The price of remembering: Virginia Tech’s growing graduation photo industry

By Aaliyah Kinsler | Arts, Culture and Sports Reporter

A Virginia Tech graduate prepares for a graduation photo session outside an off-campus home in Blacksburg, Virginia, during spring commencement season. (Aaliyah Kinsler, The Newsfeed NRV)

As graduation season settles over Virginia Tech, groups of seniors dressed in white dresses, maroon stoles and graduation caps crowd iconic campus landmarks from Burruss Hall to Lane Stadium. Nearly every evening in April and May, students wait in lines for their turn beneath the Pylons or outside Burruss Hall while photographers maneuver around packed sidewalks and golden-hour lighting. 

For many students, graduation photos have become as much a part of the college experience as commencement itself. 

But as the popularity of graduation photography has surged alongside social media culture, so has the pressure surrounding it. What was once a smaller tradition centered on family announcements and framed keepsakes has evolved into a booming industry tied closely to Instagram aesthetics and social expectations. For some Virginia Tech students, professional graduation photos have become increasingly difficult to afford. 

Photographer Jackson Sirbaugh, who has photographed Virginia Tech graduates for six years, said demand for sessions has grown dramatically during his time of photographing students. 

“I feel like even just a few years ago, or even before Instagram was really popular, it wasn’t as big of a deal,” Sirbaugh said. “Now you see all the iconic poses and outfits at every single different spot, and everyone wants that glorified, amazing thing.” 

Sirbaugh said his booking process now begins nearly a year in advance. By August, students already begin reserving spring graduation sessions, and by the time April arrives, many photographers’ schedules are completely filled. 

“Honestly, the most frustrating part about grad photos is that there are so many people that need to graduate and take photos,” Sirbaugh said. “Some evenings it’s endless people.” 

For photographers, graduation season has become both emotionally rewarding and financially significant. Sirbaugh described graduation photography as “the bread and butter” of his business while he was a student. 

“It’s business, it’s photography, it’s money,” Sirbaugh said. “But then it’s also been so special to do photos for friends because it kind of started off as people I didn’t know as much, and now it’s peers and roommates and best friends.” 

Sirbaugh said the culture surrounding graduation photography at Virginia Tech has also become increasingly crowded and competitive in recent years as more students purchase cameras and begin offering sessions. 

“I would say it’s definitely way more oversaturated than even before,” Sirbaugh said. “But because there are so many graduates, there’s room for a lot of people.” 

Jackson Sirbaugh photographs Virginia Tech graduates near the War Memorial Pylons during spring commencement season in Blacksburg, Virginia. Photo courtesy of Jackson Sirbaugh.

Despite the competition, Sirbaugh said many photographers at Virginia Tech operate more like a community than rivals. When his schedule fills, he often sends students to other photographers through a recommendation list he maintains. 

“There are literally endless grads to take photos with,” Sirbaugh said. 

Still, the increasingly polished culture surrounding graduation photography can create pressure for students who cannot justify the expense. 

“I think social media definitely makes it feel less optional.” 

Anna Eaton, a Virginia Tech Class of 2025 graduate, originally planned to book professional graduation photos during her senior year. But after comparing pricing packages and balancing other graduation expenses, she ultimately decided against it. 

“I definitely wanted grad photos,” Eaton said. “It felt like everybody around me was doing them, especially once people started posting their photos on Instagram.” 

Eaton said the cost became difficult to rationalize while preparing for graduation and post-college expenses. 

“At that point I was already thinking about moving expenses, graduation costs and trying to save money after college,” Eaton said. “Grad photos just stopped feeling practical for me.” 

Like many seniors preparing to graduate, Eaton said she was already balancing application fees, apartment deposits, graduation attire and plans for relocating after college. 

“When you start adding everything up at the end of senior year, it gets expensive really quickly,” Eaton said. “Grad photos were something I wanted, but they weren’t something I absolutely needed.” 

Instead, one of Eaton’s friends borrowed a camera and photographed her around campus near the Drillfield and Burruss Hall. 

“One of my friends ended up taking mine for me, and honestly it turned into a really fun memory,” Eaton said. “They weren’t professionally done, but I still love them because they feel personal to me.” 

Still, she admitted there was a sense of pressure surrounding the experience. 

“I think social media definitely makes it feel less optional,” Eaton said. “Even if nobody directly says you need grad photos, it kind of feels expected.” 

