The Samsung Galaxy S24 Ultra Review for Photographers

The Samsung Galaxy S24 Ultra Review for Photographers
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Like the majestic Canada Goose, I escaped a particularly brutal winter by flying south. As temperatures back home plummeted to a balmy -40 degrees, my plane landed in San Jose, California. San Jose is the West Coast convention center capital of the tech world, and Samsung was there for the brand new Galaxy S24 series of smartphones.

Samsung chose the SAP center for its Unpacked event and the lighting and ambience were on point. The launch itself was heavily targeted towards the “influencer,” with much emphasis given to AI technology and quality-of-life improvements, and relatively little to video or photographic features.

Samsung S24 Ultra launch event
We were in San Jose for Samsung’s Unpacked S24 launch event. The emphasis was on AI.

Even better than the launch event, however, was the handing over of a brand-new S24 Ultra to us. As usual, we wanted to approach our review from the standpoint of a photographer and videographer, and what the phone would provide to the content creator.

Samsung debuted its own innovative live language translation experience which looks promising and also gave a lot of time to the new Google “circle-to-search” function which eliminates the need for typing text into a Google search bar as well as AI photo editing tools. It’s worth keeping in mind that this new search function is not exclusive to the S24 phones and the AI editing is basically the same thing we saw on the Google Pixel 8 Pro last year.

The phone can also format your writing into various styles of professional-looking pages, complete with bullet points and headers. It will even rewrite your thoughts with an emphasis on a particular tone or sentiment that you would like conveyed. At this point are they even your genuine expressions though?

Samsung S24 Ultra four lenses.
You can clearly see the four cameras on the S24 Ultra. Otherwise, it looks almost exactly the same as the S23 series.

Samsung Galaxy S24 Ultra: How it Handles

The first thing you notice about the S24 Ultra is just how vivid and bountiful the new 6.8-inch OLED display is. I love that the screen extends flat to the edge of the phone with minuscule bezels to frame the display. At 2,600 nits of peak brightness, I was able to compose in fairly bright conditions and any viewing of reels or videos was a pleasant experience.

The body of the S24 Ultra is titanium which came to the iPhone 15 Pro and Pro Max last year. The matte finish is nice though and the phone feels good in the hand if not a bit slippery. I dreaded the lack of a case for my testing of the phone but somehow managed to avoid dropping it altogether. Thanks to the new Qualcomm Snapdragon 8 Gen 3 processor, the phone responds quickly to commands and the AI-based editing features didn’t make me wait nearly as long as the Google Pixel 8 did.

Samsung S24 Ultra screen
The S24 Ultra has a bigger and brighter screen than the iPhone 15 Pro Max.

Where Apple prefers to target the casual crowd, leaving more enthusiastic photographers to download additional apps, Samsung provides a fairly full-featured camera mode with manual control, useful night photo modes, and RAW support straight out of the box. There is an additional Expert RAW app that unlocks multi-frame RAW files and a very handy ND filter mode, too.

I was able to hand hold the phone towards some flowing waterfalls and pull off sharp photos even at a fairly strong 4-stop ND filter equivalent. The ND mode allows up to ND 1,000 levels of blur but a tripod will be required if you want to go that far. I found the RAW files out of the Expert RAW app to have more dynamic range available to work with and far less noise, albeit with a more overly processed look that — frankly — most people will prefer.

Samsung S24 Ultra ND FILTER
The ND filter tool is very effective, and can be handheld in many situations.

I enjoyed being able to move my shutter button to different parts of the screen which helps when using alternate hand positions to hold the phone most comfortably or securely. I also found the photo and video controls to be fairly intuitive with some practice, and the interface will be very familiar to existing Samsung phone users because so little about it has actually changed. The entire experience overall feels so similar to using the S23 Ultra, and even many of the new AI features will trickle down to the older phones anyway. So, what solid changes to this generation do we actually get?

Samsung Galaxy S24 Ultra: How it Shoots

We do have a significant hardware change when it comes to the lenses on the S24 Ultra. Well, one lens to be more accurate. In fact, the 0.6x f/2.2 12-megapixel ultra-wide, 1x f/1.7 200-megapixel main camera, and the 3x f/2.4 10-megapixel telephoto are straight-up the same as those found in the S23 Ultra. It is a new 5x f/3.4 50-megapixel camera that now replaces the former 10x telephoto, and I, for one, like this change even though many will lament losing the greater throw of the previous model.

Samsung S24 Ultra video pro interface.
The Pro interface for stills is easy to use and offers plenty of control without having to download a separate app.

I far prefer a 5x portrait lens, although it does feel like a move on the part of Samsung to compete directly against the Google and Apple phones. Having a 50-megapixel sensor allows for a cropped 10x lens at 12-megapixels, so in the end, it is the most versatile choice. I found the 5x lens to be well stabilized and I heavily relied on it during my testing. I especially think it delivers an optimum portrait shooting experience.

