Winter Storm Photography in Mammoth, California

Photographing a Winter Snow Storm in Mammoth

I’ve spent a lot of time in Mammoth over the years, mostly chasing snowstorms and long days on a snowboard. When a real storm rolls in, the town changes completely. Roads disappear, buildings soften, sound drops, and everything starts to feel slower and heavier. Those are the days I usually trade the board for a camera because the mountain tends to shutdown during heavy storms.

These images were made during an active winter snow storm in Mammoth, California. Not the postcard version of winter, but the kind where visibility comes and goes, snow stacks up faster than you expect, and the landscape feels stripped down to its essentials.

Living and Riding Through Winter Storms in Mammoth

If you spend enough winters here, storms stop feeling like events and start feeling like part of daily life. You wake up early to check the wind, ride when it’s good, wait it out when it’s not, and move through town while everything is still half-buried.

That familiarity makes it easier to photograph in tough conditions. I’m not chasing drama — I’m paying attention to how snow reshapes familiar places. A parking lot becomes abstract. A road turns into a line of tone and texture. Scale shifts constantly as the storm moves through.

Photographing Snow, Wind, and Scale

Winter storm photography is less about spectacle and more about restraint. Snow simplifies scenes, but it also hides detail. Light flattens quickly. Wind erases edges. The challenge is working within those limits without forcing a moment that isn’t there.

Most of these photographs were made quietly, between riding and driving, while the storm was actively changing the landscape. I’m drawn to scenes where human presence feels temporary — plowed roads, snow-covered buildings, tracks that won’t last long.

Why Winter Storm Photography Matters

Severe weather has a way of revealing place. In the mountains, storms expose how people build, move, and adapt. They show scale in a way clear days don’t. For editors, designers, and brands, winter storm imagery can communicate isolation, endurance, calm, and intensity without explanation.

These photographs aren’t about tourism or ski culture. They’re about atmosphere and environment — images that work as visual anchors in editorial layouts, books, campaigns, and long-form storytelling.

Editorial and Commercial Licensing

This series of winter storm photographs from Mammoth, California is available for editorial and commercial licensing. The images are well suited for magazines, books, outdoor and lifestyle brands, environmental storytelling, and large-format applications where mood and scale matter.

If you’re looking for cinematic winter imagery made from lived experience rather than a one-day shoot, I’m happy to help you find the right images or build a custom edit for your project.

Images from this series are also available as fine art prints. Contact me for details.

Sierra Nevada Resort covered in snow after a winter storm

Schat’s Bakery in Mammoth, California covered in snow

Photograph of a record breaking snow storm in Mammoth Lakes, CA

Streets covered in snow after a record storm in Mammoth Lakes, CA

A-Frame Liquor covered in snow after a winter storm in Mammoth Lakes, CA

A basketball hoop sticking out of a snow bank after a record breaking storm in Mammoth,CA

Photograph of a car covered in snow after a storm in Mammoth Lakes, CA

Snow storm in Sierra Nevada Mountains in California

Photograph of a Mammoth California restaurant covered in snow

Photograph of Mammoth Liquor covered in snow after a record breaking storm

Roadside Photography in America — Small Towns, Quiet Roads & Stillness

Roadside Photography Across the USA: Small Towns, Country Roads & Quiet Places

This body of roadside photography from across the United States focuses on small towns, country roads, and the overlooked spaces between destinations. Made while traveling secondary highways through places like Iowa, Utah, Nevada, Virginia, and California, these photographs slow down the idea of the American road trip and shift attention away from landmarks toward quieter moments. The work comes from a long-term project that eventually became my book, Roadside Meditations—a photographic exploration of stillness, distance, and the visual language of everyday America.

Photographing America Beyond the Interstate

Much of American road trip imagery centers on motion—crossing state lines, reaching destinations, ticking off places on a map. This work was made by doing the opposite. Instead of interstates and major routes, I spent years driving back roads, county highways, and rural connectors where towns thin out and time feels less compressed.

These roadside photographs aren’t about where you’re going. They’re about where you pause. A quiet diner at dusk. A sun-bleached sign. An empty stretch of road that doesn’t ask for attention but rewards it if you stop. This approach allows the landscape to reveal itself slowly, without narrative pressure or spectacle.

Small-Town America and the In-Between Places

The photographs in this series were made in places most travelers pass without stopping—small towns, agricultural regions, and rural outskirts where commercial life has softened or shifted over time. These in-between places are rarely presented as destinations, yet they form the connective tissue of the American landscape.

By photographing these locations without dramatization, the images lean into quiet observation. The goal isn’t nostalgia or critique, but presence. These towns and roads exist as they are—weathered, functional, sometimes fading—holding layers of American life that often go undocumented in contemporary photography.

A Slow, Observational Approach to Roadside Photography

The photographs in this post were made over many years, often while driving alone, without a fixed itinerary. Working slowly is central to the process. I look for moments when light, geometry, and stillness align—scenes that feel complete without intervention.

There are no staged elements and no attempt to “improve” what’s already there. The camera becomes a tool for noticing rather than arranging. This method allows the work to remain open-ended, inviting viewers to bring their own experiences and memories into the frame.

