Monopod Edition 04

MONOPOD AUTOMOTIVE PHOTOGRAPHY, ART AND CULTURE

Citroën Centenaire | The Great American Road | Normandy Beach Race Goodwood Festival of Speed & Revival | Perfect Panning | 1970s F1 Lombard Rally Bath | 66th Macau Grand Prix

EDITION 04

Front cover: Alessio Deledda, 2019 Macau Grand Prix. Image: Philip Newsome

MONOPOD AUTOMOTIVE PHOTOGRAPHY, ART AND CULTURE

Edition 04 Winter 2019/20

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MONOPOD FIND US ONLINE monopodmagazine.com instagram.com/monopodmagazine facebook.com/monopodmagazine SAY HELLO hello@monopodmagazine.com GRAPHIC DESIGN Images Automotives

EDITOR Philip Newsome EDITOR-AT-LARGE Guy Loveridge LIFESTYLE EDITOR Siobhan Owen EDITORIAL BOARD William Furniss Tim Beavis Teddy Yip

PUBLISHER Blue Flag Press Ltd Level 19, Two International Finance Centre 8 Finance Street Central Hong Kong Edition 04 Winter 2019/20

While every effort has been made to ensure the accuracy of information in this magazine, no responsibility can be accepted by the publisher for errors or omissions, and in particular no responsibility can be accepted for the quality of goods and services supplied by advertisers, prices quoted or printers’ errors. All material, unless specifically stated otherwise is copyright of Blue Flag Press Ltd. All rights reserved. Reproduction in whole or in part either electronially or conventionally without the permission of the publisher is strictly prohibited.

ISSN 2518-6957

Ford Edsel. Image: Philip Newsome

Editor’s letter

T

he photograph opposite was taken some thirty five years ago on a typically ‘atmospheric’ Silverstone day in May. The LC2s were the mainstay of Lancia’s official factory-backed effort in the World Sportscar Championship from 1983 to 1986. Racing purists will tell you that while these machines were more powerful than their primary competition, the Porsche 956s, deficiencies in reliability and fuel consumption hampered their efforts for race wins against the factory Porsches. As a photographer however, none of that really matters and to me the Lancia LC2 remains one of the most beautifully iconic racing cars ever built. That dank day at Silverstone was the very first time I had been granted full press credentials and to be honest I was like a kid in a toy shop. Unlike just about every other press photographer in attendance that day I was using Olympus SLRs and relatively slow Zuiko lenses. I loved those cameras though and, in the years since, they have attained something of a cult status among film camera aficionados even if they only became the equipment of choice for a tiny proportion of sports photographers. I now use Nikon DSLRs and of course they are amazing in all respects but there is still something about those comparatively tiny film SLRs with their light-filled viewfinders. Film was certainly the order of the day when E.V. Starr was capturing images of Formula One in the 1970s. Once again, we are delighted to be able to reproduce more previously unpublished images from this incredible archive.

Whatever equipment you choose to use, any budding motorsport photgrapher soon realises that panning shots are not as simple as they seem at first sight. We have all struggled to create that elusively contradictory cocktail of blur and speed, crispness and detail. Pedro Dermaux is an acclaimed master of the art and we have managed to persuade him to share some of his panning secrets in this edition. As with most skills in life though, there is no substitute for practice.

In this, our fourth Edition of Monopod, we continue our love affair with beach racing following our coverage of the Pendine Sands weekend earlier in the year. This time round we were in Normandy, on Sword Beach, for more of the same hot rod madness in the dunes. While over in France we also paid homage to the centenary of Citroën. This most Gallic of institutions has given the world a number of game-changing vehicles and even in this modern world, where cars are much more homogenous, Citroën still manage to come up with something idiosyncratic and undeniably French.

We are thrilled to publish a piece by Los Angeles-based photojournalist Sarah Feeney featuring some of her wonderful images of classic American motels, so redolent of Route 66, Jack Kerouac and the grand road trips we have all dreamed of pursuing at one time or another. While Sarah’s photographs show us a side of American life which is slowly fading into history, our two pieces on Goodwood show how the past is being kept in rude health in deepest Sussex. Always a firm favourite for amateur and professional photographers alike, Goodwood continues to go from strength to strength and will no doubt feature in future editions of Monopod. Similarly the Lombard Bath Rally, a wonderful recreation of those days when Britain was the centre of the world rallying universe. There is something undeniably appealing about standing in a damp autumnal forest photographing RS Escorts, Quattros and Mantas being driven flat out through the mud and fallen leaves.

Last but not least, we return to Macau, a place where that old cliché ‘East meets West’ just doesn’t do justice to four days of the highest octane motorsport imaginable. Single seaters, GTs, Touring cars and Superbikes compete in a unique setting combining a colonial past with a futuristic present, high-speed straights with mind-numbing twisty bits all nestling in the gambling capital of the world. Insane.

Philip Newsome

The iconic Martini-liveried Lancia LC2 during the 1985 1000km of Silverstone. Riccardo Patrese is at the wheel and along with co-driver Alessandro Nannini would finish third that day behind the works Porsches of Mass/Ickx and Bell/Stuck.

Image: Philip Newsome

Diamond Lil’s Roadside Bar, Salt lake City, Utah. Image: Sarah Feeney

TABLE OF CONTENTS 10

CENTENAIRE CITROËN

30 THE GREAT AMERICAN ROAD 38 NORMANDY BEACH RACE 54 GOODWOOD FESTIVAL OF SPEED 70 PERFECT PANNING 82 PLUS ÇA CHANGE 94 AUTOGRAMMER 96 LOMBARD RALLY BATH 108 GOODWOOD REVIVAL 134 66th MACAU GRAND PRIX

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Centenaire Citroën Words: Guy Loveridge & Philip Newsome Images: Philip Newsome

A

ndré Gustave Citroën’s first business enterprise, at the tender age of 22, was the manufacture of ‘chevron’ gears. The characteristic V-shaped teeth would become instantly recognisable and synonymous with the Citroën brand. In many ways France’s own version of Henry Ford, Citroën (1878-1935) was a brilliant industrialist, engineer and entrepreneur. Indeed, he visited America in 1912 to study first-hand Ford’s methods, an experience he would later use during the Great War to run a successful armaments factory in Paris.

