Mark Sutton – Life Through a Lens 2015 – Part Two

Mark Sutton – Life Through a Lens 2015 – Part Two
F1 photographer Mark Sutton talks ESPN through his favourite shots from the second half of the 2015 season.

Camera model: Nikon D4S | Exposure time: 1/400s | Aperture: F8 | ISO speed : 200 | Lens: 24-70mm zoom

Belgium

I turned up at the final chicane about 20 laps before the end of the race and quickly took some photos of the retired Red Bull of Daniel Ricciardo, thinking nothing of it. The next minute all the marshals started telling other photographers not to take any pictures, despite one of them taking pictures with his mobile phone! I had my photos in the bag; some low down ones as well as this one. It seemed the order to stop taking photos had come from race control, but I don’t see why as we are simply documenting what happened in the race.

Camera model: Taken on Apple iPhone 6

Italy

People always say “always have a camera with you” and photos like this are the reason why. I was leaving the track at the end of the day and luckily I timed my exit alongside Lewis Hamilton. I actually took this on my iPhone, but it just goes to show how far mobile phone technology has come that you can get such a high-quality photo so easily. I took about 58 frames and immediately sent the best to the office when I got in my car to go back to the hotel, which is a great way to work. I couldn’t have got my camera out in time because I would have missed it, it was that quick. I thought he was just going to ride out the paddock, but he stopped and did this burnout for the fans, who had been waiting there all evening to get a glimpse of an F1 driver or two. The atmosphere was amazing because he was so pumped and after the burnout he cruised past the fans, looking like Easy Rider without his helmet on.

Camera model: Nikon D4s | Exposure time: 1/15s | Aperture: F18 | ISO speed: 200 | Lens: 500mm telephoto

Singapore

The night races this year have been really great for sparks. You see them in the daylight but they get enhanced a great deal under the lights. This is on a longer lens, a 500, panning into the first corner from the same position I took the Hamilton and Rosberg photograph (above), I’m sat there hoping the cars will spark because they were bottoming out over a bump or two there, and this one is a great shot of Pastor Maldonado’s Lotus doing just that. We’ve had Bahrain and now Singapore where there’s been some great spark shots and I imagine it will be similar at Abu Dhabi in November.

Camera model: Nikon D4s | Exposure time: 1/320s | Aperture: F4 | ISO speed: 400 | Lens: 24-70mm zoom

Japan

This is was at the start of the Japanese Grand Prix weekend — the track walk on Thursday. What a lot of people don’t know is that after the pit walk they open the pit lane up for local school children. Each class picks or is allocated a team which they will welcome to the paddock. So each school will be outside the garage of each team — ten schools, ten teams. It helps them gain an interest in one team and an individual driver. Here they have old-school cycle helmets, typical of motorcycle helmets in Japan, and have coloured them. They’ve also made the Sebastian Vettel glasses out of cardboard, which I thought looked great. All of the kids are then sat opposite the garages so it makes for an easy picture to grab. They’re all very fanatical and I don’t know why other venues on the calendar don’t do the same thing with local schools because it’s a great idea and a good way of giving young people the F1 bug early.

Camera: Nikon D4s | Nikkor 70-200mm & 1.4X extender 280mm | Shutter Speed: 1/1000s | Exposure: F6.3 | ISO: 400

Russia

I shot the start of the race from the photographers’ tower at Turn 1 in order to capture the two Mercedes fighting in the first corner, but when I panned back through the pack I saw Nico Hulkenberg spinning. It looked like he spun on his own and ended up facing the wrong way before Marcus Ericsson collected him and went over the top. The TV cameras didn’t really capture how close the Sauber got to Hulkenberg’s head as it scraped along the side of the Force India. It just shows you that it could have been a lot worse than what it was and he was a very lucky boy. The rear wheel could have made contact with his head, but you just don’t know what will happen in those circumstances and it all happens so quickly. I was lucky to pan round at the right time and had the right lens on my camera, because it was easy to miss if you had too long a lens.