From Long-Term Project to Roadside Meditations

Select images from this body of work eventually became the book Roadside Meditations, a collection shaped by years of sustained attention to the American roadside. The book brings these photographs together as a single visual conversation—one that reflects on travel, stillness, and the quiet spaces that exist alongside movement.

Rather than documenting a single journey, the book and this ongoing series reflect an accumulation of time on the road. Each image stands on its own, but together they form a broader meditation on how America looks when you stop trying to get somewhere.

This post represents one thread within a larger, ongoing exploration of the American landscape. For those interested in seeing the work as a whole, Roadside Meditations gathers these photographs into a single volume focused on overlooked places, visual quiet, and the spaces we usually pass by.

View the book

View the American Road Trip photography gallery

Sunset on a country road in rural Iowa

Ivanpah Solar Electric Generating System

An abstract view of dense forest in Virginia

Reflections of trees in a Virginia river

Eastern Sierra - California

Reflections of trees and foliage in a still river in Upstate New York

A car kicks up dust on a country road through harvested farmland in rural Iowa, photographed in early morning light.

The alien landscape in a remote part of Utah

Muted colors of dead plants during winter in Iowa farmland

A country road and train tracks running along a river in rural Virginia

The Des Moines, Iowa capitol building reflected in windows of a nearby office building

Train tracks going through Iowa farmland at sunset

San Francisco Photography

Street Photography - San Francisco

Candid Moments From The City By The Bay

Had another commercial shoot in San Francisco a while ago and planned a little extra time to play around in the streets. It’s always a fun way to relax and grow as a photographer. No idea what the bigger picture is for this ongoing series, but that doesn’t matter. Even if it’s just a personal documentation of the city, that’s ok too. This particular day got interesting about an hour in to the walk, when a women pulled up in her car and asked what I was doing. She didn’t like my simple answer and continued to disagree with everything that came after. So I went on my way, only to have her creep behind me for an hour, watching from a distance. At one point our paths crossed closely and her window was down, so I asked if she was having fun. She replied with an entitled grin as if she had cracked the case of the century, saying “I know what you’re after, mailboxes and garages”. I just kept walking. Eventually she couldn’t follow any longer after my path went through a park. People are funny. Did I handle the situation properly? Probably not. If there was a business card in my pocket it would have went immediately to her, but there was not. And her attitude was such shit, that it seemed like a losing battle to convince her of anything other than what she already had in her head. Moral of the story: always carry a business card to show Karen??

View The Full Gallery of San Francisco Street Photography

San Francisco street photography

San Francisco street photography

San Francisco photography

San Francisco street photography

Street photography - San Francisco, CA

San Francisco, CA

San Francisco, CA

Street Photography - San Francisco, CA

San Francisco street photography

Street photograph of a San Francisco neighborhood

San Francisco, CA

Photo of a beautiful home in San Francisco

San Francisco street photography

American Photography

Photographing America - The Open Road

Road Trip Photography Prints - Americana

A new batch of American photographs from the last couple road trips around the country. This series has gotten increasingly overwhelming from an archive perspective. It’s probably the largest series to date, but also the one I’ve done the least with. And by “least”, I mean nothing. So to look at it as a whole feels like a monumental tasks to make sense of for a book or any other publication. Guess it’s time to turn things over to a professional??!!

Click here to see more of the America series.

Contact me directly to order fine art prints for your home, office, or commercial space - rob@robhammerphotography.com

Hawthorne, Nevada

Honolulu Club - Yucca, Arizona

Tuba City, Arizona

Southern Iowa

Griswold, Iowa

Big Island, Virginia

Mountain Home, Idaho

Hillsboro, Illinois

California Desert

Whiting Bros - Yucca, Arizona

Old movie theater - Hawthorne, Nevada

Lovelock Speedway - Lovelock, Nevada

Shoe shop - Texarkana

Griswold, Iowa

American Road Trip

Every year you hear the same story on the news - people left stranded in airport after thousands of canceled flights. Same thing. Every year. This December (2022) marks 10 years that I’ve been driving from San Diego to New York to do some shooting and see family for the holidays. It’s also the first December in a decade without Mojo, so I pulled an audible to the normal cross country drive, instead trying to focus time and effort on the cowboy project. The plan was drive to a couple ranches in northern Nevada for several days of shooting on each. Afterward leave my truck at the Salt Lake City airport and fly home to Albany from there. Plans don’t always work out. After rushing to the airport I walked right through security with a knife and a lighter. Didn’t plan on having them with me, it just worked out like that. My flight had several delays as did Emily’s. She was supposed to land in Albany 5 hours prior to me. I finally made it there at 5am, while she had been rerouted. Which meant taking my mothers car, driving to Boston to pick her up, then back to Albany for Christmas Eve at my Aunt’s house. Then up to Lake George for 3 days at my sisters. Those 3 days were fantastic. Then on Tuesday I woke up to a text saying my Thursday flight was already canceled. Phone calls to Southwest resulted in a busy signal or that annoying ring from yesteryear that happened when the number you called was no longer in service. An internet search revealed the next available flight wasn’t until January 2nd. Who knows if that would actually happen though? So I rented a car and started the next morning on a drive back to Salt Lake City where my truck was waiting. Honda Accords with summer tires are no fun to drive in the winter, especially when the weather reports are filled with storm warnings. Slowly, it did the trick. Meaning it got from A to B, but not much else. Unfortunately there wasn’t enough time during the ride to do much shooting, but I still managed to squeeze in a few early morning frames of southern Iowa.

