There was a recent meme that took a jab at photographers from the generation of the pen tool in Photoshop. It personified us as old ladies with walkers being escorted out by a younger generation with their AI tools. In the comments, someone remarked, “Let’s see how these young bucks would survive with the 1999 version of Photoshop.”

I laughed so hard that I wondered if I was transitioning to the “back in my day” age group. I reapplied my wrinkle cream as I added the comment, “and a film camera! They would never survive.” Well, give me my walker because back in my day it wasn’t so easy to take successful pictures. These are three ways that starting in film photography has made me a better digital photographer.

Being a typical penniless college student meant that I had to be very careful how I spent my money. In my film photography class, it cost a lot to print even one image. First, the cost of the film, then the cost of the liquids to develop the film. Then came the big killer: the paper. Each sheet cost around $1. Mind you, this $1 was when gas was $0.98/gallon, and the minimum wage was $5.15/hour. So, printing even one image cost a bit of money. On an academic scholarship and working mornings and nights to make ends meet, I literally could not afford to take bad pictures. It was simply too expensive. After a few rounds of throwing failed images out and watching my money go down the drain, these are three lessons I learned quickly.

1. Starting in Film Photography Made Me Compose My Shots Carefully by Looking at the Edge of My Frame

When photographing, people often look at the “positive space” of their images: the main subject. It may be a person or an object. I often see photographers taking images without considering the edge of the frame or the negative space. Once they see the shot pop up on their LCD, they suddenly see the soda can leaning against the wall in the background, for example. When I shot film, I didn’t want to pay $4 to see that can. I quickly learned to look around my image, doing a quick check on the 4 edges of my frame before taking the picture. Looking at your negative space as well as your positive space when you’re shooting is a great habit to pick up and will save you time in post-processing.

2. Starting in Film Photography Taught Me To Shoot for Highlights

Many digital photographers know this rule, but if you’ve ever shot film, you’ll really feel the pangs of overexposing your highlights. Nowadays, we have such pixel-rich images, we can pull back our highlights with more ease. When developing film, you had to cut a piece of opaque paper and attach it to a wire. You then had to quickly move the contraption back and forth over the overexposed portion to block light from hitting the print while the rest of the image received the light to develop. You can see it done here at the 4-minute mark on the video:

https://www.youtube.com/watch?v=lrCifRniOcs

After repeating that process many times and throwing out those precious $1 sheets of paper one after the other, you learned quickly to expose your highlights correctly.

Although you can more easily bring back highlights with the RAW images we have now, if you blow out your highlights and try to bring them back it can lead to an unrealistic HDR look. I see this a lot in landscapes where photographers blow out the sky and try to bring it back in post. The image that will be easiest to work with is one that is exposed for highlights. If you have dark areas of your image, it’s easy to brighten those without compromising the image color or quality. If you overexpose your highlights, it will show in your final image.

3. Starting in Film Photography Taught Me To Plan My Shoots Beforehand

In the digital age, if it’s a week that I’ve just been buried by life and I’m hanging on a thread, there have been rare occasions where I’ve walked into my product studio, picked up the product, and just “started playing.” What typically ensues is an hour or two of taking shots that are not up to my standards, stopping the shoot, grabbing my notebook, and tackling the process of ideation. I start over the right way. I sit with the product, think, look at competing brands, take notes, sketch ideas, and lay out a plan for the shoot. I may or may not have to pick a few props up and restart the next day. When I do it right, how I do it most of the time, I plan the entire shoot days before I pick up my camera. I prepare my studio the day before and have everything planned and laid out for a successful day.

Whether you’re a product photographer, landscape photographer, or portrait photographer, planning your shoot will always lead to more successful results. It could mean researching the market and finding a way to create imagery that doesn’t exist in that space. It could mean researching the area of the wedding or driving through the Saturday before at the scheduled time of portraits. This would allow you to see where the light hits and get inspired for the best images you can have at 2:30 pm with that dreaded afternoon sun. There’s nothing worse than having a spot picked out for portraits and realizing on arrival that the sun will not give you your desired look in that space. With film photography, we didn’t really have the luxury of taking a dozen pictures before deciding “it wasn’t working.” The development process itself took hours for one roll of film. You had to have a plan that would work before you started. Taking the steps to plan your shoot beforehand will result in better pictures and better use of your time in the digital age.

Of course, you don’t have to have any experience in film photography to be a talented digital photographer. There are plenty of self-taught digital photographers around the world that produce work that is vastly more impressive than mine. However, no matter what your background is, I hope that these three tips will help you take more successful pictures and will minimize your time in post-processing.

