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We feel, it’s about time that these photographers of HISTORICAL note were acknowledged, and their names become known to every photography lover. Here are but a few names we think you should know, and some QUICK facts as to WHY... HANNAH MAYNARD IS KNOWN FOR: Running her own studio business in Victoria, BC. “Mrs. R. Maynard, Photographic Artist and Dealer in All Kinds of Photographic Materials.” In 1897, she became Victoria’s official police photographer. Anyone arrested was taken to her studio for a mug shot. Raised FIVE kids. Technically, her work is superior. Her signature works include photomontages, multiple exposures, and photosculptures. Maynard used mirrors and partial glass plate negative exposures to create unique narratives about herself and surreal tributes to the deceased. MATTIE GUNTERMAN IS KNOWN FOR: being a Pioneer woman who literally walked over 1000km from Seattle to Beaton (BC), with her husband, dogs and son. She had Tuberculosis, and they looked to live in a dryer climate. Gunterman used a 4×5 inch glass plate camera. Her photographs show some of the difficulties of pioneer life and the joys of leisure time. She used a long cable-release to include herself in images. She photographed the men at work in the Nettie L. Mine, including the deceased miners as they were being shipped back to their Nova Scotia homes for burial. GERALDINE MOODIE IS KNOWN FOR: Creating photographs of Inuit and Indigenous families While hubby John Douglas (J.D.) Moodie held a role the North West Mounted Police (NWMP), they traveled to the North West Territories. Her husband attempted to acquire official photographer status for her, but he request was denied, and the role given to a man. However, it was her images that were sent with reports, including correspondence to Prime Minister Wilfrid Laurier. As early as 1895, Moodie copyrighted her negatives, as her images were often used out of context. She ran studios in Battleford and Maple Creek, Saskatchewan, and in Medicine Hat, Alberta. She also raised five children. GLADYS REEVES IS KNOWN FOR: Accidentally becoming a photographer through her starting role as the receptionist at Ernest Brown’s Edmonton photo studio. Brown and Reeves were interested in pioneer life. In the 1930s, they created the "Birth of the West" photo series for use in public schools. Brown willed his photographs and his collection to the Province of Alberta. Reeves was hired to organize and document its contents of over 10,000 photographs. Reeves’s photographs are in the Brown collection. A 2009 Edmonton Fringe Festival performance, The Unmarried Wife , was based on the story of Brown and Reeves. ALSO, check out artist/ archivist and Edmonton's Historian Laureate Marlena Wyman 's Pecha Kucha presentation VIDEO featuring the GLADYS REEVES story - HERE. ELSIE HOLLOWAY IS KNOWN FOR: Her business in St. John’s, Newfoundland, for 40 years. In 1914, she photographed hundreds of enlisted men in the Newfoundland Regiment. Career highlights included photographing Amelia Earhart in 1932 at Harbour Grace and the 1939 King George VI and Queen Elizabeth royal tour. ALSO - Check out the HERITAGE Newfoundland and Labrador VIDEO: 'With the Camera: The Life of Elsie Holloway' - HERE. Photographer + researcher LAURA JONES helped us put this info together. Find out why she is a trailblazer herself - HERE . 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! #LauraJones #womeninphotography #canadianphotography #photohistoryincanada #HannahMaynard #MattieGunterman #GeraldineMoodie #GladysReeves #peoplephotography #portraiture #analogfilm #blackandwhite #doubleexposurephotography #filmexploration #BritishColumbia

Paris Photo is the world’s largest art fair dedicated to the photographic medium , held each November at the Grand Palais in the heart of Paris. Alan Bulley attended the 27th edition of the event to share his experience of 200+ international exhibitors, offering the most diverse, qualitative presentations of photography projects today. “This is massive.” That was my first thought as I entered the Grand Palais  for the preview of Paris Photo 2024, the night before the fair was to begin officially. And my opinion didn’t change over the four-day run from November 7-10. There is just no way to avoid being overwhelmed by the scale of the show, the quality of work on display, and the talent this event attracts. Not only is there an enormous amount of work to see and talks to attend under one roof (the Grand Palais itself), but there are also many nearby events and venues where you can buy photobooks and see more work by both the well- and less-known. Only a handful of cities in the world can put on a show like this, and Paris is certainly in the front rank. You can brush shoulders with Ed Burtynsky  and David Company  at the Palais, listen to photographic artists like Debi Cornwall  and Max Pinckers  discuss their new books, and then wander a few minutes away to the Polycopies  book sale aboard a barge anchored on the banks of the Seine and ask Todd Hido  to sign a copy of his latest for you (I know I did). If that’s not enough, you can venture only slightly further afield to the Offprint photobook salon at Pavillon de l’Arsenal, or hop over to the fringe-y event put on by Réseau LUX  and have your portfolio reviewed and see interesting work displayed in a venue that certainly cost less than a booth at the Grand Palais. Always keeping an eye out for Canadian content, it was good to see ESSE  magazine represented at several venues, not only at Paris Photo but also at the Jeu de Paume  (where Tina Barney  and the late Chantal Akerman had retrospectives). And it was particularly enjoyable to spend some time talking to Montreal-based artist Caroline Mauxion , who was showing work in the booth belonging to Zalucky Contemporary , the Toronto gallery that represents her. Born and raised in France, Caroline completed her MFA at the Université du Québec à Montréal and is now well into her PhD program there. Her ongoing work is an exploration of her own experience of extended orthopedic treatments through a compelling hybrid practice comprising photography, collage, and sculpture. Caroline describes the work as a way to help her reappropriate her own body, its strengths, and its sexuality. While the act of photographing can sometimes distance, the inclusion of collage recalls the cutting and reshaping of her own body, and the sculptural elements rendered in muted pinks and greys reference bone and ligament, and are themselves formed from metal rods, plastic, and plaster—the basic toolkit of the orthopedic surgeon. Inverted black and white images bring x-rays to mind and flip the shadows of treatment for light and hope. The colour palette and the technique combine to speak of the feminine and the mechanical in a way that invites the viewer to reflect on the body’s vulnerabilities and strengths, and Caroline’s own journey that is still touched by chronic pain. Altogether, a human and thoughtful body of work that draws on a worked—and working—body. Caroline Mauxion’s work also served to highlight for me a final impression from Paris Photo 2024: little cutting-edge work now relies on ‘straight photography.’ Even documentary, with a clear line of sight back to the origins of the medium, draws today on a rich brew of images, artifacts, physical objects, archival material, and imagined and re-enacted scenes. And that is before we begin to acknowledge the wave of digital imagery and AI-based scenes that towers over us. It was all well-represented in Paris and challenges us to consider again photography’s perpetually loose relationship to ‘the truth,’ alongside a rich new set of tools, techniques, and tales. Yes, it’s massive. And it’s exciting. 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!