As the war was coming to an end, Citroën (left) turned his attention to cars. He believed strongly that bespoke, hand-built automobiles (such as those produced by Mors, for whom he had worked before the war) were not the way forward. Instead, he argued, the future lay in affordable, reliable mass-produced vehicles. As early as February 1917 Citroën contacted another engineer, Jules Salomon, who already had a considerable reputation within the French automotive sector as the creator, in 1909, of a little car called Le Zèbre. Citroën’s mandate was characteristically demanding and characteristically simple: to produce an all-new design for a 10 HP car that would be better equipped, more robust and less costly to produce than any rival product at the time.

The WW1 munitions plant on the Quai de Javel was converted for car production, the result was the Type A, announced to the press in March 1919, just four months after the guns fell silent. The first production Type A emerged from the factory at the end of May 1919 and one month later it was exhibited at a showroom at Number 42, on the Champs-Élysées. This date in effect marks the beginning of the Citroën automotive story and so, one hundred years on, the company is now marking and celebrating its centenary.

Over the next few pages we explore Citroën’s legacy through five of their most famous cars.

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"The car is not an instrument of luxury but essentially an instrument of work."

AndrĂŠ CitroĂŤn

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Examples of virtually every Citroën imaginable, such as this impressive line-up of Type As (above), are housed in L'Aventure Peugeot Citroën DS situated at Poissy on the outskirts of Paris. This extraordinary facility, curated under the watchful eye of Chef de Projet, Denis Huille, is a treasure trove of every conceivable Citroën from everyday examples through to bizarre concept cars.

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TRACTION AVANT CitroĂŤn championed the concept of front wheel drive and in 1935 the company launched the Traction Avant, a mid-range car combining remarkable road holding with excellent strength and durability. It pioneered the mass production of three revolutionary features that are still in use today: a unitary body with no separate frame, four wheel independent suspension and front-wheel drive with no chassis supporting the mechanical components. It combined French engineering with the latest in American manufacturing methods, most notably those of the Edward G Budd company in Philadelphia that produced the tooling and related engineering required to make the car.

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"When you throw a hammer, it is the head, not the handle that travels first."

AndrÊ Lefèbvre, Chief Engineer

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2CV The launch of the Traction Avant coincided with the financial collapse of the over-committed Citroën empire and the death of André Citroën himself. Control of the company passed to one of its biggest creditors, the Michelin tyre company who entrusted former WW1 flyer PierreJoules Boulanger to take the company forward. Boulanger loved driving and like chief engineer André Lefèbvre understood that the key to a fine car was excellent roadholding and a suspension that kept the wheels in contact with the road, the so-called ‘liaison au sol’.

Boulanger quickly saw that France was changing and in 1936 issued a brief for a ‘simple, spartan transport’. The rural farmer, he argued, had a right to a car to suit his specific needs, one with a compliant suspension that could cope with the rough, unmade back roads ‘without breaking an egg’. What was needed was a small, ‘motorised cheap pony cart’ ... ‘four wheels under an umbrella’ that could carry two farmers wearing clogs, 60kg of potatoes or a small cask of wine. This would be a minimalist vehicle of a type never built before. In order to deal with the eggs, the suspension would incorporate springs interlinked front to rear. This new car, the 2CV, would offer the potential to cross fields smoothly at speed.

The distinctly quirky prewar 2CV prototypes with a single headlight and aluminium corrugated body skins were hidden during World War II and what emerged at the 1948 Paris Motor was much more considered in its design and execution. Some journalist labelled it ‘the most grave error’ but thousands of customers queued to place their orders.

This quintessential French icon remained in production until 1990.

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"The most intelligent application of minimalism ever to succeed as a car."

LJK Setright

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DS The Citroën DS first appeared in 1955 and immediately took the world by storm, distilling perfectly the very essence of the French postwar technocratic spirit. It arrived on the world stage at a time when France was rebuilding its national pride with atomic power stations, jet planes and high-rise tower blocks.

The brief for the new DS project was to to create ‘the most beautiiful, most comfortable and most advanced car in the world, a masterpiece, to show the world and the US car factories in particular, that Citroën and France could develop the ultimate vehicle’. The car featured an entirely original profile including high-level indicators emerging from the roof gutter and swivelling headlamps that turned as you steered. This was indeed a unique design.

André Lefèbvre was technical leader with styling from in-house Citroën designer Flaminio Bertoni. For all that, the DS’s greatest innovation was the creation of a hydraulic suspension system by the visionary engineer Paul Magès who replaced the conventional springs with a self-levelling adaptive system of hydraulic struts supplied by an engine-driven pump. Magès used the same high-pressure hydraulic system to power the steering and brakes, creating a car that felt like no other. As one reviewer wrote "It needs only the gentlest fingertip control on the wheel to avoid slaloming onto the wrong side of the road. The brake pedal, just a button really, is so sensitive that it feels more like an on/off switch". Not all drivers liked the extreme sensitivity of these controls. Citroën responded in typically Gallic fashion thus: "This is the future; this is how a car should be.

Get used to it!" Some drivers never could, but for countless more it seemed quite perfect.

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"Study all possibilities, including the impossible."

Pierre Boulanger

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Bertoni’s achievement with the DS was extraordinary. Unlike Jaguar or Ferrari there were no antecedents to allow designers and modellers to perfect the new form. In effect, the DS sprang fully formed into the world. It came to symbolise the French nation at a time when the country was striving hard to re-impose itself on the world stage. Such symbolism extended to the car being the transport of choice (opposite) for French Presidents from De Gaulle to Mitterand.