As always, my favorite part of my articles is in the comments. Did you start in film photography? What is a valuable lesson you learned from that foundation? Do you look at your negative space before you take a picture? If not, I hope this is a habit you will adopt. Let me know your experience and thoughts in the comments.

We’re all questioning reality anyway, PHotoESPAÑA 2024 is just putting images to the mindset. 

Marking the centenary of André Breton’s Surrealist Manifesto published in 1924, PHotoESPAÑA 2024 exhibit presented by LOEWE and LOEWE FOUNDATION showcase the widespread impact of Surrealism on photography. Curated by María Millán, this exhibition features works from 24 artists and collectives from all over the world, illustrating how Surrealism has enriched photographic forms and aesthetics over the past century.

For more than a decade, LOEWE FOUNDATION has partnered PHotoESPAÑA to explore pioneering 20th century photographers that are “driven by freedom of thought and divergence from conventional morality.”

Over 600 exhibitions have been presented, which have attracted more than half a million visitors each year, making PHotoEspaña the largest cultural event in Spain. PHotoEspaña, the International Festival of Photography and Visual Arts of Madrid, is a photography forum of Spanish and international photographers that began in 1998; artists exhibited in previous years include, Tina Modotti, Minor White, David Wojnarowicz, Hervé Guibert, and George Platt Lynes.

During the aftermath of World War I, people flocked to Surrealism to get away from the struggles of everyday life. Amidst the influence of Freudian psychoanalysis, creatives delved into the realm of dreams and inner desires. This exhibition showcases photography’s pivotal role in distorting reality through techniques such as double exposures, photomontage, and theatrical lighting, offering a reflection on the human psyche.

In the exhibition, an image from Kati Horna’s photography series, Ode to Necrophilia, 1962, showcases an untitled photo of a woman next to a death mask—a visual narrative of a woman grieving the death of a loved one. The white mask propped on the pillows of the empty bed illustrates the tradition of the death mask, in which an imprint of the face of the deceased is made as a memento. 

Lucien Clergue’s Jean Cocteau, Le Testament d’Orphee, 1959, reveals Cocteau as the Poet with painted-on eyes like the performers in ancient Greek theater—capturing Cocteau’s role in the Testament of Orpheus.

Lola Álvarez Bravo’s Eye (1950s) captures the camera at the same time itself is being captured. Bravo has called the camera a “third eye,” eliciting the truth of the photographer’s experience.

As aptly articulated by Lola Álvarez Bravo, this exhibition serves as a gateway into the subconscious depths of each photographer’s dreams and psyche.

PHotoESPAÑA 2024 will be held from May 29th to September 29th in Madrid, Spain.

Lushfoil Photography Sim, a serene photography game built on Unreal Engine 5, is expected to get optional PC VR support following its initial release.

In development by solo developer Matt Newell and to be published by Annapurna Interactive, Lushfoil Photography Sim is designed as a serene walking simulator and photography game that immerses players in beautiful landscapes with a photorealistic style.

Players are equipped with a camera with a range of realistic settings, currently including “shutter speed, ISO, aperture, white balance, and different lens types,” and includes a “learning tool for newcomers that covers the basics of exposure and other settings.”

A demo version of the game was released this week as part of Steam Next Fest. Though the game doesn’t currently support VR, developer Matt Newell has confirmed to Road to VR that PC VR support is planned to be added sometime after the game’s initial release.

Given the game’s emphasis on photorealistic visuals, and its Unreal Engine 5 foundation, the developer doesn’t expect a port to Quest or PSVR 2 to be practical for the game.

Lushfoil Photography Sim’s initial release doesn’t have a firm date yet (officially “coming soon”), and it’s not yet clear how long it will take for the addition of VR support after that.

AMARILLO, Texas (KFDA) – The Amarillo Museum of Art (AMoA) will introduce a new exhibit to its collection called “Photography is Art.”

The exhibit will run from June 12 to August 11 at the museum located on the Washington Street campus of Amarillo College.

According to AMoA, this exhibit focuses on how photographers have developed their medium and how art museums have embraced photography.

“Photography is Art” is part of a series of partnerships through the Art Bridges Cohort Program, according to AMoA. The exhibit was originally organized by the Amon Carter Museum of Art and features photographs from Carter’s collection.

For additional exhibit information, click here.

Copyright 2024 KFDA. All rights reserved.

This isn’t Ivan McClellan’s first rodeo. Over the past decade, the pioneering photographer has propelled the intrepid beauty and once-forgotten history of Black cowboy culture into public consciousness worldwide in a way no one has before.