The ride through Wyoming on the 80 was par for winter in Wyoming on the 80 - a windy/snowy mess. Thankfully it remained uneventful. After picking up my truck in SLC, I started the drive south through 3+ hours of rain. At some point of tiredness I pulled off into a truck stop and slept in the back of the truck. Tried anyway. The days coffee intake was far too high for any real sleep. Around 2:30 am I was back on the road, pulling off again for a nap around 5 am just south of Vegas. Waking up from the nap was a pleasure. That hour or so before the sun actually rises is really special in the desert. From about 7am to 9am I was shooting almost non-stop. Everything just seemed photographable in that beautiful light. Really though it’s the lack of light that makes it particularly desirable, in my opinion. Low ambient light through the cloud cover without any harsh direct sunshine is premo. The side road took me to a part of Nevada I’d never been before, into a place that seemed completely disconnected from the rest of the world, despite only being 25 minutes from the highway. From there is was back into the mess that always is southern California traffic.

There were two lessons learned over those couple weeks of travel. 1) I’m an idiot for not driving the whole way. 2) the pictures will always come if you’re patient. The first day of driving 15 hours straight from Albany to a hotel in Iowa was frustrating. I hate burning country without making images, but there was a deadline to meet, so I didn’t have much of a choice. That next morning the weather was interesting, so I hopped off the 90 for an hour and managed to make images I’m quite happy with. The itch was scratched. Still though, it would be wildly disappointing to drive from coast to coast only making a few images in a small section of one state. It worked out though. The incorrect amount of coffee led to a sleepless night that put me in exactly the right place/right time. Situations like this have happened many times over the years on road trips, international vacations, etc. So the lessons have slowly changed the way I go about finding images. 10+ years ago I couldn’t sit still until images were in the can. Now, I’m learning to let them come.

Click here to see more from the America series

Serenity in the Marsh: Stunning Duck Blind Views that Connect Hunters to Nature

Capture the Beauty of Duck Hunting: Photography of Tranquil Marsh Views from the Duck Blind

The stillness of the marsh at dawn is unlike any other—where the world feels suspended in time, and the only sounds are the subtle movements of nature. From a duck blind, hunters are immersed in a breathtaking view that connects them deeply to the environment. These photographs showcase the serene beauty of those moments—the quiet reflection of the marsh in the water, the mist rising off the reeds, and the vast openness of the landscape.

As a duck hunting photographer, my goal is to capture not just the action, but the peaceful relationship between hunter and environment. These stunning images reflect the calm before the hunt, allowing companies in the duck hunting industry to showcase their gear in the most authentic and serene setting. Whether it’s a perfectly placed blind, a well-crafted decoy, or the right camouflage apparel, these photographs offer a powerful narrative about the connection between the gear and the natural world.

For hunting gear companies, these images are an opportunity to highlight products that enhance the experience of duck hunting, providing a visual representation of both functionality and the serene beauty of the marsh. This collection of photographs not only invites viewers to appreciate the tranquility of the environment but also serves as a testament to the role that quality hunting gear plays in a hunter’s success and enjoyment.

Click here to see more of my duck hunting photography

San Diego Botanical Gardens

Lightscape - San Diego Botanical Gardens

Christmas Light Show - Photography

The last few weeks haven’t seen much action with the camera, unfortunately. Instead the days have been filled with end of the year business nonsense that I don’t enjoy. Going for any amount of time without making images causes a bit of uneasiness, so I brought the camera for a walk through Lightscapes at the San Diego Botanical Gardens, and played around with some hand held long exposures. It confused a number of workers that we would actually walk to the event, instead of driving.

Barbershop - Marfa, Texas

Marfa, Texas — A Barbershop Now Closed

This barbershop in Marfa, Texas is no longer open.

When these photographs were made, the shop was still operating — quietly, modestly, and without spectacle. An elderly barber continued cutting hair for longtime clients beneath fluorescent lights and wood-paneled walls layered with decades of memorabilia.

Not long after, the doors closed.

What remains now are the photographs.

The Final Years

Inside, nothing felt staged.

The floor was worn.
The sink chipped.
Sports posters faded at the edges.
A 1979 Cowboys team photo sat beneath a television.

Customers — mostly older men — waited their turn as they likely had for years. The routine continued as it always had. No announcement. No ceremony. Just haircuts.

In small towns like Marfa, institutions often end not with a grand closing, but with a gradual thinning of time — fewer customers, older hands, fewer reasons to keep the lights on.

A Vanishing American Interior

Barbershops have long functioned as community anchors across the United States, particularly in rural towns. They are practical spaces, but they are also repositories of memory:

• Photographs of local teams

• Certificates and clippings

• Posters taped to wood-paneled walls

• Objects that accumulate without ever being curated

When a shop closes, those layers often disperse. The room empties. The rhythm stops.

What disappears isn’t just a business. It’s a pattern of local community.