Camera model: Nikon D4 | Exposure time: 1/320s | Aperture: F8 | Lens: 24-70mm zoom

United States

I got to the Lewis Hamilton celebration quite late. All year he’s been running away from the champagne after the Mercedes victory shot. This time he probably thought as he’d won the championship there’s no point running away; he just stood there and they doused him. Not just him, either, the man on the left is spraying the champagne towards me and just after this covered my lens with it. I took some shots of Lewis on the shoulders of his engineers later and it still had droplets on it.

Camera model: Nikon D4 | Exposure time: 1/1000s | Aperture: F5 | Lens: 10.5mm fish eye

Mexico

This is an amazing section of the circuit. The organisers did an incredible job — on Friday alone there was 89,000 people at the circuit and this bit was like a party atmosphere all weekend. I went here on Friday because there was rain predicted for the rest of the weekend so this was the best opportunity for a good shot of the stadium. I knew exactly where to go because I had gone around on Wednesday to find the best spot. My brother Keith was on the far right shooting there but I decided to go in the middle. The fans were amazing, they were helpful, they moved out of the way if you were taking shots. Like the drivers said on the podium it was like a football stadium. The grandstand is just concrete, no steps at all, and no cover over it either but everyone was there having a good time watching the F1. You can see that section being sold out every year we go back to Mexico.

Camera model: Nikon D4S | Exposure time: 1/1250s | Aperture: F9 | ISO speed: 1600 | Lens: 24mm-70mm Zoom

Brazil

It’s rare to catch drivers giving a full burnout in the pit box because sometimes there’s already rubber down and they don’t need to put down as much. They tend to come in and do these practice pit stops, you can see the guy has got his finger on the button ready to give Kimi Raikkonen the green light to go again. They tend to do it all around the same time at the end of the session and you can be in two pit boxes at the same time, so the rear of one and the front of another. The teams can fret about that a bit because they don’t want you ruining their pit stop practices so you’ve got to be careful to stay out of their way, so sometimes you miss out on these opportunities.

Camera model: Nikon D4S | Exposure time: 1/250s | Aperture: F6.3 | ISO speed: 1600 | Lens: 24mm-70mm Zoom

Abu Dhabi

This is Nico Rosberg celebrating with his half of the Mercedes garage, his mechanics. I was in a helicopter for most of the race doing different shots so I came down after the chequered flag, downloaded everything and by the time I had I thought I should go out to do this in the pit lane. I managed to find quite a good spot, did the usual whole team shot and then you get Lewis or Nico posing with their whole team. There’s raw emotion on Nico’s face and as a photographer you want to find pictures which tell this sort of story about a weekend and this is quite nice to explain the end of Rosberg’s season.

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Mark Sutton – Life Through a Lens 2015 – Part One

Mark Sutton – Life Through a Lens 2015 – Part One
F1 photographer Mark Sutton talks ESPN through his favourite shot of each race from the first half of the 2015 season.

Camera model: NIKON D4S | Exposure time: 1/1000s | Aperture: F10 Flash | ISO speed: 200 | Lens: 70-200mm zoom.

Australia

This just looks a bit sparse because there’s two more cars missing after Kevin Magnussen and Daniil Kvyat failed to make it to the grid. So it’s two more cars on top of Bottas, the two Marussia’s and even Caterham if you think back to 2014. So in theory it’s seven cars missing from last year and it looks a bit sparse. It’s sad because we need those cars on the grid to give the fans watching in the crowd a show. Despite the limited numbers its still a spectacular start shot because there’s the people in the background, that main grandstand is a great place for fans to sit. Obviously it was a sunny day, there’s Melbourne signs, there’s a blue sky – it’s your typical Melbourne shot, the sort of shot which will be used as a preview of the Australian Grand Prix in years to come. This is the first time I did that shot, I was originally down for Turn 2 until a last-minute change and I’m glad I did because it’s a nice final picture.