Braids whip in the wind as long acrylic nails grip the reins of a bronco, hell-bent on galloping around barrels at 50mph. Young cowboys hold hands and pray under a pink haze. They roll up on horses without shirts, wearing diamond stud earrings, gold chains and Jordans. Meanwhile, fellow western folk line-dance to hip-hop, rhythm and blues, and gospel as the smell of fried chicken and barbequed turkey legs swirls up to the beating sun.

The Roy Leblanc Invitational Rodeo in Oklahoma, dubbed ‘the Super Bowl of Black Rodeos’, is America’s longest-running Black rodeo. In 2015, it ignited McClellan’s passion, many of the powerful shots for his new book, Eight Seconds: Black Cowboy Culture, and changed his life forever.

‘It was 105 degrees. I was walking through snake-infested fields, running away from bulls and climbing over fences all to get a good shot. I went home cut up, covered in dirt, bitten by bugs, and thrilled,’ McClellan beams with a mega-watt smile. ‘There were no other photographers, just me. The athletes and animals were confused about why I was there; no one had paid attention to this world. It really felt like a moment of discovery.’

McClellan’s love of cowboys began when he was a young buck. Growing up in Kansas, on five acres of land in the middle of the city, he was introduced to the Wild West through movies like Tombstone and Unforgiven. He also sang the national anthem at the American Royal rodeo with his church choir. Both are some of his fondest memories but also bittersweet.

‘We walked out on the dirt, sang and left because it wasn’t a space where we felt we belonged,’ McClellan recounts. ‘As a kid, I loved watching Hollywood cowboys slinging guns, swinging saloon doors, and saying cold-blooded things in ten-gallon hats; they were so exciting. I had seen Black cowboys on TV, but they were always a joke, like Sheriff Bart in Blazing Saddles.’

From rodeos to ranches, Nevada to Tennessee, McClellan’s photos buck racial stereotypes, celebrate the extraordinary and marginalised and have catapulted Black cowboy culture across the globe.

The roots of African-American cowboy history run deep, and the noble archetype is diverse. Black women and men have been cowboying for 200 years. After emancipation, one in four American cowboys were Black. They moved cattle on horseback, settled towns, kept the peace and played a pivotal role in shaping the iconic culture.

Charles Sampson was the first Black man to win the world championship bull-riding competition. Despite breaking nearly every bone in his body, he bolted into the arena for decades, vaulted himself off the bull, and landed on his feet.

When we speak, McClellan’s certainly landed on his. He’s dressed in a Compton Cowboys T-shirt (they are a collective, devoted to bettering the lives of inner-city kids) off the back of numerous international press interviews, gearing up for the second Juneteenth rodeo as boss, and on a victory lap for his book, which is sold out across the country.

It’s surprising, then, to imagine that McClellan started his career as a wedding, fashion, and landscape photographer. As he moved up the ranks, he noticed that he was surrounded by fewer Black people and felt less inspired.

He carved out a reputation as a street photographer and soon landed an invite to shoot a burgeoning Black cowboy scene.

‘After The Roy Leblanc in Oklahoma, I knew I wanted to shoot rodeo the rest of my life. There were so many different expressions of self. I saw all these horse trailers on the lawn with thousands of Black cowboys who looked so cool, dressed in hip-hop streetwear and crisp classic western style mingling into one. Folks were dancing the Cupid Shuffle. There was this gumbo of familiar sounds and smells with this Black rodeo culture that was so new to me. I felt like I belonged.’

McClellan was born to shoot rodeo. His outlaw approach behind the lens captures the adrenaline, athleticism and rich sense of camaraderie while bringing you so close to the action you can almost taste the dirt.

One of his most thrilling and evocative shots features on the cover of his new book, and was taken during the Pony Express, a sundown baton relay race, made famous at indigenous rodeos. ‘I’m a little nervous here. I was way too close to the horses, dirt was flying up into my camera, hats were flippin’ into the air, but I like to just get in there, and consequences be damned!’ he laughs. ‘The riders were off-kilter, adjusting themselves to me but I snapped the photo and got out of the way. It’s incredibly blurry, technically a mess but it wound up being the cover because it has so much energy. I thought that superseded a perfect photo and really speaks to my process, and [the] experience [of] being at a rodeo.’

The women of the rodeo

When it comes to the magic and culture of rodeo I know that better than most. I was raised around rodeo and attended my first one as soon as I could holler ‘Yeehaw!’

While my father worked with country bands playing at North America’s revered ‘Calgary Stampede’, I hung out in the barns with fierce cowgirls who hauled quarterhorses across country while all-star cowboys jumped on jets and rode $500,000 horses waiting on the other side. I watched these talented ladies work extra hard to be taken seriously, create legacies, kick down doors for the new wave of female athletes to ride through, and steal the show as barrel racers.

