Search Results

TOP PHOTOGRAPHER WINNER: Daniel Calicchio  • Portugal Billed as the world’s greatest photo game, GuruShots is an international competition platform for photographers . Players get feedback from more than three billion monthly voters and try to work their way up through rankings, from Newbie to the ultimate status (and bragging rights) of Guru. GuruShots’ challenges are voted on by the platform’s Gurus and the wider community, with a fresh challenge every day. Winners can receive prizes from GuruShots’ sponsors such as Adorama, Kodak, Lowepro, and Lensbaby. The Pure Minimalism Challenge showcases beauty in simplicity through images from around the world. TOP PHOTO WINNER: Mg Dgaf • Austria GURU’S TOP PICK WINNER: Dani Major • USA Cachedigga • Germany Olga Zeltser • USA Will • USA Americo Sequeira  • Portugal Lukasz Szubartowicz • Poland Stoica Emilian • Germany David Feldt • Sweden Roy Egloff • Switzerland Bradley Benskin • Barbados Mario Congreve • USA Daiva Ališauskienė  • Lithuania Suave • USA Greg Baccei • USA Bryony Herrod-Taylor • UK Anika Krstic • Serbia Simona L. Neumann • Romania Ryszard Tutko • Poland To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

Alan Bulley gets the scoop in our series of interviews with photo book publishers, including a Q&A with Sara Faridamin & Daren Zomerman of Soft Grain Books. Founded in 2022, Soft Grain is an independent photobook publisher based in Vancouver, dedicated to creating a platform for both emerging and established lens-based artists. What is your view of the publishing market in Canada? There is a great artist population in Canada, and this is one of the most exciting times to be in publishing. But the market is difficult for new entrants because of the high costs of printing, as well as the skills and programs required to create a good book . There are many print-on-demand services, but they have little customization and the costs are extremely high. There is a hunger for Canadian art and stories, but the artists haven’t always been present, in Canada—as many moved abroad to bigger international markets. But, we're now seeing many artists coming back and being represented at local galleries. For example, Jeff Wall, a Canadian-born artist who published most of his works in the UK has recently partnered with some local galleries in BC. We're also seeing greats like Greg Girard, Dave Heath, and Fred Herzog being published and shown through Canadian institutions, which is building a lot of momentum in the Canadian market. Equally exciting is seeing many traditionally underrepresented artists finding it easier to have their voices heard. More CanCon is always a good thing, and we are very excited to help promote it every chance we get. How do you choose what projects you publish? How far in advance do you work? We’re very new entrants into publishing. That means we have a tighter budget to work with, but we are also open to experimentation and projects from newer lens-based artists. The first thing that we look for is art with a clear, strong message, usually in a documentary format. The works we’ve published have had a range from long-term projects that have spanned two years, to one that literally came together in less than two months from developing the film to sending them to the printer. We also post our Call for Submissions online. Between Blocks is a photo series documenting flowers in Vancouver’s West End on Polaroid film. Authors: Daren Zomerman & Sara Faridamin, 2023. Pages: 100, Limited Edition of 500 What has been the most commercially successful book you have published? Between Blocks has been our most successful project so far. We believe it has been successful because this story combines a soft subject and format with a strong environmental/activist message about preserving nature within municipal landscapes. Morocco is not a fair country. Luxury is hidden behind centuries-old city walls, endless unrelenting desert outside. All of it is beautiful, none of it is fair. By Daren Zomerman, 2023. Limited Edition of 250 What makes an effective proposal from an artist? An effective proposal will have a strong message that the work is expressing, and contain a series of eye-catching, one-of-a-kind photos with a cohesive look and narrative. Don’t use big, meaningless words meant to appeal to other artists without saying a single thing — we publish art that is direct and impactful. We like to receive projects that are well-defined, visually engaging, and accompanied by a short introduction text or even longer essays depending on the type of project. Research and artist statement is one of the key components of understanding the purpose of the book and the photo project, however, the aesthetic is equally important. If the two do not work in harmony, then it will not make a good book. We are open to different genres of photography at the moment. We hope to receive proposals that make us think, feel, or question something about life and our surroundings. What sort of financial arrangements do you have with artists (dealing with up-front costs, revenues, etc.)