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Ami As the 1950s drew to a close Citroën sensed a gap in its product range between the futuristic DS and the rather bucolic 2CV. The solution was deemed to be a new design combining the engine and mechanicals of the 2CV with an entirely new, more spacious, bodywork featuring aesthetic cues from the still revolutionary DS. This may well have been the stated intention but in reality it failed, the result was an unlikely concoction, described by many as one of the ugliest cars ever built.

The Ami’s quirky appearance come from trying to graft what works so well on one car to an another entirely different type of car. In a nutshell, the DS was broad, low and opulent while the Ami was the complete opposite, namely pinched, high, narrow and utilitarian. The back sloping rear window, necessary to provide enough internal cabin length, simply added a further element of bizarre distortion.

Ugly it might have been, but that didn’t prevent it becoming France’s best-selling car by 1966. Curiously it never sported a Citroën badge – perhaps because it was so unusual that it could not be anything other than a Citroën. Or possibly, the design was such that there simply wasn’t any room left to put one. Later, the Ami was fitted with a flat four-cylinder engine designed for the upcoming GS model. This allowed for 90mph performance, absurdly quick for such an inherently unstable vehicle.

At the end of the day what is ugly to one person is often beautiful to another. The Ami represents the apotheosis of French automotive aesthetics at a time when national identity varied so widely from one country to another.

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SM In 1961, Citroën began work on ‘Project S’, a sports variant of the revolutionary DS. As was customary for the firm, many running concept vehicles were developed (opposite), increasingly complex and upmarket from the DS. At some stage during its nine year gestation, the car evolved from being a faster variant of the DS into an entirely new, exhaustively engineered high performance car. Citroën purchased Maserati in 1968 with the intention of harnessing Maserati’s high-performance engine technology to produce a true Gran Turismo car, combining the sophisticated Citroën suspension with a Maserati V6. Designed in-house by Citroën’s chief designer Robert Opron, the SM featured a drag coefficient of 0.26 which would place it in the top 10 of all production cars, even today.

The Citroën SM was first shown at the Geneva Motor Show in March 1970. Here was a car of the future and the fastest front-wheel-drive car, with a factory-quoted top speed of 220 km/h (137 mph), with independent tests achieving as much as 235 km/h (146 mph). The accompanying images (left and below) were used in the SM’s original marketing literature. They clearly demonstrate Citroën’s view of it as a symbol of optimism and grace, coupled with progressive technology and styling.

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Above left, the C5 Aircross is dwarfed by the mighty Humber Bridge in the East Riding of Yorkshire.

Left and above right, soaking up the atmosphere at the old Reims-Gueux Grand Prix road course some 7.5 km west of Reims in the Champagne region of north-eastern France.

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“Although the trip was always going to have a Citroën flavour (we were visiting Paris and their very own heritage collection after all) it was a coincidence that we were travelling in a C5 Aircross. Having had a taste of one at the Guild of Motoring Writers Big Day Out in May, it was the work of two emails to John Handcock and then Craig Morrow at PSA in the UK and we had the unlimited use of this handsome machine for our trip.

As the nominated driver, I have to say there are few more comfortable places to drive across France than at the wheel of this Citroën delicacy. It eats the miles with amazing ease and notable frugality. Over the course of the week it was put into service as a camera car, a tracking vehicle, a model (see the shots on this page) and even a dentist’s consulting room - yes the driver’s seat DOES recline enough for that!

Perhaps its greatest asset is its style. In true Citroën fashion, it is effortlessly quirky and stylish. We parked it amongst the hot rods and custom cars in Normandy; in the midst of protests on Paris’ ‘Rive Gauche’; at the Reims and Rouen race tracks and it never once looked out of place. The styling is chameleon-like and it was reassuring to know we had this capacious and stylish ride at the beginning and end of each day. In the heat of the French summer, the air conditioning cooled us within moments of getting going. The sat-nav system behaved impeccably and coped admirably with some of our more esoteric requests. Thanks PSA. Thanks especially Citroën.”

Guy Loveridge

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The Great American Road

Hotel, Motel, Holiday Inn

A road-trip back to the 1960s and 70s.

Words and Images: Sarah Feeney

I

spent a lot of my Summer in Long Beach California; endlessly photographing the glorious ‘City Centre Motel’ or - as I had begun to call it - Overdose Motel. It was the kind of place you’d expect to see in a not-ending-well pulp fiction paperback, or film about being on the run, on a road-trip, or some other mythology tale from the ‘Great American Road’ circa. 1960 onwards.

At this time in fiction, these Motels would have been ‘Cash is King – in advance - No cheques’ and would probably have boasted a bath in every room and/or a Color TV, or later, a Fax Service. Out front would have been a 1961 Chrysler New Yorker Station (a bit wonky but cool details) soon to be replaced by a 1962 Pontiac Bonneville, and in the mid-60s, any of the Buicks or Impalas. The guy at check-in would’ve taken guests’ unmarked dollars in a dirty vest, stretched around his somewhat rotund middle. He’d have a disinterested attitude and all-round lapse and disrespect for morals and/or legal, beaurocratic requirements such as valid identification.

Right and opposite, City Centre Motel, Atlantic Boulevard, Long Beach.