Samsung S24 Ultra Jaron portrait
The portrait mode was most impressive with natural-looking bokeh and a realistic look.

For the most part, I liked the look and colors that the S24 chooses to impart. Sometimes, the images look a little too punchy or processed, but that’s an issue with all smartphones nowadays and the preferences for one over the other are largely subjective.

Using RAW capture is always an option and stands out as being very much unprocessed. I prefer the multi-frame RAW images out of the Expert RAW app because of the extra dynamic range they deliver, but they can swing towards the over-processed-looking side of the pendulum. In most situations, I would stick with JPEGs, to be honest. I did try the 200-megapixel JPEGs out of the main camera and just like on the S23, found them to be of limited use. In good light, with limited contrast the images do have more detail and the colors are even a tad nicer but in most situations, the benefits will go unnoticed. Again, it feels like territory we’ve already seen in the S23.

Samsung S24 Ultra forest scene
The S24 Ultra has a detailed main camera and I like the tone and color in the images.

The word on the street is that the S24 photographs are going to be HDR-compliant, something that Apple and Google have pushed on their latest phones. However, Samsung is being very hush-hush about just what HDR standard it is using, if any. The company has stated that the image you see while composing an image on the HDR display of the S24 Ultra should closely match the image you get out of the camera but it looks like the images are largely being tone-mapped to fill the extra room on the brighter displays. I’m skeptical as to whether we are actually getting photos that make use of a proper HDR color space.

Samsung S24 Ultra raw mode
The S24 Ultra shoots a capable multi-image RAW file using the “Expert RAW” app.

Samsung Galaxy S24 Ultra: As a Video Camera

Jordan Drake tested out the S24 Ultra to see its potential as a video camera, and this section leans on his input.

In terms of video capture, the Galaxy S24 Ultra isn’t a huge leap over the S23 Ultra, but it’s important to remember that the 8K recording offered by both generations of phones still can’t be found on phones from Apple and Google even now. The 8K recording does certainly offer a resolution advantage over the 4K recording, though not as big as you might expect if you’ve seen 8K capture from larger sensor devices. All the video recording modes are quite detailed though you will see the common but still maddening over-sharpening and high contrast that defines most smartphone video capture.

Samsung S24 Ultra over sharpened 4K
The S24 has the typical over-sharpening that you’ll get out of smartphone video.

I also appreciate the video interface. The default video mode has a limited number of user-friendly controls, but the “Pro Video” module allows controls of advanced features like shutter speed and ISO, and allows access to 24p and 4K/120p capture. I also appreciate having on-screen audio levels, though I wish audio gain could be manually controlled.

Samsung S24 Ultra pro video interface
Samsung offers a fairly robust interface when it comes to video. Unfortunately, Log recording is nowhere to be found.

One thing missing from the “Pro Video” options is Log capture which would allow greater flexibility in post, more dynamic range, and the ability to reduce the aforementioned sharpening and contrast issues I have with the video output. Sure, with third-party software you can get RAW video capture, but compressed Log recording is a great middle-ground that is currently unavailable. I’d also like to see Samsung build it in directly.

Samsung S24 Ultra 8k vs 4k
One nice thing about a 200-megapixel sensor is the option to shoot 8K video. There is definitely a detail advantage.

The biggest new feature is Instant Slow Mo which allows you to add slow motion to clips that were recorded in standard frame rates. Slow motion in post sounds amazing since the best slow-motion clips are often capturing the moment when something unexpected happens. You can hold down on the screen during playback and the phone will attempt to build missing frames for a slow-motion effect. It defaults to 1/4 speed on your current frame rate, so 30p footage will create the equivalent of 120p and if you’re shooting in 60p, you’ll get 240p.

Samsung S24 Ultra AI slo-mo
The AI-based slow motion function is convenient to use but sometimes it draws extra frames incompletely. For example, where did Jordan’s arm go?

So how does it look? With simple movement, it does a pretty good job — certainly fine for social media. However, in a shot with a lot going on in the frame — like when I jumped into a freezing swimming pool — you could see my arm disappear and reappear between frames, and the water splash does some seriously weird stuff.

The same happened when I was swinging a Samsung lanyard: the paper constantly flickers in and out of existence in the generated frames. I’d say this feature can sometimes look acceptable but if you know you want quality slow motion and can plan your shot, just record in 4K/120p and slow it down in post.

Also, if you record in HDR video, the post-slow motion capability is unavailable. It took several frustrating trial and error tests for us to figure this out because there is no on-screen notification as to why something isn’t available. The phone should simply tell you when attempting to slow HDR footage down that this function is not possible. In fact, if any feature isn’t available it should tell you the reason so you can directly address it.

The S24 Ultra now encodes gyro data into video files which improves digital stabilization, but I was most impressed with the enhanced optical stabilization of the 1x camera. This allows very smooth footage when walking without incurring a crop. If you need maximum stability, Super Stabilization is available on the 1x and 0.6x lenses but you will encounter a lot of shimmering and digital weirdness.