? Right now, since we’re just getting started, we may ask artists to contribute to the initial publishing cost, which we work hard to keep costs and risks down. Once all the costs are covered for both sides, then we split revenue down the middle. What sets us apart is that we will work with the artist to write grant proposals, collaboratively conduct pre-sales, and help them show their work in local spaces — we take a very hands-on approach that helps artists grow organically. How involved is the artist in book design? We like to hear the artist’s ideas and collaborate with them to make sure the project's main ideas are presented in the book. We like to hear their ideas and experiment with different formats, types of prints, paper, and sequencing of the photos. We aim to present the work in a unique and artistic way — a process that looks very different for each book. How do you market and distribute the books you publish? Where do they go? How many copies do you print on average? We use social media to promote the work and mainly use our website for selling the book. We look forward to seeing more book fairs in Canada so we can present our books in person and meet our potential audience, and also to partner with galleries to sell books in person. The number of copies also depends on the project and artist. But on average we like to make limited editions ranging from 250 to 500 copies — that way, people who buy Soft Grain Books will know they’re getting a genuine, well-thought-out, and one-of-a-kind book that directly supports the artist who made it. Chances are you’ll see different books on the shelf every visit, and the one you picked up last time won’t be available anymore. What one message would you give photographers who want to publish their work? Keep making work and believe in making progress over time, not overnight! Find a subject that you have knowledge and passion for — if you wouldn’t get out of bed at 4 am in the dead of winter to go get your cover photo, then it’s not the right project. Refine your perspective and have a point to make. What's your dream publishing project? The books we dream of publishing are the ones that break boundaries and provide a unique, unflinching perspective on things relevant to us locally, and important globally. For example, we dream of publishing books that show the personal effects of climate change, clear-cutting, the opioid crisis, and much more. This series captures the reactions, and the new social space created by a grain barge landing on a Vancouver beach for a year. Erosion of Spectacle By Sara Faridamin, 2023, Limited Edition of 300 What's one thing that would surprise our readers about your work behind the scenes? We're a small, new team, and we're also local artists who are publishing and exhibiting work across the country. We're here to mentor and prop up new artists as much as we are to promote art — because at the end of the day, we want to create the environment we wish we’d had when we first started out. Is there anything else that our readers should know about your company or the work you do? The world needs more CanCon! We are at the beginning of our journey as a photo book publisher and we look forward to getting to know more photographers and working with them to promote the art of photo books. There are not enough publishers that aim to help emerging artists. We want to make sure that art can be seen. Find out more about SOFT GRAIN BOOKS - HERE. Enjoyed this free read?! Consider supporting us! As the ONLY independent editorial photography publication on Canadian newsstands we'd love to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS

Synchronicity By Fabrice Strippoli Give it the time it deserves. In Synchronicity , Fabrice Strippoli offers us something remarkable in a collection of images made in Canada’s largest urban centres: the quiet city. Oh, there’s construction and traffic and streetcars alright, but there’s a pervasive sense of calm over it all. It’s as if the photographer has turned the volume control on the streets from ‘10’ down to ‘1.’ Or maybe even ‘off.’ And with all that quiet we can take the time to notice subtlety in the black and white film photographs. A man walks along Spadina saving a cigarette behind his ear for later. Kids huddle together to whisper secrets. A woman nods off in a park with a straw hat perched on her face to cut the sun. No one seems in a hurry, perhaps because they are busy with interior worlds rather than the streets around them. In the same way, the reader has to slow down to take it all in. Blink and you might miss it. Sure, there are more aggressive photographers stalking the streets, but they’re on the hunt for flash and adrenaline, not insight. What you’ll find in Strippoli’s work, page after page, is intimacy and respect for the ordinary people you pass every day, but may never meet. Released in September 2022 with an introduction from the photographer and short texts by Ron Sexsmith and Justin Kingsley, Synchronicity is a very human book. Give it the time it deserves. Get your copy today! Figure 1 Publishing Hardcover, 132 pages $40 CDN Enjoyed this free read?! Consider supporting us! As the ONLY independent editorial photography publication on Canadian newsstands we'd love to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS

From blossoming flowers to a fresh blanket of snow on the ground, every season has its own unique charm and beauty. With the change of weather, we must adapt to the environment around us. Here are a few tips and techniques that will help you to capture amazing photos, and to prepare your camera for the winter months. 1. Use fast shutter speeds to capture moving snow When you take a photo while it is snowing, adjust your settings so you can shoot with a faster shutter speed. The falling snow can actually help to create a very interesting depth of field as snow falls into the foreground or background around your main subject. A shutter speed of 1/250 is recommended as a starting point. Higher shutter speeds will produce more unique results. 2. Batteries drain fast in the cold Try your best to keep your batteries warm when you’re in the snow, as cold batteries lose their charge fairly quickly. By putting batteries in your inside jacket pockets, or even in the front pocket of your pants, your body heat will keep the batteries warm so they last a little longer. As always, no matter what or where you’re shooting, BRING EXTRA BATTERIES! 3. Raise your exposure compensation If you use Aperture Priority, Shutter Priority, or Program Mode, be sure to raise your exposure compensation because your meter may be tricked by the snow. When shooting snowy scenes, your camera’s sensor might think your shot is too bright due to the white, strong highlights from the snow. Your camera will automatically attempt to adjust to darken the scene, making snow look grey, instead of white. By increasing your exposure compensation to between +0.3EV and +0.7EV, you’ll be able to capture the pure whiteness of your scene more effectively as it helps compensate for the brightness that is lost in the camera’s metering process. Be sure to test your shots a few times to find the right exposure compensation value. If you are shooting in full manual mode, you won’t be able to adjust your exposure compensation, however, be sure to readjust your settings so your photo is a little overexposed for the best results. 4. Protect your gear from snow and moisture When you’re outdoors, dry, powdered snow won’t damage your camera, but be sure to wipe it off with your glove, sleeve, or a small towel. Don’t use your hands. Your hands will melt the snow, creating a possibility that water will seep into your camera. In general, cold weather won’t affect your camera, but keep in mind the change in humidity when you’re heading indoors. You may notice that your lens fogs up with condensation when entering a warm place. Although you can wipe it off of your lens, condensation builds up inside your camera as well! This could potentially harm the internal mechanics of your camera and lens. The best solution for this is to put your camera into an airtight bag or container before heading indoors. This will protect your camera from the change in temperature and humidity. If there’s a small condensation buildup, don’t try to wipe it, as the moisture may seep into other parts of your camera. Instead, let your camera sit on a towel and let it warm up! 5. Sunny 16 Rule Factors such as the sun, snow, and unpredictable weather during the winter months make setting your ISO, shutter, and aperture tricky. The “Sunny 16 Rule,” also known as the “Sunny F/16 Rule,” provides us with a great starting point to capture perfectly exposed images. During a very sunny and bright day, set your camera’s ISO to 100, shutter speed to 1/100, and aperture to f/16. If you need to set a faster shutter speed to capture some fast-moving action, simply adjust the ISO to 200 and the shutter speed to 1/200 with the aperture remaining at f/16, and so on. This may sound easy, but this rule may change for winter landscapes depending on the natural lighting and the amount of snow. When you are shooting a subject or scene that is very bright and has a lot of snow, try this rule with a faster shutter speed as the snow reflects a large amount of light. Starting with an ISO of 100, shutter speed of 1/200, and aperture of f/16 is recommended. 6. Make use of leading lines Leading lines may be a simple concept to many photographers, but when you’re trying to capture a beautiful winter landscape, leading lines become very important. Your winter photo may contain a lot of white, compositionally creating more negative space than you may want. To make things interesting, you can find either sloped lines that move diagonally across your scene (such as mountain tops) or a vanishing point (a point where two lines converge, such as a walking path). Both of these techniques will help you add depth to your photo and a point for viewers to focus on. 7. Use a zoom lens Even though a prime lens may get you a great shot, it doesn’t offer the flexibility you need when shooting outdoors. You may need to take a macro shot of a snowflake, and then a landscape shot immediately after. We don’t recommend switching lenses and equipment too often when you’re outdoors, as the inner parts of your camera and other equipment will be exposed to the elements. 