Even so, Eaton said taking photos with a friend ultimately reminded her that graduation memories do not have to look perfect online to feel meaningful. 

“At the end of the day, I cared more about remembering the moment than making everything look perfect online,” Eaton said. 

That pressure is something photographer Travis Carr said he thinks about often. 

Carr, who has photographed graduation sessions at multiple universities including Virginia Tech, New York University and Fordham University, said social media has dramatically reshaped photography culture over the last decade. 

“When I was a freshman, the seniors took grad photos, but social media was a very different environment,” Carr said. “The further along we get, definitely the more influence social media has on grad photos and the presence of them online.” 

Carr said the growth of social media has increased demand for photographers but also complicated the meaning behind graduation photography itself. 

“Selfishly, yeah, I want more of the market,” Carr said. “But also, do we all need $300 grad photos? I don’t know.” 

“Do we all need $300 grad photos? I don’t know.” 

Carr said many students feel pressure to present polished versions of themselves online, and graduation photography can sometimes contribute to those insecurities. 

“The counterweight to the social media thing tells us we’re not good enough all the time,” Carr said. “It tells us you have to look like this and be this way and pay this amount for photos.” 

Carr said his own experiences in front of the camera shaped how he approaches photographing students. 

“Photography is a vulnerable thing,” Carr said. “You’re holding up a mirror to somebody and saying, ‘Here’s all the flaws you think about all the time.’” 

Because of that, Carr said much of his process focuses on helping students feel comfortable rather than simply creating technically perfect photos. 

“If people have a good time and they feel good, that’s going to be the memory associated with it,” Carr said. 

Ironically, Carr himself never took professional graduation photos while in college because he could not afford them. 

“I didn’t have grad photos taken because I couldn’t afford it,” Carr said. 

He said that experience has influenced the way he thinks about the industry now, describing graduation as a rare moment when students pause to recognize how much their lives have changed over four years. 

“You’re sitting in Lane Stadium surrounded by this community that you’ll never be around again in the same way,” Carr said. “It’s four years of your life that hopefully launches the rest of your life.” 

He said his goal as a photographer is not simply creating technically perfect photos but creating an experience where students feel comfortable and celebrated. 

“My goal with most of the work I do is to say, ‘Hey, you are enough while you’re in front of this lens,’” Carr said. 

Sirbaugh echoed similar feelings, saying many of his favorite sessions are memorable not because of the photos themselves but because of the people attached to them. 

The Virginia Tech Class of 2024, Sirbaugh said, felt especially personal because many of the graduates were longtime friends. 

“I can look back now and think, wow, that’s what we looked like when we were graduating college,” Sirbaugh said. “This is what campus looked like, this is how we smiled, this is how we were.” 

He said some of his favorite sessions happen outside the traditional graduation locations because they allow students to express more of their personalities. 

“There are so many cool spots around campus,” Sirbaugh said. “Sometimes it can get really monotonous doing the same locations over and over, but then you go somewhere like Hahn Horticulture Garden, and it completely changes the feel of the photos.” 

Sirbaugh said the emotional aspect of graduation photography becomes more apparent as time passes. 

“A lot of those moments grow value over time,” Sirbaugh said. “At the moment, they’re just really cool photos, but years later you realize that was such a specific moment in your life.” 

As graduation season continues across Virginia Tech’s campus, students carrying bouquets and champagne bottles will continue lining up across familiar campus landmarks in pursuit of the perfect graduation photo. 

Whether captured through a professional lens, a borrowed camera or a friend’s phone, the meaning behind those photos often remains the same: preserving a fleeting moment before an entire community moves on. 

From records to film, why is physical media making a comeback?

By Kailey Watson, Andrew Honaker, and Aaliyah Kinsler, arts, culture & sports reporters

The desire for physical media has been on the rise within the last ten years, specifically among Gen Z consumers. In a digital society where media is controlled by outside forces, consumers are turning to more tangible ways to store media and memories.

ARTS/CULTURE: Are movie theatres actually dying?

by Donovan Keyes and Caitlin Whitfield —

The film industry is struggling to adapt to the changes in consumers’ preferences for enjoying movies. The coronavirus’s effects on many theatres closed them down for several months, with many not able to recover. This, combined with the rise of streaming platforms, has brought down overall revenue and seemed to ring the death knell for the physical movie theatre space. However, there are now several methods that theatres and production companies are using to attract viewers once more.