An interview with photoED Magazine Karene-Isabelle Jean-Baptiste is a Montreal-based photographer interested in capturing elusive moments of magic. She was selected as a Woman of the Year 2020 by Best Health   Magazine  for her photo project on Black women in healthcare. In 2021 she was awarded a Photojournalism Diversity Grant by La Presse , and in 2022 she received a Black Women Photographers Nikon USA award. photoED: Your profession until fairly recently was engineering. How and why did you decide to transition into full-time photography? Karene-Isabelle: At times, there is a synchronicity to things that we are not fully aware of. I had known myself to be unhappy as an industrial engineer for a certain time and the thought of doing that work day in and day out until I could finally retire was draining me mentally. In early 2020 I decided that I should take a chance on myself and on this career and pursue photography full time. When the pandemic exploded that year, it suddenly felt urgent for me to create work that would speak to the world as it was unfolding itself around me. That sense of urgency and my need to document this exceptional time led me to create my series Black Women in the Time of the Pandemic. It was this project that kick-started further opportunities and made it possible for me to become a full-time photographer. photoED: Your work appears effortless in its simple beauty and intoxicating use of colour. What would you like viewers to know and understand about all the work that goes on to craft an image behind the scenes? Karene-Isabelle: My work is very much inspired by painting and the natural world. I’ve always been fascinated by the power of colour and its ability to make us feel so deeply. I want my work to reflect that. I’ll often start with a specific colour in mind and work to add it into my palette. I often enjoy consulting wi th a friend who  has the most amazing eye for design and we work unbelievably well together. We bounce ideas off of each other and somehow always seem to meet in exactly the right place creatively. photoED:  What do you love most about creating stories through photography?   Karene-Isabelle: I am an avid reader and have always been awed by writers’ abilities to create worlds a reader can fully immerse themselves in. I share that same desire to create a world all my own. Photography affords me that opportunity and I am thankful for it. I love leading people into a story, an idea, or a community they may have never thought of but which they have now gained an entry into through the images I have crafted. photoED: Whose work has influenced yours? Karene-Isabelle: I have been influenced by many but there are three standouts for me. The first is certainly Gordon Parks, whom I’ve always seen as a Renaissance man. I love his use of colour, the variety of his projects (fashion, film, photojournalism), and his distinct point of view. I love the work of Yousuf Karsh. The portraits he created are iconic and, in many cases, the definitive images by which his subjects are known. I go back to his work often when I look to create my own portraits. Lastly, I am a real fan of Malick Sidibé. I remember stumbling onto his iconic Nuit de Noël  in a magazine one day and I immediately cut it out. That led me to researching his work and discovering a freedom, simplicity, and honesty that influences me to this day. photoED: What makes a good photograph? Karene-Isabelle: A good photo is arresting. It takes us to a place that feels familiar yet unexpected. It forces us to linger, to wonder, to feel. It pulls us in, despite ourselves. photoED: How has working in photography influenced you personally? Karene-Isabelle: My work in photography has made me much more determined and more willing to take risks. Being a photographer involves a lot of pitching projects, submitting work for judgment, and approaching strangers. It typically involves a lot of rejection and that has led me to understand and accept that the word “no” is part of the world I evolve in. It is not an indication of the value of my work or of myself as a person. In a way, photography has taught me to do things while scared. This has helped me in other areas outside of my work as well. photoED:  What has been your favourite or most personally impactful project or adventure?   Karene-Isabelle: My work on Black women in healthcare is my favourite and most impactful project without a doubt. The reaction of the subjects themselves, of other women who also work in the medical field, and of the general public was overwhelmingly positive. I wanted to place Black women in the context of the pandemic and show how they contributed to Canadian society during what was inarguably a very difficult time. I wanted them to be seen. It also felt important to break with the myth of the powerful Black woman. I wanted the women to be seen as strong, yes, but also as vulnerable and scared. It felt important to show their humanity and give them a voice which they had felt deprived of. So many reached out to say that this project made them finally feel seen. photoED:  What does your dream project entail? Where do you hope photography will take you in the future? Karene-Isabelle: My dream project entails a look into the Montreal borough in which I live: Montr é al-Nord. I want to make work to counter the negative stereotypes that exist about the area and show what it’s really like to live here and show the beauty that exists within. It’s a working class neighborhood and people work hard but its difficult reputation is undeserved. I would fashion that work in the same vein as what was done by Jamel Shabazz in the eighties in New York: raw, honest, and hopeful. My hope for my photography is that it brings joy and love to my subjects. I would also love to have my work collected by galleries someday for posterity. I would love to say that I came, I revealed, and I changed some minds. GEAR UP What camera and equipment do you use? What’s your favourite lens? Tell us about your experience using Tamron lenses? Karene-Isabelle: I mostly use my Canon 5D Mark II. It’s an oldie but a goodie. I bought it many years ago and it is definitely a workhorse.  