One other issue is not limited to the Galaxy S24 Ultra, but common in many Android phones: it does not record in a constant frame rate. When 30p recording was selected, the frame rate bounced between 29.90 and 30.09 frames per second, which means if you try to sync with a second camera or external audio recorder, the footage will inevitably fall out of sync. This is not a problem with the iPhone, and it’s something that really should have been remedied by now on Android devices.

Overall, the Galaxy S24 is the most capable Android phone I’ve used for video capture but it still has a ways to go before it can catch up to what Apple is doing.

Samsung Galaxy S24 Ultra: AI in its Infancy

The big push on the S24 Ultra is clearly a deep dive into the world of AI processing. There is a strong relationship between Samsung and Google and because of it, Samsung is relying heavily on Google’s Gemini AI and as a result, the experience that I had using the S24 Ultra was very similar to the one I had with the Google Pixel 8 Pro. The S24 Ultra has a fairly healthy suite of tools that are camera-based, meaning that you don’t have to be connected to the cloud to access them.

Samsung S24 Ultra palm trees
I moved the right tree over to improve the composition and it worked well using the generative fill AI.

The S24 Ultra does a good job of erasing subjects that might be distracting and intelligently enhancing the look of your images. It’s even designed to learn from your editing decisions and try to predict what your go-to changes might be, to make more meaningful suggestions. The S24 Ultra will make suggestions to your photos based on what it sees in the image as well. For example, the phone will look for shadows over a person’s face, or reflections in windows, and offer to remove them for you.

However, in practice, I found what it was doing to be fairly unreliable. I never quite got remove reflections to work well and it often gave strange results where a person’s body is removed from a reflection but not their head, or with the S24 simply not detecting a very obvious reflection in glass. Sometimes it would even detect a reflection in a shot that didn’t have any.

Samsung S24 Ultra bad ai fill
Moving this person clearly made them look like a cut-out with shadows out of place and a bad rendering where the AI rebuilt the image.

Further, you cannot force an AI tool to be used even just to see if the result could be potentially beneficial. I think it’s important to point out that the Google Pixel 8 Pro is the only other smartphone really offering similar tools, and the results on that phone were also often bizarre or disappointing. The fact is, AI editing is still in its infancy and it will take a while before it delivers consistent results. Hopefully, users are willing to stick around while the bugs are worked out.

Samsung S24 Ultra Jordan portrait
The S24 didn’t suggest any shadow removal here and you can’t force it to either.

A Very Good Portrait Mode

It isn’t all doom and gloom, as the S24 does have some tools which work well. I’ve already mentioned the ND filter in the Expert RAW module in addition to the enhancing tools. But even more impressive is the Portrait mode.

Using the Portrait setting works on both people and inanimate objects thanks to very effective depth maps. Although stray hairs are often cropped out completely, the S24 Ultra does a great job of isolating its subjects without any obvious halos. The fall-off of focus is done very well, with subtle transitions to the subject’s ears and far shoulder. The S24 Ultra can then build a very smooth and convincing out-of-focus background that allows the subject to stand out nicely. I was quite impressed by the results and am eager to see how it fares when pitted directly against the competition.

Samsung S24 Ultra Jordan bokeh shot
Here, the S24 did a great job of creating a soft and bright background while creating a natural transition of focus.

To the Cloud

The cloud-based AI tools take things even further. Much like the Google Pixel 8 series, the S24 allows the user to do even more heavy lifting to their images and with far more control. Bringing up the editing tools allows for all the usual sliders such as straightening the image, enhancing tone and color, or erasing distractions. However, you can click the Samsung star icon and have access to cloud-based generative fill effects. Objects can be selected with a tap or by drawing a selection around them, and can then be moved or deleted with the S24 Ultra automatically rebuilding the missing areas.

Samsung S24 Ultra barn scene
The cloud-based AI removed a fence in the bottom-left corner but added a weird branch to the right side of the image. Note the watermark in the bottom left corner showing AI being used.

Against a clean backdrop like the sky, I found the effect quite convincing, even with relatively large subjects like trees. However, in many cases, moving a subject would look very much like placing a cardboard cut-out and the area that was regenerated would often have strange errors.

The process requires you to guess and test a little bit but there were many situations where I was able to dramatically improve a composition with minimal effort and many other situations where the changes I made were noticeably unusable. I did find the process to be reasonably quick on the S24 Ultra and that encouraged a bit of experimentation to try different approaches and see how it turned out. I am confident that AI editing will get very good in the future but no manufacturer has cracked the code yet.

Samsung S24 Ultra night mode
Night mode, or “Nightography” as Samsung likes to call it, does a good job of reducing noise and maintaining vivid colors. Detail suffers though which is a common smartphone issue.

There is also a watermark feature that is imprinted on any image and in the EXIF data for anything edited with the cloud-based tools and the user is also free to disable any AI tools and limit the usage of their photographs to enhance the machine learning database. The watermark can be easily cropped out, however, and metadata is not hard to strip.