8. Later sunrises, earlier sunsets The golden hours (one hour after sunrise and one hour before sunset) are the best times to shoot, especially for landscapes. A great thing about winter is that you do not have to get up by 4 a.m. to capture the sunrise. Keep in mind that golden hours in winter occur later in the morning and much earlier in the evening. Be sure to check your local weather report the day before to see the times for the sunrise and sunset. 9. Add contrast to your photos With all the white from the snow, your photos may need a little kick when editing, as the colours and contrast may seem dull. Increase and adjust your blacks, contrast, saturation, and shadows to bring life back into your photo when you’re back at home editing. #HowTo #Canadianlandscape #landscapephotography #exposure #experimentation #Traveltips

A light cone is a great accessory for any tabletop photography where wrap-around diffusion is needed. This is especially useful for photographing shiny reflective metallic surfaces. The camera lens is placed on the small open end of the cone and allows one to shoot down at the subject. Professional light cones made of acrylic can cost several hundred dollars; here is a DIY solution that is simple and economical. Get some Mylar Purchase a sheet of Mylar, 24 x 36 inches from any art supply store (costs about $5.00). Do some math online We found Craig Russell’s blog calculator really helpful for measurements for the pattern to construct a flat top cone. craig-russell.co.uk/demos/cone_calculator Decide how big you want the cone — the limit here is the size of the Mylar sheet. Choose a diameter for the top, bottom, and height to accommodate the objects you plan on photographing. Enter lengths A, B, and C into the calculator, click on “Calculate,” and the program will generate the arc angle and radii R1, R2. For the sample shown here, A=100 mm, B=380 mm, and C=380 mm. Output from the calculator gave an arc angle of 124.5 degrees, R1=144.6 mm, and R2=550 mm. Tape the sheet of mylar to a table and draw in the measurements Measure the arc angle with a protractor and draw R1 and R2 using a straight edge. A string stretched tight with one end anchored at the vertex and the other tied to a pencil can be used to draw the arcs. Cut out the pattern. Place tape on one open edge and close to form the cone. When you’re done, unlike a professional cone, the tape can be removed and the cone can revert to its flat shape for easy storage. All that you have left to do is to find a suitable background material (seamless paper works well), set up your lights, place the lens at the opening and shoot. To steady your shot, use a tripod with the column reversed. Soon, you will be looking everywhere for shiny metallic objects to photograph! #DIY #studiophotography #stilllifephotography #HowTo #phototips

Lumen printing is an easy way to make an image with the sun. It simply involves setting objects onto a piece of silver gelatin photographic paper and exposing them to the sun. Artist/photographer Bob St Cyr shares his HOW-TO + a few new ideas to take your results in new directions. You'll need: Photographic paper - any size or age A contact printing frame (you can also create a makeshift printing frame using any board and glass, such as an un-used photo frame.) Two trays - for washing and fixing Hypo fixer mixed at 1:9. Tongs STEP 1 - Once you've got your stuff set up, under a safelight or subdued/ low lighting, arrange your subject on the glass frame. Plants and flowers work well, but be creative and think of other 'flat-ish' things (string, lace, paper, etc) that could be used that when compressed will not break the glass, please be careful. STEP 2 - Place the photo paper with the shiny side/matt side facing the items on the glass, i.e., the side that would normally be exposed when making a darkroom print. STEP 3 - Replace the backing into the picture frame and compress the items between the glass and photo paper. STEP 4 - Place the picture frame in direct sunlight for about 60 minutes. This exposure time will vary depending on the strength of the sunlight. STEP 5 - When it feels ready... and the paper has turned brown, carefully remove the photo paper from the frame and give the paper a quick water rise to remove any particles from the organic materials. OPTION: If you like what you see at this stage - allow the paper to dry + pop it in your scanner - or take a digital pic, so you can work with this version of the image digitally. To make the resulting image last, it needs to be chemically fixed. However, fixing will change the contrast and colour, so you might want to digitize