The Cinema United “Strength of Theatrical Exhibition” report, released in December of 2025, brought up that 77% of Americans aged 12-74 saw at least one movie in the theatre that year, signaling that Americans still want to view blockbusters on the silver screen. Just a few weeks ago, a Salem, Virginia, movie theater closed its doors for good after five decades.

Production companies are starting commitments to big-screen debuts, and social media campaigns drive younger audiences to the theatre to participate in viral trends. The future of movie theatres may be uncertain, but it will depend on Americans’ desire to interact with the spaces themselves.

Genesis Film Festival returns to Virginia Tech, spotlighting student filmmakers

By Aaliyah Kinsler, arts, culture, and sports reporter

BLACKSBURG, Va. — The Genesis Film Festival is returning to Virginia Tech on April 27, offering students the opportunity to showcase their films on the big screen. Hosted by the Cinema Club, the festival highlights student creativity and provides a space for filmmakers of all experience levels to share their work with a live audience.

Bringing back the Lyric

By Kailey Watson, arts, culture and sports reporter

The Lyric Theatre has reopened after being closed for its first phase of renovations. The changes are aimed at making the theatre more welcoming and improving the patron’s experience, which they are excited to share with their guests.

Changing movie theater experiences

by J.J. Hendrickson–

Popcorn popping. Drinks filling. The film reeling. For more than a century, theaters have been a hallmark of American culture.

Now, streaming is changing. The industry and theaters are feeling the impact. Greg Boatwright, general manager of the Lyric Theatre, says it has forced them to partially change their business model.

“In the past, we were primarily a movie theater. We did some special events. We’re now really transitioning away from movies. We now offer more theater classes and put on plays and musicals. So really it’s more about getting the community to use the space however they want.”

Before the pandemic, film stayed in theaters for up to 90 days. Now, some leave them for streaming in as little as 30 or avoid them altogether. This shift is influencing how some movies are made. Virginia Tech’s head of the Cinema Department, Walter Betts, says filmmakers should not rewrite their movies for distracted audiences.

“It’s affecting a lot. Artistic talent is always mangled at any moment in time. It’s never good to be an artist. Be a film artist the way you want it to be. And that probably means you’re not going to be particularly comfortable in a world that says redesign narrative based on people not paying attention to story. That just seems like a weird thing to do.”

As streaming continues to reshape how movies are being made and watched, theaters are working to redefine what the cinematic experience means for their communities.

The Harrison Museum Previews Their Temporary Exhibit after Relocating to Their New Location in Melrose Plaza

By Deric Q. Allen, Politics & Government reporter

(Roanoke, Va) — The Harrison Museum of African American Culture had announced their relocation to Melrose Plaza in the latter part of last year. Recently, they announced that they will temporarily open their doors as they launch their “Next 40 Years Campaign.” 

E.B. Smith, and colleague, standing outside of Harrison Museum’s new location in Melrose Plaza, Roanoke, Va.( Melrose Plaza)

The long-established Harrison Museum of African American culture has been a staple of Downtown Roanoke for decades. After their initial move to Downtown Roanoke in 2013, the Harrison Museum will return to Northwest Roanoke in what Executive Director, Eric Beasley, calls a leadership defining move. The museum made the move last summer and aims to enhance Northwest Roanoke’s connection to the region’s cultural ecosystem. This “cultural ecosystem” will be on display in the Harrison Museum’s new thematic exhibits, which will be in rotation every six months. This rotational programming will ensure fresh and relevant content for visitors as well as enlighten them to some of the hidden history of the Roanoke and New River Valley. “We’re moving beyond traditional exhibits to create experiences that link historical objects with the real stories of people’s lives and show how those stories still matter today,” said E.B. Smith.

Executive Director for the Harrison Museum of African American Culture, Eric Beasley Smith, participates in “BUZZ Volunteer Day. Roanoke, Va. (BUZZ4Good)

Eric Beasley is more than the Executive Director of the Harrison Museum, he is a well-traveled Thespian, who’s been introduced to many stories, artists, and histories that traverse the African diaspora. E.B. Smith remarked that, “I think all of that gives you a really nuanced understanding of migration, of how cultural priorities are so nuanced and varied, but also an understanding of how those things tie us  together, of course those common threads really can be found regardless of where we’re coming from.”