While I l ove a fixed lens, I was blown away by and fell in love with the 70-120mm Tamron zoom lens. Its depth of field is unmatched. It is sharp, fast, and light to carry. The focus is also soooo smooth. I’d never really worked with a zoom lens for fear of losing out on some of the light, but this lens was definitely a game changer for me and it certainly made me rethink my position. I am not a technical photographer and surely it has many features to endear it to other users, but I just know that I love taking pictures with it! See more of Karene-Isabelle Jean-Baptiste's work - HERE. Check out Karene-Isabelle Jean-Baptiste's fave new Tamron lens - HERE! www.tamron-americas.com

Karene-Isabelle Jean-Baptiste est une photographe basée à Montréal qui s'intéresse à capturer des moments éphémères de magie. photoED Magazine a parlé avec Karene-Isabelle de son travail. Elle a été sélectionnée comme Femme de l'Année 2020 par Best Health Magazine pour son projet photo sur les femmes noires dans le secteur de la santé. En 2021, elle a reçu une subvention du journal La Presse pour la diversité en photojournalisme, et en 2022, elle a remporté un prix Nikon USA des Black Women Photographers. photoED: Votre profession jusqu’à il y a peu de temps était l’ingénierie. Comment et pourquoi avez-vous décidé de vous lancer dans la photographie à plein temps? Karene-Isabelle: Il y a parfois une synchronie dans les choses dont nous n’avons pas pleinement conscience. Pendant un certain temps j’avais constaté mon mécontentement en tant qu’ingénieur industriel, et l’idée de continuer dans ce métier jour après jour jusqu’à ma retraite me drainait mentalement. Début 2020, j’ai décidé de tenter ma chance en me lançant dans la photographie à plein temps. Lorsque la pandémie a éclaté cette année-là, il m’a soudainement paru urgent de créer un travail qui s'adresse au monde tel qu’il se déployait autour de moi. Ce sentiment d’urgence et mon besoin de documenter cette période exceptionnelle m’ont conduit à créer ma série "Black Women in the Time of the Pandemic". C’est ce projet qui a déclenché d’autres opportunités et a rendu possible mon passage à la photographie à plein temps. photoED: Votre travail semble demander peu d’effort de part sa beauté simple et son utilisation envoûtante de la couleur. Que souhaitez-vous que les spectateurs sachent et comprennent sur tout le travail qui se déroule en coulisses pour créer une image? Karene-Isabelle: Mon travail est fortement inspiré par la peinture et le monde naturel. J’ai toujours été fascinée par le pouvoir de la couleur et sa capacité à nous faire ressentir des émotions profondes. Je souhaite que mon travail reflète cela. Je commence souvent avec une couleur spécifique en tête et je travaille à l’intégrer dans ma palette. Souvent je consulte avec un ami qui a un sens du design incroyable, et nous travaillons vraiment bien ensemble. Nous échangeons des idées et, d'une manière ou d'une autre, nous semblons toujours nous rencontrer exactement au bon endroit créativement. J’en suis très reconnaissante. photoED:  Qu’est-ce que vous aimez le plus dans la création d’histoires à travers la photographie?   Karene-Isabelle: Je suis une lectrice avide et j’ai toujours été impressionnée par la capacité des écrivains à créer des mondes dans lesquels un lecteur peut s’immerger totalement. Je partage ce désir de créer un monde qui m’est propre. La photographie m’offre cette opportunité et j’en suis reconnaissante. J’aime guider les gens dans une histoire, une idée ou une communauté à laquelle ils n’auraient peut-être jamais pensé mais à laquelle ils ont maintenant accès à travers les images que j’ai créées. photoED: Le travail de qui a influencé le vôtre? Karene-Isabelle: J’ai été influencée par de nombreuses personnes, mais il y en a trois qui se démarquent pour moi. Le premier est certainement Gordon Parks, que j’ai toujours vu comme un homme de la Renaissance. J’aime son utilisation de la couleur, la variété de ses projets (mode, cinéma, photojournalisme) et son point de vue distinct. J’adore le travail de Yousuf Karsh. Les portraits qu’il a créés sont iconiques et, dans de nombreux cas, les images définitives par lesquelles ses sujets sont connus. Je reviens souvent à son travail lorsque je cherche à créer mes propres portraits. Enfin, je suis une véritable fan de Malick Sidibé. Je me souviens d’avoir découvert sa Nuit de Noël dans un magazine un jour et je l’ai immédiatement découpée. Cela m’a conduit à rechercher son travail et à découvrir une liberté, une simplicité et une honnêteté qui m’influencent encore aujourd’hui. photoED: Qu’est-ce qui rend une photo réussie? Karene-Isabelle: Une bonne photo est saisissante. Elle nous emmène dans un lieu qui semble familier tout en étant inattendu. Elle nous pousse à s’attarder, à nous interroger, à ressentir. Elle nous attire, malgré nous. photoED: Comment votre travail en photographie vous a-t-il influencé personnellement? Karene-Isabelle: Mon travail en photographie m’a rendue beaucoup plus déterminée et prête à prendre des risques. Être photographe implique beaucoup de présentation de projets, de soumissions de travaux et d’approcher de personnes inconnues. Cela implique souvent beaucoup de rejets, et cela m’a amenée à comprendre et à accepter que le mot “non” fait partie du monde dans lequel j’évolue. Ce n’est pas un indicateur de la valeur de mon travail ou de moi-même en tant que personne. D’une certaine manière, la photographie m’a appris à faire les choses tout en ayant peur. Cela m’a également aidée dans d’autres domaines en dehors de mon travail. photoED:  Quel a été votre projet ou aventure préféré ou qui vous a le plus marqué personnellement?   