Nikon D4s Nikkor 24-70mm F11 1/250th ISO 200 with flash

Malaysia

I never heard from Lewis Hamilton after my last column, I was expecting a nod or something from the team! I had some positive comments about what I said last time and this is another bizarre Lewis moment. It’s the Malaysian national anthem and he has this insistence of carrying an umbrella. There’s nothing wrong with carrying one when it’s hot, but I still feel it’s a bit of an insult to the people and a bit disrespectful. The worst thing is he’s still wearing his hat, when none of the other drivers (aside from Max Verstappen) are. I was a bit bewildered looking at it. Worst of all, when I looked at the picture a bit closer he’s actually got his headphones in as well. So whether he knows the national anthem is even going on is another story! I tweeted about it and said it was a bit insulting to the Malaysian people. You know you’ve got to do it at every race, you know the score, if he’s got the umbrella again and the hat on in China then something needs to be said to him. As world champion he’s an ambassador for the sport and he shouldn’t act in that way.

Nikon D4s | Exposure time: 1/1000s Aperture F7.1 | ISO speed: 400.

China

I did the finish as usual, crossed over and climbed the podium tower for a bit of height. I’m never sure whether it’s the right side or the right angle, you just have to be lucky in those instances. On this occasion I was lucky as I was on the right and shooting as they shot champagne across me, if you like. There was quite a bit of emotion on that podium – or maybe it was aggression, I don’t know, it seemed a mixture of both! The champagne just seemed to carry on forever. This is just after Lewis went and sprayed the girl, which caused a bit of controversy, but he spent most of his time spraying Sebastian and Nico. The champagne shower at the end is spectacular and always makes a good shot.

Nikon D4s | Nikkor 70-200mm F2.8 | Exposure time: 1/1000s | Aperture: F10.

Monaco

I’m really pleased with how this photo turned out. Without an elevated podium you never know what you’re going to get in Monaco but this captures quite nicely the moment – the melee for the photographers and the joy and eleation on Rosberg’s face. It’s a good shot and always nice to have the champagne celebrations on the track as it’s a bit different to the rest of the calendar.

Camera model : Nikon D4s | Exposure time: 1/1000s | Aperture : F5 | ISO speed: 400.

Canada

This was my photo of the day. I got to the front and was actually the first photographer to get up to the area we are allowed to shoot from. Everyone went to the left and I went to the right as I knew there would be cameras obstructing the view the other way. I was able to get right to the top of our tower – if you look, I’m pretty much level with Lewis as I shoot this – and it makes a really nice shot with the spray.

Camera model: Nikon D4 | Exposure time: 1/160s | Aperture: F5.6 | ISO speed: 1600

Austria

This was a great shot through the new McLaren garage screen – it’s picture perfect. I got down low and could see Fernando Alonso’s eyes perfectly in the middle of the gap. When I started first of all it was quite dark because the mechanics were all around him and it caused a bit of a shadow. When they moved away the shadow went and I was able to get this shot. I love this picture because you can’t do it with most teams, if you want a cockpit shot you need to go and do it from the side on. It’s just the visor, the Schuberth logo either side of his eyes. It’s on a long lens so you get slight blurring from the front of the chassis. It’s something different from a race weekend that you’re always looking for.

Camera model: Nikon D4S | Exposure time: 10/10000 sec | Aperture: F/4 | ISO speed: ISO-800

Britain

It was pouring down at this moment and I didn’t have my rain cover with me, but I didn’t care and I was laughing to myself that I hadn’t taken any waterproofs. I was just concentrating on people coming out of the last corner and it paid off because Kimi lost it, did a tankslapper and then half spun and caught it. The crowd were going crazy because he managed to hold it and I just followed it all the way through. I knew someone was going to spin, I think Mehri spun as well, and you could see them struggling because they were the drivers on old intermediates that they had swapped to too early. It’s always nice to capture a bit of action and there was plenty going on when the rain hit all around the track, some of which the TV cameras didn’t catch.

Camera model: Nikon D4S | Exposure time: 1/1000s | Aperture: F13 | ISO speed: 200

Hungary

This was qualifying, in Q2. I had been editing up until the end of Q1 and then got out on track for the middle session. I saw Fernando Alonso crawling round the corner and knew he wouldn’t be able to get up the hill, so he’d have to get out of the car – and immediately there’s a picture. So he pulled up and the marshals took a while to get to him and he started pushing it. I managed to catch a shot of Vettel’s Ferrari passing Alonso pushing the car. I thought it was quite a nice picture because Alonso left McLaren for Ferrari and Vettel took his seat. This image shows the contrasting fortunes they’re having this year – even more so as Vettel went on to win the race.