the image before fixing, giving you two different versions. STEP 6 - If you want a permanent image, after washing the print, place it into a photographic fixing bath for about 2 minutes. Remember to do this under tungsten light or subdued light. STEP 7 - Thoroughly wash the print for at least 15 - 20 minutes in a tray of running water. Empty and fill the tray several times during the wash. STEP 8 - Hang your print to dry. STEP 9 - If the paper curls when it's dry - you may need to flatten the print by pressing it between heavy books for a few days. STEP 10 - Go DIGITAL - scan/ manipulate away for more options! Here are some of artist BOB ST CYR's results References Brough, D. (2016, June 26). How to make lumen prints. https://www.lomography.com/magazine/321837-how-to-make-lumen-prints Daniel, M. (2004, October). William Henry Fox Talbot (1800–1877) and the invention of photography. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000– https://www.metmuseum.org/toah/hd/tlbt/hd_tlbt.htm If you're up for more amazing ANALOG... Check out our RESILIENCE OF ANALOG edition! We SOLD OUT of our print copies - but we've posted this issue + BONUS content on ISSUU Enjoyed this free read?! Consider supporting us! As the ONLY independent editorial photography publication on Canadian newsstands we'd love to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS #canadianphotography #analog #fineartphotography #HistoricalProcess #cameraless

Ottawa, is home to a unique institution —  the SPAO  Photographic Arts Centre A   ONE - AND - A - HALF - STOREY  converted warehouse, tucked away on a residential street in the Little Italy neighbourhood of Ottawa, is home to a unique institution —  the SPAO  Photographic Arts Centre. The centre houses a gallery, a residency program, and the only two-year photographic arts college diploma program in Canada. The SPAO, Photographic Arts and Production Diploma program draws applicants from around the world, and accepts only 16 students per year into its full-time program. Founded in 2005 by art instructor Michael Tardioli, creative director Khalia Scott, and 20 students who pooled their money to launch it, the school was created to provide an alternative to the commercially focused photographic training offered by other colleges. “The students wanted something special that lived up to their educational expectations,” says Jonathan Hobin, the current creative director of SPAO. “No other program was offering that, so they built it.” That grassroots origin and small student body have allowed a close-knit community to flourish. “When you have a small group of people and they support one another, they care for one another,” says Jonathan. “You learn about people, you go deep, and you get vulnerable. It really is incredible.” Operating more like an artist-run centre than a typical art school, SPAO’s intimate, collaborative environment fosters cross-pollination of ideas between students of diverse backgrounds and ages. Instructors know every student by name and nurture the vision of each one, providing one-to-one mentorship and a safe, supportive space for students to grow and flourish as artists. “It’s a space that feels much more like a home away from home than a college or university campus,” says Jonathan. With a strong focus on process and experimentation, SPAO encourages students to push the boundaries of traditional photographic techniques. In year one, students explore subjects such as portraiture and landscape photography, and learn various technical processes such as cyanotype and dry plate. “We believe in the art of craft,” says Jonathan. “If you’re going to be working with photography, you have to understand your tools.” This foundation serves as a catalyst for students to experiment and develop their own unique artistic practices, which they then refine in their second year as they learn the business of being an artist. Classes covering topics such as project planning, building a portfolio, and community engagement prepare students for a successful art career. “It’s not just about learning photography,” says Jonathan. “It’s about learning how to be an artist.” This is the promise of SPAO — a space where students enjoy a transformative experience and become the lens-based artists they’re meant to be. Alumni have seen their work shown in and represented by local and international galleries, and have participated in photography festivals and art fairs around the world. They’ve sold pieces into public and private collections, have won major awards and grants, and have been featured in major media outlets. Here we share the stories of three SPAO alumni and how attending the tiny Ottawa college lay the groundwork for their thriving photographic arts careers. These artists have pioneered new, original photographic techniques, a testament to the disruptive nature of SPAO’s methodology. Each of their practices meld different photographic techniques together to create something completely original. "Conception of Tranquility" • Steve West • Brain scan image   Steve West - Class of 2020 Steve West first attended SPAO as a part-time student while he was working as a consultant in the Health Sciences sector. With encouragement from the school’s founder, Michael Tardioli, Steve enrolled and was accepted into the full-time diploma program. “I was a mature student, so I felt I had to justify to my classmates — and prove to myself — that I belonged in this artistic environment,” he shares.  