I know I’ve already posted twice about Y’Allstars Southern Skate Showdown, but I think I’ve got one more in me. Y’Allstars isn’t just a tournament—it’s an incredible weekend of roller derby, packed with energy, skill, and community. If you were there, you get it. And if you weren’t, I did my best to capture the chaos, camaraderie, and joy on film.
Mais, You Got Dat Cajun Camera ‘Dere, Cher?
Armed with my favorite SLR, the Canon AE-1 (which my very Cajun paw-paw used to say was the most Cajun camera—because, as one would exclaim, “AAEEEEEE!”), I wandered the venue snapping shots of skaters, volunteers, and fans. The result? A collection of high-contrast, grain-filled snapshots that feel just as raw and dynamic as the action on the track. I shot on Holga 400 (a.k.a. rebranded Foma Action 400) and an expired roll of Kodak TRI-X 400—because what’s derby without a little unpredictability?
The Film Aesthetic: Grit, Grain, and Gorgeous Imperfections
Holga 400 has that distinct Foma look—contrasty, a little unpredictable, and perfectly suited for the raw energy of derby. Under the bright overhead lights of the venue, it held its own, delivering crisp details with a noticeable grain that added to the atmosphere. There’s something about film grain that makes a moment feel more real, like you could reach into the photo and pull out the sound of skates carving into the floor.
The expired TRI-X, on the other hand, was a wild card. I didn’t know how much age had affected it, but what I got was pure magic. The contrast was even punchier, shadows swallowed light dramatically, and the grain—chef’s kiss—was extra crunchy. Some shots have an almost ghostly quality, like memories half-formed, as if the film itself knew it was preserving something fleeting and ephemeral. There’s a lot of queer and trans joy in these photos, and I think that’s where my film photography shines.
The Bathroom Darkroom Strikes Again
As always, these photos came to life in my high-tech, ultra-sophisticated darkroom—my bathroom. Developing film at home is a ritual at this point. It’s equal parts science experiment and witchcraft, measuring chemicals, agitating the tank, and hoping I didn’t just ruin an entire roll with a dumb mistake. (So far, my success rate remains high, but the day I accidentally pour fixer before developer will be a dark one indeed.)
There’s something deeply satisfying about seeing an image appear on a negative for the first time. It’s the closest thing to magic we have, and it never gets old.
Capturing the Spirit of Y’Allstars
What I love most about shooting film at events like this is how it forces me to slow down. There’s no rapid-fire burst mode, no checking the back of the camera to see if I got the shot. Every frame is an act of faith, and when I finally get to see the results, it’s like opening a time capsule.
These photos aren’t just pictures—they’re pieces of Y’Allstars, moments of joy, exhaustion, triumph, and community, frozen in time. Each shot tells a little story. And honestly? I think film tells those stories best.