woodsliv Loc: Tehachapi,CA

I'm going to the local drag strip on Sunday.I have a d5100 and several lenses. I have a Sigma 150-500, a Tokina 11-16, Nikon 70-300, 55-300, 18-70. which lens would do the best?

mrpentaxk5ii

Each lens does some thing different, depending on how far you are from the object your photographing, I'm sure you can figure this one out if you give it some thought.

BebuLamar

I am sure you have been to the drag strip before so you can imagine what kind of shots you want and how far you will be to take it. With that information you can decide which lens you need.

TriX Loc: Raleigh, NC

You might PM Todd Ferguson (notorious T.O.D.). I beleive he shoots drag races regularly.

SharpShooter Loc: NorCal

The biggest factor will be if it’s day or night!!
SS

gym Loc: Athens, Georgia

At events like that, you often want to take a variety of shots, from panorama to relative close up of the action. So a wider range zoom would be something to consider. After looking at the lenses you have, the 55-300 might be the best all around choice. If you had to take only one lens, that would be my pick.

Mac Loc: Pittsburgh, Philadelphia now Hernando Co. Fl.

You must have bought those lenses for a reason.

Joe Blow

I'd go with that big Sigma so you can check out that chick with the low top, two levels down and two seats over.

queencitysanta Loc: Charlotte, North Carolina

Todd is your man for drag racing.

par4fore Loc: Bay Shore N.Y.

For me the best shots you can get require panning toward the finish line, Use the 70-300 for that and your 11-16 in the pits.

billnikon Loc: Pennsylvania/Ohio/Florida/Maui/Oregon/Vermont

If it was me, and it's not, I would go with the 150-500 and place myself at the end of the strip beyond the stop area and get those beast's coming off the line in a cloud of tire smoke and raised front ends. But it's not me so good luck anyway. Some times I would get myself off to one side may be 10-20 degrees to the track and do it.

GlenBose Loc: NE Florida, formerly Limerick, PA

par4fore Loc: Bay Shore N.Y.

Also a good suggestion!!

Jimmy T Loc: Virginia

You will have to figure out which lens to take depending on night/day (thanks, SS) or the "most likely" distance you will be from your subject. For the drag race I recommend a "long lens" (70-300mm). Also, remember that they "usually" have car shows in conjunction with the drag races. This will require a "short" (18-70mm) lens. Most importantly, DO NOT change your lens while the cars are doing burnouts, actually running down the strip,
or the wind is above a whisper. The chances of airborne debris entering your camera during a lens change are really high during and after a car does a burnout and runs down the strip. Remember, a drag strip is a place that we UHH folks warn you about because your trip to the dragstrip is almost as bad as a day at the beach. Haha! Now go out and enjoy yourself and don't forget the sunblock.

Notorious T.O.D. Loc: Harrisburg, North Carolina

It depends what access you have for shooting. I usually have access trackside at most races. With that I shoot with 24-70, 85 f/1.8, or 70-200. If I go shoot from up in the stands I will go 70-200 and sometimes add a 2x extender to go out to 400. I know a few people who shoot with a 100-400. Many tracks are going to want you to stay within 100 to 200 feet of the starting tree if trackside on the wall. That is for safety. When things go bad they can go bad very quickly. If trackside I usually shoot within 50 feet of the tree. You can get good shots of the burnouts and the cars leaving with the tree and crews. Try some panned shots too, 1/60 to 1/80 shutter speed to start for those. If you want to get shots with any parachutes out go to the end of the track
Where the cars turn off and shoot with a long lens there. The cars will be slowing a lot but if they are using chutes they will still be blossomed. The speeds and length of the shutdown area will determine in they use chutes or not. Under 150mph you don’t require chutes IIRC. Over 200 requires 2 chutes. Calling the track manager a day or two ahead can often get you media pass access especially to local tracks. I share some photos with them for their websites and post on Facebook too. There may be local track photographer who shoots and sells photos to the racers and some might see you as competition for that. The track manager should know that situation or not. Also shooting in the staging lanes and pits can get some nice shots of cars, racers and crew members. A powerful flash can be helpful after dark as can a body that shoots higher ISO. Take some ear plugs too.
Good shooting,
Todd Ferguson