Karene-Isabelle: Mon travail sur les femmes noires dans le secteur de la santé est sans aucun doute mon projet préféré et le plus marquant. La réaction des sujets, de d’autres femmes travaillant également dans le domaine médical, et du grand public a été extrêmement positive. Je voulais placer les femmes noires dans le contexte de la pandémie et montrer comment elles ont contribué à la société canadienne pendant ce qui était indéniablement une période très difficile. Je voulais qu’elles soient vues. Il était également important pour moi de rompre avec le mythe de la femme noire puissante. Je voulais que les femmes soient perçues comme fortes, oui, mais aussi comme vulnérables et effrayées. Il était important de montrer leur humanité et de leur donner une voix dont elles se sentaient privées. Beaucoup ont pris contact pour dire que ce projet les avait enfin fait sentir vues. photoED:  Quel est votre projet de rêve? Où espérez-vous que la photographie vous mènera à l’avenir? Karene-Isabelle: Mon projet de rêve consiste à explorer le quartier de Montréal où je vis : Montréal-Nord. Je veux réaliser un travail pour contrer les stéréotypes négatifs existant sur la région et montrer ce que c’est vraiment de vivre ici et la beauté qui s’y trouve. C’est un quartier populaire où les gens travaillent dur, mais sa mauvaise réputation est injustifiée. Je voudrais réaliser ce travail dans le même esprit que ce qui a été fait par Jamel Shabazz dans les années 80 à New York : brut, honnête et plein d’espoir. Mon espoir pour ma photographie est qu’elle apporte joie et amour à mes sujets. J’aimerais aussi que mon travail soit un jour collectionné par des galeries pour la postérité. J’aimerais pouvoir dire que je suis venue, j’ai révélé et j’ai changé certaines perceptions. GEAR UP Quel appareil photo et quel équipement utilisez-vous le plus maintenant? Quel est votre objectif préféré? Parlez-nous de votre expérience avec les objectifs Tamron? Karene-Isabelle: J’utilise principalement mon Canon 5D Mark II. C’est un vieux modèle, mais un bon modèle. Je l’ai acheté il y a de nombreuses années et il est définitivement un travailleur acharné. Bien que j’apprécie un objectif fixe, j’ai été époustouflée et suis tombée amoureuse de l’objectif zoom Tamron 70-120 mm . Sa profondeur de champ est inégale. Il est net, rapide et léger à porter. La mise au point est aussi très fluide. Je n’avais jamais vraiment travaillé avec un objectif zoom de peur de perdre un peu de lumière, mais cet objectif a été un véritable changement pour moi et m’a fait reconsidérer ma position. Je ne suis pas une photographe technique et il a sûrement de nombreuses fonctionnalités pour plaire à d’autres utilisateurs, mais je sais simplement que j’adore prendre des photos avec cet objectif! See more of Karene-Isabelle Jean-Baptiste's work - HERE. Check out Karene-Isabelle Jean-Baptiste's Tamron lens - HERE! www.tamron-americas.com

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 Extraordinary Architecture Challenge showcases architectural wonders from around the world. To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

"Co lor is a power which directly influences the soul.” – Wassily Kandinsky Colour is not only one of the most fun and joyful elements to explore in photography, but colours can hold incredible significance as nostalgic triggers, and symbols for social change. Colour maximalism inspires me to no end. My eyes awaken when I see a building in my grey city where an architect has had permission to splash colour into their design; I feel hope when a brightly coloured wildflower pops through a crack in the sidewalk; and I am energized as I appreciate the work of artists who wholeheartedly embrace colour: Iris Apfel, Frida Kahlo, Yayoi Kusama, David LaChapelle, Sarindar Dhaliwal, and Takashi Murakami, to name a few. Colours can be used to direct our navigation (red stop signs). They may be used to signify a social issue (Orange Shirt Day). They can signal corporate brand awareness (McDonald’s yellow) and encourage or repel our consumer choices on an emotional level. The artists in this edition work with colour in beautiful and intentional ways to open viewers’ eyes to the world around them, guiding gazes and analyses in bold new directions.  Editor, Rita Godlevskis Our Winter 2024/ 2025 edition features Leslie Hossack and Peter Owusu-Ansah, two artists who have quite literally zoomed in as close as one can get to analyze single pixel colours and have zoomed back out again to explore the emotional impacts of chroma combinations. Michael Seleski’s studio fashion work was inspired by the idea of light travelling through the colours in pride flags. Meanwhile, Patricia Parsons works to explore making images to describe how a person with achromatopsia (a form of colour blindness)  may see the world. This issue features:        Scarborough Made: Culture in Colour  by Sid Naidu Finn O’Hara: Conduits in colourIn conversation with Craig D’Arville Michael Seleski: After All  The Colourists: Peppa Martin reflects on the art of Leslie Hossack and Peter Owusu-Ansah Brianna Roye + Wanna Thompson Portraits of Mas: For She/For He/For Them by Corinna vanGerwen  A Vibrant Vision by Djenabé Edouard  Patricia Parsons: Perceptions of Colour An interview by Rita Godlevskis   A Whole String of Pearls: The Hand-Tinted Lantern Slides of Mary Schäffer Warren by Mina Markovic This edition also features, our Books + Resource recommendations for further explorations, and our PORTFOLIO featured artists: Amanda Devison Manfred Mueller Stephane Alexis Daphne Faye Boxill Eva Kolcze Monica Rooney Paul Gravett Trina Turl Vanessa Pejovic David Dorrance Ryan Puchalski Marie-Louise Moutafchieva and Tessy Morelli, our TAMRON Award winner + More Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures! 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

