Steven Spielberg has given the best answer I’ve ever heard about the difference between digital and film: “digital photography is a science and and film photography is a chemical miracle.”

He said that during the press junket for the 2017 movie, The Post, starring Tom Hanks and Meryl Streep. The interview has recently resurfaced on social media, and his words really hit home even more today – particularly with the explosion in film cameras and film photography we’ve seen over the past few years. 

I was recently chatting to Josh Edgoose about the pros and cons of shooting on film, and we both agreed that film is pretty much just a pain in the ass these days. (Okay, that was more my sentiment; Josh’s was, more specifically, that it just doesn’t make economical sense for him to shoot on film in 2024, given how many photos he takes.)

Still, we agreed that there was an undeniable quality to film photography. Leave it to Spielberg, though, to articulate the point better than either of us could. When interviewer Kevin McCarthy asked him why he continues to shoot on film: 

“Well, you know, digital photography is a science and and film photography is a chemical miracle. And when I say chemical miracle, it is – you never quite know what you’re gonna get after the film takes a bath, and exposes the positive from the negative. And when you get to see the print, based on your negative, there’s a lot of things that surprises me. 

“And it always looks different, always looks real. There’s grain, number one, and the grain is always moving, it’s swimming. Which means that even in a still life, of let’s say a flower on a table, that flower is alive even though it’s not moving – because the film itself, the image is alive. And that’s the difference.” 

At this point, McCarthy said, “That’s so cool!” and Spielberg replied, “It is cool.”

Yeah, it’s cool. A pain in the ass, but cool. And now I want to throw a roll of Tri-X in my Canon AE-1 and go take pictures… Check out the full interview below.

If you likewise feel inspired to go shooting on film, make sure you’re using the best 35mm film you can get. But if you just want to look like you’re shooting on film, you might be interested in the best retro cameras for the classic style with modern substance.

Jennifer Carr is a landscape, nature and travel photographer and photography educator in Washington.

Seattle Refined: How long have you been creating? What mediums do you work with?
Jennifer Carr: In high school, I took a semester-long photography class that taught us to develop film. My camera was an automatic, so I doubt that I learned much in the way of photography technique, but I loved the opportunity to see my images appear in the developing tray.

My interest in photography grew after we purchased our first home and wanted to fill the walls with beautiful imagery. I bought a few books and began studying the art of photography, practicing on the local landscape and landmarks. After a few years, I had more than enough photos to fill the walls of my home and exhibited at my first arts and crafts festival. I spent many years selling my work at local shows, along the way adding in-person photography lessons. I caught the travel bug and began filling my passport with stamps, expanding from a regional landscape photographer into a full-time travel photographer. A few years ago, I introduced The Saltwater Retreat, an immersive photography retreat designed to inspire and connect like-minded women with a passion for photography. When our cross-country move to Seattle separated me from my local mentoring clients, I began offering online private and small group mentoring, getting a jump start on virtual meetups. I love getting to know aspiring photographers in the Seattle area through in-person photography lessons, and I continue to host the Saltwater Retreat three times a year on the East Coast. I am hoping to add a West Coast location in 2025.

Can you tell us about your artistic process and how the different stages work into it?
I would describe myself as a mindful photographer. I prefer to slow down and fully experience a scene before I begin photographing it. I teach my students to use their five senses when they are creating photographs to help express what they are experiencing in that moment. This better helps us depict our feelings in the image.

My images are minimally edited single-frame images. I prefer to spend my time in nature, not sitting at a desk on the computer.

Tell us about where your inspiration for your art comes from.
What I love most about photography is an image’s ability to take a viewer with you on a journey and to make them feel like part of the story. I love photographing the way that I experience the world and sharing it with others who might not be able to visit the locations that I have been lucky enough to see. My love of the outdoors has strongly influenced my photography. I feel the most inspired when I am outside, letting the calm and quiet surround me as I connect with my surroundings. Through photography, I have found a way to express how I feel when I am immersed in nature.

Do you have a specific “beat” or genre you like best – nature, food, profiles, etc.?
Nature is my happy place. Whether it’s sunrise over the Atlantic in my hometown or the night sky hanging over Mount Baker, photographing nature brings me peace and joy.

Do you have one piece of art that means more to you or is extremely special to you?
“Dawn Patrol Surfer” is a favorite of mine because it was the first photograph that I fully visualized before taking the picture. My husband and I were walking to a surf spot in Costa Rica, and I pictured him standing on the shoreline with the silhouette of the board, sunlight streaming towards him as the waves broke in the sea. This is a piece that holds personal meaning both in my growth as a photographer but also in the memory it evokes.