Mark Sutton – Life Through The Lens – Brazil and Abu Dhabi Grand Prix – Rubber down

Mark Sutton – Life Through The Lens – Brazil and Abu Dhabi Grand Prix – Rubber down
Veteran F1 photographer Mark Sutton talks ESPN through his favourite shots from Brazil and Abu Dhabi.

Camera model: Nikon D4S | Exposure time: 1/1250s | Aperture: F9 | ISO speed: 1600 | Lens: 24mm-70mm Zoom

Rubber down

It’s rare to catch drivers giving a full burnout in the pit box because sometimes there’s already rubber down and they don’t need to put down as much. They tend to come in and do these practice pit stops, you can see the guy has got his finger on the button ready to give Kimi Raikkonen the green light to go again. They tend to do it all around the same time at the end of the session and you can be in two pit boxes at the same time, so the rear of one and the front of another. The teams can fret about that a bit because they don’t want you ruining their pit stop practices so you’ve got to be careful to stay out of their way, so sometimes you miss out on these opportunities.

Camera model: Nikon D4S | Exposure time: 1/1000s Aperture: F9 | ISO speed: 400 | Lens: 70-200mm Zoom

King of the parade

Lewis Hamilton turned up to the driver parade last and went to the front of the truck without saying much to anyone else — every driver has their own way and that’s something he does quite a lot. It’s bizarre how they do it in Brazil, they go the wrong way down the pit lane and then turn around at the end and comes down the track. On this occasion Lewis went straight to the top of the track and was lapping up the applause of the fans. This weekend he had the special Ayrton Senna helmet and the Brazil cap and I think he really appreciates those local fans and enjoys racing in Brazil, even though he’s still never won there.

Camera model: Nikon D4S | Exposure time: 1/400s | Aperture: F8 | ISO speed: 400 | Lens: 500mm telephoto

A team victory

I really like this shot from Brazil. This mechanic is James Waddell, who has probably been around the paddock for 20-25 years. He was at the current Mercedes team in the Honda and BAR days, and was at other teams before that. He’s started to grow his moustache so it curls up on the ends, he’s always up for a laugh and one of those guys in the paddock I’ve got to know quite well. What’s nice about this is that, in the old days, it always used to be the same people up there — Ron Dennis or Adrian Newey, whoever the main guy was — but now they are spreading it out between different people within the team. It’s good that they give appreciation to different people in the team who are away from the spotlight but still doing a very important job.

Camera model: Nikon D4S | Exposure time: 1/500s | Aperture: F5.6 | ISO speed: 18000 | Lens: 500mm telephoto

Focused Seb

This is from the Ferrari garage during the practice session in Abu Dhabi. The drivers are always boiling hot in those cockpits and for some reason they are only ever concerned with cooling their face rather than anywhere else, I guess that’s the important part. When they are on the track they can get the air through the helmet as well so maybe it’s to simulate that. You can see the curly jet cooling tube here next to Vettel, who has his usual steely look about him when he’s sat in there. These are always shots I like taking because you get the good mix of human emotion along with them being in the car, which you can’t see once the visor is down.

Camera model: NIKON D4S | Exposure time: 1/1000s | Aperture: F13 | ISO speed: 200 | Lens: 10.5mm Fish Eye

National pride

For this year they had coloured the tunnel on the pit lane exit in the colours of the United Arab Emirates for the 44th anniversary of its independence. The number was quite prominent throughout the weekend, including trackside during the race. I stayed around for the celebrations the following week and they were quite spectacular. This pit lane shot is always a good one because it’s so unique — Herman Tilke gets criticised for some of his circuits but this design is a really one and a good part of the F1 calendar, I think. We saw one GP2 driver get this pit exit completely wrong during the weekend and end up in the wall but we haven’t seen that from a Formula One car yet.

