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.

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.

Browsing through Brian Cleary’s archive feels like flipping through a living history book. Each image is a snapshot of a moment frozen in time, yet bursting with energy and context.

If you’re a motorsports fan with an appreciation for vintage style, then you’ll want to check out this gem from the shop BCPixPhotos on Etsy: the 2026 IMSA GTP Racing Calendar

One of the coolest things about bcpix is how accessible Brian Cleary’s work is for licensing and prints. But it’s not just about sending an email and hoping for the best. Here’s how to make the process smooth and straightforward.

Motorsport photographer Brian Cleary captures his final assignment at the 2025 Indianapolis 8 Hours, closing a remarkable racing career.

The story behind my photo of air Force One departing the 2004 Daytona 500 with President George Bush on board as race winner Dale Earnhardt Jr. passes by on the race track

In February of 1983, A.J. Foyt had teamed with Bob Wollek, Claude Ballot-Lena and Preston Henn to win that year's 24 Hours of Daytona in Henn's Swap Shop Porsche 935.

When covering event for media outlets like these you were pretty much at the mercy of your employer as far as what film you were shooting to