Marfa in Context

Marfa is widely known today for contemporary art and desert minimalism. This shop represented something different — a working-class interior untouched by trend cycles or design updates.

It was modest.
Functional.
Unchanged.

Its closure marks a quiet shift in the town’s cultural landscape — one less everyday institution, one more room that no longer holds history.

The Story Behind The Photographs

As much as I try to embrace social media, it’s difficult to genuinely say anything positive about it sometimes. Every once in a while though, something happens that makes me think twice. A few days ago I posted this image of a traditional barbershop in Marfa, Texas on my @barbershopsofamerica Instagram account, which was re-posted as a story by Visit Marfa. That day I received a direct message from a woman in that had seen their story and was filled with sentimental feelings, as she used to know the shop and the owner. She went back to look at it again later and noticed that the man in the chair was her father, who had passed away two years ago from cancer. The image caused her to cry happy tears and she asked about purchasing a print. Turns out we live 15 minutes from each other! So this morning I drove to her house to deliver some prints and a copy of Barbershops of America. Social media isn’t all bad!

This project has been going on for 10 years now. Hard to believe. Aside from the obvious joy it gives me to make theses images, it’s the auxiliary things that really make it special. The people I’ve met out of pure coincidence or from having shared interests will keep this series going forever.

Continue Through the Archive

The Marfa barbershop is one chapter in a 15+ year effort documenting independent and traditional barber shops across all 50 states.

Some shops are expanding.
Some are adapting.
Others, like this one, have closed.

→ View the full Barbershops of America archive
→ Explore the Barbershops of America photo book
→ Read another barbershop story from Kentucky

Together, these spaces form a record of a disappearing American institution — preserved one shop at a time.

Regular customers wait beneath walls lined with photographs and memorabilia inside the now-closed Marfa barbershop.

A 1979 Cowboys team poster sits beneath the television, one of many personal details layered into the shop’s interior.

Close view of an elderly barber doing a straight razor shave in a small West Texas barbershop.

An elderly barber cuts a longtime client’s hair inside a modest Marfa, Texas barbershop in its final period of operation.

Reflections reveal the compact workstation—fluorescent lighting, worn counters, and tools accumulated over decades.

Basketball Wall Art For Modern Interiors

Basketball Wall Art Ideas for Modern Interiors

Basketball doesn’t just belong in arenas. It shows up in driveways, alleyways, deserts, and small towns—places where the game exists without an audience. As wall art, these scenes bring a sense of quiet, structure, and familiarity into a space.

For those looking to add basketball wall art to their home or office, the question isn’t just what to hang—but what kind of image holds attention over time.

Why Basketball Works as Wall Art

At its simplest, basketball is a set of recognizable forms—a rim, a backboard, a painted line. When photographed outside of a stadium, those elements become graphic and minimal.

A single hoop against an open sky. A backboard weathered by years of use. A court fading into the landscape.

These images tend to work well as wall art because they balance:

• strong, simple composition

• texture and age

• a subject that feels familiar without being overly specific

They don’t rely on action or players. Instead, they create space—something that holds attention without overwhelming it.

Different Styles of Basketball Wall Art

Not all basketball imagery feels the same in a room. The setting and composition shift the tone entirely.

Minimal / Isolated Hoops
A lone hoop in an open environment creates a clean, understated presence. These pieces often work best in modern interiors.

Urban Courts and Alleyways
Layers of texture—walls, pavement, fencing—bring more density and detail. These images tend to feel more grounded and architectural.

Rural and Landscape-Driven Scenes
Hoops set against fields, mountains, or desert environments introduce scale and atmosphere. These often read as quieter, more contemplative pieces.

Graphic Light and Shadow
Reflections, silhouettes, and strong contrast push the work toward abstraction, where the subject becomes more about shape than place.

Basketball Photography as Fine Art

For over 15 years, this project has focused on basketball hoops found far from stadiums—mounted to barns, garages, telephone poles, and fading backboards in rural towns.

The photographs are not staged. Each one is discovered, observed, and documented as it exists. Together, they form a visual record of basketball as a constant presence in American life, regardless of location or scale.

This ongoing series has been featured in galleries, museums, on NBA TV, in iconic magazines like SLAM, ESPN, and Sports Illustrated, and international fine art books on basketball, reflecting the broader cultural significance of the work.

View The Full Project

Where to Find Basketball Wall Art Prints

For those looking to bring this work into their own space, a selection of photographs from the series is available as fine art prints.

View Basketball Wall Art Prints

For Collectors, Designers, and Licensing

These basketball hoop photographs are also available for editorial and commercial licensing. The work has been used by brands, publications, and media outlets looking for an authentic representation of basketball culture beyond the professional game.

For inquiries regarding larger installations, hospitality projects, or licensing, please get in touch - rob@robhammerphotography.com

Basketball hoop wall art for residential design

A basketball hoop reflected in a puddle on an outdoor court, creating a surreal, inverted scene. Available as a fine art basketball photography print for modern interiors and collectors.

A weathered basketball hoop standing against a dramatic sunset in rural America, captured as part of the American Backcourts series. Available as a fine art basketball wall art print for collectors and modern interiors.

