Photographing the British round of the MotoGP from Silverstone is one of the annual events that goes into my diary early when I'm planning what I'm going to shoot during the upcoming year. 

So for this report we are going to look at the MotoGP, the different types of photographer who attend and discuss if this is an event that you should consider. And for the spectator photographer what is the best day to go to capture great images for your portfolio.

This might have helped Quartararo setting a fastest lap of Silverstone on two wheels during Friday free practice, much to the delight of the photographers around me; we had just captured a bit of history. 

This is the most common photographer you will see clustered in the best locations at a race circuit; it's not their first rodeo so know what they are doing and where to go. They will be at the MotoGP because they want to see their heroes and capture the race stars that are household names, even to non motorcycle fans. 

Going to their local track and photographing a club race day is all well and good, but to win a competition, and probably just as important to them, to get the admiration of their peers from the club and social media in general, who doesn't like a few likes on Instagram. 

And that word, impact, is the key. You can have the skills and equipment to capture a fast moving motor vehicle, but photography is all about the content of the image you present to the world. 

The MotoGP riders will be doing that on every corner, therefore your chance of capturing that impact image has just increased massively by being at this event. 

At the end of Friday, which was very hot and sunny after a slightly grey hazy start, I quickly flicked through my photos of two practice sessions of Moto GP, Moto2 and Moto3 and one from the British Talent Cup. I’d spent most of the day shooting through fence - which is not my preferred option - but is inevitable at Silverstone when the infield areas are denied to you. I’d found a new spot for me - the outside of the gentle curve between Abbey and Farm which was surprisingly good for a panning shot with the Alpinestars hoardings behind.

Now, having worked through the photos, I remember why I wanted to do the MotoGP. Bikes and their riders are brilliantly photogenic in a way that cars just aren’t.

The Semi-Pro will be shooting smaller club events, possibly for a team, will have his finger in a few other pies that might not be associated with motorsports but has the same intention as the hobby shooter - to get that impact image.

Those images need to be published. A basic requirement for getting media accreditation for any event is where are the images you take going to end up and how many publications are going to use them. 

This is also an area you should steer clear of. The Pros are here to make money and you should not take that income away from them. Build your own reputation as a good photographer and remember your reputation will follow you, and you could be in the media centre with the people you have trodden all over on the way up.

So if you do get that million dollar picture you can't replicate it in, for example, a calendar, and you could end up losing it for ever. 

Everyone who went to this years' MotoGP had a camera. The rise of the smart phone has allowed people to push pictures out instantly and the big events actively encourage you to get involved, so although the terms and conditions say one thing, the reality is another but you still need be careful.

Working out where to be by observing the clusters of photographers and deducing that this spot is a good location seems to be the thought process for most of them.

In here Dorna go in heavy on the live broadcasting of their events as they hold the TV rights and are very protective of them, so again, you need to be careful with what you do with your images, still or moving. 

As a Vlogger your YouTube presentation will probably be uploaded well after the event has finished and as long as you are smart on what you put in the film you should be ok, but don’t quote me.

As we are a non commercial organization and actively encouraging the paying public carrying a camera to go to these events we haven't had that conversation about using our imagery from track side in our reports. The event organizers re-tweet our stories, re-post our pictures (with our permission) and employ a few of our people, so it's mutually beneficial to all concerned.

The images you take and the restriction on the use of those images might preclude what you want to use them for. These restrictions are in force for most of the tracks around the UK, some enforce it more than others. It will be down to you to decide if the event is right for you depending on the final destination of your pictures.

We have not covered the other events going on. We are just looking at the racing and capturing "that" picture. Friday is free practice, Saturday is qualifying, and race day on Sunday. To get your impact images you will need to be going on the Friday for the following reasons. 

During race day the grandstand seats will have been allocated and unless you have pre-booked you won't be able to get into them. Three, all the support races are out on track as well, with a good smattering of British riders. Four, during race day you will get better images as the rides push hard for the win and possibly that crash picture but it's £90 on the gate to get in, ouch. 

There are two sessions, giving you plenty of time to move and get a different view point. As a Hobbyist, Semi-Pro or Amateur you should get that impact image for your portfolio on the Friday, if you have the skills, a bit of luck, and the weather is kind.