Our recommendations for the perfect gift for photographers + photography lovers Under $100. PHOTO Books we LOVE... Finding American by Colin Boyd Shafer Stories of Immigration from All 50 States A captivating photographic portrait of the diverse experiences of immigrants in the United States, depicting the resilience and realities of building a home in a new place. Colin Boyd Shafer is an award-winning Canadian documentary photographer, social sciences educator, and the son of immigrants, with family roots in the United States. His past projects include INTERLOVE, which tells interfaith love stories in Ontario; Cosmopolis Toronto , featuring someone from every country of the world who now calls Toronto home ( as seen in photoED magazine! ) Barbara Davidson, Pulitzer Prize–winning photojournalist and Guggenheim Fellow, says: "Through Colin’s lens and the participants’ stories we see the realities of immigrant life in America: sometimes beautiful, sometimes harrowing, always human.” Hardcover // 11 × 9.5 inches // 304 pages $55 CDN Order your copy from our friends at Figure 1 publishing Anthotype Inspiration by Malin Fabbri Plant-based image making inspiration abounds in Malin Fabbri's books and journals. Homemade emulsions from Avocado and Beetroot, to Turmeric and Yerba mate come from contributors around the world and are beautifully presented for all to enjoy. Whether you are a beginner or an experienced anthotypist, these books are great resources that will save you time, and present you with fresh inspirations for finding the next plant or pigment to use for printing. Available for purchase via: AlternativePhotography.com $14. - $44. CDN. (+ shipping + taxes) Books are available as digital PDFs for download, soft cover , or hardcover . Calendar journals are available at $44. for a coil bound book, or $54. hardcover. Know a photo-newbie? Get the GUIDE - an easy intro to the basics of photography The photoEd GUIDE to Photography is a 128-page magazine-format learning resource. The GUIDE provides a quick-start to basic photography tools & techniques , from analog film photography to understanding digital image capture + ideas for new explorations. Check out the " Subscribe + Guide " special offer - the GUIDE as a starter + a subscription to keep the creativity flowing all year! More MAGAZINES! Join a Magazine club! The Toronto-based Issues Magazine Shop carries hard-to-find, independently-published magazines from around the world. Visit the shop in Toronto, or order online! Mag Club Quarterly Subscription Box Subscription boxes ship in September, December, March and June. Curated just for you! (or the person you're gifting for) $100.00 Check it out HERE. Add COFFEE to your magazine moment GIFT! Pairing REALLY nice coffee with your analog read will spark a little extra warmth into your magazine moment. We love Sparkplug coffee because it's delicious , roasted fresh locally, and run by a cool female-led team. Choose your coffee style, select a grind specific to your maker, subscribe for AUTOPILOT delivery... SO many options. The Sparkplug crew delivers the goods to ensure you're drinking the BEST coffee you've ever made. In fact, they guarantee coffee happiness. + FREE SHIPPING + Friends of photoED - Save $3 on your next order with code: CAMERA + They have a ton of cool coffee gift ideas for any kinda coffee lover - Check them out - HERE . Cool stufF handmade mugs for photo nerds! As a photography explorer AND ceramic artist, Bunny Safari has combined her talents to create these gorgeous handmade, one-of-a-kind mugs with designs for folks who appreciate a "Rock n Rollei" and support "Women who rock film"! Quantities are limited and selections are always changing. Shop the website, here: www.bunnysafaripottery.com A little merch Our Jet Tag Safety Reflector key chains are a great bag tag identifier accessory or functional ket ring with a message every photographer can relate to! A statement piece! ART = WORK Get this tell-it-like-it-is T-shirt for only $20 — HERE. The ART=WORK campaign is run by VANL-CARFAC, Visual Artists of Newfoundland and Labrador + Canadian Artists Representation/Le Front des artistes canadiens, in partnership with the Mary MacDonald Foundation . This joint fundraiser supports visual artists, curators, and art workers living in Newfoundland and Labrador through programs and awards distributed by their respective organizations. Handmade mugs also available! Check them out HERE. For the Film shooters... Reveni Labs Matt Bechberger is a maker, inventor, builder and a film camera nerd who also happens to be an electronics and product designer. Reveni Labs started because he wanted new technical solutions to old film problems for the modern film shooter community. Along with the explosion in interest in analog photography comes a renewed market for film shooters. However, many older analog cameras do not have the built-in tech needed to expose film as needed. Matt has some great solutions for your bespoke techy troubles. If you're not sure what kind of gadget your film lover will love, digital gift cards available for purchase, HERE . www.reveni-labs.com A unique calendar BC based photographer Ali Penko has quite a following around her annual calendar work. This year, she's levelled it up. Her newest12-month calendar (11 x 8.5 inches) showcases striking photos under the "Sounds" theme. In addition to the beautiful images in the printed calendar, very month Ali sends out an email newsletter, revealing the sound associated with the photo and its significance. Embark on a sensory journey that captures life’s essence, and elevate your space with a art that resonates with the rhythm of life! $25. Order your copy: HERE Gelaskins Gelaskins offers artist-designed skins for laptops, phones, tablets, wireless headphones, e-readers, and MUCH more... You can also upload your own photo , logo, or artwork and create a bespoke skin. And they're made in Toronto! Check out their full product line HERE. Hello GORGEOUS! 