Samsung Galaxy S24 Ultra: A Small Step Forward

I’m left feeling that the Galaxy S24 Ultra is a perfectly capable smartphone with some very thoughtful improvements to the UI with some nice quality-of-life enhancements outside of photography.

However, in terms of a smartphone as a camera, I feel like the S24 Ultra is simply playing catch-up with its competitors and largely following in others’ footsteps. Samsung did enough to make it a competitive option, but not enough to say that it surpasses what is on the market. The Galaxy S24 Ultra also debuts well after many other smartphones hit the market and at a higher price than its main competition. I’d consider it because it’s sleek, has a killer display, and has the ability to make good images, but I would also recommend any of its competitors for many of the same reasons and because Samsung sought only to match and not to exceed.

Samsung S24 Ultra a decent landscape camera
Overall, the S24 Ultra is a capable image taker, and I would say it competes against the Google Pixel 8 Pro shoulder-to-shoulder.

Are There Alternatives?

Both the Apple iPhone 15 Pro Max and Google Pixel 8 Pro offer similar lenses and image quality. The Pixel 8 Pro has a very similar AI suite and a much lower asking price while the Apple iPhone 15 Pro Max delivers a simpler experience but harnesses more out of its HDR photographs. It also has vastly superior video capabilities.

Should You Buy It?

Maybe. There is nothing wrong with the Galaxy S24 Ultra but, when it comes to its photo-taking capability, nothing stands out either. You may really like the Samsung-specific tools, the design, the very nice display, and the inclusion of the stylus, but the majority of Samsung’s hoopla are the AI enhancements, and the majority of those come courtesy of Google and will be shared on many other platforms going forward.

“By zooming in on these tiny creatures, I hope to spark curiosity about the hidden beauty surrounding us”

“By zooming in on these tiny creatures, I hope to spark curiosity about the hidden beauty surrounding us”

The work of Indonesia-based photographer, Dzulfikri, gives an insight into the lives of tiny creatures.

I had the chance to speak to Dzulfikri about how his stunning photo, Ants in the Love Frame Leaf (above) was taken, and why it works.

1. Microcosmic exploration

“This image provides a glimpse into an intricate micro world that often goes unnoticed. By zooming in on these tiny creatures, I hope to spark curiosity about the hidden beauty surrounding us,” he says. 

To achieve rich details and sharpness, Dzulfikri used a macro lens and a wide aperture. “This helped me to focus on the ants while blurring the background. Capturing sharp details on subjects this small poses a challenge. I overcame this by focusing on the ant’s eye and using a support to prevent camera shake.”

2. Natural interaction

To capture a moment that represents cooperation in the macro world, Dzulfikri observed the creatures interacting, requiring lots of patience and a keen eye. “Observing their behavior and waiting for the right moment to click the shutter allowed me to document their natural actions.” 

In this image, he also shows the context, capturing the ants within their natural environment. “Their interaction with the fruit could hint at their contribution to seed dispersal, representing their role within the ecosystem.”

3. Clear visual strategy 

“The composition adheres to the rule of thirds, placing the ants and the fruit at visually engaging points to create a dynamic balance. The soft sunlight created subtle shadows that emphasized the textures and the appearance of the ants. I added flash to fill in the light as naturally as possible.” 

In post-production, he focused on the color and contrast, enhancing the brightness of the fruit while keeping the ants looking natural. “The goal was to boost the impact without sacrificing authenticity.”

4. Telling a story

“This image serves as a storyteller, conveying the narrative of cooperation, teamwork and survival within the tiny world of ants. Such stories can evoke empathy and understanding, fostering a connection to the natural world,” says Dzulfikri. His choice of a frame-in-frame setting offers a visual gateway in which to contemplate the microcosmic marvels.

Macro Photography

For nearly two decades, Indonesia-based Dzulfikri has been captivated by macro photography and the intricate beauty of portrait fine art. Through his lens, Dzulfikri unravels hidden worlds and emotions, freezing moments in time. The art of photography grants him a unique way to connect with the world, channeling inspiration into every frame he captures.

“As a photographer, it’s important to emphasize ethical practices when working with wildlife. Ensuring that the interactions we capture don’t disturb or harm the subjects is crucial and contributes to responsible nature photography.”


Tech details

(Image credit: Future)

Camera: Canon EOS 5D Mark IV
Lens:
Canon EF 100mm f/2.8L Macro IS USM
Accessories: Flash
Aperture: f/4
Shutter speed: 1/120 sec 
ISO: 250

Take a look at the best cameras for macro photography, along with the best macro lenses.

Havana Times Announces XIII Photography Contest (2024)

Havana Times Announces XIII Photography Contest (2024)

HAVANA TIMES – Since 2009, Havana Times has experienced twelve editions full of creativity and captivating visual stories that have left a lasting impression on our readers and the entire team. From images that tell profound stories to visually stunning compositions, each year they surprise and inspire us.

