David W. Johnson Unveils a Hidden Chapter of American Cowboy Culture

In the world of professional bull riding (PBR), we often think of the riders, those who take on the bucking bull in front of an audience. But behind every ride, there is another person just as essential: the breeder who raises and trains these bulls for competition. Photographer and Director David W. Johnson’s latest personal project turns our attention towards one such figure, Lavelle, a seasoned bull breeder and one of the few Black men in this space. Through a powerful collection of images, David captures the rich cultural history that Lavelle upholds.

David views storytelling as more than just documentation—it’s about reclaiming narratives that have been pushed to the margins. This collection of images reveals a legacy that has always existed but often goes unseen. Lavelle, along with his son and grandson, continues a tradition of Black cowboy culture that dates back to the very origins of the American West. Through David’s vision through story keeping, this project challenges a prevailing narrative that has long erased Black contributions to cowboy culture.

What drew you to this story?

One of my close friends, her father, is one of the only Black bull breeders in the PBR circuit. He’s been raising bulls for over 30 years, training them to compete at high-level rodeos, including national competitions featured on ESPN. What struck me wasn’t just his skill but the legacy he’s carrying forward. The history of Black cowboys in America is rich, but you rarely see it represented in mainstream media. When I met Lavelle and his family, I knew this was a story worth telling.

Can you talk about the cultural significance of Lavelle’s work?

If you ask Lavelle, he doesn’t see himself as a pioneer—he sees himself as continuing a legacy. That’s what makes this project so compelling. People don’t realize that the first cowboys were Black. The image we have of cowboys today—the John Wayne, Marlboro Man archetype—has erased that history. But in reality, Black cowboys played a vital role in cattle ranching and rodeo culture. Lavelle isn’t trying to prove anything; he just does what he’s always done. There’s something really powerful about that.

What was the most memorable moment you witnessed while photographing this project?

Seeing Lavelle’s son and grandson working alongside him was incredible. They weren’t just learning—they were owning it. Watching them step into the stall with a bull, completely unfazed, was intense. It wasn’t about performance or proving themselves; it was about reclaiming something that had always been theirs. That’s when I realized that this story wasn’t just about Lavelle—it was about a multigenerational legacy.

Your work often focuses on underrepresented narratives. How does this project fit into your broader approach to photography?

I’m drawn to stories that challenge the dominant narrative, stories that show the depth and nuance of communities we don’t often see in mainstream media. With Lavelle’s story, it was about more than just capturing great images—it was about shedding light on an authentic and historical reality. For me, photography is a tool for reclamation. When you see Lavelle and his family in these images, you’re not seeing an anomaly—you’re seeing a continuation of something that’s always been there.