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If it wasn’t him at check-in, it would instead have been his ferocious, gin-swigging redhead wife in a pair of nose-pinching glasses. She’d have been running Annie’s orphanage if it weren’t for the fact that her life had taken her West - to Vegas or California - instead of East - to New York or Brooklyn. In the 19th century she’d have been the brothel madam and he’d have been ‘out front’ on the porch in a rocking chair with a shotgun ‘cross his lap. They’d have made a lotta money – strangers in town always being welcome (despite the presence of the shotgun). But they’re not, they’re stuck in a Motel reception at the edge of a major freeway and on the margins of society. The sports and soap operas screaming away in the room ‘round back’, the pre-a/c fan being feeble, and the buzz from the neon Motel sign so persistent it’s literally driven them doolally. (I’m laying out some pretty grotesque stereotypes here but don’t forget we’re in an early 1960s pulp fiction paperback so I’ve got a good excuse.)

Come the next day, the maid would either discover the occupant dead in a bathtub or the bed unslept in altogether due to the place having been briefly used as a convenient, private location for some quick clandestine activity or transaction. That or the occupant long gone, having legged-it during the night after being successfully hunted-down by someone’s husband, the person owed money, or the Terminator. (Or other visitor from the future.) The extraordinarily heavy ashtray next to the extraordinarily heavy TV having been of no use during the fisticuffs, despite both having the potential to crush with one deftly executed blow.

For a stay in Overdose Motel the wearing of snakeskin boots or jacket à la Nicholas Cage in Wild at Heart would have been mandatory as was the consumption of cheap liquor swigged straight out of a quart bottle preferably whilst still behind the wheel. Smoking in the No-Smoking rooms was standard, if there was even a No-Smoking room at all, there would have been no natural daylight once inside your room, the curtains were always drawn, and the pool not swum in since 1955.

By the 1970s the Overdose Motel’s whereabouts would have been well known to the Vice Squad, drug dealers (and takers), Columbo, Dirty Harry and the local fire department.

Their destination as a viable, cheap lay-over while conducting legit business would probably still have been popular. The businessman or indeed salesman (he would most definitely have been a man) would have frequented a cheap Motel when in need of a much deserved, always-be-closing celebratory Martini (or commissary Whiskey) after a long trip round North America with a trunk-full of vacuum cleaners or window cleaning equipment.

Above and opposite, Lamplighter Motel, Main Street, Longmont, Colorado.

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By this point in time the car out front would have switched – I want to paint the picture with a period correct Studebaker, as this was the car owned by probably the most iconic of American salesmen: Willy Loman. Indeed the ‘Death’ in Death of a Salesman took place in his Studebaker. But the Studebakers of the 1970s don’t feel right so let’s go with imagining our salesman in a battered 1966 Studebaker Lark instead - he’s still driving the last one off of the production line well into the 1970s. Probably.

He would have swung his Lark into the convenient parking spot outside the door, hopped into the welcoming steamy shower, hopped into the convenient dive-bar next door on the freeway, hopped into bed and then hopped straight back out onto the road the following morning. We suspect there would have been the odd secretary or old love involved somewhere in one of those ‘hops’ - roadside call phones leave no trace and tell no tales. All he’d need was a quarter and no sense of regret or guilt while organising his night of illicit, middle-aged (and slightly past-it) passion between the (polyester) sheets and vacuum accessories.

It’s all a somewhat dark nostalgia that clings around America’s Motels. To those outside the US this is their main appeal – they’re a part of America’s cultural heritage, the sort that goes hand-in-hand with some of its best crime and road novels. Sadly, many are being torn down or neglected. If they’re not of architectural worth they seem to be considered of very little value, not worthy of a preservation order.

I hear that a few have been ‘revived’ into a more gentrified, overly-stylised, overly-expensive version of their former gloriously-grubby-glory.

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Above, the annual car meet of the Road Devils at the Caribbean Motel, a historic motel located in Cape May County, New Jersey in an area now known as the Wildwoods Shore Resort Historic District.

The motel was built in 1957 in the Doo Wop style by Lou Morey, whose family built many of the Wildwoods’ original Doo Wop motels, for original owners Dominic and Julie Rossi. It was owned by the Rossi family until the early 1990s, when they sold it to multi-billionaire Mister Bolero, and was the first motel to use the full-size plastic palm trees that now adorn most of the Doo Wop motels in the area. The Caribbean Motel was added to the National Register of Historic Places on August 24, 2005.

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To be fair, most of the damage has already been done. Many

had 1990s refits that saw pretty much everything torn-out and replaced by chintz – except the bathrooms which still performed their original function well, so no need. Some motels, therefore, still have glorious shower and bathroom hardware that looks straight out of the jet-age or as though someone’s nicked the taillights from a 1963 Ford Thunderbird and re-worked them as taps and showerheads.

To end my Summer in the US – and in order to complete the Hotel, Motel theme, I spent the night in the newly renovated TWA Hotel at JFK. A ‘modern’ hotel, and why not, that still has one foot firmly planted in 1962, the main building was originally built as a terminal with the hotel wings added later during its 2016-18 renovation. Being conveniently located right at the heart of the airport, the hotel now marks the beginning, or indeed the end of, a road-trip across the States and as such, seemed a fitting place to spend my last night. As though reading my mind, and conveniently for this piece, there’s a Lincoln Continental parked right out front.

Happily, I survived the night. No overdose, no being bludgeoned to death in the bath. Indeed, I continued the legacy of petty-criminality by ‘removing’ a good handful of TWA pencils from the room. Sorry, TWA Hotel. I didn’t get chance to stay in a Holiday Inn so it’s on the list for next time. As is the wearing of a snakeskin jacket whilst driving around in a Studebaker with a trunk full of vacuum cleaners.

Above, Overniter Motel, Salt Lake City, Utah.

About Sarah Feeney Always in transit, Sarah has lived and worked remotely since 2009.

She has now visited, researched and photographed 40 countries, mostly photographing cars for @under_rocks_sarah_feeney Sarah is the creator and author of www.underrockstravelproject.com

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Above and left, the striking TWA Hotel at John F. Kennedy International Airport in Queens, New York. It utilises the headhouse of the TWA Flight Center airline terminal, designed in 1962 by renowned architect Eero Saarinen.

