The '98 500 was one of the most most memorable Daytona 500's I ever photographed and reinforced my impression of Dale Earnhardt as a near mythical figure in the history of stock car racing.

Thinking today about another great example of how the NASCAR drivers of yesterday, specifically "The King", Richard Petty , always had time to promote the sport that provided them with their livelihood. Side-by-side comparison of Richard Petty at Daytona early in his career and in 1991. Whether it was spending time signing autographs for fans or taking a few minutes to meet the needs of interested members of the media, there was a time when NASCAR seemed a little more awar

Whether you are a blogger, photo researcher, print journalist, author, print publisher or online publisher, bcpix.com can be a valuable tool in your image search.

While this list is by no means comprehensive, here are a few of the NASCAR Legends at the Rolex 24 who I've photographed at the famous Daytona sports car event.

One of the cool things about having a career in motorsport photography as long as I have, is you get the opportunity to see entire eras come and go right in front of your eyes.

It was 60 years ago this year that the 8-year-old me stuck a cheap plastic camera through a gap in the fence under the flagstand at Daytona International Speedway and snapped a photo of Ken Miles and Lloyd Ruby sitting next to their Ford GT40 celebrating their victory in the 24 Hours of Daytona.

One of the most highly desired sets of fresh content involves spectacular rolling car-to-car photo shoots, where photo vehicles lead race cars slowly around the speedway while photographers and videographers capture imagery that, when done right, creates the illusion that the cars are traveling at race speeds—often in iconic venues.

While I’ve never been one to glamorize the old days or go on about how much more difficult photography was in the era of film, I do feel there were some challenges we faced back then that today’s young shooters can tend to take for granted.

As a kid growing up in Daytona Beach, Florida in the 1960's who was lucky enough to later pick up a camera and create a career photographing race cars, I had the unique experience of photographing many drivers who had been childhood heroes of mine. NASCAR legend Buddy Baker was one such driver.

As a photographer, my job was to document the action, but I quickly realized that the real story was in the emotions playing out on the sidelines and in the stands. Marino’s determination, the crowd’s mixed feelings, and the team’s struggle all told a story that numbers and highlights could never fully capture.

Biffle seemingly appeared out of nowhere back in 1998 when he showed up at Disney World Speedway in a Jack Roush prepared NASCAR Craftsman truck. He came home 5th in that race, a hint at things to come. Just 2 years later he captured the NASCAR Craftsman Truck Series Championship

At some point during the race, my editor caught me completely off guard. He handed me a 500mm lens—no small piece of glass in the film era—and casually instructed me to head up into the blimp to photograph the race-leading Porsche 935, driven by A.J. Foyt, Bob Wollek, and Derek Bell. Just like that, my perspective on Sebring was about to change—literally.

I never had the chance to ask about the hand signal and to this day I don't know if it was made in jest, a good natured ribbing of a buddy as he raced past on the racetrack or whether it was made out of some sort of simmering bad blood among teammate rivals.

OM System didn’t just offer a smaller camera—they packed it with features that genuinely changed how I work.

Once the green flag flew, the race settled into its familiar rhythm—a mix of sprint-race intensity and long-distance patience. The story of the day belonged to the No. 01 Chip Ganassi Racing Lexus-Riley, a car carrying a lineup packed with star power: Scott Pruett, Memo Rojas, Dario Franchitti, and Juan Pablo Montoya.

In 2011, in an effort to keep more involved in the media day process, I decided to give myself a little extra self-assignment. I though it might be interesting to focus in on the drivers' eyes. After all, these were the eyes that would soon be gazing through sandblasted windshields as the sped around Daytona, looking for holes to shoot and opportunities to pass at 200 miles per hour.

In the years I spent covering NASA's shuttle launches, this particular one always stand out in my memory as one of those times when everything came together perfectly.

If you’re anything like me, the Porsche 962 isn’t just a race car. It’s a legend wrapped in sleek curves and raw power. And when it comes to capturing that spirit on your wall, nothing beats a Porsche 962 wall art piece.

Back then, photographers had the freedom to wander in and out of garages, talk to anyone, and generally move around as long as we respected the space. So I stepped right in, introduced myself as a UPI photographer, and asked Petty if he’d mind if I got on the floor to make a few photos of him under the car. His reply was simple:“Knock yourself out.”

Over the years, my photography has grown through two distinct eras — the pre-2000 film years and the digital era beginning in 2001. To share that full creative journey, I’ve separated my work into two dedicated Instagram accounts: @35mmbcpix, home to my archival film photography, and @bcpix, where my digital archive lives and continues to evolve.