A weathered wooden basketball hoop mounted to a utility pole, photographed in rural America as part of a long-term series documenting the overlooked places where the game is played.

A solitary chair facing a basketball hoop in a remote desert landscape, part of the American Backcourts series. Available as a fine art basketball wall art print.

Installation view from the American Backcourts series, a long-term project documenting basketball hoops across the United States, exhibited in gallery settings and featured in publications including SLAM and NBA TV.

Authentic Duck Hunting Photography in Real Conditions

Real Duck Hunting Photography in the Wild

Most outdoor photography looks controlled.

Good light. Clean compositions. Products placed exactly where they need to be.

Duck hunting doesn’t work like that.

You’re dealing with darkness, water, cold, and constantly changing conditions. There’s no resetting a shot, no directing the action. Everything happens once, and you either get it or you don’t.

This is what real duck hunting photography looks like.

A duck hunter and his dog board into the marsh before sunrise as another waterfowl hunt begins.

Ducks move through pre-dawn skies as another day of waterfowl hunting begins.

No Control, No Resets

Ducking hunting is a large but niche sport. It’s not for everybody and it’s certainly not for all photographers.

If authenticity matters, then there’s not a single factor about it that you can control. Sure you could set up a photo, but people can see that a mile away. So doing it the right way means constantly paying attention, just like hunting. If you’re off for even a few seconds, then chances are the action has already passed you by.

Unlike other sports, you’re mostly stuck shooting from one position: the blind - whatever form that happens to take on any particular day.

Decoys settle across the marsh as changing weather shapes the morning hunt.

A hunter tracks incoming birds as brief opportunities unfold overhead.

A duck dog returns through cold water with a successful retrieve during the hunt.

Hunters wait in the reeds as first light reaches the marsh during waterfowl season in Ontario.

Working with the Conditions

Typically the best conditions for duck hunting is shitty weather. You go to bed hoping for shitty weather, and the first thing you do in the morning is look out the window, hoping it looks like hell out there.

Naturally, as a photographer of the sport, i’ve become friends with poor conditions - paddling out in a canoe when it’s pitch black, raining, windy, and freezing cold. And most times the action happens at first light, so making images at time when you shouldn’t be able to is prerequisite. And then there’s the waiting. On bad days you might not see a single bird for hours, which almost lulls you to sleep, so there’s a good chance you do miss a bird when they finally do come. Patience is also required.

To some this might sound like torture. For me it’s a damn fine way to spend time with a camera, and friends. If you’ve never done long stretches in a duck blind with great people, then there’s no way to explain the experience.

Autumn light breaks across the marsh as changing weather shapes the landscape.

Harvested ducks hang along the blind wall as morning light cuts through the reeds in the Ontario marsh.

A break in the storm casts a rainbow above the marsh during waterfowl season.

A hunter calls in ducks as weather shifts across the marsh before sunrise.

Waterfowl hunters and their dogs regroup along the marsh after another day spent in changing conditions.

A duck hunter and dog move through flooded marsh under shifting weather conditions.

Why Authenticity Matters for Outdoor Brands

Outdoor brands don’t need more staged images.

They need work that reflects how their gear is actually used—cold mornings, wet conditions, long hours, and unpredictable environments.

That’s what separates real field photography from studio-driven outdoor work.

First light breaks over flooded marsh as waterfowl hunters wait for movement in the wetlands.

Harvested birds hang inside the blind as a hunter signals approaching birds above the marsh.

A duck flies through stormy skies above the marsh.

Hunters haul gear through cold marsh water after a morning hunt in Ontario while their retriever waits nearby.

A duck dog rides at the bow as hunters move through flooded marsh.

A hunter carries the morning’s harvest back from the marsh after hours in the field.

Hunters prepare gear before sunrise, organizing equipment for another long morning in the marsh.

Built From Real Hunts

These photographs weren’t created for a campaign. They come from real hunts—early mornings in flooded marshes, long waits in the blind, and brief windows of action when birds finally move.

That’s what gives the work its edge. Nothing is forced.

Hunters and their retriever laugh outside the lodge after a successful morning in the Ontario’s wetlands.

Harvested ducks hang outside the lodge after a full day in the marsh.

Waders, jackets, and gear dry indoors between hunts as another day in the marsh comes to an end.

Retrievers wait by the door, ready for the next run into the marsh.

Wet gear dries beside the fire after another cold morning spent in the marsh.

Available for Licensing & Commercial Work

This work is available for licensing and commercial use.

If you’re a brand looking for imagery that reflects real conditions and real use, reach out to discuss projects or usage - rob@robhammerphotography

A hunter cleans his shotgun between hunts while his dog waits nearby inside the lodge.

Long days in the marsh end with hunters and retrievers resting back at the lodge.

Shotguns, framed photographs, and hunting gear line the lodge walls between marsh outings.

Quiet lodge hours are spent shaping decoys by hand between hunts.

Mounted waterfowl and hunting decor fill the lodge interior between hunts.

Part of a Larger Body of Work

For years now I’ve been documenting the sport of duck hunting. Sometimes that’s for clients and other times it’s for myself and my friends.