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Normandy Beach Race Plage de Ouistreham Words and Images: Philip Newsome

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W

e came across the Normandy Beach Race almost by accident. Our original plan had been to attend Les Grandes Heures at MontlhĂŠry but when this event was cancelled we decided to see what else was on offer in France that weekend.

Sword Beach was one of three Anglo-Canadian landing areas on June 6th 1944, D-Day. East of Juno Beach, Sword is located between the localities of Langrune-sur-Mer and Ouistreham and represented the eastern flank of the Allied amphibious attack in Normandy. The initial landings were achieved with relatively low casualties, but the advance from the beach was slowed by traffic congestion and resistance in heavily defended areas behind the beachhead.

Our day sur la plage could not have been further removed from the mayhem and carnage that prevailed some 75 years earlier but there was, nevertheless, a very tangible connection with that era. The beach was crammed with hot-rods and bikes that would not have seemed too out of place in the 1940s. Beach racing is one of the fastest growing areas of motorsport; without doubt it is also one of the coolest.

We turned up not really knowing what to expect and without any press accreditation or special passes. Yes it would have been great to have been admitted to the inner sanctum of the paddock but the wonderful thing about beach racing is that, in all honesty, you can take great photos from anywhere on the beach. Indeed, the majesty and sheer magnitude of the beach almost demands that you take a huge step backwards and look upon it from afar and in awe.

The images that follow are in effect a postcard from a wonderful, warm autumnal day in Northern France. No famous faces, nor modern technical wizadry. Just plain old-fashioned hot rods and the people who cherish them.

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Wrenches clanging, knuckles banging A drop of blood A new part here, an old part‌ there A hotrod had been built!

A patchwork, mechanical, quilt An extract from Race Day by Zeeb

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Goodwood Festival of Speed Words and Images: Brian Smith

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T

he 2019 Goodwood Festival of Speed was another memorable edition of this ever popular celebration of everything motoring-related. As always, the event featured a wide diversity of attractions to interest everyone from casual voyeurs to die-hard enthusiasts. Accessibility to the action playing out on the hill climb was excellent while the more adventurous spectators headed up to the full rally stage or down to the drift ring.

2019 saw Aston Martin take centre stage with special events organised to mark the brand’s 70th anniversary with many examples, both old and new, featuring prominently in front of Goodwood House (previous spread and opposite). The company’s racing heritage was clear for all to see and underlined by many iconic examples, such as this glorious 1959 DBR4 (below).

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Eddie Berrisford and the 1919 Ballot Indianapolis.

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Greg Manocherian, Bugatti Type 59.

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Above, Valtteri Bottas keeps the crowds entertained by lighting up the rear tyres of his Mercedes.

Opposite, the memories came flooding back as two-time Formula One World Champion Emerson Fittipaldi took the John Player Special Lotus 72 for a spin.

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Group B rally cars such as the Renault 5 (above, top) and the Lancia Integrale (above, bottom) looked the part on the rain-soddened track.

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All the fun of the fair.

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Above, the imposing 1929 Bentley 4.5 litre Supercharged GP racer with driver Katarina Kyvalova at the wheel.

Opposite, Lando Norris chats about his drive up the hill in the legendary McLaren M18.

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For many, the highlight of the 2019 Festival of Speed was the Volkswagen ID. R electric racecar driven by Romain Dumas which spectacularly broke Nick Heidfeld’s 20-year-old hillclimb record. The ID. R made the climb on Friday in just 41.18 seconds, half a second clear of Heidfeld’s hairy 41.6 second run back in 1999.

This record-breaking performance came just one month after Dumas smashed the electric vehicle record at Germany’s famous Nürburgring in the 680-horsepower ID. R. Dumas also holds the record for the fastest run up Pikes Peak, the event for which Volkswagen built the ID. R in the first place.

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Above and opposite, Sir Jackie Stewart prepares a rose which he presented to his wife, Helen, in a very poignant moment in front of Goodwood House. He was also joined during the event by his sons to drive several of his iconic Formula One cars.

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About Brian Smith Based in MontrĂŠal, Brian is a long-time automotive photographer having covered a number of Canadian motorsport events. He shot the Goodwood Festival of Speed for Monopod with two Nikon DSLRs catering for both long and short lens options. His style is the conjunction of right place, right time combined with shooting cars in a dynamic way where possible to capture motion.

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Perfect Panning An interview with Pedro Dermaux

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Above, British GT, Spa. Canon EOS 1D X Mk II; 200-400mm @200mm; f18 1/25s; ISO 50.

Previous page, Spa Classic.

Canon EOS 1D X Mk II; 16-35mm @35mm; f16 1/30s; ISO 50.

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What camera equipment do you use?

In general, I use Canon 1DX and 1DX Mark II DSLRs coupled with a variety of lenses: Canon 200-400 / F4 EF IS USM; Canon 1.4 Extender; Canon 24-105 F4: Canon 16-35 F2.8; Sigma 50 F1.4 art. I also use a Leica Q fixed-lens compact camera with a 24MP full-frame sensor and a 28mm F1.7 Summilux stabilized lens. When it comes to panning shots I use the 200-400/ F4, the 1.4 extender, and the two wide angle zooms.

How do you choose shutter speeds for panning shots?

It is a question of balancing the distance to and from the object, together with the available light, background and speed of the object. The further away the subject the slower the shutter speed and vice versa. With the 200-400 I use pretty much all the shutter speeds possible while with the 24-105 and 16-35 mostly between 1/8 and 1/40.

How much preparation do you do in terms of choosing good locations on the circuit?

For panning shots one of the most important things for me is the background and the colour or contrast you can get from it. I always make up a plan, where to start and then work my way around the track. It is important to say that most times it doesn’t work out. A lot depends on the time I have available. For example, a sprint race versus an endurance event. In my case, I am usually working for teams, drivers or manufacturers and it is vital that I am able to deliver a variety of images from different angles and places.

