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Lazarus describes this interaction as full-circle. Once the emerging artist seeking critique, he now finds himself on the other side of the table—though he approaches the exchange as a mutual learning experience. “I’ve never thought that much separates the well-known photographers out there and a brand-new student,” he explained. “All photographers are artists that don’t get recognized enough and don’t get told that their work is inspirational enough.”

Beyond the joy of connecting with like-minded creatives, Lazarus sees these conferences as vital fuel for his work as an educator. He brings home “half a museum” worth of inspiration, broadening the tools he uses to support students whose work may challenge his own expertise. “I feel a lot more confident in discussing these type of projects with emerging photographers and artists,” he said, “as well as more capable of directing them to mentors.”

For Lazarus, conferences like SPE exemplify the power of experiential learning—the kind that extends far beyond the classroom. He still remembers his first SPE in Las Vegas, feeling overwhelmed and knowing almost no one. But by stepping outside his comfort zone, raising his hand in sessions, and coming prepared with his portfolio, he made a professional connection that led to his first out-of-state solo exhibition. “Had I not asked a very detailed question... an instructor from a Southern California university wouldn’t have connected with me afterwards,” he said. That moment reaffirmed for him—and now for his students—that real-world opportunities often come from simply showing up, being ready, and staying open. Conferences like SPE aren’t just about showcasing work; they’re spaces where learning happens through doing, reflecting, and risking growth.

McCain’s work blurs the boundaries between photography, painting, and natural materials. His current focus, Cyanolumens, blends photographic chemistry with organic matter to comment on pollinator conservation and environmental interconnectedness. Through portfolio reviews, including a conversation with Professor Andrea Frank of SUNY New Paltz, McCain found both creative affirmation and new techniques—like crafting pigments from botanicals and using beeswax as a resist.

The travel award from URSA didn’t just get him to Reno—it launched him into a growing global network of artists. He attended a pinhole camera workshop with Martin Vanners of the Netherlands and discussed Japanese art history over breakfast with author Ivan Vartanian. “Moving forward,” he said, “I plan to utilize my expanding network to reach my target audience while implementing the feedback from my portfolio reviews into my future work.”

McCain is currently developing a body of work for a future thesis show, expected in Spring 2027, with a focus on cameraless processes that reflect the alchemical intersections of science and art. “Photography has always fascinated me,” he explained, “because this medium blends the trial-and-error troubleshooting procedures found within the sciences with the creative spirit of the arts.” His path to 911����’s BFA program was sparked by a single course—“I chose to pursue my BFA in the dark arts after Professor Lazarus introduced me to the alchemical anarchy of the alternative photographic processes in the summer of 2024.” That sense of controlled chaos continues to drive his experimentation, pushing the boundaries of what photography can be.

“It was amazing,” he said. “Being able to speak of both places and show people the similarities visually was a great honor. My goal is always to introduce to people that our differences are not so different.”

"504–907" has been shown in solo and group exhibitions across the country and was recently featured in Oxford American magazine. The day the article went live, Jordan was photographing his father on the main stage at the New Orleans Jazz & Heritage Festival. “My Mom sent me a text telling me my work was in Oxford American. So it was an awesome surprise that meant a lot that day.”

That moment—capturing his father’s performance while receiving national recognition for his own work—reflects the deeper legacy Jordan carries. “I’m a second-generation artist,” he explained. “I understand that being an artist requires a vulnerability and authenticity that most jobs do not require.” Watching his father speak openly and confidently about his music gave Jordan a model for how to present his own work with clarity and self-assurance. “The pressure disappears,” he said. “I know I worked hard to make this work as good as I can... so I just get after it and speak openly.”

Jordan also credits 911���� mentors J. Jason Lazarus and Charles Mason for helping him learn how to articulate his work. “I had no historical context to my work, and without Charles I would not have known of William Eggleston or William Christenberry or these other photographers that I can inform my work within.” He adds that his thesis committee—including Dr. Zoe Jones and Da-ka-xeen Mehner—played a significant role in shaping his MFA experience, helping him sharpen both the conceptual and technical aspects of his practice.