How Much Do F1 Photographers Make? Exploring the Diverse Income Streams of Formula 1 Photographers

Formula 1 race weekends are bustling with photographers—anywhere from 80 to 150 professionals capturing the drama on and off the track. But have you ever wondered how all these photographers make a living? The answer is far from straightforward. From team-employed shooters to freelancers hustling across multiple income streams, the world of F1 photography is as dynamic and complex as the sport itself.

This article dives deep into the various ways Formula 1 photographers earn their income, the nature of their work, access privileges, and the challenges they face. Whether you’re an aspiring motorsport photographer or just curious about what goes on behind the scenes, this comprehensive guide will illuminate the financial and professional realities of shooting one of the world’s most glamorous sports.

The Team Photographers: Behind-the-Scenes Access and Responsibilities

Every Formula 1 team employs at least one photographer at race events, with top teams often having multiple shooters on their payroll. These photographers enjoy privileged access to exclusive areas such as the team garage, hospitality suites, and sometimes even the factory away from the circuit. Teams may hire photographers directly or contract them through major photo agencies.

For example, Mercedes employs photographers like Sammy, Giro, Wolfgang, and Seb. Ferrari has Carlo and also works with the French agency DPPI. McLaren’s photographer is Stephen T, while Red Bull relies on Getty Images’ Mark Thompson, who has been with them for years. Additionally, Red Bull contracts Canon ambassador Vlad Reese for further imagery.

Working for a team often involves more than just capturing on-track action. Photographers are tasked with shooting guests in hospitality suites, documenting garage activities, and even capturing mundane details like table settings at team events. They might also spend time in drivers’ car parks to provide sponsors with images of drivers like Max Verstappen or Yuki Tsunoda arriving or leaving their cars.

This role is not as glamorous as it might seem. Team photographers are usually outfitted in team colors to distinguish them from other media, and their work focuses heavily on promotional and internal content. Some photographers have asked whether working for a team would be appealing. The answer is usually no, as it limits the scope of coverage and pulls focus away from the broader paddock, where much more diverse and exciting content can be captured.

Driver-Employed Photographers

Some drivers also employ their own photographers, either paid by the team but dedicated solely to that driver or hired directly by the driver themselves. Lewis Hamilton, for instance, has worked with a couple of photographers over the years whom he employed personally. Charles Leclerc works with Antoine Trouche, his brother shoots for Pierre Gasly, Richard Pardon covers George Russell, Lando Norris has Ash Bibby at select events, and Kimi Antonelli has his own photographer as well.

These photographers shadow their driver throughout a race weekend, often staying in the same hotels and knowing all their movements. They might also be called for shoots away from the track, documenting the driver’s life beyond race day. These positions are rarely advertised; usually, drivers or teams reach out to photographers whose work they admire.

Photo Agencies: The Backbone of F1 Photography

While teams and drivers employ photographers, many others work through agencies. The largest and most influential agency in the paddock is Getty Images, which sends around twelve photographers to every race. Getty holds contracts with most teams, numerous sponsors, and Formula 1 itself. Their reach extends globally, with publications worldwide licensing their images.

As a contributor for Getty myself, I sell pictures through their platform, which appear on websites and in print media internationally. Getty also employs some of the best staff photographers in the sport, including Clive Mason, Clive Rose, Lars Baron, and Brynn Lennon. Their recent acquisitions of LAT Images and Shutterstock have only strengthened their dominance in motorsport photography.

Other agencies include XPB, which has four photographers working with Williams and other clients, and DPPI, a French agency that brings multiple photographers to each race. Reuters and AFP are present but typically have fewer photographers dedicated exclusively to Formula 1 over the full calendar of 24 races.

Freelancers: The Majority in the Paddock

More than half of the photographers at F1 races are freelancers. They sell images to magazines, websites, YouTube channels, and other media outlets, often on a per-image basis or through negotiated event rates. Pricing depends on factors like the number of images requested, exclusivity, and turnaround time.

With modern technology, I can send a photo directly from my camera to a Dropbox via my phone within minutes if the internet connection is good. Although these images may not be edited initially, they provide clients with quick access to fresh content. When clients require rapid delivery, they usually pay a premium.

Sponsors sometimes commission photographers specifically to capture their branding and activations around the circuit. They don’t bring their own photographers but instead seek quotes from individuals or agencies for this specialized work.

Specialized Photography: F2, F3, Academy, and Technical Spy Photography

Beyond Formula 1, there are photographers who focus exclusively on support categories such as F2, F3, and the F1 Academy. Photographers like James Gasparotti have contracts with teams and drivers in these series and only appear at events featuring those categories.

Race circuits themselves also require images for promotional and operational use. They often send briefs to photographers or agencies outlining requirements for aerial shots, fan zone photos, corporate events, track action, and driver appearances. These contracts can be lucrative, sometimes running into tens of thousands of dollars.

Another fascinating niche is technical or “spy” photography. Teams pay photographers to capture detailed images of rival cars to analyze new parts like front or rear wings, ride heights, and side pods. Photographers positioned around the track during qualifying and races connect their cameras to hard cables with high-speed internet, transmitting images within seconds to team engineers. These images aid in real-time strategy decisions by revealing tire wear or damage.

Working Conditions and Access: Where Can Photographers Shoot?

Photographers generally have broad access around the circuit, except for designated red zones deemed too dangerous to stop and shoot. We receive maps at the media center highlighting these areas. While walking through red zones is allowed, stopping to photograph is prohibited. Garages and team hospitality suites are off-limits unless explicitly invited.