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Goodwood Revival.

Canon EOS 5D Mk III EF; 24-105mm @47mm; f22 1/15s; ISO 50.

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Above, Spa 6 Hours.

Canon EOS 1D X; 200-400mm @282mm; f6.3 1/40s; ISO 50.

Opposite, Creventic 12H, Spa. Canon EOS 1D X; 200-400mm @200mm; f29 1/15s; ISO 50.

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In strong light do you encounter difficulty with overexposure as a result of very slow shutter speeds?

Very often! When I am creating panning shots for customers it is very often a case of trying on other cars first and adjusting all the time until I find the correct setting I want to produce a result I am happy with.

Do you pan with the motordrive on or as a single frame?

For panning at relatively low shutter speeds I find that single frame works best for me. I much prefer to have one very good photo instead of lots I am not completely satisfied with and which I then have to spend ages selecting, deleting and editing. In my job it has become very important to be able to deliver almost immediately so that customers can publish my images as soon as possible on their various social media channels.

How do you make sure the camera follows the car and you don’t pan too fast or too slow?

Practise makes perfect I guess, being patient and holding your breath.

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GT4, Brands Hatch.

Canon EOS 1D X; 200-400mm @362mm; f20 1/13s; ISO 50.

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British GT, Rockingham.

Canon EOS 1D X; 200-400mm @200mm; f10 1/20s; ISO 50.

About Pedro Dermaux Pedro started working in Motorsport in 2007 as a team manager with Aston Martin Belgium and has been a professional motorsport photographer since 2011. He works mainly for Xynamic Automotive Photography, a professional automotive and motorsport photographic business run by head photographer Gary Parravani. He covers Endurance, GT and Historic Motorsport for teams, drivers, sponsors, car manufacturers, printed and digital media.

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What focus settings do you use?

Single point usually when the car is rather small in the picture, cross points for when the car is bigger.

What software do you use to edit your images post-shooting?

Adobe Lightroom. I run all my images through my own presets ... but I cannot tell you what they are, that is like asking a chef for the recipe of his signature dish ;-) basically everything is adjusted.

What advice would you give someone starting to use this technique?

Practise, practise, practise. Learn your settings, like for example with Canon you can first try with the TV stand (shutter priority) study the outcome and then try everything with manual settings. Be prepared to spend a lot of time selecting and deleting bad photos. Finally, use a zoom so you can play around, always try different things.

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Plus รงa change The photographs of E.V. Starr Words: Tim Beavis

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T

he 1970s and 80s were a time of huge innovation in Formula One as constructors poured over the regulations and then bent them to within an inch of their lives in order to create a race advantage.

The era spawned aerodynamic design, notably ground effect as well as fan cars, six-wheelers and of course turbos. These giant technological leaps were not always matched in terms of safety and circuit infrastructure and as we look back at these evocative images we can appreciate just how far the sport has come. That said, many fans find modern Formula One rather sterile and distant and yearn for the good old days when drivers were human and accessible allowing a closer bond between those who did and those who followed.

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July 1977 saw Renault launch the first turbocharged engine to be seen on the Formula One starting grid since 1951. The yellow Renault, piloted by Jean-Pierre Jabouille, began by trailing behind hopelessly but by 1979 (above, British GP Silverstone) the team was proving to be much more competitive. Spectator safety was, to be honest, something of an afterthought.

Opposite, the six wheeler Tyrell Project 34 car seen at its first public viewing in April 1976 during the BRDC International Trophy meeting at Silverstone. Jody Scheckter ran the car for some demo laps although this particular nose cone was never used in competition.

Previous spread, Denny Hulme sits in his Yardley-sponsored McLaren M19 in the Brands Hatch pit-lane with a team mechanic looking on. Hulme qualified second but slipped to finish fifth in the race behind eventual winner and fellow Kiwi Chris Amon in his Matra.

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Above, top, the Rob Walker-run Brooke Bond Lotus 49C with a thoughtful looking Graham Hill behind the wheel. Hill finished a distant sixth behind his former Lotus teammate Rindt in the new Lotus 72 as Jack Brabham ran out of fuel on the last corner at Brands Hatch.

Above, bottom, Tim Schenken’s Motul Rondel Racing Brabham BT38 in the Thruxton Paddock at the European F2 race April 1972. This wonderfully colourful car was sponsored by Radio Luxemburg 208 among others. It was withdrawn and did not even run in qualifying.

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Above, the Warsteiner Arrows / paddock burger bar. This is the Arrows FA1 car of Riccardo Patrese at the British GP in 1978, the race before the car was banned by the courts as a blatant copy of the Shadow DN9. The courts decreed that Tony Southgate must design a new car for Arrows if they wished to continue competing in F1. Patrese retired in this race, with suspension failure, having qualified well in fifth place.

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The BMW M1 Procar series ran for just two years, 1979 and '80. Both Champions can be seen here dicing at the 1979 British GP meeting, with Nelson Piquet leading Niki Lauda. This particular race saw Lauda eventually coming out on top and eventually going on to win that year's championship. Piquet would prevail the following year.

The format of this much lamented series was quite unique. BMW somehow managed to sidestep an FIA rule restricting competing drivers, thus allowing a number of F1 drivers to compete over a Grand Prix weekend while supplementing the line-up with some current touring car and endurance drivers. Imagine this happening now with the current crop of F1 drivers! No doubt the crowds would love it, but their paymasters would undoubtedly take a rather dim view of the idea.

Only competing at the European rounds gave BMW a captive audience in this one-make series and this particular race saw Brabham teammates Lauda and Piquet competing alongside Jones, Stuck, Reutemann, Regazzoni and de Angelis among others. The great German Touring Car driver Dieter Quester drove the TWR entry finishing 6th with a notable mention going to Tiff Needell who finished 9th in a BMW factory car.

