When motorsport and automotive photographer Jamey Price first saw NASCAR promotional film cameras from the 1990s show up on another photographer’s social media feed, he knew he had to have one. These cameras were never made to take outstanding photos. They were inexpensive, poorly made, and plastic. The winders break. The shutter stops working. They will just freeze in below zero temperatures. But they also capture magic. From the IMSA races to the 24 Hours of Le Mans, Formula 1 races around the world to Monterey Car Week and Lamborghini events, Racing Unfiltered chronicles Price’s year-long journey to capture the highs, lows, and candid moments of motorsport racing, all through the lens of vintage film cameras.
Racing Unfiltered will be available in late November. Read more about Jamey below.
How long have you been a photographer and what initially drew you to the profession?
I got my first digital camera in 2008 and took to it immediately. I loved documenting my world and eventually started working with newspapers as an intern in 2009. Working with papers allowed me to document a wide variety of subjects and learn from seasoned professional photographers. I’ve always been a very visual person. I enjoy reading, but always enjoyed the photography storytelling aspect of a book, magazine, or newspaper more. So, the photography side was always something that came naturally.
How did you become involved with motorsport photography in particular?
I have always loved motorsport. I grew up watching F1 races on the old satellite tv and the visual aspect of motorsport really struck something in me. It’s so colorful and emotional. It’s kind of the best of all worlds of photography. During my time working with two newspapers, I would seek out assignments or stories that had anything to do with racing. And I learned through trial and error what worked and what didn't in terms of pictures. I would study the pictures from other motorsport photographers in the magazines I subscribed to and learned as much as I could from their work. I had a few opportunities to cover professional racing, and then turned those opportunities into more opportunities. It was a snowball effect that took many years to become what I do today, but I still look back on those early assignments with fondness.
How did you happen upon the vintage NASCAR film cameras and why were you drawn to them?
The NASCAR film cameras were something I saw another photographer using for travel photography. I had not, and still have not, seen anyone using them for racing work, and they looked like so much fun. So, I searched around online and bought as many as I could because I quickly learned that the cameras are VERY cheap and poorly made. I bought as many as I could find. And quite a few were broken during the process.
Were any of the film shots edited?
No. None of the photos have been edited in any way. That’s kind of the fun side of these cameras is that I have zero control over the exposure in the camera. The only thing I can control is where I stand and where I point the camera. These cameras are the most basic form of picture making device you can imagine. Load film. Push button, shutter fires and the image is exposed into the film.
Is there a shot from Racing Unfiltered that you're drawn to the most?
I really don't have a favorite image. What has been fun about these cameras is that they are small snapshots into my world covering racing. But in a much more unfiltered way. I’m just kind of taking photos of things and people I see or know.
Do you also shoot on film outside of the NASCAR cameras? What merits are there to film photography over digital?
I have a slightly more advanced Canon film camera that I use for family time at the beach or events, but I have not used it in any capacity for work or at the racetrack.
What advice do you have for other budding photographers?
The best thing about modern photography is that it is something anyone can do and learn. You just have to go do it. I’ve been fortunate to have some amazing access through my job at these races. BUT almost anyone can have a similar level of access at these smaller events. So many of the images in this book, especially at the IMSA events, were made in places that any fan with a camera can go stand. So, getting out there to races, bringing a camera is the best thing you can do.
