Hunt Salute - Richard Kelley Zoom

Hunt Salute

Richard Kelley

Share this picture:

30x45
cm
50x75
cm
60x90
cm
80x120
cm
100x150
cm
Alu mounted print
Hanging bars
Shadow
Gap Frame
Black wood
Acrylic print
Aluminium brace
Starting

205,00 €

LocationWatkins Glen Circuit, USA
Prints issueLIMITED EDITION 25 prints ONLY
Shooting date2 octobre 1977
Original pictureNegative
FormatsVertical
Era1960-1980
ColorsBlack&White
CollectionEmotion
Richard Kelley
Richard Kelley

I have been a photojournalist, writer, communicator and historian for most of my life.

I gravitated to the work of W. Eugene Smith, and the Magnum photographers; Henri Cartier-Bresson, and Joseph Koudelka. Their common approach became my mantra: make images that tell a story; remove yourself; disappear; leave out the vanity; and, make emotional and elegantly composed images that point to a truth about your subject.

I began my Formula One documentary in 1972, just nine months after I first began to make images.

Although underage, I was able to get full accreditation for the United States Grand Prix at Watkins Glen. I was immediately swept up in the tangible drama of the pit lane and its compelling images. From 1972 through 1984, I captured the intimate moments of drivers who fought to survive in a Formula One era that was rapidly undergoing the most comprehensive changes to drivers, cars and technology in Grand Prix history.

Early on, it was clear that these technological developments were influencing the spirit, passion and bravery that I was recording of that time, and so I decided to adopt the style of Cartier-Bresson and become “a fly on the wall”; getting as close as I could to the telling moments without influencing the emotion or the drama of the moment. 

I consciously backed away and didn’t go looking for moments; I just waited to let those moments compel me to make an image. And, as luck would have it, I witnessed and recorded hidden moments that became pivotal incidents in Grand Prix history.

After positions at the Chicago Tribune and Observer Newspapers in Detroit, I began a 20-year association with Car and Driver Magazine, traveling the world to provide art for over 600 feature stories and numerous covers.

As always, I pursued personal photographic projects, capturing the human condition outside of my newspaper and magazine work.

I also expanded my photography by providing creative content for media and marketing materials for many of the largest multinational automotive manufacturers in the United States. Clients included: Audi, Mazda, BMW, Volkswagen, Porsche, Ford, General Motors, Kia, Subaru, and Jaguar.

I transitioned my photography to include writing and editing in 1998.

In 2001, I joined Mitsubishi as Senior Manager of Media Relations, helped launch the Lancer Evolution 8. I became Manager of North American Motorsports in 2003, winning the SCCA Pro Rally Championship Manufacturers’ National Open Class title with the new Evo. From there, I went on to provide public relations management for another multi-national Japanese auto company for a further eight years…

Throughout these decades, I could never forget the intimate Grand Prix images I had captured and the experiences of being a “fly on the wall” in the world of Formula One.

So, I am reclaiming my soul with this collection of never-before published Grand Prix documentary photography. I believe they offer unique impressions of amazing driver’s and athletes, and moments that changed their lives forever.

The initial presentation of my images took place in the fall of 2013 in Hong Kong, courtesy of an exhibition hosted by Blackbird Automotive and in conjunction with McLaren’s 50th Anniversary. My collection and memoirs will become the basis for a forthcoming book in the near future.

I have also returned to creating new digital work, in both monochrome and color, on fresh editorial assignments and personal sports projects that will again allow me to record human drama, struggle and grace, with all its emotion, patina, and nuance, such as Macau’s growing influence on Formula One.

And as before, I’m enjoying a creative adventure lived as "a fly on the wall." 

Thank you for joining me on this continuing journey.

James Simon Wallis Hunt. Women loved him, men envied him, and corner marshals learned to keep him at arms length.

Who could be a better personification of all that has changed, from the "romantic" era of the 70's to the image Formula 1 presents today? His was a soul that thrived on the romance of the desperate fight; the challenge of fleeting moment. He lived life in a 65-second minute; devouring as much stimulation as possible, for tomorrow was never a certainty.

During his 1976 Championship season, when James’ back was against the wall and catching up seemed impossible, he was absolutely at his best. His was also a character made of intangible grit that craved producing results under the most extreme pressure; when nothing less than his absolute best could save the day. When only winning could keep him in the 1976 Championship battle, he won.

The US Grand Prix was his second victory of the 1977 season, he would win only one more time in his career, just 22 days later at the Japanese Grand Prix.

Perhaps later on in his career, when situations weren’t as dire, he lost the fire because he simply missed that intensity. He left F1 in the middle of the 1979 season, having departed McLaren for Wolf. As would be an often repeated statement by many driver’s of the day, he blamed the technology of the cars, and how their ground effects and rock-hard suspensions took all of the skill and enjoyment out of racing them. Not willing to be just a passenger in F1 as the dangers increased, he called it a career.

As he grew older, he began to calm, and took up reporting on F1 with Murray Walker on BBC2. His straight-to-the-point comments were a breathe of fresh air. Sadly, his years of off-track abuses would prove to have damaged him beyond sustainability. Without any hint, James Hunt died of a heart attack, just a day after proposing to fiancee Helen Dyson. He was 45.

He was a glorious “one-off” that we’ll never see the likes of again.

I made this image with a Nikon F3, and a Nikon 50mm f/1.4 lens, using Kodak Tri-X film rated at 1600 ASA, 1/250 second at f/4, late in the afternoon of October 2, 1977, at the Grand Prix Circuit at Watkins Glen, NY, USA.

Write a review

Hunt Salute - Richard Kelley

Hunt Salute - Richard Kelley

×
Newsletter
Embark with us and
get updated first on new collections
and good deals!
Subscribe