Camera model: Nikon D4S | Exposure time: 1/250s | Aperture: F6.3 | ISO speed: 1600 | Lens: 24mm-70mm Zoom

The man in form

This is Nico Rosberg celebrating with his half of the Mercedes garage, his mechanics. I was in a helicopter for most of the race doing different shots so I came down after the chequered flag, downloaded everything and by the time I had I thought I should go out to do this in the pit lane. I managed to find quite a good spot, did the usual whole team shot and then you get Lewis or Nico posing with their whole team. There’s raw emotion on Nico’s face and as a photographer you want to find pictures which tell this sort of story about a weekend and this is quite nice to explain the end of Rosberg’s season.

StarCards launches annual F1 auction in support of Great Ormond Street Hospital Children’s Charity

 

Image

Press Release

The drivers and teams of the Formula One world have again supported the annual StarCards F1 charity auction, supporting Great Ormond Street Children’s Hospital in London. These world famous auctions have been supported by Sutton Images since 2004 and continue to raise thousands of pounds for the charity. Mark Sutton has supported the fundraising event by obtaining the signatures of the 2014 F1 drivers on Great Ormond Street Hospital playing cards, t shirt and 2014 signed grid photo from every driver. In a special tribute to Formula legend Michael Schumacher who has supported the cause over the last 10 years a very special signed 7 of Hearts represents Michael’s achievements as a seven-time Formula One (F1) World Champion.

 

All images can be previewed at www.flickr.com/photos/starcards/sets/72157644889551969/

The auction starts at 8pm on the 30th June at www.starcards.org during the British Grand Prix period and ends 10 days later at 8pm on the 10th July.

 

Paul Brett founder of StarCards said ‘Sutton Images support over the last decade has been a tremendous boost to our annual fundraising efforts. The F1 community globally provides amazing support and continues to be our most profitable auction each year providing essential funding for Great Ormond Street Hospital Children’s Charity to spend on the most vital medical equipment, research facilities or toward the £50 million required every year to make it possible for children of all nations to get the help they need.’

 

Mark Sutton – F1 Photographer – ‘Sutton Images is pleased once again for its 11th year to support the Starcards F1 auction and with the help of all the F1 drivers and teams we have two amazing special fully signed items of a GOSH T-shirt and F1 Group photo from Australia, these are both framed and I’m

hoping will raise much needed funds to this great charity that Sutton Images fully supports”

 

Matt Forrest – Head of Community Fundraising – from Great Ormond Street Hospital Children’s Charity said: ‘We’re very grateful to StarCards, Sutton Images and the F1 community for their amazing support over the last ten years. The money raised through this year’s auction will help us bring hope to very ill children and their families across the UK and around the world.”

 

NOTES TO EDITORS About Great Ormond Street Hospital Children’s Charity Great Ormond Street Hospital is one of the world’s leading children’s hospitals with the broadest range of dedicated children’s healthcare specialists under one roof in the UK. The hospital’s pioneering research and treatment gives hope to children who are suffering from the rarest, most complex and often life-threatening conditions, from across the country and abroad. Great Ormond Street Hospital Children’s Charity needs to raise £50 million a year to help rebuild and refurbish the hospital, provide up to date equipment and fund research into better treatments for the children. You can help us to provide world class care for our patients and families. For more information visit www.gosh.org

 

For more information contact: Paul Brett, StarCards Press office.

Tel: 01977 592276 / 07710 007507               Email paul.r2.brett@bt.com         

Artist in Speed: Keith Sutton meets Michael Turner

 

Keith Sutton, CEO of Sutton Images, was invited into the Buckinghamshire home and studio of the artist Michael Turner to learn more about the man behind the brush

Michael Turner Gallery Visit, Chesham, England, 11 September 2013.

Michael Turner is one of today’s best-known and highly regarded Motor Sport artists. His racing scenes are instantly recognisable simply by the style in which they are painted with each scene depicting not only the excitement and dynamism of the race, but also the character of the drivers themselves. To own a Michael Turner painting is to own part of the passion that created it, but where did this passion start and how did it turn into his profession.

Michael Turner Gallery Visit, Chesham, England, 11 September 2013.

Michael Turner was born in Harrow, Middlesex, in 1934. One of his earliest memories is that of being pushed in his pram by his mother at the age of 3 and running a toy car through the water on the rain cover. Up until the age of 5 when he had to start his education at primary school, playing with toy cars had given Michael many hours of enjoyment and he would immerse himself into the miniature car world of road signs and pavements of printed card strips he had created on the carpet at his home.