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Patrick Depailler pushing hard in his Tyrrell 007 during the 1974 British GP at Brands Hatch. The popular Frenchman retired on lap 35 with an engine issue while teammate Scheckter went on to score a lucky victory.

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Above left, 1976 and a Ferrari mechanic works on the famous flat 12 engine, likely ready to be used as a spare for the weekend. Behind is Nikki Lauda’s 312T2 bearing the number 1 of the current champion. With wheels and tyres stacked around him, you can just see members of the public peering through the rear garage door.

Above, the Iconic STP livery on Lauda’s March 722 F2 car, seen here at Thruxton for the Jochen Rindt Memorial Trophy in the European F2 championship. Lauda finished third behind teammate Ronnie Peterson. Former Formula One World Champions Graham Hill and John Surtees both retired with engine issues.

Below left, Nikki Lauda chats to the BBC’s Barrie Gill at Brands Hatch over the British GP weekend of 17/18 July 1976, just weeks before the Austrian’s horrific accident at the Nürburgring. Lauda qualified here on pole and was awarded the race win after James Hunt was disqualified some months later. The story of this famous season is well known and has now been told on the big screen.

"From success, you learn absolutely nothing. From failure and setbacks conclusions can be drawn. That goes for your private life as well as your career."

Niki Lauda

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July 1972 at Brands Hatch for the British GP and the colourful crowd looks across Paddock Hill Bend waiting for the field to plunge down the cambered track then up towards Druids Hairpin. With tobacco advertising prominent in the background and the paisley patterned shirts, this could only be the early 70’s. With barely a nod to safety, members of the public strain to see their favourites head towards them.

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Autogrammer @garagenormandie @garagenormandie is the brainchild of Groningen-based Auki Korthuis. CitroĂŤns are his passion.

As a boy he fell in love with the way they combine form and technology. His particular favourite is the DS and he has been working on these since 1998. In 2011 he set up his own garage business, something he describes as his ‘everyday hobby’.

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Lombard Rally Bath Cirencester Park Stage Images: Rob Jones & Philip Newsome Words: Philip Newsome

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B

ack in the 1970s and 1980s one sporting event in the UK stood out above all others in terms of outright spectator attendance, namely the Lombard RAC Rally. More people watched the rally than attended all football league matches that weekend put together! In the early 1970s the Rally had been based for some while in Yorkshire and the organising team wanted to take the base around the UK, so in 1976, the great honour of hosting the start and finish went to the City of Bath. The rally returned to Bath three more times over the next few years. In 2018 a recreation of the event was organised using some of the locales used back in the 80s. The event was a huge success and it returned earlier this year, including a stage in the idyllic and usually peaceful Cirencester Park. The following images give some idea of how, for a few glorious hours, the autumnal peace and quiet of the Cotswold countryside was shattered.

Left, Aziz Tejpar in the Ford Escort RS1800 which won the 1975 Lombard RAC Rally driven by Timo Mäkinen and Henry Liddon.

Previous spread, Tim Green’s Triumph TR7 V8 charges past the crowds gathered in Cirencester Park.

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Opposite, Neil and Arlene Calvert’s glorious 250 GT SWB. Above, Ian Moss’ dainty little Hillman Imp kicks up some dust.

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Above, 1993 World Rally Champion (with Juha Kankkunen) Nicky Grist together with Paul Spooner in the Toyota Celica Turbo 4WD (ST185).

Opposite top, 1984 World Rally Champion Stig Blomqvist in the all-conquering Audi Quattro.

Opposite bottom, Neil Brighton's Renault Maxi 5 Turbo.

Following spread, Nicky Porter's imposing Mercedes-Benz 450 SLC.

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"The most important thing you learn as a sports photographer is anticipation, not where the action is taking place, but where it's going to take place. Not where the subject is now, but where they're going to be."

Lawrence Schiller

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Mark Webber climbs aboard his Porsche 919 Hybrid during the 2015 FIA WEC 6 Hours of Shanghai race.

Image: Philip Newsome

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Goodwood Revival Words and Images: Philip Newsome and Siobhan Owen

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T

he 2019 edition of the legendary Goodwood Revival was, as always, spectacular, evocative and as close as one can get to automotive time travel.

The event brings together in one place machines that most enthusiasts would consider as belonging to the golden age of motorsport. It relives the glory days of Goodwood Circuit, which throughout its active years ranked alongside Silverstone as Britain’s leading racing venue. Between 1948 and 1966 this Sussex track hosted contemporary racing of all kinds, including Formula One, the Goodwood Nine Hours race, and the Tourist Trophy sports car race.

The Revival is without question achingly photogenic. Unsurprisingly, professional and amateur photographers alike attend in their droves. The good thing is that it is possible to create stunning images however limited your access, you just need to keep your eyes open and be prepared to think a little out of the box.

The images presented over the next few pages give a brief flavour of the treats on display during those three wonderfully atmospheric, nostalgic days back in September. Glorious Goodwood indeed.

Previous page, Marino Franchitti lifts a wheel as he guides Philip Kadoorie’s 1963 AC Cobra round Madgwick.

Above, Marc Devis’ glorious 1960 Ferrari 250 GT SWB/C heads out onto the track.

Opposite, Sid Hoole’s Cooper-Climax T41 being wheeled through the paddock.

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Above and opposite, paddock scenes.

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Charlie Martin exits the Chicane in Rod Spollen’s 1959 Lotus-Climax 15.

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Above, the 1964 Mike Whitaker/Mike Jordan TVR Griffith 400.

Leading racing drivers attending this year included Brendon Hartley (opposite, top) and AndrĂŠ Lotterer (opposite, bottom).

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Above and opposite, the Settrington Cup takes place every year and features children competing in Austin J40 pedal cars built between 1949 and 1966.