The magic of photography is in your hands – welcome to the 13th edition of the photo contest, where your vision comes to life through the lens!

This year there are six categories:

Sign of the Times, Gardens, Disguises, Innovations, Lines and Curves, Fences and Doors

Recognitions: All semifinalist and finalist photos will be published and prominently displayed for several days by Havana Times and remain available to readers. Once again, this year we are unable to offer cash prizes. However, the winners and special mentions will each receive an attractive certificate for their achievement.

Contest rules

1.– Professional and amateur photographers of all ages and nationalities may participate.

2.– The photos must have been taken anywhere in Latin America or the Caribbean.  It doesn’t matter when they were taken.

3.– The photographs must be entered under the following categories:  Sign of the Times, Gardens, Disguises, Innovations, Lines & Curves, Fences & Doors.

A maximum of three pictures can be sent for each category.  There is no minimum.

4.– Photos must be sent in attachments in jpg format with the longest edge no greater than 1080 pixels or a maximum weight of 500 kb. They may be horizontal, vertical, or square. There should be no water marks or credits imbedded on the photos.  If you have any questions on this, please ask.

5.– Number the photos within each category.  For example: Innovations 1, Innovations 2, and Innovations 3.   Disguises 1, Disguises 2, Disguises 3, etc.  And separately in a text document send us a short caption for each photo.

6.– Sending us your pictures: Photographs should be sent as attachments. To submit photos send them to our contest curator Axel Saenz at: [email protected]   with a copy to [email protected]

7.– The deadline for submissions is September 15, 2024

8.– During the selection process Havana Times will publish the semifinalists, finalists, and winning images.

9.– Participation in the contest implies acceptance by the author that the photos submitted will be included in the archives of HT and may be used in Havana Times and the social networks where HT is present (with due credit to the author).

10.– Prizes: The certificates to the winners and special mentions will be sent via email or on a cloud drive or both, depending on the wishes of the person.

11.– Contest winners will be announced on or before November, 15, 2024, through HT. This decision is final.

12.– Participation in the competition implies acceptance of each and every one of the rules. HT is empowered to resolve any contingency not provided for in the Rules.

13.– THE JURY will be composed of 15-20 members, including photographers, writers, and Havana Times guest readers from several different countries.

For any questions or for more information contact: Axel Saenz at: [email protected]

2023 2019  2018  2017  2016 2015 2014 2013 2012 2011 2010  2009

Sundance announces indigenous fellowship winners

Sundance announces indigenous fellowship winners

Saturday, the Sundance Institute announced the filmmakers selected for the 2024 Merata Mita Fellowship and the inaugural Graton Fellowship for Artists from California-Based Tribes.

The Merata Mita Fellowship is an annual fellowship named in honor of the late Māori filmmaker Merata Mita (1942–2010) to support indigenous women-identified artists endeavoring to direct their first feature film.

This year’s Merata Mita Fellowship will go to Libby Hakaraia (Ngati Kapu, Ngati Raukawa au ki te tonga).



The recently announced Graton Fellowship, created to support indigenous artists from California-based tribes, both federally and non federally recognized, will go to Tazbah Rose Chavez (Dinè, Nüümü, San Carlos Apache).

Both fellows were recognized at the 2024 Sundance Film Festival Native Forum Celebration Presented by NBCUniversal Launch and Nia Tero at The Park in Park City..



“It feels incredibly meaningful to have Libby and Tazbah as the recipients for the Merata Mita and Graton Fellowships, respectively, this year. It’s also a bit of a spiritual homecoming too,” said Adam Piron, the director of the Sundance Institute Indigenous Program. “Both are established artists with deep ties to their communities, the histories that these fellowships are rooted in, and we’re thrilled  to be  supporting their upcoming projects with these incredible opportunities and I’d also like to thank Chairman Greg Sarris, the community of the Federated Indians of Graton Rancheria, and our donors for making this possible”

Libby Hakaraia 
Sundance Institute

Merata Mita fellow Libby Hakaraia is an indigenous storyteller with over 30 years of experience in the screen industry as a director, writer, and producer. She has worked on a wide range of projects, including current affairs, documentaries, entertainment series, and short and long-form dramas. Her work has have been recognized worldwide, with her short films being screened internationally.

She has produced two feature films, Cousins (2021) and Kōkā (2023, currently in post-production). In 2014, Hakaraia took the lead in establishing the Maoriland Film Festival in her tribal home of Ōtaki.

What began as a local event has grown into the largest annual indigenous festival in the Southern Hemisphere. She creatd a center of excellence in Māori Film and Creative Arts in 2016. This initiative has provided a platform for new Māori and indigenous filmmakers to showcase their work, including the International NATIVE Slam, which has resulted in 21 films produced by 60 international filmmakers.

In 2018, Hakaraia was honored with the Women in Film and Television Entrepreneur award, and in 2023 she received a New Zealand Order of Merit for outstanding services to media and film.