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If you know someone that can laugh in the face of rejection, or the realities of being a starving artist - this is the perfect gift! Available in black with white text, or white with black text, in a range of sizes to suite any size of artist! Check out these T's - HERE . Yes! It is the same Danny Custodio , we featured in our Beautiful Botanical edition. Not sure what your photography lover would like? Let them chose + SUPPORT An independent BUSINESS with GIFT CERTIFICATES... Vancouver - check out the awesomeness of BEAU photo. "Bottom line – we are here to assist you. It doesn’t matter if you are running your own photography business, are a photographic artist, a student getting into photography or someone who found an old film camera and wants to start using it. We are here to help you decide what is best for your needs. No hard sales tactics here." Toronto- we love a visit to Downtown Camera. At Downtown Camera, gift certificates can be used on anything in the store, from film developing and analog accessories, to the latest digital gear & gadgets. Your giftee will fee like a kid in a candy store! From anywhere... Toronto Image Works From printing to framing, to scanning and retouching TIW is for photographers who value excellence. As founder Edward Burtynsky's exclusive production facility, a gift certificate from TIW would be a welcome gift for any artist serious about how they present their work. To order a gift certificate, email customercare@torontoimageworks.com or call 416-703-1999 The ultimate photography lovers gift!? Of course we recommend our own selves as the BEST GIFT ever! New ways to think about photography GUARANTEED. Subscribers get 3 beautifully printed issues DELIVERED per year. 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Algonquin College coordinator and professor, Tracy Byers Reid, used a single sheet of 4x5 film to document the last semester of a photographic theory course. The story of this photograph began in 2013 when I was a new college professor teaching Photographic Theory at Algonquin College in Ottawa. I was eager to inspire my students and sought unique opportunities to engage them in the basics of photography. I firmly believe theory informs practice and has the power to unlock creative potential. I soon recognized my students' curiosity about extremes - what was the widest possible aperture, the longest possible lens, and the highest possible ISO. In preparing a lesson on shutter speed, I remember googling "What is the longest possible shutter speed?" and encountering the work of German photographer Michael Wesely, who captured images with shutter speeds measured in years. For the next decade, I'd share Wesley's work with my students. I loved how his work fostered critical discussions about exposure, light, and, of course, the passage of time. Each year, I'd promise myself time to explore this technique, only to let the opportunity slip away under the weight of marking, prep, and, eventually, a pandemic pivot to online teaching. As years passed and the film technology that enabled Wesley to explore such long exposures became less familiar to photography students. In the Fall of 2022, a quiet but eager student booked a meeting with me to ask how to make month-long exposures. Students sometimes don't know how much they can inspire teachers! Excited to assist her, we sat down and ran through the variables. Film speed, average amount of light to expect each day, what aperture to use, whether we need neutral density (ND) filters, and how to factor in the law of reciprocity failure. After about 30 minutes, we had a plan. Over the following weeks, I had occasional check-ins with her about that weeks daylight quantities. It was un-seasonally overcast, so we discussed lengthening the exposure by a few days. Finally, the exposure was over; she processed the film, and it worked! No longer was this a fun theoretical conversation. I was thrilled (and a little jealous.) Time was slipping past in other ways. Our program was changing. I taught photographic theory and production as separate courses; however, my colleagues and I recognized a disconnect with this delivery. For some students, the time delay between the delivery of the two courses weakens the connection between theory and practice. In 2021, we revised the program, merging theory with the practical production course. In December 2022, I prepared for my last semester of Photographic Theory, ending a ten-year run with that course, I decided that was the time to capture and commemorate my time uniquely. When I began at Algonquin in 2012, the students still learned to photograph some projects using a 4x5 view camera. I decided to use that camera to capture this last semester in a single exposure. With the assistance of my colleague, Jason Machinski, we mounted a Sinar 4x5 view camera on the wall in the corner of the classroom. I framed and focused the shot and spent an afternoon determining the various factors that controlled the exposure. How many hours of class would I have that semester with all the lights on, and how many with the overhead lights off and just the projector? Could I calculate for both? What aperture should I use? Would that be enough to prevent overexposure? Do I need additional filtration? The last step was calculating the magic that makes extremely long exposures possible, law of reciprocity failure. I felt a lot of pressure to get this right; after all, I had taught Photographic Theory to almost 700 students, high stakes if I was off and it didn’t work. Eventually, I decided to simplify the process with fewer unpredictable variables. I only exposed the film with the overhead lights off and the projector on. This situation was the most common scenario in the lecture-heavy class, and it allowed me to have less light, hopefully making it easier to have a longer exposure time. Between two sections in a 14-week semester, I estimated I would teach 50 hours with the lights off and the projector on. The initial meter reading for the room was f/45 