That self-doubt quickly dissipated amid the nurturing environment of SPAO. Steve says, “When I look back at where I was when I started, and then what I achieved by the end of the diploma, it’s amazing. It was life-changing and incredibly enriching for me as a person.” With a highly accomplished career in health sciences, Steve is building an equally impressive second act in the photographic arts. Aestheticizing brain scan imaging data, his current work explores the mysteries of the human brain and those living with substance use disorders. Steve emphasizes, “I cannot stress enough the impact SPAO had on my artistry as well as providing me with the technical and post-production foundations to realize the work I want to produce. It gives you the confidence to experiment, be technically competent. For me, that’s just as important as producing the artistic work.” “The diploma program at SPAO was a life-changer for me and set me on a new course as a lens-based artist. I still go to SPAO and stay in touch with classmates. It is more than a school of photographic art — it’s a community!” – Steve West, class of 2020 “Transfix” • Whitney Lewis-Smith • Heliogavure etching on copper. Whitney Lewis-Smith - Class of 2011 Whitney Lewis-Smith had all but abandoned her artistic practice before attending SPAO. She was working in marine science at the time and enrolled in the photography school to focus on documentary techniques for use in tandem with her underwater fieldwork. However, the two-year program changed Whitney’s trajectory completely and her studio practice developed into a very successful career. “The program opened doors for me that I hadn’t previously considered,” she says. These days, Whitney builds elaborate botanical constructions and captures them on 8×10 glass plate negatives, using techniques she first began experimenting with at SPAO. She then transfers the image to a copper etching plate, using printmaking to reproduce the photo with the historic photogravure process. “What I learned at SPAO has remained as a sort of rulebook for me ever since,” she says.  Represented by the Bau-Xi Gallery in Toronto and Vancouver, Whitney has shown her work in galleries and art fairs as far as Seattle, Mexico, and Spain. Her pieces are in the collections of Global Affairs Canada and the City of Ottawa, as well as the private collection of Justin Trudeau and Sophie Grégoire Trudeau. “The facilities at SPAO were a great playground of discovery for me. Every free hour outside of classes, I made use of the darkroom and studio, teaching myself obscure techniques. That free experimentation time with so many available tools is still something I consider invaluable today.” – Whitney Lewis-Smith, class of 2011 "Venus I" • Kamryn  Woloschuk • Composite image Kamryn Woloschuk - Class of 2023 Kamryn Woloschuk was procrastinating from doing schoolwork for her non-arts program in second-year university when she searched online for Canadian photography schools. Amid a sea of commercial programs, SPAO stood out to her as a place where she could develop an artistic practice without the four-year commitment a degree program required. Once she became a student, Kamryn found her time at SPAO to be not only fun but also validating. “I finally felt like an actual artist. It’s fulfilling to be a part of a community that takes your art and experience seriously, especially when you haven’t felt that before,” she says.  The small cohort had a broad range of life experiences, artistic talents, and philosophical perspectives — a diversity that helped Kamryn expand her own practice. Used to working in isolation, she says, “My favourite thing about attending SPAO was how the passion of those around me ended up fuelling my own.” Inspired by the Venus of Willendorf, Kamryn photographs what she affectionately refers to as fat bodies, and melding their forms over roughly articulated clay using post production tools. Now a graduate and emerging artist of the highest calibre, the queer multidisciplinary artist sees her practice not only as an outlet for self-expression, but also as a means to contribute to conversations on mental health, feminism, and community. “The SPAO diploma program was almost completely opposite to my experience in university. It’s intimate, casual yet sophisticated, hands-on, and community-based. We learned as much from the program as we did from being surrounded by other artists with diverse experiences and knowledge bases.”  – Kamryn Woloschuk, class of 2023 For more information about SPAO and how to apply to its college diploma program, visit spao.ca .