By the age of 6, with the declaration of the Second World War, Michael’s attentions turned to planes and tanks and his interest in cars had taken a back seat. However, this passion for motorsport was to be re-ignited whilst on holiday at the age of 14.
WWII had taken its toll on the people of Britain and luxuries such as holidays had not been possible, but in 1947, some two years after VJ day, Michael and his family were able to get away for a proper holiday to stay with some relatives of his Mother on the Isle of Wight.

It was towards the end of their last week, that the family were looking for something different to do and by chance a poster was spotted advertising the British Empire Trophy car races which were being held on the island as one of the first post-war revivals of motorsport. Michael went along, with his Cousin, to the practice that evening and watched in awe at each passing driver wearing a flat cap and goggles trying to keep control of their car whilst they slid around the tight bends and the delicious smell of Castrol ‘R’ hanging in the air as the driver regained direction and sped away.

From that moment, Michael was devoted to the speed and spectacle of motor sport and to spending a lifetime successfully recreating and recording his visual impressions of the sights and sounds of motor racing on paper and canvas.

Michael Turner Gallery Visit, Chesham, England, 11 September 2013.

Michael was determined to learn as much about motor sport, the cars and the drivers as he could and subscribed to the magazines of the time, Motor, Autocar and Motor Sport where he could read about and see pictures of the growing number of events that were starting up again in post war Britain and Europe.

He persuaded his long-suffering parents to take him to events such as Silverstone, Goodwood, Brands Hatch, road races in Jersey and of course return to the Isle of Man where he could stand as close as possible to the action frantically scribbling with his pencil trying to capture on paper everything his eye could see and taking photographs on his Purma-Special camera for reference for his more detailed paintings.

Michael continued to draw and paint through his school life and in 1951, after attaining 8 passes in his School Certificate Examinations, he enrolled at the Heatherley School of Fine Arts.

He worked hard at getting to know people who were connected to motor racing and through various contacts he made, saw his paintings hung at The Steering Wheel Club which was the meeting place for anyone connected with the sport when in London.

His first real break came from a commission by the British Automobile Racing Club who wanted Michael to provide an illustration from their forthcoming Whit Monday race meeting at Goodwood for publication in the BARC Gazette. Realising, in order to do a good job, he would need a Press Pass he requested one but was left on tenterhooks for days before finally receiving the nod 10 minutes before the first event started on the day. The day’s action left Michael buzzing well into the evening but he settled on recreating a start scene and this was duly published in the Gazette and he was paid the princely sum of 2 guineas.

Then at the age of 18, his full time studying was put on hold when he was called up for the mandatory two years National Service. He trained as a Clerk and was in a unit where he could sketch all sorts of vehicles in the workshops. As he was based in Ashford, Michael was still able to attend evening classes at the Heatherley and keep up his visits to motor racing events.

He was demobbed in 1954 and spent the next 3 years working for advertising studios in London learning his art before becoming a freelance artist in 1957. In 1960 he married his wife Helen and they went on to have three children, 2 daughters and one son, Graham, who has followed in his father’s footsteps to becoming an artist in his own right.

Michael Turner Gallery Visit, Chesham, England, 11 September 2013.

Michael’s passion for motor sport has taken him to most of the major racing circuits throughout Europe, North and South America, Canada and South Africa and gaining a Press Pass is now no great obstacle. With a strong belief that there is no substitute for first hand involvement in order to portray such demanding subjects with authority and feeling, Michael has travelled extensively to the world’s major race tracks to satisfy his need for authenticity, and he continues to visit several Grand Prix each year.

Michael still has a passion for aircraft and he has flown in many service aircraft, from Tiger Moth and Lancaster to Harrier and Tornado, plus aerobatic sorties with the Red Arrows, to gain first hand impressions for his aviation paintings.

He holds a Private Pilots Licence and flies his own Chipmunk aircraft. He is a founder member of The Guild of Aviation Artists, of which he has twice been Chairman and is now President, and an Honorary Fellow of the Guild of Motoring Artists. His clients include many racing drivers, teams, sponsors, pilots, motor and aircraft manufacturers, R.A.F. and Army messes, museums and private collections worldwide, and he has held one man exhibitions in London, New York, Australia and the U.S.A., plus participation in specialist shows in the U.K. and Europe.