View the full duck hunting photography gallery

View the documentary we made for Benelli

Explore another hunt in the Nebraska Sandhills

Black and White Fitness Photography

Black and White Fitness Photography

Black and white fitness photography strips things down to what matters—light, movement, and effort. Without color, the focus shifts to form and intensity. These photographs come from gyms, training sessions, and real environments where the work is happening.

These photographs come from gyms, training sessions, and real environments where people are pushing themselves. Nothing staged, nothing overly polished—just moments that feel honest.

Why Black and White Works for Fitness

Fitness is built on repetition, strain, and incremental progress. Black and white photography translates that in a way color often doesn’t.

Contrast emphasizes muscle and movement. Shadows define shape. Sweat, chalk, and texture become part of the image instead of getting lost. The result feels more direct—less about aesthetics, more about effort.

There’s also a timeless quality to it. Black and white removes the visual cues that date an image, which makes it especially strong for editorial work and brand campaigns that need to hold up over time.

Real Gyms, Real Training

Most of this work is made in active environments—gyms in the middle of the day, early morning training sessions, or late-night workouts when the place has quieted down but the work hasn’t.

There’s no reset between reps. No stopping to adjust lights. The goal is to work within the space as it is and respond to what’s happening in front of the camera.

That approach carries through the images. They’re less about perfection and more about presence—what it actually feels like to be there.

Commercial and Editorial Use

These photographs are available for editorial and commercial licensing. I also work with brands, agencies, gyms, and athletes to create fitness imagery for campaigns, product launches, and ongoing content.

The focus stays the same—real environments, natural light when possible, strobes when necessary, and an emphasis on effort over staging.

Fitness Photography for Brands and Campaigns

If you’re looking for a photographer for a fitness campaign, gym project, or athlete-focused shoot, you can view more commercial work here:

→ Commercial Fitness Photographer

Fitness athlete with a tattoo that reads “Strive for Greatness”

Wide view of an athlete lifting a barbell in a large gym space with natural light.

Athlete performing a kettlebell movement, emphasizing strength, form, and control.

Close-up of blistered hands after a heavy strength training session.

Two athletes interacting during a workout, highlighting training environment and connection.

Female athlete resting on a medicine ball after a training session in a gym setting.

Kettlebells arranged in a gym, showing wear and texture from daily strength training.

Black and white fitness portrait of an athlete between sets in a working gym environment.

Cheesman Canyon Fly Fishing Photographs

Cheesman Canyon Fly Fishing Photography on Colorado's South Platte River

Few places in Colorado fly fishing carry the reputation of Cheesman Canyon.

For decades, anglers have made the hike into this rugged stretch of the South Platte River in search of some of the most challenging and rewarding trout fishing in the state. Steep granite walls, crystal-clear water, and wary wild trout have made Cheesman Canyon a destination that many fly fishermen dream about long before they ever step onto the trail.

These photographs were made over several visits to the canyon and are part of an ongoing project documenting fly fishing throughout Colorado and the American West.

A fly fisherman leaps from rock to rock in a picturesque Colorado trout stream

Why Cheesman Canyon Is One of Colorado's Most Iconic Fly Fishing Destinations

Located below Cheesman Reservoir southwest of Denver, Cheesman Canyon is often considered one of the premier trout fisheries in Colorado.

The hike alone separates it from many other rivers. Reaching the water requires commitment, and once anglers arrive, they are greeted by a landscape that feels far removed from the Front Range cities just a short drive away.

Towering granite formations rise above the South Platte River while deep pools, pocket water, and long runs create endless opportunities for both fishing and photography.

Fly fisherman wading across the South Platte River

A trout bends a fly fisherman’s rod in Cheesman Canyon

Photographing the South Platte River in Cheesman Canyon

What makes Cheesman Canyon so compelling from a photography standpoint is the combination of landscape and human experience.

The canyon is visually dramatic, but the people who fish it are equally interesting.

The careful approach to each pool.

Long drifts through difficult currents.

Hours spent studying rising trout.

The patience required to succeed here becomes part of the story.

Many of my favorite photographs from Cheesman aren't necessarily fish pictures at all. They're images that capture the anticipation, concentration, and persistence that define fly fishing in places like this.

A fly fisherman walking underneath large boulders

A trout illuminate by beautiful light

The Challenge and Reward of Cheesman Canyon

Anyone who has spent time in Cheesman knows that success is never guaranteed.

The trout are educated.

The water is clear.

The canyon demands effort.

Yet those challenges are precisely what continue to attract anglers year after year.

Part of Cheesman's reputation comes from the fact that it rewards patience and attention to detail. Every fish feels earned.

That combination of beauty and difficulty is what has made the canyon legendary among Colorado fly fishermen.

Fly fishing in Cheesman Canyon surrounded by granite walls

Motion blur photograph of fly fisherman

Fly Fishing Culture Beyond the Catch

One reason I continue photographing fly fishing, besides an addiction to the sport itself, is that the story extends well beyond the moment a fish comes to hand. Excitement about a destination trip or just a day on the water starts well before you arrive at the trail head. Most times, that excitement causes a lack of sleep, but it’s all made better when you jump in the truck with your buddies.