What experiences in your life have affected your art the most?
I recently came upon an old photograph in a shoebox at my parents. The photo is the sun setting over the Chowan River in North Carolina, where my grandparents had a river home. As a child, I spent weekends playing in the river waters, digging for arrowheads and broken pottery on the shoreline, and learning to appreciate nature. I framed that photograph and put it on my desk because it evokes a specific sense of belonging — like all those childhood moments led me to where I am today. I was raised a girly girl in frilly dresses, lace socks and Shirley Temple curls. And while I still prefer a cute outfit, you’re more likely to find me covered in dirt on a trail than in heels.

If we want to see more of your work, where should we go to find it?
The best place to view my work and learn about my offerings is my website. I also regularly share on social media on Instagram.

What is next for you? Anything you’re working on right now that you’re really excited about?
This summer, I’m super excited to be holding an exhibition at my favorite Seattle winery, Tinte Cellars. My work will be on display from late June to late August and I will be partnering with the winery to offer a photography workshop to their members and the general public.

I’m also in the planning phases to bring The Saltwater Retreat to the West Coast in 2025. If you’d like to attend, shoot me an email at jcarr@jennifercarrphotography.com to get on the waitlist!

Lastly, how do you take your coffee? (We ask everyone!)
Blonde with a sprinkle of sugar! Since moving to Seattle, I’ve discovered that I’m a true fan of the dark roasts, and I’m always looking for new roasteries to try!

About ‘Artist of the Week’: This city is packed with artists we love to feature weekly on Seattle Refined! If you have a local artist in mind that you would like to see featured, let us know at hello@seattlerefined.com. And if you’re wondering just what constitutes art, that’s the beauty of it; it’s up to you! See all of our past Artists of the Week in our dedicated section.

The Big Ladder Photographer

‘Really humbling’

‘So glad’

A hand grip camera strap offers a host of advantages that cater to photographers serious about getting the shot. In the fast-paced realms of action

, outdoor, and street photography, timing is everything. Whether you’re a sports photographer, immersing yourself in the beauty of nature, or capturing the raw essence of urban life, a hand grip camera strap will enhance your ability to time the perfect shot as it’s a game-changing accessory that empowers photographers to react instantly and capture fleeting moments with unparalleled speed and precision. Unlike traditional camera straps, hand grip straps provide quick and seamless access to your camera, allowing you to effortlessly transition from observation to action. Let’s delve into why these straps are indispensable for photographers when every second matters and break down our top picks for the hand grip camera strap.

Benefits of the hand grip camera strap:

1. Comfort and Ergonomics: Engineered to evenly distribute the weight of your camera across your hand, these straps alleviate strain on your wrist and shoulder, facilitating extended shooting sessions with ease.
2. Security and Peace of Mind: With a hand grip camera strap, your camera remains securely affixed to your hand, mitigating the risk of accidental drops or potential theft, particularly in bustling or precarious shooting environments.
3. Expedited Access: Unlike conventional neck straps that necessitate raising the camera to eye level, hand grip camera straps ensure rapid access to your equipment, enabling spontaneous shots without delay.

Here are our top 4 picks for a hand grip camera strap:

Peak Design Clutch Hand Strap ($65.88): Revered for its cutting-edge design and premium craftsmanship, the Peak Design Clutch Hand Strap prioritizes both comfort and security. Its customizable strap and swift-release mechanism afford tailored fitting and expedient camera access. Peak also makes a miro clutch, specifically for mirrorless cameras.

Joby UltraFit Hand Strap with UltraPlate ($49.95): Engineered for optimal comfort, versatility, and strength, the Joby UltraFit Hand Strap boasts a breathable construction and ergonomic grip. Its universal attachment system ensures seamless compatibility across various camera models, catering to photographers’ diverse needs.

BlackRapid Hand Strap ($34.95): The adjustable nylon BlackRapid Hand Strap offers steadfast stability and support during extended shooting endeavors. Its robust design and firm grip instill confidence, particularly in demanding shooting scenarios. See it in action on YouTube.

OP/TECH USA SLR Wrist Strap ($13.99): Compact yet reliable, the OP/TECH USA SLR Wrist Strap delivers dependable support without compromising on portability. Its swift-connect system facilitates effortless attachment and detachment, ideal for photographers on the move. This sturdy neoprene strap comes in various colors.

Investing in a hand grip camera strap is a prudent choice for photographers seeking to optimize their shooting experience. By combining comfort, security, and convenience, these straps empower you to focus on capturing the perfect shot at the perfect moment, whether you’re on the football field or on the streets of Cuba.