To date, Michael has had six books of his paintings published – featuring aircraft of the Royal Air Force, Formula One Motor Racing, Aircraft of the Luftwaffe, Aviation Art, Monaco Grand Prix and Motor Sport Art.

Michael Turner Gallery Visit, Chesham, England, 11 September 2013.

Michael’s next exhibition is commemorating his studio’s 50th Anniversary entitled ‘Exhibition of Paintings by Michael Turner and Graham Turner’ and will be held between 4th and 6th October 2013 at Halton House, Near Wendover, Aylesbury, Buckinghamshire.

I found my visit to ‘Studio 88’ both fascinating and informative. Set in rural Buckinghamshire, Michael’s working studio is a relaxing and charming setting to while away the hours doing what he enjoys and is obviously a master at.

We can only wish him continued success in bringing to life the wonderful, exhilarating sport we are all willing slaves to, and to prove that even though there is no substitute to being at the event in person, just by looking at one of his paintings, you are taken to that moment in time as if you were actually there.

Michael Turner Gallery Visit, Chesham, England, 11 September 2013. 

World Champions in Mosaics

 

shoothillmontagewatermark

 

Sutton Images, in collaboration with Shoothill, the world’s leaders in creating Deep Zoom mosaics, announce a collection of seven unique individual MegaFiche Deep Zoom mosaic images depicting past and present World Champions, James Hunt, Sebastian Vettel, Michael Schumacher, Fernando Alonso, Kimi Raikkonen, Jenson Button and Lewis Hamilton.

 

Each unique limited edition mosaic features tens of thousands of smaller images sourced from the extensive archives of Sutton Images to create one large mosaic of each Champion. By clicking the link on the Sutton Images website www.sutton-images.com/mosaics, online users will be able to zoom into a closer view of a large high-resolution image or a large collection of images within the mosaic.

 

Each mosaic image will be exclusively available to purchase from the Sutton Images website www.sutton-images.com/mosaics as a poster, printed at A1 size on crystal archival 240gsm paper as an individually numbered limited edition of 500.

 

One of the posters features the World Champion James Hunt, and coincides with the launch of director Ron Howard’s latest film, Rush, which is due for release in September, chronicling the often turbulent relationship between Hunt and his arch rival at the time, Ferrari driver Niki Lauda.

 

Any individual image used within the mosaic is also available to purchase in a range of sizes by searching the extensive online archive at
http://www.sutton-images.com by typing the name of the champion, race and year into the search engine.

 

Keith Sutton, CEO of Sutton Images, commented “We are delighted to be associated with this unique project combining our extensive image archive with Shoothill’s revolutionary technology”

Rod Plummer, Managing Director of Shoothill, commented “This is a fantastic opportunity for us to be able to work with such a fabulous collection of photographs from the Sutton Images archives and demonstrate the unique combination of technologies that Shoothill are so widely recognised for.

About Sutton Images
Sutton Images is the world’s largest independent motorsport picture agency with the experience of covering motorsport events worldwide for the past thirty-five years.

The business operates from a state-of-the-art base in the heart of Britain’s motorsport industry near Silverstone. Staffed by fully trained and dedicated personnel, their technologically advanced facilities, including?their own in-house servers and bespoke software, provide the platform to process and deliver digital images rapidly around the globe.

Sutton Images archive of over four million images covers every major Championship since the 1960s, with nearly one million images available online and fully searchable at www.sutton-images.com

For more information, please email customerservices@sutton-images.com or call their Towcester offices on 01327 352188.

 

About Shoothill
Regarded as the world’s leading Deep Zoom specialists, and a global strategic partner for Microsoft for mapping and data visualisation solutions, Shoothill, the award winning UK based software development specialists, are widely recognised for their ability to develop innovative, immersive and engaging web based solutions that are used by some of the world’s leading digital media agencies.
For more information, please contact Rod Plummer, Managing Director, Shoothill on 0845 421 0390 or email rod.plummer@shoothill.com