‘I think that’s one of the main differences in Black rodeo. The women are far from a sideshow,‘ McClellan proudly declares. ‘If you look at the Bill Pickett Invitational Rodeo, the biggest Black rodeo circuit, the CEO is a female, Valeria Howard-Cunningham, and most of her staff are women. In Black Rodeo, women write a lot of cheques. The barrel-racing competition is super serious. They do a women’s version of steer wrestling, and you’ll only see it at Black rodeos. There’s a women’s Pony Express team that’s very exciting. It’s fierce competition, they’re extraordinary athletes, they ride with purpose, and it’s the highlight of the rodeo.’

McClellan’s book combines portraits, candid shots, a range of emotions within a single day of rodeo life, and powerful women: from a beaming rodeo queen in Okmulgee to a cowgirl named Ja’Dayia Kursh with so much swagger you’d barely notice the dirt on her knee and that she just got bucked off a bronco.

If McClellan’s photos aren’t proof enough that Black female cowboys are a force to be reckoned with, Beyoncé’s lauded country-influenced album Cowboy Carter is cementing their position.

‘It’s the perfect alley-oop. Beyoncé is hanging on the rim right now. She’s the first Black female to have a No.1 country album. She’s not only revealing Black cowboy culture, but she’s transforming country music forever and tearing down genres in a way that I don’t think has ever been done.’

McClellan even credits his Juneteenth rodeo with reaping the benefits of Queen Bey’s foray into country. ‘We sold 7,200 tickets in two months; last week, we sold out. I’m seeing other Black rodeos selling 6,000-8,000 tickets before the rodeo even starts. There is definitely a homecoming culturally of Black folks that never felt like they could wear cowboy boots and a hat and be into rodeo but now have permission to. I hope that catches the attention of the Wranglers, the Boot Barns and the rodeo sponsors of the world – that these Black athletes are packing out arenas and Black rodeo is financially valuable.’

Rodeo is an eye-wateringly expensive sport without a sponsor. Rodeo entry fees, travel, training, and tack are all one thing, and the animals are another. ‘I started my Juneteenth rodeo because many of the Black athletes I was shooting in Oklahoma and Texas were not breaking through to the Pro Rodeo Circuit. I wanted to create a platform where they could get in good reps and get good paycheques.’

Championing his subjects is McClellan’s proudest accomplishment thus far.

‘Using photography as a tool to impact lives in a tangible way is what I’m most proud of –elevating people’s stories in popular media with my photos and seeing them gain visibility and sponsorship. Being able to pay out $60,000 at my rodeo for athletes to have money to stay on the road for the summer. So that they can upgrade their horses from $10,000 to $100,000, which [is what] most of the top 50 compete on.’

Photographing man and beast

On the topic of the superstar roughstock, McClellan’s connection to capturing animals has improved over his nine years in the saddle. ‘I used to be scared of horses, but I love being around them now and learning about their personalities. I love it when a horse is into getting their photo being taken. They start posing, and they might put up a leg, turn, and give you an angle. Some horses really love to pose. They like the attention. That energy is cool. I have a big camera, and the horses get real curious. I’ve often had horses get all up in my camera before, and bulls, too. Their energy can be a lot of fun.’

Most seasoned rodeo photographers use a long lens and keep on the other side of the fence. Not McClellan; he uses a short lens. ‘The top tip to a good rodeo photo is to get as close to your fear as you possibly can. What are you afraid of? Walk right up to that thing, and that’s going to be your best shot. I like to take photos in the arena, in the dirt. It’s dangerous and a little stupid, but it’s where the best photography is, and nobody else is getting those shots.’

When pressed to sum up why his photos and rodeo are important, McClellan waxes poetic: ‘Rodeo is American tribalism at its core. It’s what every culture in America does at its root. It’s connected to agriculture, it’s connected to food, and it’s connected to our highest ideals of ourselves. Mainstream rodeo is the purest form of White culture. Indigenous and Black rodeos are the same. If you go to a Mexican rodeo, people are dancing Cumbia in the arena; there are Modelo cans up to your ankles and a 20-piece band on stage playing at the same time as bull riders are trying to clock eight seconds. It’s such a thrill to the senses,’ he continues. ‘I love going to all these different rodeos in all these different spaces.’

As we say goodbye, he riffs about future plans to wrestle his beast of a rodeo and grow old as boss, document other marginalised subcultures and shoot rodeo until the sun goes down.

‘When people come up to me and ask what I do for fun? It’s this,’ McClellan says. ‘Photography is my joy. Sitting on a fence on a Friday night and looking at fireflies in the background, eating a turkey leg, drinking a strawberry pop, and laughing with lifelong friends who have become my family – that’s what I really love.’