At 82 years of age, Geoffrey James is no newcomer to making photographs of the built environment. Whether it has been manicured European gardens, the carefully designed parks of Frederick Law Olmsted, the poured concrete maze of Toronto, or cell interiors during the last days of the Kingston Pen, James has turned a practiced eye on the stories that places tell about themselves. And he has been recognized for his work along the way, being the subject of a major retrospective at the National Gallery of Canada in 2008, receiving the Governor-General’s Medal for Visual and Media Arts in 2012, and being named Toronto’s first Photo-Laureate in 2016. In short, he has been exhibited, published, celebrated and written about—an enviable career for any photographer in the country. I was glad to have the chance to interview Geoffrey James recently about his beautifully produced new book, Canadian Photographs , released in October 2024. The volume benefits from the inclusion of an in-depth conversation with Peter Galassi, former chief curator of photographer at MoMA, and James sees the whole as “very much a book for its time, and one that I hope becomes more interesting over time.” Time is certainly a major visual player across the photographs, many of which appear to have been made in locations that are in transition or are, frankly, rundown. This is not always the perky Canada of the calendars that fill bargain bins in big box stores. Instead, there are often pictures of tired people and tired locations. As the photographer has said, he is trying “to make a portrait of a friend who is not perfect.” So, it is perhaps not surprising that James’ title is an allusion to the Walker Evans’ 1938 MoMA exhibition and catalogue, American Photographs , a study of the Depression-era U.S. through its people and small towns. “I made these photographs as more of a diary in a way,” says James, “while Evans’ book came directly out of commissions and people like Robert Frank had a project with a shooting script. I didn’t have that.” There are some important points of affinity between the two books, however. For example, a quote on the dustcover of Evans’ first edition labels him “a kind of disembodied, burrowing eye, a conspirator against time and its hammers,” an observation that fits Geoffrey James’ own work in Canadian Photographs . The photographs are busier, looser and more peopled than much of his earlier work, and his eye flits from the city to the rural, often by way of a landscape caught half-dressed in a changing room—recent countryside putting on its new suburban clothes. Some of the sense of movement no doubt comes from James trading in his slow view camera for a snappy, digital Leica. And some of it can probably be traced to the origins of the 14-year project: photographs made through the windows of VIA trains. But the most important change in this collection of images is perhaps one of tone or mood. It often seems wistful, a suggestion that James denies: “It’s not wistful, it’s just questioning; photographing things as they are.” Nevertheless, as the photographer explains what he means by “things as they are,” it is hard to escape a sense of loss, or even lament: “I don’t know if I can characterize those emotions that clearly. Some of them are about what we’re doing in Montreal, Ottawa, or Toronto. You live in all these places, especially in the 905 where we are compounding errors of development that continue to this day.” In one location, he remembers, “I came across an entire huge orchard with every tree chopped down. The Europeans now look at us and study what not to do. There, there’s a plan to it; here, there’s sprawl.” Turning from the urban to the rural, James is concerned about the decline of arable land: “about 50% of the best land is visible from the top of the CN Tower and we’re just paving it over.” As the interview draws to a close, James rightfully points out that this is far from being the only theme in his new work: “This is not a book about bad town planning, because there are wonderful things to see too. There is always an element of chance, and I didn’t really choose specific locations. I shot as I wanted.” And perhaps that is characteristic of a real visual diary, or of any honest diary. Some entries we make on good days, and others on not so good days. It’s a long conversation between time and us, and it is all the stuff of life.       Canadian Photographs  — Geoffrey James Hardcover, 2024, 144 pages CDN $45. plus shipping Figure 1 Publishing Also available from online retailers   Did you enjoy this FREE read? Consider supporting us! For as little as $2./ month we'd love your support to continue producing great content for you to enjoy!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS   Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

"Guided by the notion that North Koreans are residing in a "dream-state," where the truth is not lived but imposed by those in power, Daoust's anonymous forms wander through the landscape." By Samantha Small Nathalie Daoust's photographs reflect a love for eclectic places and a wild, inexhaustible sense of curiosity. Exploring, experiencing, and documenting rarely visited landscapes and carefully hidden places, she has spent the last decade producing voyeuristic insights into otherwise veiled existences. Nathalie studied the technical aspects of photography at the Cégep du Vieux Montréal. Since, she has been travelling the globe seeking to translate her experiences into photography-based artworks. She spent two years experimenting and living in the Carlton Arms Hotel in New York, which led her further abroad to explore Tokyo’s red light district, Brazilian brothels, and Swiss naturists in the Alps. Nathalie’s project, Korean Dreams (2016) is a complex series of 25, 50 × 70 cm prints that reflect the mysterious world of North Korea. “I was working on a photo documentary in China about North Korean women living in hiding and working in the sex industry. I wanted to better understand why these women would rather