F1 Pit Lane to Bahrain's Streets: Capturing Moments of Light, Lenses, and Local Life

Diary

F1 Pit Lane to Bahrain’s Streets: A Photographic Tale of Light, Lenses, and Local Life

June 24, 2025

Before heading to the F1 pit lane walk in Bahrain, I pondered over which lens to bring— 35mm, 50mm, or 90mm? I’ve used all of them on this trip. However, there’s something even more crucial than your camera gear: sunscreen and sunglasses. Wearing sunglasses isn’t just about style; I brought my Onesec eyewear, which is like having a natural ND filter, much like Wong Kar Wai who famously wears his sunglasses all the time.

While I was waiting for the pit lane walk, the circuit buzzed with activities from the Porsche club, F3, and F2 races, leading up to the F1 practices. This gap allowed us to visit the garages and observe each team as they busily prepared their mechanics, strategies, and cars for the upcoming race.

Shooting in colour film is always a delight; it somehow ensures that things look impressive. The contrast of the film gives a subtle boost to the mundane. With the Kinematograph, my curiosity was fully engaged. I chose Kodak Portra 160, Portra 400 and Ektar 100 to boost some contrast with this uncoated lens.

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Why bring the Dallmeyer Kinematography lens on a trip like this? I prefer the excitement of using something unique over something safe and ordinary. I’d rather have images that might turn out poorly than regret not pushing the boundaries for something awe-inspiring.

Controlling the swirl becomes a focus when shooting objects within 1 to 2 meters; beyond that, the background starts spinning too. I experimented with apertures like f/5.6 or f/8 depending on the situation.

It’s remarkable that a hundred-year-old lens can still perform so well today, delivering superb sharpness at the center, perfectly complemented by the film stock.

I used my Widelux F8 and Konica Hexar RF for several rolls. The peculiar distortion of the Widelux, as it pans, is why I chose it. I used a 1-stop ND filter with Kodak Ektar 100 film, ideal for shooting at f/11 with a shutter speed of 1/250.

The distortion from the Widelux F8 is unique, excellent for showcasing horizontal or interior designs, creating an “eye” shaped, oval bend. I also loaded some Kodak Ektachrome E100 to test the Widelux’s resolution and sharpness with color reversal film.

I attempted the famous portrait trick used by Jeff Bridges but still need to refine the timing and tilting of the camera. Shooting at f/5.6 or f/8 with a 1/15 shutter speed doesn’t provide enough depth of field for a 1-meter portrait at f/2.8.

The Widelux F8 always attracts interest because of its unusual appearance and the distinctive “zip” sound it makes when the shutter rotates, leaving onlookers puzzled.

Exploring Bahrain’s old town Manama with the Widelux was thoroughly enjoyable. I only wish the Widelux F8 had a lens hood to fend off strong lens flare. Also, it’s better to use a camera with a non-cloth shutter to prevent damaging it.

The varied lighting and architecture made it easy to get lost in the moment, capturing fascinating scenes. The dynamic range is so broad that I had to constantly watch my metering, especially when transitioning from indoor to harsh outdoor lighting.

The locals were incredibly friendly, providing perfect opportunities for street photography, capturing layered street scenes and portraits of workers and shop owners.

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