Discover More

CELEBRATING THE ARTS

Join the Artists of Carriage House Gallery from 4-7 p.m. Saturday and experience the evolution of photographer Darryl Patrick as he tells of his growth into better equipment and an expanded view of the world around us.

Enjoy wine, light bites and the opportunity of stimulating conversation during the gallery’s “Kick Off To Summer” event, open and free to the public at 110 Rosewood Ave. in Boerne.

In his shooting-star career, 25-year-old photographer Gabriel Moses has worked with some towering female talents, rapper Little Simz, singer-songwriter and producer Tems, and fashion designer and singer Mowalola Ogunlesi among them. The south Londoner has also shot football legend Zinedine Zidane, multi-hyphenate Pharrell Williams, and rapper Central Cee, while directing a music video (FE!N) for Travis Scott – none of whom come up short in the creativity department. But, for Moses, it’s the women who stand tall.

Gabriel Moses on his new book Regina

Cue the title and the framing of the Anglo-Nigerian’s first photography book. ‘There’s a word throughout my career that I scream at every opportunity, and it’s “Regina”!’ Moses writes in the foreword to the monograph, a collection of his rich, colour-saturated work for magazines, fashion houses and brands. Regina – queen in Latin, as any fule kno – is his tribute to the figures and forces who have shaped him. Moses grew up ‘around lots of women who appreciated beauty. That’s a massive part of what I celebrate [in my work]. So for me it feels very important to pay homage to them.’

He continues, ‘Some of my first experiences of seeing images when I was a kid were pictures of my grandparents and my mum. There were so many elements that I loved: in aged [family] photos, the colours change a certain way. [The people are] sweating [because] they’re in Nigeria. In the black and white images, the skin [tones] looked different. And my mum used to be a flower arranger, so I have an appreciation of colour.’ Accordingly, when he began taking photographs in his late teens, the self-taught Moses ‘was trying to create something that has a rawness but a beauty to it at the same time’.

Fellow photographer Nick Knight is a key influence

Another key influence: Nick Knight, whose work echoes through Moses’ lush, evocative, style. Paying it back and paying it forward, Regina includes an in-conversation between the two Londoners – a generation and 40 years apart but a spirit together. ‘I would have come across Nick pretty late,’ muses Moses of his early encounters with Knight’s work. ‘But I connected with him straight off. We’re very much opposites. At the same time, there are so many similarities in how we carry ourselves. He’s a very humble guy [despite] having shot everything there is to do in the world.’

It’s both Knight’s industry and artistry that appeal to the younger man. ‘Nick is an example of longevity, which I’m always focused on,’ says an authentic prodigy who landed his first commission, aged 18, from Nike. That longevity, Moses already understands, means evolving his style. But ask him how he thinks that will happen, and his reply speaks more to self-belief than to defined aesthetic aspirations. ‘The way I work and the way I see [things] is very spiritual. So if I don’t love a project, if I don’t think it suits what I’m trying to do, I’m very happy saying no.’

Gabriel Moses, Regina (published by Prestel), £33, at Amazon

Launched in 2014, PhotoSparks is a weekly feature from YourStory, with photographs that celebrate the spirit of creativity and innovation. In the earlier 775 posts, we featured an art festival, cartoon gallery. world music festival, telecom expo, millets fair, climate change expo, wildlife conference, startup festival, Diwali rangoli, and jazz festival.

New Delhi’s Kiran Nadar Museum of Art (KNMA) has wrapped up a four-month exhibition titled A Thousand Lives: Photographs from 1965-2005. It features the creative works of Raghu Rai, a critically-acclaimed photographer, photojournalist and author (see Part I of our coverage here).

The black-and-white photographs reflect the realities from an earlier era, while also showing how some things seem unchanged across the years. They showcase the photographer’s artistic abilities, while also chronicling life on the streets.

“Younger visitors were captivated by the portrayal of historic India and admired Raghu Rai’s work. Older visitors were filled with nostalgia, reminiscing about the era and reflecting on Rai’s impact on their lives,” curator Roobina Karode tells YourStory.

The exhibition engaged a range of viewers in its rigour and display.

“Given the number of visitors expressing interest in returning multiple times, we consider the exhibition a great success,” Karode adds.

Given Rai’s expansive collection of works, it was also a challenge to present only about 300 photographs.

“Through multiple meetings and discussions with Raghu Rai and Devika Daulet-Singh, we arrived at a decision to stick to the pre-digital phase of Rai’s practice,” she explains.

There are iconic political and spiritual leaders, as well as portraits of a broader spectrum of society. The exhibition was designed in the form of fluid spaces, presenting unusual juxtapositions of such photographs and provoking curiosity.