live in such conditions in China than remain in their own country with their friends and family.” Nathalie’s images captured in North Korea reveal a country that seems to exist outside of time, as a carefully choreographed mirage. She has spent much of her career exploring the idea of fantasy: the hidden desires and urges that compel people to dream, to dress up, to move beyond the bounds of convention. With Korean Dreams , she is exploring this escapist impulse not as an individual choice, but as a way of life forced upon an entire nation. Most foreigners associate North Korea, shrouded by fanatical isolationism, only with the hallmarks of its repressive regime – kidnapping, torture, and forced labour camps. Tourist experiences are carefully crafted to countermand these impressions. Accompanied by guides at all times, and adhering to the rigid, pre-approved travel program, visitors get a highly selective view of the country as they are paraded past cultural landmarks such as theatres, schools, and music halls, meant to create the illusion of a perfect society. The difficulty of reconciling systemic violence and repression with this shiny world led Nathalie to focus on the spaces that exist on the edge of the “tourist zone.” By shooting furtively while travelling between destinations, she was able to capture an alternative narrative. Guided by the notion that North Koreans are residing in a “dream-state,” where truth is not lived but imposed by those in power, her anonymous forms wander through the landscape. From civilians bicycling against an urban backdrop, to military personnel marching stridently in line and schoolchildren staring pensively out of the frame, these figures seem to exist suspended in an ambiguous, timeless dimension. Playing with the line between fiction and reality, Nathalie exposes an indeterminate space where “truth” and “lies” are interchangeable. Nathalie’s multi-step development process is integral in this series to the interplay between fiction and reality. In the darkroom she reconstructs a forgotten past and an unknown present. The images were taken on 35mm black and white film and have been obscured in her unique photographic process. She creates a “negative” by cutting out her selected frame from its contact sheet and peeling off the back of the photo paper. The breakdown of the original negative film has produced final images that appear indistinct and somewhat ghostlike. As the layers of distance from the original film are removed, a sense of detachment between the photographer and her subjects is revealed. Nathalie’s darkroom method also mimics the way information is transferred in North Korea: it is stifled until the truth is lost in the process. The resultant images speak to North Korean society, of missing information and truth concealed. daoustnathalie.com Find this story + more in our CANADIANS ABROAD - ISSUE #53 Enjoyed this free read?! Consider supporting us! We would love to continue producing great content for you to enjoy! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY  • GET DIGITAL ISSUUS

1. Fishing line (nylon/acrylic thread) If you enjoy designing elaborate sets for still life objects or products, then thread is your best friend! Acrylic string contains the power of invisibility and optical illusion. With the right lighting and post-production techniques, it can make things appear as if they are magically floating in the air. 2. Magnets Fashion designers often use them to pick up stray pins and needles, but on set they can be used to hold up metal jewellery and fasten lightweight props onto upright surfaces. 3. Sticky tack and bubble gum This one’s for you improvisers and MacGyvers out there! When all else fails, these two adhesives are the most reliable. Imagine trying to photograph an upright pencil without string or tape. Chewing gum will solve that problem real quick. 4. Lucky socks “Dude, where’s my lens cap!?” is the age-old internal dialogue of a photographer. Critics may disagree, but I always bring a pair of socks with me on set in case I lose a lens cover or need to cushion it on a hard surface. Think about socks like a lens-cozy. Fuzzy socks or slippers can also be a great substitute for dirty sneakers on light-coloured, seamless backdrops. 5. Party horn (noise-makers) Not your conventional studio tool, but these can come in super handy when you’re trying to get toddlers and pets to focus on the lens. 6. Bristol board Whether you’re on a budget or on the go, buying some black and white bristol board from a dollar store will never fail you. This versatile paper board can become a reflector, flag, or even a backdrop. The options are limitless! 7. Binder clips Nowadays these nifty little things come in all kinds of colours and sizes, and they are perfect for fitting clothing to a model, attaching fabric backdrops to each other, or fashioning a bristol board flag to a stand. 8. Plastic wrap Another optically illusive tool, this kitchen staple can act as a protective lens barrier for spit-takes, wet dogs, or any situations where the camera can be exposed to splashes. Plastic wrap can also create some glaring effects, so you may need to use a polarizing lens filter to avoid those. 9. Mounting tape Regular tape does most jobs, but mounting tape has the added bonus of being double-sided and super strong! 10. Beaded jewellery Not a necessity, but definitely a surefire way of simulating lovely lens flares and beautiful bokehs when you’re feeling creative. 11. Water A friendly reminder to stay hydrated! But it’s also good to keep spray bottles of water handy for adding a dewy effect to products or to quickly wipe down surfaces. This story featured in our FASHION X FUTURE edition, a special curation by Djenabé! Order your print edition - HERE or read more in the DIGITAL REPLICA - HERE . Looking for more STUDIO stories... Enjoyed this free read?!  Consider supporting us! We need your support to continue producing great, original content for you to enjoy! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS