Perhaps inspired by the vintage camera nightlights we shared last year, photographer Laura Merz decided to upcycle her old Kodak digital camera by turning it into a nightlight for her house. She writes,
I took out all the tiny screws and gutted the camera very carefully as to not crack the exterior case. Be careful — some of the parts are pretty sharp. Removing the lens is the last step, and allows you to insert a small round night light through the opening. I had to crack off the exterior casing on the night light, but with a little force, it snapped right off.
It’s a creative way to breathe new life into an outdated or broken digital camera.
Want to know what it’s like to cover a football game as the chief photographer of a school’s athletic department? Photographer Joel Hawksley created this day-in-the-life time-lapse video after being assigned to cover a football game between Ohio University and Temple University. It starts early in the morning when he pulls out of his driveway, and ends at night when he pulls in. In between we see everything from setting up, shooting, post-processing, and uploading/emailing photographs. Hawksley used a Nikon D700 and D300 to photograph the game, and a Canon G9 to capture the time-lapse images throughout the day.
Back in the spring of 1980, Magnum photographer Bruce Davidson began to photograph the subway system in NYC for his project titled Subway. NYRBlog has published an interesting essay — an excerpt from the introduction of Davidson’s book — in which the photographer talks about his experience:
To prepare myself for the subway, I started a crash diet, a military fitness exercise program, and early every morning I jogged in the park. I knew I would need to train like an athlete to be physically able to carry my heavy camera equipment around in the subway for hours every day. Also, I thought that if anything was going to happen to me down there I wanted to be in good shape, or at least to believe that I was. Each morning I carefully packed my cameras, lenses, strobe light, filters, and accessories in a small, canvas camera bag. In my green safari jacket with its large pockets, I placed my police and subway passes, a few rolls of film, a subway map, a notebook, and a small, white, gold-trimmed wedding album containing pictures of people I’d already photographed in the subway. In my pants pocket I carried quarters for the people in the subway asking for money, change for the phone, and several tokens. I also carried a key case with additional identification and a few dollars tucked inside, a whistle, and a small Swiss Army knife that gave me a little added confidence. I had a clean handkerchief and a few Band-Aids in case I found myself bleeding.
It’s an interesting glimpse into the mind of a photographer who takes his work very seriously.
This video was shot by a German film crew in the early 1980s, and shows American street photographer Garry Winogrand at work. Although he died of bladder cancer at age 56, his photographic output during his lifetime was enormous, even compared to other photographers:
Consider this: at his death, Winogrand left behind 2500 undeveloped rolls of 36-exposure 35mm film (mostly Tri-X), 6,500 rolls of film that had been developed but not contact-printed–not to mention 300 apparently untouched, unedited 35mm contact sheets.
Do the math. Conservatively, that’s at least 300,000 pictures – equal to at least two life’s work for anyone else–that Winogrand took but never even saw, so busy he already had been photographing the world around him. [#]
That explains why Winogrand is able to load new film into his Leica so effortlessly while talking to the camera — he could probably do it in his sleep.
Here’s an interesting behind-the-scenes video that shows what a workday is like for fashion photographer Peter Stigter.
It’s a hectic job, being a runway photographer. Racing through the city, meeting editors, dragging your box up and down the stairs, getting you equipment ready. And then, finally the show starts. Suddenly everything becomes quiet.
It’d be awesome if every professional photographer made a video like this to give people a glimpse into their lives. If you know of any similar videos for other photographers, link us to them in the comments!
Photographer Michael Freeman says that although things are getting tougher for professional photographers, the “consumption of imagery in all areas is actually increasing”. Professionals therefore need to think more about marketing themselves and specializing in a particular niche.
Ryan McGinnis is a photographer and storm chaser. You can visit his website here.
PetaPixel: Can you tell us a little about yourself and your background?
Ryan McGinnis: I am a storm chaser and photographer who lives in Nebraska; I have no formal training in photography outside of all the books I’ve read and the thousands of rolls of film I’ve blown through (and terabytes of drives I’ve filled up) over the years. I’ve had a life-long love affair with the weather; from as young as I can remember, I’ve been fascinated with storms and for most of my childhood I dreamed of one day chasing tornadoes. Living in this part of the country makes storm chasing less of a chore than if I had to drive here from, say, Virginia, but storm chasing here still requires lots of driving — on average around 600 miles per chase. These days I tend to storm chase around 15,000 miles a year, mostly in May and June. In 2008 and 2009 I was fortunate enough to get to tag along with and photographically document Project Vortex 2, a $12M science mission to learn how tornadoes tick, which was probably one of the best freelance investments of time and money I’ve ever made.
When I’m not shooting storms, my favorite subjects are candids and urban panoramas. Read more…