This article was first published in Rouleur Issue 140

Gravel racing is all about chaos and unpredictability. Out on these vast landscapes, from dense forests to harsh deserts, anything can go wrong, and it’s not just the racers who feel it. Photographers have to deal with the same dust, rain, and distance from civilisation to capture that perfect shot.

Each photographer has their own way, some coordinate routes and GPS tracking down to the last detail, others trust nuance, intuition, and the luck of the moment.

I spoke with six of the best in the business: documentary filmmaker Gretchen Powers, visual storyteller Wil Matthews, landscape chaser Sonam Gotthilf, skate photographer Dan Hutchinson, Life Time Grand Prix’s Dan Hughes, and humanist Alex Roszko.

They share their favourite images and reflect on how they prepare – or not – for the wild world of gravel, and how they try to capture the story of the race, the land, and the people who pass through it.

Gretchen Powers

“I’m looking for how my photographs can capture more than just a still moment. Oftentimes that means shooting super wide and super close, a full scene paired with the tiny, gritty details.

“I try to catch the athlete I’m following in three spots. It sounds crazy over a hundred-mile course, but it gives me the best chance to get the shot.

“I wear dual Canon R5S with a 24–70 and a 70–200, and a jacket big enough to hide them when it rains. Flying light and fast means you can roll out of a car and shoot immediately.

“I want people to feel hopeful and inspired when they see my images. Maybe they see a reflection of themselves, that they can go try something really hard too.

“I get this jittery, electric feeling throughout my body that says, yes, that’s the shot.”

Dan Hughes

“I believe it was Dwight D. Eisenhower who said, ‘Plans are worthless, but planning is everything’.

“Access counts for like 1000 per cent of what I get. Friendly relationships with riders, organisers, and brands help immensely. I’m lucky – 30 years in the bike industry and being one of the first to toe the line at Unbound certainly helps.

“It’s got to be the story. What yarn are we spinning today, and how can an image help transport people there? Sometimes it’s emotion, but if there’s no story, it’s just a picture.”

Sonam Gotthilf

“It was my partner Tsvetina’s belief in me that led me to show the incredible landscapes to people who couldn’t experience them themselves.

“I study the GPX files and Google Street View and split locations into two types, the ones I definitely want to shoot, and the ‘bonus’ spots depending on timing.

“Regardless of whether it’s night, sunny or rainy, I’ll use it. Gravel has so many narrow sections where riders follow each other, I stand right next to them and capture those super-close, in-the-action shots.”

Wil Matthews

“That storytelling image needs to include as much context or as much emotion as possible.

“At Unbound last June, I built a huge spreadsheet. We had an iPad on Starlink for routing, and someone in the back of the truck on a live tracker feed. But even detailed planning will only get you so far. What really matters is how you respond when the planning goes out the window.”

Dan Hutchinson

“I owe 99 per cent of my career to [British gravel privateer] Joe Laverick, but it’s the freedom of gravel and its vast landscapes that appeal to me.

“Telling a story is no easy feat. Compose as close as possible. Don’t worry about exposure, the image you get beats the moment you miss.

“I don’t plan a single moment before a race. I arrive and then put myself to work; the unknown is where I find my best work.

“There’s a definitive line for me with riders, brands and organisers. The longer the race, the more connected you feel to everyone involved. Personally, I work closely with my clients, I’m basically the childhood friend with a little old camera.

“A plastic bag, nothing fancy, but when it rains, trust me, it’ll save your life. I use a Hasselblad H5-D and a Canon 1Dx MkII. I prefer the built-to-last era over the fashionable-but-falls-apart era.

“Storytelling is all in the field. I used to shoot skate trips on film, and it taught me that the moment right in front of you is everything. My images are close, chaotic, honest, that’s how people get pulled into the story.”

Alex Roszko

“Sometimes you end up somewhere without realising the path that led you there.

“Facial expressions are numero uno. That hollow glimpse of exhaustion, a wince of pain, a moment of desperation, you can’t beat human emotion.

“Building and maintaining relationships is the most important part of my job. You can deliver great images, but if clients don’t enjoy working with you, you won’t get a callback. Be a good human first, then a good photographer.

“One of my lenses still carries Unbound mud from 2023.”