Eight Seconds: Black Rodeo Culture: Photographs by Ivan McClellan is available now, £40, via Waterstones

We love to highlight Dazed Club creatives so much, we do it every month! Meet them here…

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Sotheby’s is offering a recently surfaced 1846 daguerreotype of Dolley Madison, who is credited with inventing the role of first lady.

A girl’s silhouette gazes at a flock of monarch butterflies, their orange wings vivid against a bleak wintery backdrop. Titled “From Broken Trees,” the piece, featured at the Colorado Photographic Arts Center, is a personal favorite of Boulder County-based photographer Dona Laurita.

“The girl actually witnessed some of her family members, her mother and her baby sister, being killed by the Taliban. She’s from Afghanistan,” Laurita said in an interview with the Denver Post. “The stories of such loss and devastation and tragedy for a young person to navigate and then come to a country where they don’t know the language, they’re Muslim, they don’t fit right into a community. Those stories stand out to me.”

For the past year, Laurita has provided a safe space for expression, storytelling and community for young refugees through photographs of their silhouettes.

“When you get to know somebody, we tend to make our own personal assessments about them,” Laurita said. “It’s almost like looking at them in a silhouette form of life. We see an outline of a person, but we don’t know what fills them. We don’t see the color of their lives, their landscapes.”

Titled “The Silhouette Project,” Laurita’s work with shadowy figures blossomed in 2013 when she received a grant from the National Endowment for the Arts for a project about bullying at a Denver high school.

“This particular high school was having a problem with bullying,” Laurita said. “How could I come in and work with that issue that they had? So I began with using the silhouette. I wanted to use this metaphor of not being able to judge a book by its cover.”

Now divided into five iterations, “The Silhouette Project”  has told the stories of marginalized and vulnerable communities, including immigrants and refugees, for more than a decade.

Inspired by her daughter, who died of brain cancer at 19 years old, much of Laurita’s work focuses on teens and young adults.

“After losing my daughter to cancer in 2019, that age group really speaks to me and my 19-year-old son, because that’s the age, Jules, my daughter, was when she died,” Laurita told The Post.

In the third iteration of her project, “The Silhouette Project: Of Cancer Through the Lens of Love,” Laurita captured the silhouettes and stories of adolescent and young adult cancer patients.

“You know, like how penguins huddle together when it’s really cold?,” Julietta Laurita, Laurita’s daughter, said. “It’s basically really cold when you have a brain tumor. It’s really, really cold, and you have to find people to huddle with.” The quote accompanies her silhouette as part of the “Through the Lens of Love” project.

Laurita’s desire to continue her work with adolescents led her to the refugees in Denver South High School’s Newcomer Program, which helps students with little formal education learn English and other academic basics while navigating school in the U.S.

She has spent the last year capturing the stories of around 30 students. Often assisted by translators, Laurita interviews her subjects, discussing their journey and what each photograph should convey.

“I want to create a portal, not only for myself but for the viewers to get to know who these young people are, what they’re facing, how one can help and what we can learn from them,” Laurita said.

She also finds solace in helping the teens navigate the loss of their old life.

“A lot of these young refugees have experienced horrible tragedies and feel very alone,” Laurita said. “I find connecting with them and helping them share their stories so they don’t feel so alone and bearing witness to what they’ve been through helps both my son and I to see how we can find some way to help others through tragedy.”

“The Silhouette Project: Newcomers” is on display at the Colorado Photographic Arts Center until June 22. After this exhibit, Laurita will capture the silhouettes of more newcomers in Boulder and Denver County.

“I would love to do this for the rest of my career,” Laurita said. “I just feel very passionate about helping young people be seen and heard in a creative way and providing a voice for them.”

Eventually, she hopes the project will capture refugee voices from across the nation.

“Newcomers have seen things you would never want to see,” Karen Vittetoe, an English as a Second Language teacher at Denver South, told Laurita during an interview for the project in 2023. “They have scars from blasted glass or fires or untreated childhood diseases. Some have lost babies; some have lost mothers, fathers and friends. Some have seen the eye of a war between a government and its people or between the gangs that rule the streets.

“Some of them come from such beautiful places that you can feel the blue sky and the mountains rising up, taste the crisp air, and engorge your ears with the sounds of people laughing and praying. But those places were taken from them, often so suddenly their families didn’t have a chance to say goodbye to all that beauty.”

IF YOU GO

“The Silhouette Project: Newcomers,” at Colorado Photographic Arts Center, 1200 Lincoln St., Suite 111, until June 22; cpacphoto.org.

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