“The exhibition created a visual hide and seek, offering viewers multiple vantage points to engage with the works,” Karode says.

Photography has played a number of roles in society.

“Whether it’s through photojournalism, documentary photography, or activism, photography has also been used to catalyse social and political change by raising awareness about personal issues and inspiring action,” she affirms.

From the days of pinhole cameras to mobile selfies, human fascination to capture reality and its variations has not ceased. “Rather, this fascination has increased manifold with evolving technology,” she adds.

“In such a context, analogue photographs act as anchors amidst waves of fleeting, ephemeral, digital images,” Karode describes.

As trends in photography in India, she points to variations of technology and subject matter. This includes commercial photography, retro photography, documentary photography, and portraitures.

“Some photographers subscribe to photomontage by bringing two or more subject matters together. This creates aesthetic and intellectual synergies for addressing multiple concerns,” she adds.

Staged photography involves arranging environmental setups and play-acting to simulate a moment or incident. More recent trends are driven by digital transformation.

“This includes artificially-generated images amidst dystopic settings, simulating a forecast on the fate of civilisation, where every content in the composition is outside the peripheries of the ‘real’, which advocates the idea of relativism in the perception of reality,” she describes.

The style ranges vary from realism to abstraction.

“Subjects include society, culture, politics, environment, wildlife, and more. There is a long history of journalistic photography that relies on the immediate, which probably will never become obsolete,” she adds.

From an artistic point of view, there are no limits to experimentation, transpositions, and combinations in both method and content.

“Images can mirror individual experiences while highlighting broader social narratives and cultural contexts,” Karode explains.

Another focus area is collective knowledge production and the representation of communities, cultures, and political histories through photography.

“Many photographers actively document and build up a visual database of diverse cultural heritage, advocating social change, and amplifying marginalised voices within society,” she observes.

She explains that Rai, through his rigour and commitment as a photographer, captured many transformative incidents. This was not merely as a photojournalist but as a person with deep “aesthetic empathy.”

“With a special ability to understand and excavate the ethos of a situation, Rai captured some of the most intense and evocative frames that are crucial within the history of Indian photography,” Karode describes.

“His archived works could span over a lakh images, many of which have never been seen by the public,” she says.

The exhibition focuses on the relatively lesser-known, enigmatic photo-artist and his unseen photographs.

Karode also offers words of advice for aspiring photographers. “The young and aspiring photographers are already working to build their distinct visual language,” she says.

“Aspiring photographers should focus on creating a solid body of work to begin with that can translate into a meaningful exhibition project,” Karode signs off.

Now what have you done today to pause in your busy schedule and harness your creative side for a better world?

(All photographs were taken by Madanmohan Rao on location at the exhibition.)

Leica has expanded its mobile photography portfolio by acquiring Norwegian startup Fjorden Electra AS. This strategic move is marked with the release of “Leica LUX,” an iPhone app designed for professional mobile photography, now available on the App Store.

The acquisition strengthens Leica’s Mobile Business segment, complementing its partnerships with Xiaomi and the development of its own Leitz Phone. “Leica LUX” allows iPhone users to experience Leica’s iconic photographic aesthetics, making it a significant addition to Leica’s digital ecosystem.

CEO Matthias Harsch highlighted the collaboration’s synergy, combining Fjorden’s expertise in iOS camera apps and accessories with Leica’s prowess in image processing and quality. “Leica LUX” is tailored for younger audiences, offering a gateway into Leica’s world-renowned photography.

As a professional-grade camera app, Leica LUX caters to a wide range of photography styles, including travel, street and portrait photography, bringing the iconic Leica look to the iPhone. One of Leica LUX’s standout features is its ability to simulate classic Leica lenses, like the Summilux-M 28 f/1.4 ASPH and Noctilux-M 50 f/1.2 ASPH, using Leica’s proprietary image processing technology. This feature allows users to capture images with the distinctive aesthetics and beautiful bokeh characteristic of Leica lenses.

Leica LUX builds on Leica’s acclaimed color science, offering color grading and film presets like Leica Classic, Leica Contemporary and Leica Black & White. These presets enrich your photos with depth and character, turning your iPhone into a versatile tool for artistic expression.

For those seeking creative freedom, Leica LUX provides extensive manual controls, including exposure compensation, shutter speed, ISO, white balance, manual focus and various focusing modes. The app also supports RAW and ProRAW formats, allowing photographers to tailor every aspect of their photos to their vision. Whether you’re a seasoned professional or just starting out, Leica LUX offers the tools to create stunning, high-quality images.

The brand also shared that monthly updates to the app will introduce new lens simulations, for a continuously evolving experience.