for 8 minutes using ISO 125. To achieve a 50-hour exposure, factoring in light level and the law of reciprocity failure, I needed to cut the exposure by 7 stops through ND filtration. Our program did not have the correct filters to fit the lens; luckily, we sourced ND 8 (3 stops) sheets from Television Broadcasting. I cut down the ND 8 filters, stacked two on top of each other, and taped them around the inside of the lens. This tactic was common when I learned large format photography, as placing a lower-quality filter on the back end of the lens has less impact on image quality. The borrowed ND filters only came to 6 stops instead of 7, so I used f/32 for 4 minutes, with ISO 125 as the base exposure. I introduced the project at the semester's first class and opened the shutter on January 16, 2023, at 9:33 am. In each class, the students and I tracked the hours, writing down the precise time I lifted the lens cap to start the exposure and when I replaced it to end the exposure. I was nervous all semester that someone might ruin the project, open the shutter when I wasn't in class, or remove the film. I was comforted by how eager the students were to take part in the process, frequently reminding me to remove the lens cap at the start of class or record the precise time for the exposure. I was also nervous that I had made an error; maybe I hadn't focused or loaded the film correctly, or perhaps the tape had slipped knocking the ND filter out of place. Ultimately, a few unforeseen changes affected the 50-hour exposure estimate (guest speakers, a class moved to the studio space, shorter lectures, etc.) and the final exposure from the start of the semester on January 16, 2023, to the last class on April 3, 2023, only captured 34 hours and 10 minutes of overheads off and projector on exposure. Once the semester ended and I closed the shutter, the image sat in a paper-wrapped film holder on my desk for a year. Why? Only another film photographer might know the answer - the fear of the unknown. Latent images are potent in potential but fragile. Had I calculated the exposure correctly? Would anything be on the film? Was there a leak in the bellows? Did the students mess with the exposure? While the latent image sat in a covered holder on my desk, it lived only in my imagination as a perfect project. Once processed, I'd face the truth. My students were eager to see the final image. Almost every week, at least one student asked about the film. I laughed it off, full of excuses; I didn't trust anyone to process it or needed time to finish the calculation. But as time passed, I liked the poetry of the image waiting for them to finish their studies in the last year of our old program, still developing their skills before I developed the film to finally become a finished image. On the day of their convocation, I drove to the lab in downtown Ottawa. Before leaving, I checked my original exposure estimate against the accurate in-class exposure calculations, confirming I was one-stop underexposed. I dropped off the film, requested a one-stop push, and headed to their graduation ceremony. The image isn't the best I've taken, but is my most memorable. It captures so many moments in one frame. The light trails visible in a few areas of the image are the traces of a lesson on lighting metal where the students use flashlights to find the family of angles. The students worked in groups, which explains why the light trails appear in clusters in a few areas in the room. I never thought that moment, which lasted 30 minutes, would be rendered so clearly in a 34-hour and 10-minute exposure. Another trace is the light fog along the bottom edge, which I am certain occurred when two students accidentally fired their small flash, full power, directly under the camera. Two lamps are visible at the back of the classroom; however, we only have one. We rearranged the furniture for our grad show in mid-March, and evidently, we didn't put the lamp back in the same position. I love how consistent some students are with placing their laptops in almost the exact position each week. It even appears as though one student took extra care each week to sit still in the same spot and potentially appears visible in the middle of the frame. I like that their conscious dedication and clear understanding of the process have made them visible to me, if not to anyone else. Beyond the image's content, it uses a capture medium we no longer teach to capture the teaching strategy we no longer use. This image represents my ten-year journey teaching photographic theory in the last remaining years of analog through the final transition to digital, relying far too frequently on lectures but hoping to inspire students by exploring the potential to push the medium's limits. While I am happy I took the opportunity to make this image; it reminds me of missed moments and how much more I could have done with that time. 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

EVERYONE HAS A DIFFERENT RELATIONSHIP TO FOOD AND FOOD PRODUCTION. This single frame by Bob St-Cyr opens volumes of questions we collectively should be asking. This image depicts a scene of an older man, bent over, picking fruit off the ground. In the background, a younger woman stands with her back to the man. She has what appears to be a phone in her hand, and she is taking a photo. The first thing that I saw was the man, immediately, it made me think about travel restrictions during the last few years, and migrant workers, unable to travel to Canada and pick our crops for us. There were many news stories on how entire crops were left to rot in the fields because no one was willing to pick them. Is this a statement on the work ethic of different generations? Another viewer may look at this scene and feel frustration with the woman with the phone. This is an all too familiar sight. People everywhere, walking around like zombies with phones in front of their faces, living life