How F1 DRIVERS react to being PHOTOGRAPHED?

I’m Kym Illman, and after roughly 750 days photographing the drivers, teams and characters who make up modern Formula 1, I’ve learned a lot about how drivers react when cameras are trained on them. Working inside the paddock—an intense, confined environment—creates relationships, routines and a few surprises. In this article I’ll walk you through what it’s like to photograph F1 drivers, how I handle sensitive requests, which drivers are camera-friendly (and which prefer to keep to themselves), why fans can be the hardest part of the job, and how social media and commercial work shape what we shoot.

Life in the paddock: close quarters, long lenses and quick moves

The paddock is a strange workplace: tight, busy and constantly changing. Photographers and camera crews are usually not standing a metre away from drivers — most of the time we’re using longish lenses and are five to six metres back. That distance helps with composition and keeping people comfortable, but it doesn’t eliminate the difficulties.

Drivers have tight schedules and need to get from point A to point B quickly. That pressure means they’re rarely standing around chatting for long. In earlier years some drivers would happily stay and talk after TV interviews and still shoots, but now fan presence and tighter timetables make that increasingly rare. The upshot is that capturing clean, considered images is trickier than it used to be.

When a driver asks you to take a photo down

Respect and trust matter. There have been a handful of occasions where a driver has asked me not to post a photo — sometimes because it was a private moment, sometimes because the image showed them in an outfit or situation they’d rather avoid. When that happens the decision is usually simple: I take the image down or don’t use it. I’m working with these people race after race; there’s no advantage in creating friction.

One example: I photographed a driver on an off day with a friend. He asked me not to publish those frames and I agreed. There were indeed other photographers at the same scene, but he only asked me, and I honored it. Another time a driver turned up wearing an odd rig for a team shot and asked me not to show photos of him in it. Again, I respected the request.

Fans versus photographers: where things get uncomfortable

Ironically, it’s often not photographers who upset drivers—it’s fans. As the paddock becomes more accessible, the number of fans wandering through has grown and, with that, the number of awkward interactions. I remember a moment in Austin when Daniel Ricciardo was talking with people and a fan rushed up, grabbed him for a photo and screamed his name. He handled it well, asking her to wait, but it underlines the problem: drivers can be physically accosted by fans who forget personal boundaries.

That kind of behavior forces drivers to move faster and avoid lingering in public spaces. Some drivers now take back routes and slip behind hospitality suites to avoid crowds and media. That makes getting the shots we want even more difficult.

Driver-by-driver: who enjoys the camera (and who doesn’t)

Every driver is different. Over time you learn personalities and habits, and that helps you plan shots and interactions. Here’s a quick run-down of how some drivers typically behave around cameras:

• Lando Norris and Oscar Piastri: relaxed, go about their business and are generally unfazed by cameras.
• Lewis Hamilton: the trickiest to photograph this season. He’s been using alternate routes and avoiding busy areas more than before, making his arrivals and walk-throughs harder to anticipate.
• Charles Leclerc: a joy to photograph and excellent with fans—engaging and approachable.
• Max Verstappen: often arrives later, especially on Thursdays, when there are fewer media present.
• Yuki Tsunoda: great to photograph, particularly when wearing casual sponsor-branded clothing.
• George Russell and Kimi Antonelli: easy-going; both have willingly shown sponsors’ items to get a shot.
• Fernando Alonso and Lance Stroll (Aston Martin): more aloof, often arriving later and usually focused on getting to hospitality quickly.
• Pierre Gasly: delightful, especially when arriving with his girlfriend—those images are popular on social feeds.
• Nico Hulkenberg: good-humored but often puzzled by why we need so many images; he’s not bothered by the cameras, just curious about the volume of shooting.
• Esteban Ocon: probably the friendliest when facing a wall of photographers—he waves and smiles.
• Newcomers like Oliver Bearman bring enthusiasm and enjoy the attention.
• Liam Lawson likes to show off sponsor items (notably chocolate); lighter moments like these can make great pictures.

Women of the paddock: popularity, backlash and responsibility

Posts that feature drivers’ partners or other women in the paddock regularly rank among my most popular. My “Women of the Paddock” posts often get far higher engagement than a standalone driver image. Some of those posts have reached very large audiences—one shot of a partner got around 2,000,000 views.

