So my original plan was to keep it simple and photograph in that area: the nightlife, the cafes, the bars. The talk that began the Photo 24 event was at Piccadilly in central London. © Simon Wheatley How did you plan to use the 24 hours? Whereas if I just had a phone camera, I wouldn't really feel like I was engaging in anything revelatory. ![]() It means I'm in the right mindset to get the desired result. You sometimes think: why carry a camera out anymore? But I feel a bit more serious when I've got a camera in my hand. Of course, there's also the option of using my phone. You wouldn't even know I was a photographer! And I don't carry a tripod or anything else like that. Taking both cameras wasn't a problem because they're both lightweight: the XT-3 is less than half a kilo. So for that, I used the 35mm lens on my M9. At this point, I need a wider angle lens to get in close. But once I find a subject, I want to get in there and get busy. MPB gave me a 50mm lens with the X Pro 3, which is good when exploring the streets. So I find that approach much better for the anticipation of an image. And you can see what's coming in and out of it. But with the X Pro 3, like on my M9, you have a box which you put onto the image. With an SLR, what you see in the viewfinder is what you get on your image you don't see anything around the edges. So I can look through my right eye, and the left side is very much free to see the scene. The viewfinder is to the left of the camera, not in the middle, like on an SLR. That's precisely the way I like to shoot. This camera is a good choice for street photography because it's small, and while it's got a hidden rear LCD, it's very much about using the viewfinder. I normally use a Leica M9 Rangefinder, but for this project, MPB also gave me a Fuji X Pro 3, which I really liked. And I would take as much of that time as was necessary. So the way I interpreted the brief was that I had 24 hours to fulfil the assignment. How did you approach the idea of shooting for 24 hours non-stop?Īctually, I didn't want to shoot 24 hours non-stop because there'd have been no way I'd have produced good work doing that. ![]() We chatted to Simon to hear how he responded to the Photo 24 challenge, what he learned from the experience and the kit he used to get through his mammoth shoot. He conducts workshops across the world and is developing a course of photography that seeks to combine physical, mental and spiritual development. Over the past decade, Simon has divided his time between London and India, the land of his maternal ancestry. Since 2018 he's been the in-house photographer at London's Abbey Road Studios. ![]() Other career highlights for Simon have included working as a Magnum photographer in Paris, producing ground-breaking work from the French suburbs after the 2005 riots, and being chosen as the worldwide ambassador for Leica's M-series camera in 2006. His 2010 book 'Don't Call Me Urban: The Time of Grime' is a classic of British documentary photography, and he's currently preparing an updated version, bringing things up to the present day. ![]() Is a London-based photographer and film-maker best known for chronicling London's grime culture. This year, we were incredibly excited, as they picked one of our favourite creatives for the assignment. To add to the excitement, they also challenge a celebrity photographer to shoot in the capital for the entire 24 hours. Sponsored by MPB, the online platform for used photography and videography equipment, Photo 24 sends participants out on a series of themed challenges. Each year, Photography News puts on a unique photography challenge that takes place in London.
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