Hakaraia currently has a slate of film projects in development, including her directorial debut feature film.

“It is an honor to receive this award. It comes at an exciting time for me and the projects I have been developing whilst building the Māoriland Film Festival over the past decade. Merata Mita was an inspirational storyteller who challenged Indigenous filmmakers to strive for excellence in their craft. She remains a motivating force for me and for so many others and hence why I am humbled to be the recipient of this year’s Merata Mita Fellowship,” said Hakaraia. “With this support from the Sundance Institute, along with that of my mentors within the indigenous filmmaking community, I intend to be bold and aim for new heights in storytelling. This fellowship will enable me to strengthen my skills, extend my networks, and grow my confidence — and prepare to helm a large-scale genre feature in 2024.”

Merata Mita (Ngāi Te Rangi/Ngāti Pikiao) is known as the first Māori woman to solely write and direct a dramatic feature film. As an advisor and artistic director of the Sundance Institute Native Lab (2000–09), she uplifted the voices and encouraged the creative development of countless indigenous talents. To honor her legacy, Sundance Institute awards a fellowship in her name to an indigenous woman-identified filmmaker from a global applicant pool. The fellowship, now in its ninth year, includes yearlong support with activities, including attendance at the Sundance Film Festival, access to strategic and creative services offered by Sundance Institute’s artist programs, a cash grant and mentorship opportunities. 

The Sundance Institute Indigenous Program has selected Tazbah Rose Chavez as the inaugural Graton fellow and will provide support for a project in development or production, granting critical financial and creative support throughout 2024. The Graton fellow will receive a grant of $25,000, yearlong creative mentorship from Indigenous Program staff, access to creative and professional development opportunities, and support to attend the Sundance Film Festival. The Graton Fellowship is made possible as part of arecently announced $4 million endowment from the Federated Indians of Graton Rancheria, the largest endowment gift in the nonprofit’s history, which will also facilitate scholarships for Indigenous Californians.

Chavez (Dinè, Nüümü, San Carlos Apache) is a performance poet turned television writer and director from the Bishop Paiute Reservation. She is currently co-executive producer/episodic director on FX’s Reservation Dogs. She has worked on SyFy’s Resident Alien and Peacock’s Rutherford Falls, directed on Max’s The Sex Lives of College Girls, and is a writer-director on FOX’s new series Accused. Tazbah has written ads for Nike N7 and directed health and cultural preservation campaigns and PSAs for tribes throughout California. She has performed her poetry at the Smithsonian’s National Museum of the American Indian, Meow Wolf, and the Grand Performances Stage. She holds a degree in American Indian Studies from UCLA and is the former co-chair of the Writers Guild of America West Native American & Indigenous Writers Committee.

“I am honored to be the inaugural recipient of the Graton Fellowship, created to support California Indigenous filmmakers. As a citizen of the Bishop Paiute Tribe, I am grateful to Chairman Greg Sarris, Graton Rancheria, and Sundance Institute for investing in California Native artists and for their generous support of me and future recipients,” said Chavez. “This fellowship is vital because California is home to both the film industry and to the largest number of Tribal Nations in the country, and California Native perspectives are sorely missing from the cinematic landscape. The support from the Graton Fellowship comes at a fortuitous time, as I’m developing my first feature film. I began my journey with Sundance interning as a college student for the Native and Indigenous Program. It is a warm welcome home to have their support at this pivotal moment in my career. I am humbled by this recognition and look forward to bringing a native female-led comedy to cinema together.”

Tazbah Rose Chavez
Sundance Institute

The Native Forum Celebration honored the Sundance Institute Indigenous Program fellows, grantees, and alumni on Traditional Ute Nation Territory. The event featured an opening blessing by Bart Powakee and the Red Spirit Singers from the Ute Tribal Nation and remarks from Sundance Institute CEO Joana Vicente, Sundance Institute Board member Amy Redford, Nia Tero (represented by Tracy Rector), Jeanne Mau (NBCUniversal), and Indigenous Program Director Adam Piron (Kiowa and Mohawk). Piron also announced the five 2023 Native Lab fellows and acknowledged the seven Indigenous-made projects from around the world that are premiering at the 2024 Sundance Film Festival from Jan. 18–28.

Encouraging self-determination in storytelling for indigenous filmmakers and decolonizing the screen has been a goal at Sundance Institute since its inception. Native American filmmakers participated in the founding meetings of Sundance Institute and its first filmmaking lab in 1981.

The institute’s Feature Film Program, Documentary Film Program, and Sundance Film Festival conduct ongoing outreach to indigenous artists and collaborate with the Indigenous Program to identify artists for support across the globe.