With that popularity comes a downside: a small but vocal group of fans can be hostile, suggesting such posts shouldn’t be part of the paddock narrative. Unfortunately, some women receive negative comments and even targeted hate. When that happens I moderate comments and, if someone asks for an image to be removed for legitimate reasons, I investigate and act accordingly.

Commercial and sponsor shoots: quick, focused and frequent

Beyond social posts, I also shoot commercial assignments. Sponsors sometimes reach out and request quick portraits or product placement shots—two-minute paddock sessions are common, while off-site work might be 10–15 minutes. For example, a sponsor might ask for a simple image of a driver with a phone or watch. These assignments are efficient: drivers are busy and typically want to get in and out quickly, so the shoots are short and tightly planned.

How I handle deletion requests, identity and ticket terms

People occasionally ask me to remove images. When that happens I verify identity before deleting anything. Early on I removed a photo after an email requested it, only to discover the genuine subject was upset because their image had been taken down based on a false claim. Now I ask anyone requesting removal to prove they are the person in the picture—this avoids accidentally punishing the real subject.

It’s also worth noting that most race tickets include terms and conditions saying attendees may be photographed or filmed. That legally supports our work in the paddock and around event areas, but I still balance legal allowance with common sense and respect.

Celebrities and team principals: different dynamics

The paddock also attracts celebrities and high-profile guests. Sometimes F1 circulates a talent sheet with expected arrivals; other times guests arrive under team hospitality and aren’t on the list. I’ve photographed a number of well-known personalities, and the dynamic differs from working with drivers: some are used to cameras and pleasant to work with, while others prefer privacy.

Team principals and senior figures vary too. People like Laurent Mekies and Jonathan Wheatley often greet photographers with big smiles, while others are less hands-on. I have good working relationships with several team principals; those relationships make it easier to get access for particular images when necessary.

My workflow: social posts, selection and the “Men and Women of the Paddock” series

After each race I produce a Men and Women of the Paddock feature. I might shoot 20–30 images and then edit down to the 10 that will run in the post. Fans sometimes ask to be included, and I get offers—sometimes sizeable—from people requesting placement, which I decline. Selection is based on visual quality and storytelling, not payments.

Editing is a big part of the job. Choosing the right frames, cropping for impact and ensuring faces and expressions tell a story is what makes those weekly posts work. I also balance the appeal of images with the responsibility of protecting privacy and avoiding unnecessary friction with subjects.

“If they don’t want to be photographed, perhaps they’re doing something confidential. They’ll just say, ‘no, not the right moment’ — in which case we stop.” — Kym Illman

Conclusion: relationships, respect and the craft

After so many race weekends, the job becomes as much about relationships as it is about technical skill. Drivers, team members and guests all have different comfort levels with media attention; understanding and adapting to those differences is key. The most consistent lesson is simple: be respectful, be professional, and be ready—because when a genuine photographic moment presents itself in the paddock, you often have seconds to capture it.

FAQ

Do F1 drivers hate being photographed?

No—most drivers are matter-of-fact about it. A few are more private or take routes to avoid crowds, but outright hostility is rare. Many drivers understand the role media plays and accommodate photographers when they can.

Can you ask a photographer to remove my photo?

Yes. If you are the subject and have a legitimate reason, you can request removal. I verify identity before deleting images to avoid removing the wrong person’s picture, since false claims have occurred.

Are fans allowed in the paddock, and do they cause problems?

Some paddocks are more accessible than others. As fan access increases, so do incidents where boundaries are crossed—rushing, grabbing or intrusive behavior. Those moments are stressful for drivers and complicate photography.

How long do commercial sponsor shoots last?

Most paddock sponsor shoots are very short—often two minutes. Off-track or scheduled sessions can run 10 to 15 minutes, but they are rarely hour-long affairs because drivers have limited time.

Why do you take so many photos of the same person?

Images change by fraction-of-a-second: posture, expression, eye contact, background and small details matter. Media outlets, teams and social platforms all want a variety of images, so photographers shoot multiple frames to ensure usable options.

How can someone be featured in Men and Women of the Paddock?

Selection is editorial: I choose images that tell a story or have strong visual impact. Taking a good photo increases your chances, but there’s no guaranteed way to be featured and I do not accept payment for placement.