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L-R, Porsche 910, Cooper-Maserati T61P, Lola-Chevrolet T70 Spyder.

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Barry Cannell’s Cooper-Climax T51.

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Little Red Corvette. Stuart Morley’s 1965 Stingray.

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Joe Singer (above) enjoying himself in the striking red 1923 Bentley 3 litre Supercharged.

Opposite, the usual suspects.

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It’s a numbers game.

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Barrie Baxter gives Sylvain Barrier a helping hand ahead of the Barry Sheene Memorial Trophy race.

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Above, Bill Shepherd’s green Cobra (#47) gets off the line first at the start of the RAC TT Celebration race but is hampered by copious amounts of wheelspin allowing the blue Tojeiro (#16), in the hands of Nicolas Minassian, to take over the lead. Over the next hour the lead swapped hands several times but at the end it was three-time Le Mans winner André Lotterer in the pole-sitting baby blue Cobra (#2) which crossed the line first to seal a well-deserved victory.

Overleaf, top row, Brendon Hartley shoehorns himself into Cobra #151 (left) while emergency repairs are carried out on Dario Franchitti’s Cobra #68 (centre) and Peter Dumbreck’s Stingray #30 (right) re-enters the fray.

Overleaf bottom, battles continued throughout the field.

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66th Macau Grand Prix Words and Images: Philip Newsome

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T

he 66th running of the Macau Grand Prix heralded a change in the regulations governing the main event which would result in much bigger, faster Formula Three cars taking on the legendary Guia circuit. Perennial favourites Prema/Theodore, under the stewardship of team boss RenĂŠ Rosin (right) came to Macau having dominated the 2019 FIA Formula 3 Championship taking the top three places. Russian driver Robert Shwartzman (left and above) won the championship title with one race to spare. He was a hot favourite to win in Macau but despite starting on the front row of the Grand Prix a puncture brought his race to a grinding halt at Lisboa Bend at the first time of asking.

Previous spread, eventual race winner Richard Verschoor rounds Melco Hairpin during qualifying.

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Above and opposite, New Zealander Marcus Armstrong finished runner-up to Shwartzman in the 2019 FIA Formula 3 Championship. Like his teammate, Macau did not go exactly as planned but he recovered with a hard charging drive through the field from 17th on the grid to finish eighth.

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Daniel Ticktum had won the previous two Macau Grands Prix and was looking to be the first driver in the entire history of the event to win three in a row. He would, however, come away from the 2019 edition empty-handed.

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Above, against all the odds Sophia Flörsch returned to contest the Macau Grand Prix one year after catapulting into the catch fence at Lisboa Bend following a collision with the rear of Jehan Daruvala’s car. The accident was so horrific that it quickly became front page news around the world. It was not a particularly happy return though, the popular German retiring from the race after only seven laps.

Opposite, Sebastián Fernández prepares for battle.

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This page and opposite, race engineers hard at work.

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Opposite, towering over the neighbourhood, the Grand Lisboa Hotel represents the new face of Macau.

Above, meanwhile down below on the streets the Guia Circuit has challenged drivers since its inception in 1954. Red flags are far from an unusual sight.

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Opposite, top, JĂźri Vips looked on-course to win the 2019 Macau Grand Prix having qualified in pole position. He then followed this up by winning the qualification race.

In the final he was cruising to victory when the race was turned on its head with the eighth lap appearance of the safety car. Following the restart, Richard Verschoor (above) managed to get past Vips, blocking the Estonian’s multiple attempts to retake the lead and so become the first rookie to win the event since 2008 winner Keisuke Kunimoto.

He also became the first Dutchman ever to win the Macau Grand Prix. The podium was completed by American rookie Logan Sargeant (opposite, bottom).

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The start of the 2019 Macau Grand Prix.

The intense culmination of four days of effort, blood, sweat and tears. For those drivers new to the event, the build-up to this moment will have seen them ascend the steepest of steep learning curves.

For some of those with previous Macau experience, the Guia circuit will likely have bared its teeth and snapped back. As the red lights go out the ultimate prize is so near and yet so far away. For spectators the next fifteen laps fly by but for drivers they entail hundreds of gear changes, adjustments and going above and beyond what they thought they were ever capable of.

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Scenes from the 1960 Macau Grand Prix. Above, Martin Redfern guides the awesome Jaguar XKSS round Fisherman's Bend on his way to victory. Opposite, this scene was shot at Macau's Inner Harbour against a backdrop of traditional fishing junks while an undeveloped Chinese shoreline lays across the muddy waters of the mighty Pearl River.

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Italian Rafaele Marciello’s AMG-Mercedes GT3 leads the field towards San Francisco Bend well on the way to winning the FIA GT World Cup race.

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Above, Sophia Flรถrsch passes through the scrutineering bay during practice.

Opposite, Macau scenes.

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Opposite, Michael Rutter (#8) fends off Bathams teammate Peter Hickman (#88) to secure an incredible ninth win in the event.

Above, Ducati rider David Johnson completed the podium.

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Rob Huff rounds the notorious Melco Hairpin during qualifying for the FIA WTCR Race of Macau.

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Opposite, top, Jean-Karl Vernay led the way in qualifying for the FIA WTCR Race of Macau.

However, it was Yvan MĂźller (above, #100) who emerged victorious in the first two races with Andy Priaulx (opposite, bottom) coming out on top in the third.

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Late afternoon shadows lengthen across the Guia circuit bathing the track in Macau's characteristic golden glow.

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"If the photographer is interested in the people in front of his lens, and if he is compassionate, it’s already a lot. The instrument is not the camera but the photographer."

Eve Arnold

Above: Madame Defarge, Shelsley Walsh Hillclimb. Image: Siobhan Owen Back cover: The beautifully sculpted Cosworth DVF engine. Image: Philip Newsome