
Having taken a close-up of Imola through the lenses of our photographers, now it is the turn of Hungaroring. Once again we are accompanied by Mario Chiarappa from the GrimFoto agency.

On a scale of 1 to 10, the Hungary circuit merits about a 6”, began Chiarappa, “even though there are no really interesting sections. Turn 1 is where you can get some good shots: the cars bunch up there at the start and then fan out. As the track is slightly sloped, you can frame a series of cars there unlike at ‘flatter’ circuits like Monza.

Another good spot is the inside of turn 3. This is quite close to the first turn and so you can capture a bunch of cars. You often get cars clashing with each other here and so you can get some interesting shots. From here to turn 6 there is nothing much from a photography point of view; turn 6 became infamous after Felipe Massa’s accident. Turn 7 is much better because, if you stay on the inside, you can use the water park as a backdrop to your photos. You can get the cars heading downhill at the chicane at 8 and 9 and, in the background, the town of Gödöllő. This is one of the most frequently seen images of this circuit.

The sequence that comes next is pretty ordinary and so it is onto turn 14 where, if you set yourself on the outside, you can catch the cars riding the kerbs as they leave the turn.

One place where photographers can shoot good images is by staying high up on the hill, on the inside, between curves 14 and 16. This position means that you can vary your height and perspective. From here you can frame the cars negotiating the final curve before the straight with other cars going through turns 2 and 3 in the background.

I normally use long lenses here, like a 300 or 500mm. Sometimes I reach for the teleconvertor as I am usually quite far from the action. The only exception is at the chicane where a 70-200mm comes in handy. As the scenery here is not much to write home about, I don’t often use a wide-angle


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