Over the years, Sundance Institute has supported leading indigenous filmmakers such as  Sterlin Harjo (Seminole/Muskogee), Taika Waititi (Te Whānau-ā-Apanui), Sky Hopinka (Ho-Chunk, Pechanga), Fox Maxy (Mesa Grande Band of Mission Indians and Payómkawichum), Erica Tremblay (Seneca/Cayuga/Wyandotte Nations), Adam and Zack Khalil (Ojibwe), Billy Luther (Diné/Hopi/LagunaPueblo), Andrew Okpeaha MacLean (Iñupiaq), Aurora Guerrero (Xicana), Sydney Freeland (Diné), Ciara Leinaʻala Lacy (Kanaka Maoli), Lyle Mitchell Corbine, Jr. (Bad River Band of the Lake Superior Tribe of Chippewa Indians), and Shaandiin Tome (Diné).

CWU photography exhibit explores different faces of human resilience

CWU photography exhibit explores different faces of human resilience
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Photographer R.J. Kern focused on the experiences of children and their animals in “The Unchosen Ones,” an exhibit on display this winter at the Central Washington University Museum of Culture and Environment.

Kern shot “solemn and dignified” portraits of these children and animals together as they competed for the title of grand champion in a rural Minnesota county fair. What binds these subjects together, Kern said, was that none of them were winners. Instead, each pair he photographed came in second, third, or fourth place; some did not place at all.

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Native artist from Montana break barriers and make waves in Hollywood

Native artist from Montana break barriers and make waves in Hollywood
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CROW RESERVATION- Elias Jade Not Afraid is on top of the world, he’s working on himself and advancing his community.

“Its been a really good 2023,” Not Afraid said.

He’s become a household name in the fashion world but he’s incredibly humble.

“It kind of starts to hit, every once in a while,” Not Afraid said, “I don’t know I have always been taught not to be prideful and not to get to ahead of myself. 

He was born and raised on the Crow Reservation, but left for a bit—to work on his sobriety.

“I didn’t have anything going on in life… and I did the only thing I knew how to do which was beading,” Not Afraid said.

It turned his life around, he’s featured in magazines on the cover of, most recently “The Wrap,” magazine—and on the red carpet.

“It’s really new for me,” Not Afraid said.

He just did a project for Lily Gladstone who is also from Montana, the two have been friends on the Internet for many years, mutually supporting one another.

“With her—it was like if you need anything, earrings for a photo shoot… I can hook you up,” Not Afraid said.

She recently wore a pair of his earrings on the red carpet and she even said—everyone was obsessed!

“I was like .. we need to uplift, help and support all native artists in all mediums,” Not Afraid said.

His mission with this most recent project was to incorporate their tribal roots, incorporating both Crow and Blackfeet nods in the earrings. 

Gladstone wore the earrings to the Critics Choice Awards, they featured antique Russian blue trade beads and large shells historically used in headbands and hairbows.

“We want our people that are representing our people to look good,” Not Afraid said.

So with 2023 behind us, 2024 it’s already starting off on a high note for Not Afraid and Gladstone, two incredible people from Montana making waves representing their culture.

For Gladstone she’s using her voice to amplify and visually represent the community and for Not Afraid, with every bead stitched, and every photo taken—it’s Heritage protected.

“Its an art it’s a craft that our tribes have been doing for some time now… we need to keep it going,” Not Afraid said.

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Native artist form Montana break barriers and make waves in Hollywood

Native artist form Montana break barriers and make waves in Hollywood

CROW RESERVATION- Elias Jade Not Afraid is on top of the world, he’s working on himself and advancing his community.

“Its been a really good 2023,” Not Afraid said.

He’s become a household name in the fashion world but he’s incredibly humble.

“It kind of starts to hit, every once in a while,” Not Afraid said, “I don’t know I have always been taught not to be prideful and not to get to ahead of myself. 

He was born and raised on the Crow Reservation, but left for a bit—to work on his sobriety.

“I didn’t have anything going on in life… and I did the only thing I knew how to do which was beading,” Not Afraid said.

It turned his life around, he’s featured in magazines on the cover of, most recently “The Wrap,” magazine—and on the red carpet.

“It’s really new for me,” Not Afraid said.

He just did a project for Lily Gladstone who is also from Montana, the two have been friends on the Internet for many years, mutually supporting one another.

“With her—it was like if you need anything, earrings for a photo shoot… I can hook you up,” Not Afraid said.

She recently wore a pair of his earrings on the red carpet and she even said—everyone was obsessed!

“I was like .. we need to uplift, help and support all native artists in all mediums,” Not Afraid said.

His mission with this most recent project was to incorporate their tribal roots, incorporating both Crow and Blackfeet nods in the earrings. 

Gladstone wore the earrings to the Critics Choice Awards, they featured antique Russian blue trade beads and large shells historically used in headbands and hairbows.

“We want our people that are representing our people to look good,” Not Afraid said.

So with 2023 behind us, 2024 it’s already starting off on a high note for Not Afraid and Gladstone, two incredible people from Montana making waves representing their culture.

For Gladstone she’s using her voice to amplify and visually represent the community and for Not Afraid, with every bead stitched, and every photo taken—it’s Heritage protected.

“Its an art it’s a craft that our tribes have been doing for some time now… we need to keep it going,” Not Afraid said.