through phone screens and social media filters. Maybe she is an Internet influencer promoting her experience visiting an orchard or someone who has worked in this orchard and is making a video teaching people where apples come from. Are these two people related to each other or are they strangers? Is this scene real or staged? Are there other people just out of the frame or are these two alone? Who picked the full basket of apples in the foreground? How large is this farm? Where are these apples destined? Are they going to a local market or a supermarket on the other side of the world? Was this photo documenting apple-harvesting methods in a particular place in the world or is it a local vacation snapshot? It is very possible that the real story to this photograph has no special explanation and is a basic and banal scene. But does that really matter to us as viewers if we read into it? Why did the photographer choose to preserve and share this moment in time? What’s the message in the act of presenting images without context? Interpreting the meaning of an image is really just guessing. What makes one person feel passionately about any one piece of art, a song, a poem, or a photograph is personal and depends on individual life experiences and unique points of view. Photographs have the power to tell stories but, without context, interpretations will vary. What do you see in this image? What societal message can it press you to re-think for yourself? Like what you see here? Read more in the FOOD ISSUE + Consider supporting us! As an independent editorial publication we'd love your support to continue producing great, original content! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS  •

Jessica Thalmann's Philosophy is that a photograph is just a piece of paper to destroy, rip, tear, and cut. The taking of a photograph is only one component of Jessica Thalmann's artistic practice. Jessica is an interdisciplinary artist, curator, and writer who divides her time between Toronto and New York. With a Master of Fine Arts in Advanced Photographic Studies from ICP-Bard College (New York) and a Bachelor of Fine Arts from York University (Toronto), Jessica's knowledge of photography, film, and sculpture influence her work. Using her own images, and archival materials, she prints, cuts, assembles, and folds photographs into a variety of manipulated forms. The inspiration behind her work stems from her integral belief that a photograph does not depict reality, or the "true" story. "There is a romanticism around photography that we need to get over," she says. "We think photos are documents of reality but in fact the camera lies. There is a hand behind the camera that stages and frames. We have lofty goals for our photographs, but they do not depict the world as it really is." Destroying and reinventing images is a painstaking step-by-step process for Jessica, who believes that researching, analyzing, and planning are as much a part of being a photographer as taking a photograph. "Utopos (Henry Hall Building in 1969)", one of Jessica's current projects, stems from a personal family tragedy that happened when she was four years old. "In 1992, there was a shooting at Concordia University: a professor killed several of his colleagues. Mr uncle, Phoivos Ziogas, was one of the professors massacred. Also, in 1969, students took over the ninth floor of the same building where the 1992 shooting happened. They destroyed engineering equipment and threw thousands of IBM computer cards out of the window which littered the street like a blanket of snow It was one of the most violent riots in Canadian history . . . With the Utopos project, there is, for me, an emotional resonance and a desire to understand. This work focuses on returning to that building, to that site of trauma and, as I film and photograph it, on trying to understand what happened there. It is a delicate and cathartic process for me." For the Uptopos project, Jessica scoured the university archives until she found a black and white image that depicted the 1969 riot at the exact moment when the students were throwing IBM cards out of the window. Jessica overlaid colour onto the image and then printed the large 82" x 32" image into eight prints and eight sections. She cut and trimmed each print and folded them into equal lateral triangles. She says, " From these organic shapes, I was able to fold and shape the prints and then pin them directly onto the wall." Jessica manipulates most of her images manually in her studio, adding shadows and strange distortions, with the end goal of finding the hidden beauty in buildings others don't find. She goes through a series of emotions, including frustration, anger, reverence, and wonder, when trying to get at something that a photograph is not actualizing for her. "At a certain point in my practice I was steeped in other's photography, how beautiful and holy their images were. It was only when I gave myself permissions not to create something beautiful, to move from holding a photography as holy, that I could create something beautiful out of something I destroyed." Jessica says, "That is not going to work for everyone; it is a niche I have found for myself." Jessica's advice for aspiring photographers is to read Camera Lucida by Roland Barthes (1980) and On Photography by Susan Sontag (1973). Barthes explores the nature and essence of photography, and Sontag studies the force of photographic images that are inserted between experience and reality. She also photographers not to get into their own heads too much: to step away from their thoughts and start using their hands. "Not making work is not the solution to not making work. That is the best advice I can give to anyone," she says. "Money should not be your primary goal; just make the work you want to make." jessicathalmann.com Find this story and more in our ISSUE #52 - digital replica edition 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