Smith further commented in an online interview earlier this week, regarding the motives behind the moving of the Harrison Museum and what the local community can expect from the new and improved space. “There was a lot that went in to that discussion, but, when it really boils down I think – the museum had been down at Center of the Square for quite some time, and I think over the last several years in particular the focus of Center in the Square and how it was imagined to show up in terms of the cultural landscape of the city had been shifting. — It was a chance to move back to the neighborhood where the museum was founded, we’re back in the Northwest, so that was really cool to be back in community with folks.” 

As the interview progressed, the topic of reparations presented itself, as well as the initiative to distribute potential funds to those affected by urban renewal in Gainsboro and Northeast Roanoke. This project is led by the city’s Equity and Empowerment Advisory Board chair,  Angela Penn, and Mayor Joe Cobb. If the reparations effort were to be approved, Roanoke could join other cities such as Charlottesville, Asheville, and Spartanburg in the effort to make up for historical wrongdoing. Although this initiative is progressive, E.B. Smith has differing opinions on what this could mean for the Black community in Roanoke and how the Harrison Museum is contributing to the reparative efforts. “I mean, it’s yet to be seen what reparations and reparative action will look like, it’s not clear if that’s strictly financial, if it’s policy driven, y’know I don’t know what it’s going to look like. But I think all of this work that we do, on some level, is reparative. It’s all about healing, and from my perspective the most important thing that we can do is continue to inspire that imagination about the future.”

In addition to speaking to E.B. Smith, I was also able to set up an interview with Virginia Tech’s Dr. Michelle Moseley, who currently serves as the co-director of the Material Culture MA program alongside her colleague Lauren DiSalvo. Dr. Moseley’s current research projects focus on female collectors and collections and recently published an article titled “At Home in the Early Modern Dutch Dollhouse: Gender, Materiality, and Collecting in the Seventeenth-and Eighteenth-century” while under contract with Amsterdam University Press.

Co-Director of Material Culture MA program, Dr. Michelle Moseley, out on assignment while traveling abroad, location, unknown( Sophia Hage)

“I haven’t been to the new location yet but I’m aware of the new exhibition on Black community in medical history in Roanoke, which I think is going to be a great one. They do have a lot of photographs, a lot of archives, a lot of papers and these are important records for the community to understand Black History in the New River Valley and the contributions that this community has made to the larger scope of the NRV.” Dr. Moseley has been collecting for several years and has used what she’s collected to answer questions about the people who made them and what their culture is made up of. 

To Dr. Moseley, these same questions can be asked and answered when viewing the collections that reside in the Harrison Museum. One archival object that Dr.Moseley is most excited about seeing is the Henrietta Lacks sculpture. Lacks, whose immortal cells are instrumental in the creation of various vaccines and restorative research projects, was a native of Roanoke. Moseley concluded with, “I know the Harrison Museum has had a big hand in promoting that particular work, as you know Henrietta Lacks is from Virginia, so she is such an important person, has such a big impact on our culture and I absolutely can’t wait to see that.”

Local libraries report few book challenges despite national trends 

By Aaliyah Kinsler, arts, culture & sports reporter

CHRISTIANSBURG, Va. (Feb. 11, 2026)– Salena Sullivan, Christiansburg Library branch manager, stands between book stacks inside the Christiansburg branch of the Montgomery-Floyd Regional Library. (Aaliyah Kinsler, Newsfeed NRV) 

Book challenges and removal requests at public libraries across the New River Valley remain infrequent, even as debates over library collections continue nationally, according to officials with the Montgomery-Floyd Regional Library system. 

Library officials say formal requests to reconsider books or materials have been rare locally and have not increased in recent years. This comes despite a growing public attention to book challenges across the country and high-profile cases reported in other parts of Virginia and the United States. 

“I’ve been here since 2017, and there have been challenges to the collection, but we certainly haven’t seen an increase over the past few years,” said Montgomery-Floyd Regional Library Director Karim Khan. “It’s infrequent, not something that happens every week or every month.” 

Public libraries operate under formal policies and legal standards when evaluating materials rather than responding to individual complaints alone. The Montgomery-Floyd Regional Library system uses a written request for reconsideration process tied to collection development policy, state law and professional library standards that guide how materials are selected, and when necessary, reevaluated. 