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Everything Has Changed: 4 Steps to Becoming a Fashion Photographer in

Everything Has Changed: 4 Steps to Becoming a Fashion Photographer in

I consider fashion to be one of the most difficult industries to break into. There is no clear pathway, and you are not really taught how to do it. Moreover, every photographer has to almost invent their own pathway. In this article, I will talk about my path as a fresh fashion photographer and give tips on how to succeed in the industry.

I won’t lie; I don’t know if other genres of photography are as difficult to break into as fashion photography. There is quite a lot of gatekeeping going on in this industry, so your path will inevitably be longer than in headshot photography and family photography. Don’t ask me about landscape and wildlife, as I have no clue how one becomes a pro in those genres. Perhaps it’s even more difficult. Perhaps not. I would love to know in the comments!

In any case, let’s start with some background info. Born in Kyiv, Ukraine, I moved to Hungary at the age of 13, where I completed my school education. Still in middle school, I was already taking photographs. I went to a lot of abandoned buildings and found the architecture there quite interesting to photograph. Some people said that I was missing a human subject from my photographs, so I began asking my friends to pose for me in those settings. After some time, I became the photographer for school events and so on. Still shooting on film, I was quite mesmerized by people and their clothes. Perhaps the theatrical nature of high school performances drew me even closer to the craft. In any case, I was shooting and doing a lot of it. Then, just by mere luck, I saw a post on Facebook from a fashion photographer who was coming to shoot in Budapest (the city I lived in). I offered to lend her some of my gear, which was a single speedlight and a light stand. She accepted and allowed me to be on her shoot as an assistant of sorts. At the end of the shoot, I took some photos of the model just for me, and when I looked back on the images, I fell in love with the concept of photographing fashion. From then on, I’ve become a fashion photographer.

Assist

This is the way I was introduced to fashion photography, and this is the way I took my first fashion pictures. Assisting is one of those things that you should do, but for a little bit only. Quite a lot of people who want to become full-time photographers end up becoming really good assistants and shoot only on the side. It can give you good connections, but it takes time to get those, and the client is unlikely to hire an assistant over the photographer if they already have worked with the photographer and are happy with the work. Because of your association with the photographer, if the client doesn’t have a good time, they won’t hire you either. Assisting is something I recommend doing for a year maximum, as after that time, you will be forever an assistant to someone and won’t get out of the role. I’ve met people who have been assisting for longer than I’ve been shooting, and they have not done half of the work that I have.

Reach Out to Model Agencies in Your Area

As a new photographer, you need to build your portfolio. I’ve seen several approaches to this. Some people shoot commercial-looking work in hopes of getting the client by showing them what you’ve done. I am yet to hear a case where that worked. Another approach is shooting creative editorial work. This is better, but often shooting creative work involves just a little too much from every team member, and the images at the end are sub-par. The most reliable and easiest way to build your portfolio is by doing model tests. A genre not that well known, it is the ideal combination of creativity, as well as working to a brief. What’s more, if you do it enough, you will become buddies with the model agencies and will know the state of the market like nobody else. I truly believe that everything in fashion is centered around model agencies. They book the models for every job in town and know the most people in town.

Travel, Travel, Travel

Traveling as a fashion photographer is one of the best ways to network your way up and meet new creatives. I traveled a lot in 2023, and it allowed me to work with some of the top names in the industry. Most notably, I had an opportunity to photograph the person who has been styling Madonna, Lady Gaga, and just about every other music and entertainment star. Traveling is quite easy if you’re based in Europe, as two hours on a plane gets you to a completely different environment and country. If you’re elsewhere, I recommend finding a couple of cities where the fashion people are located and becoming a frequent visitor there. Eventually, you will have business there, and will be able to move to those larger markets.

Attend Events and Network

This goes hand in hand with traveling. Networking is the only way up. You can’t hide from it, and you shouldn’t. Networking gets quite fun once you get over the imposter syndrome and social anxiety. I have, or maybe had, both. At some point, it’s just like a game that you are part of. Chances are, you can talk to almost anyone at the event you are attending, exchange contact information, and then invite that particular person for a meeting. Networking also means being a pro at stalking people online. Knowing who does what jobs and who you should reach out to can bring a lot of new opportunities. Once again, it’s nothing weird, as people get approached by strangers online all the time. Just do it in a nice way and don’t seem too creepy about it.

Closing Thoughts

So, there we have it. Here are some of my tips on how to make it in the fashion world. In this case, I do as I say, and I am able to move up every season. Mind you, it’s not a sprint, it’s a marathon. Building strong and meaningful relationships with the right people takes time. A great book I can recommend is “Never Eat Alone” if you want to learn how to network. Another recommendation is keeping up with the current trends and having magazine subscriptions. Besides supporting the dying print format, you will also be able to get a first-hand glimpse of what is being produced at the moment.

Question of the Week: What photography genre do you like the least?

Question of the Week: What photography genre do you like the least?

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