Nobody likes to get skunked on the river. And if someone says they “just like being out there”, that’s only partly true. Because the truth is being out there really does change you, if you let it. All the auxillery things are what make fly fishing special though. There’s always the anticipation of a hard bite, but you’ll never forget time on the road, water, and the campsite with friends.

Places like Cheesman Canyon reveal just how much of fly fishing is about the experience itself.

The river becomes the setting for friendships, traditions, and memories that often matter more than the number of fish landed.

A fly fisherman sitting on a rock preparing his gear

Fly fisherman with a bottle of whisky

Part of a Larger Colorado Fly Fishing Photography Project

These photographs are part of an ongoing effort to document fly fishing across Colorado and throughout the American West.

Additional locations include:

• 11 Mile Canyon

• Rocky Mountain National Park

• Clear Creek

• Colorado River

• Black Canyon of the Gunnison

• Big Thompson River

Together, these collections document not only the rivers themselves, but also the people and culture that make fly fishing such an enduring part of life in the American West.

Netting a trout in Cheesman Canyon

Colorado Fly Fishing Photography Prints and Licensing

Many of my fly fishing photographs are available as museum-quality fine art prints.

View the collection of fly fishing prints

Images from this project are also available for editorial, commercial, and advertising licensing for outdoor brands, publications, tourism organizations, and agencies seeking authentic fly fishing imagery.

For print or licensing inquiries, contact me directly - rob@robhammerphotography.com

Fly fisherman hiking out of Cheesman Canyon

Cheesman Reservoir

The American Barbershop

Inside an Old School Barbershop

Some barbershops just feel different the moment you walk in, at least they should. This one sits right on Main Street in a small Nevada town, and it hasn’t tried to reinvent itself or keep up with trends. It doesn’t need to. It’s an old school barbershop in the truest sense — a place built on community, friendships, decades of doing things the same way because they work.

You notice it in the details first. The worn chairs. The mirrors that have seen thousands of haircuts. The quiet hum of clippers and conversations that don’t feel rushed. This is the kind of traditional barbershop where people come not just for a haircut, but because it’s part of their weekly or monthly rhythm.

An Old School Barbershop That Still Feels Like Main Street America

Main Street barbershops like this one are becoming harder to find. A lot of them have disappeared, replaced by newer spaces that feel more like salons than barber shops. Luckily, this place hasn’t gone that route. It still feels rooted in tradition, serving the same community it always has.

People come in, take a seat, and wait their turn. Some talk. Some don’t. The barbers know all the faces, and the ones they don’t quickly become familiar. There’s no rush to move people through. The pace is steady and comfortable — exactly what you expect from an old school barber shop that’s been around long enough to earn that confidence.

This is Main Street America in its simplest form.

Photographing a Traditional American Barbershop

When I photograph barbershops, I’m not looking to stage anything or make the space feel more polished than it really is. I’m drawn to places like this because they already have character. The work is about paying attention — to how light hits the mirrors, how chairs sit slightly crooked from decades of use, how people interact when they feel at home.

This traditional barbershop didn’t need direction. I spent time watching, waiting, and letting moments happen naturally. A barber stepping back to check his work. Someone laughing mid-conversation. A quiet pause while clippers buzz in the background. Those are the moments that tell the real story of a shop like this.

Why Old School Barbershops Matter

Old school barbershops are more than just places to get a haircut. They’re social spaces, community anchors, and in many towns, one of the last places where people still slow down a little. They reflect the personality of the neighborhood they’re in and the people who keep them going.

Photographing spaces like this feels important, especially as so many of them disappear. Once they’re gone, they’re gone for good. These photographs are a way of preserving what these places look and feel like — not in a nostalgic or romanticized way, but honestly, exactly as they are.

Vintage Barbershop Photography Prints

This series is part of my ongoing Barbershops of America project (and photo book), documenting traditional and vintage barbershops in all 50 states of the USA. Photographs from this Main Street barbershop are available as fine art prints, and they tend to resonate with collectors, interior designers, and anyone drawn to classic American spaces.

If you’re interested in prints from this series, or in licensing images for editorial or commercial use, you can explore more work from the project through my barbershop photography gallery.

View the barbershop photography book

View the barbershops photography gallery

A mounted elk watches over the barber’s counter—an unmistakable detail that roots this barbershop firmly in old school tradition.

Details like handwritten signs, framed photographs, and unapologetic Americana are part of what defines this old school barbershop.

A moment of laughter during a haircut in an old school barbershop, where mounted elk and decades of tradition share the same wall.

A detail that stops you in your tracks—ammo for sale on the barbershop counter, a reminder that these shops often reflect the character of the towns they serve.

An old-school barbershop moment—regulars in the chair, clippers on the counter, and a mounted elk watching over decades of haircuts and conversation.