Library officials say these policies help create consistency and transparency when requests do occur. The system’s collection development policy outlines how materials are selected, how these requests are reviewed, and how final decisions are made. The process usually involves reviewing professional evaluations, collection criteria and community need while making sure decisions remain aligned with legal standards and library ethics principles. 

“It’s not a big deal because we’re prepared,” Khan said. “A public library should have policies in place approved by its governing authority. We give our full attention every time somebody puts in a request for reconsideration.” 

The library system serves Montgomery and Floyd counties through four branches located in Blacksburg, Christiansburg, Floyd, and Shawsville. Requests must come from people eligible for library cards tied to the service area, which includes local residents, students, and others with qualifying ties to the community. Library officials say this structure ensures the reconsideration process reflects the communities that directly support and fund the library system. 

While public discussion often frames book challenges through political or ideological lenses, library leadership in the New River Valley says that the local experiences have been more varied. They say concerns most often focus on perceived content suitability for children or accuracy of factual information rather than a single political viewpoint. 

“I think what tends to unify a significant chunk of them is people trying to make sure children are ‘safe,’” Khan said. “It’s either that or, ‘This is scientifically inaccurate.’” 

CHRISTIANSBURG, Va. (Feb. 11, 2026)– A “Teen Alley” sign marks the teen section inside a public library, where materials are organized by age groups and audiences. (Aaliyah Kinsler, Newsfeed NRV) 

Library officials say many concerns begin as conversations between patrons and staff rather than formal written requests. Front-line employees are often the first point of contact when patrons have questions or concerns about materials, allowing libraries to explain how collections are built and why certain materials are included. 

At the branch level, staff say public libraries serve broader roles beyond book circulation, including acting as information centers, study spaces and community gathering spaces for people of all backgrounds. 

“Libraries play a very important role in our community as a place where people have access, access to information, access to leisure and access to community,” said Christiansburg Library Branch Manager Salena Sullivan. “It’s one of the only places where you don’t have to pay to be here.” 

Sullivan said strong library systems often reflect overall community health, noting that library access often supports education and lifelong learning across age groups. 

“Having a robust library in your community is a really good indicator of a healthy community,” Sullivan said. 

Library management say public trust plays a significant role in how collections are built and maintained. Officials say collections and programming are designed to meet the needs of different populations across the New River Valley, including families, students, working adults and rural residents with varying information needs and interests. 

CHRISTIANSBURG, Va. (Feb. 11, 2026)– Books sit on display shelves inside a Montgomery-Floyd Regional Library branch in the New River Valley. (Aaliyah Kinsler, Newsfeed NRV) 

“Libraries’ collections and programming should reflect the needs of the community,” Sullivan said. “We’re here to serve as an information resource.” 

Library officials say individuals and families ultimately decide what materials are appropriate for themselves or their children. While libraries organize materials by age group and intended audience, officials say they are not responsible for making individual reading decisions for patrons. 

They say legal definitions, particularly around obscenity, are determined by courts rather than library staff. Libraries rely on legal standards and established review processes when evaluating materials rather than subjective personal standards. 

“If it’s not obscene according to the law, then it’s not obscene,” Khan said. “It’s a legal term and we are no judge of that.” 

Library officials say their goal is to maintain broad access to materials while following professional standards and legal requirements. Officials say public libraries are designed to serve entire communities, even when individual patrons may disagree with certain materials or viewpoints represented in a collection. 

Across the New River Valley, library leaders say community relationships and open communication have helped to keep reconsideration requests relatively rare compared to trends reported in some other parts of the country. Officials say continuing conversations with patrons and maintaining transparent processes remain the biggest priorities moving forward.

ARTS/CULTURE: Hidden tunnel linked to Underground Railroad

by JJ Hendrickson & Justin Patrick–

A hidden tunnel was found beneath a dresser in New York City’s Merchant House Museum, which is the only 19th-century home in the city that is preserved intact, both inside and out. The tunnel, which is about 2 feet wide and 2 feet long, could only be revealed by pulling the bottom drawer completely out of the dresser. 

The concealed room likely served as a safe house for slaves trying to escape by way of the underground railroad, especially during the early and mid-1800s. White abolitionists were rare in New York at the time the building was constructed in 1832, but it is believed the original owner, Joseph Brewster, was one of the few willing to help slaves find safe refuge.