CSRG Corkscrew Classic Through the Lens
- Anthony Nunez
- Jul 7
- 2 min read
A few weeks back, I made my return to WeatherTech Raceway Laguna Seca—this time for the CSRG Corkscrew Classic. It had been a minute since I’d been out shooting at the track, and I was itching to get the lens pointed back at some fast-moving machines.
I came across the event online while looking for upcoming track dates and decided to shoot my shot—I reached out to see if I could attend. A few emails later, I was locked in. Just like that, I was heading back to Monterey.
Rolling into the paddock again felt refreshing. I didn’t check the entry list ahead of time, so walking into the unknown. I was definitely stoked with what I saw: GT cars, open-wheelers, some Datsuns, Porsches, and a solid variety of vintage machines. It was one of those moments where the inner car nerd kicks in and you just want to see everything.
Everyone was out doing their thing—prepping, checking tire pressures, making last-minute adjustments, getting in the zone. There’s something special about that pre-track energy, especially at an event like this. You can feel the passion in the air.
For this event, I decided to change up my usual flow. I’ve always been a fan of shooting wide open—f/4 or lower, keeping it shallow and cinematic. But this time, I wanted to push myself to experiment with larger aperture settings, especially for my paddock shots. I aimed for more depth, trying to get everything in focus—long lineups, the details, the surrounding environment.
I still kept things wide open for a few isolated car shots (I can’t help it), but for scenes like the lineup of RS Porsches with their eye-catching colors, that higher f-stop helped lock everything in. I even grabbed some frames near the garages that came out crispy in a way I hadn’t gotten before.
It was a good reminder that switching things up—even just slightly—can really elevate the look and feel of the final image.
Of course, I couldn’t leave without working on my motion shots. I focused on the straightaways this time, really trying to nail those frames where everything blurs except the car. That clean, dynamic look that makes it feel like the subject is slicing through the world.
I also tried the opposite approach with some high shutter speed captures—mainly near Turn 6, framed through the trees. It gave me a chance to freeze the cars in the middle of all the movement, showing their form instead of their speed. Felt good to play with both ends of the spectrum in one session.
Events like this one are more than just photo ops for me—they’re resets. Being back at Laguna, surrounded by great cars and that laid-back-but-focused energy, reminded me why I love what I do. It’s not just about capturing images—it’s about chasing moments, learning new techniques, and just enjoying the process of seeing cars through a lens.