In general, if something is visible, it can be photographed. Occasionally, photographers might be asked not to publish certain images—such as during the 2023 Vegas event when we were requested not to publish photos of Adele’s son. In that case, we refrained from taking the photos altogether.

Photographers can shoot in the pit lane during practice sessions (or once on a sprint race weekend) by wearing FIA-issued photo tabards. Unlike some other racing series where a full race suit and helmet are mandatory for pit lane access, F1 does not require this since refueling is banned in the pit lane.

Access to the grid prior to the race start is highly prized. Permanently accredited photographers have automatic grid access, while those accredited on a race-by-race basis must compete for limited spots. At Parc Fermé, it’s a first-come, first-served situation. The earlier you arrive, the better your shooting position. Podium coverage, however, is unrestricted.

Ownership of Images and Accreditation

Photographers retain ownership rights to their images. Unlike smaller racing series where organizers might demand free access to all photos, Formula 1 respects photographers’ intellectual property. This allows photographers to license their work for personal, commercial, or editorial use.

Of the roughly 150 photographers accredited by the FIA, fewer than a dozen attend every race. I have been fortunate to have attended every race for the past four and a half years. Charles Coates is another photographer with an impressive streak, likely not missing a race in seven years.

Accreditation requirements can change over time. When I applied in 2017, I demonstrated what I could offer the sport. Initially, I had to apply for each race at least four weeks in advance. However, once accredited for Monaco—which has the most limited media center capacity—I gained accreditation for the entire season and eventually secured a permanent pass by attending at least 14 races in a year.

If you’re interested in becoming an F1 photographer, the best place to start is the FIA media page, which outlines current accreditation criteria. Local race organizers also allocate some media passes to local journalists and photographers.

The Financial Realities: Salaries, Freelance Earnings, and Expenses

Very few photographers in the paddock receive a salary, and financial details are rarely discussed openly. Those employed full-time by agencies or teams typically receive benefits such as sick pay, holiday pay, and superannuation. Annual salaries for these positions likely range from USD 30,000 to a couple hundred thousand dollars, depending on seniority and employer. Employers usually cover accommodation, travel, food, transfers, insurance, and sometimes camera equipment.

Freelancers operate differently. Their earnings vary dramatically, from losses in the early years to annual incomes possibly exceeding USD 500,000 if they capture iconic images. However, freelancers bear all costs themselves, including travel, accommodation, gear maintenance, and insurance—expenses that add up quickly.

Photographers often work long days, typically starting around 8 AM and finishing by 7 PM for four consecutive days, plus additional travel days. The demanding schedule and extensive travel can take a toll on personal life, making this career path suitable only for those truly passionate about motorsport photography.

Multiple Income Streams: Diversifying to Succeed

To sustain a career in F1 photography, diversification is key. My own business model is quite different from most others in the paddock, as I rely on several income streams:

• Shooting corporate clients, often photographing hundreds of people on the grid or at evening events.
• Covering events in the Paddock Club or on the podium.
• Selling people-focused images through Getty Images, and car images via prostarpics.com for personal, commercial, or editorial use.
• Delivering presentations and speeches to clients both at the track and elsewhere.
• Offering one-on-one video coaching to fans and aspiring photographers seeking to improve their skills and break into the industry.
• Producing mini coffee table photo books for every race and every driver.
• Maintaining a strong YouTube presence with growing subscriber numbers.
• Collaborating with drivers on hand-signed and numbered prints.
• Creating wall art prints ranging from A4 size to large-scale garage wall coverings.

This diversified approach helps manage the uncertainties of freelance work and maintain a steady income throughout the demanding F1 calendar, which spans 24 races worldwide.

FAQs About Becoming an F1 Photographer

Do you need formal training to become an F1 photographer?

No formal training is required. Unlike drivers who need a super license, photographers don’t have strict licensing. The FIA decides who is accredited based on their professional merit and contribution to the sport.

How do photographers get accredited for F1 races?

Photographers apply through the FIA media accreditation system, usually months in advance. Consistent attendance and quality work help secure permanent accreditation. Local race organizers also distribute passes to local media.

Can anyone shoot anywhere at an F1 race?

Photographers have wide access except in red zones marked as dangerous areas where stopping to shoot is prohibited. Garages and hospitality suites require invitations. Pit lane access requires an FIA photo tabard, and grid access is limited to accredited photographers.

How much can an F1 photographer earn?

Earnings vary greatly. Salaried photographers may earn between USD 30,000 and several hundred thousand annually, with expenses covered by employers. Freelancers’ income ranges widely, from losses in early years to potentially over USD 500,000 for iconic images, but they cover all their own expenses.

What kinds of photography work are available at F1 races?

Work includes team and driver photography, agency assignments, sponsor-focused shoots, technical and spy photography, corporate event coverage, track and fan zone photos, and content for media outlets.

Conclusion

Formula 1 photography is a multifaceted profession that requires not only exceptional skill behind the camera but also savvy business acumen. With limited full-time positions, most photographers carve out their careers through a mix of team work, agency contracts, freelance gigs, and diversified revenue streams. The access and opportunities are unparalleled, but the demands on time, energy, and resources are significant.

For those passionate about motorsport and photography, this career offers a unique blend of adrenaline, creativity, and global travel. Success depends on hard work, networking, and the ability to adapt to a rapidly evolving media landscape. If you’re serious about becoming an F1 photographer, start by understanding the accreditation process and building a portfolio that stands out to teams, drivers, and agencies alike.

The world of Formula 1 photography is challenging but incredibly rewarding for those who thrive in its fast-paced environment.