Kansas City Basketball

Basketball Hoop Photography - Prints

Story Behind The Image

Of my many vices, BBQ is damn near the top of the list. Food in general is a big part of my life, but great BBQ is an especially large weakness. Many years ago while driving cross country, I stopped in Kansas City for some of their famous meat, and almost immediately complained to friends about the quality of that particular establishment. One of them recommended Arthur Bryant’s on Brooklyn Avenue. Ever since that trip AB’s has been a must stop anytime I’m within a couple hundred miles. They don’t miss. You know walking in there that they are going to take care of you. The place just feels right. Like walking into Madison Square Garden, you can feel the history. What the hell does this have to do with basketball? Nothing really, but if you’ve ever had a proper plate of BBQ, then you know the only thing that follows is immense satisfaction followed by meat sweats and a nap. So the ritual goes that I eat too much food, sparing the napkin full of scraps that are saved for Mojo who is (was) always waiting in the truck, drool already hanging several inches from his mouth. Poor bastard had to sit there while the smell of burnt ends and pulled pork wafts steadily in the window. After his treat we go for a long walk which turned into the same familiar route over the years. One of the regular sites is an abandoned school that I’ve made some mediocre images of. Viewing it from the outside always led to daydreaming of what the  gym inside looked like. As luck would have it, while walking by one year the plywood on a ground floor window was ripped off and the metal grate had been ripped open. That’s an invitation, right? Of course it is. Anyone that takes if for anything less is a fool. So I hopped in the window with a tripod, camera bag, and a headlamp. Kansas City summers are hot to say the least. Inside a sealed off brick building is something else altogether. It felt like you could chew on the air in there. Walking into the gym didn’t even seem real. My jaw must have drooped right to the floor. Couldn’t believe what a gift I was handed.  The whole room was all but gutted, yet the backboard still stood. I could have been happy in there for days. Still though it wasn’t a place to be for long. There were obviously people squatting and I didn’t have much interest in them knowing I was there. So after waiting waiting waiting for my lens to defog, a few frames were made, and I hit the road without any interactions between the squatters or the police. Moral of the story is eat more BBQ. 

If you’re a photography collector looking for basketball wall art, please contact me directly. All of my basketball hoop photography is available as fine art prints - rob@robhammerphotography

American Photography

Photographing America - Road Trip - USA - Travel

Every day spent on the road is educational in some way, especially when you drive for hours upon hours without producing anything. Half days even. A full day, and you still might not have put the camera up to your eye. Then you get to some kind of hot spot, for the lack of a better word. That’s what happened here. These top 3 images were made within 100 feet of each other in some small Illinois town on a day that otherwise produced almost nothing. Odd how that happens.

Click here to see more from my America series.

The Open Road - Photography

American Road Trip Photography

There’s been a hold up with the delivery of Roadside Meditations from Germany, so the release date is looking more like early to mid December. Instead of using this blog post to vent, it seems like a better opportunity to share some new work from the series. They were made over the past two months during two separate road trips to Wyoming and Arizona while working on the new cowboy series.

Looking at these photographs now, there is certainly a calming meditative nature to them. The thing that stands out though, is they aren’t something I could have or would have made 6 months or a year ago. That’s called progress, isn’t it? They aren’t landscapes. So what are they? Not sure you really need to classify them at all. If they are pleasant to look, provide a documentation, or education, that’s what’s important.

Will keep you all posted with updates on the new book as soon as possible.

Utah

Utah

Utah

California

Roadside Meditations - Kehrer Verlag

Just returned from the road to find the first copy of Roadside Meditations waiting quietly at home. Feels so good to finally hold a hard copy in my hands after the long (but fun) production process with Kehrer Verlag in Germany. Unfortunately the books aren’t for sale yet in the States, but I will be posting and talking much more about this when the time comes. Hoping to have them up and ready to sell on my web store in about a month. Check back here or Instagram (@robhammerphoto) for updates.

Fine art photography book Roadside Meditations by Rob Hammer and Kehrer Verlag.

Wyoming Cattle Ranch

Wyoming Cowboy Photography

American West

Wyoming cattle drive

Wyoming is a land rich in rugged beauty, where open plains meet towering mountain ranges, and the cowboy way of life still thrives. One of the most iconic images that evokes the spirit of the American West is that of a working cowboy on a Wyoming cattle ranch. These photos not only showcase the breathtaking landscapes but also the hard work, dedication, and heritage that define ranch life.

Cowboys moving cattle on a ranch in Wyoming

Black and white cowboy photography print

Wyoming cowboys

Click HERE to see more cowboy photography from this series.

At Work

There are a lot of strategies for being productive while on the road. One of them is the “pop-in”. It’s become my go-to when rain won’t let you do much outside. That’s precisely how these images came to be. The pop-in isn’t for everybody. It used to scare the hell out of me. Then you realize there are only two answers, yes or no. If it’s a no, who cares? Just move on. Tony, the owner of this garage, was happy to let me hang out for a few minutes to make some images. Confused as to why, but it didn’t bother him any. Obviously they are going into my “At Work” series that has been so much fun to shoot. Some of the images you’ll see in the gallery are personal and others were made for clients. Better yet, some of them are personal assignments that were later published. Love when that happens.

Peru, Illinois

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American Road Trip

It seems like every road trip has its own personality filled with unique findings and activities. Of course photography is always the main focus of these trips, but there are also auxiliary goals that I try to squeeze in as well. Ranching, fly fishing, friends, and hunting are just a few of the things that happened in the squiggly red lines on the map. So far it seems like the results are good in the photography category and a hell of a lot of good times were had along the way. Excited to share more the miles soon.

View the American Roadtrip Gallery

Shop my American Roadtrip Photography Book

American Road Trip