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“These photographs will either serve as tools -of preservation or live on as legacies of what -unique and astounding places we once had. -My fingers are crossed for the first option.” TJ Watt offers an invitation. The invitation is not to look at the two-dimensional surface of his work but to walk in, place yourself deep within the photograph, smell the fresh, moist air, and stare up at 1000-year-old trees in one of British Columbia’s old-growth forests. Watt creates space for the viewer to enter by using leading lines from the foreground that weave the viewer through the trees and deep into these ancient forests. There is a figure in many of his images to give the work a sense of scale and to encourage viewers to see themselves in the image. There is a hyper-realism to these richly textured works, accentuated by the sharp focus and majestic light. Watt encourages us to linger over the details, as our eyes explore the textures and hues of the trees, along with the mosses, lichens, and other plants that have taken root on the surface of the bark. Looking at these photographs gives one a sense of the fertile ground that nourishes these plants and the complex ecosystem that has evolved naturally for thousands of years. The endangered old-growth forests on Vancouver Island are some of the last remaining temperate rainforests left on Earth. Watt describes his exploration deep into British Columbia’s backwoods as transcendent. “When you walk through these forests, there is a different rhythm and a rekindling of a connection to something more primal, complex, magical,” he says. “I’m always amazed by the scale; trees the size of your living room, everything is draped with mosses. It’s like stepping into another world. It’s peaceful and humbling.” One of Watt’s goals is to capture the scale and serenity of the forest and bring it back so that others can appreciate the forest’s beauty and complexity. “If I can’t physically take someone there, then the next best thing is to allow them to step into the scene through the window of a photograph. You are much more likely to stand up and try to protect a special place if you can sense it, feel it, and develop an emotional connection with it.” British Columbia’s old-growth forests are under threat. Watt uses existing satellite imagery to understand the impact of logging, farming, and urbanization. “According to 2006 data, approximately 75 percent of Vancouver Island’s productive old-growth forests have been logged, including 90 percent of the valley bottoms where the biggest trees grow and the richest biodiversity is found,” he explains. The Upper Walbran Valley is home to some of the finest remaining stands of endangered old-growth red cedar in British Columbia. Footpaths wind through the most magnificent ancient forests. But the forest is far from safe, and Watt states that “active logging is taking place nearby.” Logging the last remnants of old-growth habitat has implications for science, medicine, and countless species of animals and insects, not all of which are known. Watt uses photography as a way of mapping and recording how plant and animal species rely on these areas for survival. Watt also uses photography to educate viewers about nature’s life cycle. He points out that a forest contains a continuous circle of life. “The big cedar has broken off and died, and its hollow stump can provide shelter for animals like cougars, wolves, deer, and bears. The log will also store large amounts of water in the dry summer months, which helps new trees to sprout,” he says. Watt also points out some of the misconceptions about the forest: “It’s a human bias that if we don’t use the tree for lumber then it just goes to waste, when in fact, the tree continues to play an important role for plants and animals even when it dies.” Watt is a co-founder of the Ancient Forest Alliance, a grassroots environmental organization working to protect British Columbia’s endangered old-growth forests and forestry jobs. Some of his photographs tell the story of the destruction and devastation that is occurring in the ancient rainforests he is trying to protect. He uses photography as a way to educate, inform, and inspire governments and citizens to act. Surprisingly, Watt is not entirely against logging. However, he wants a re-examination of logging practices and government protection of ancient forests. Currently, only about 6 percent of the Island’s original productive old-growth forests are protected within parks, and he would like to see this number increase. “There is an inevitable transition to logging second-growth forests as the old-growth runs out. We desperately need to protect what little we have left to ensure the survival of endangered species, fight climate change, and for the simple fact that these are some of the most magnificent ecosystems in the world” he suggests. According to Watt, “Old-growth forests support a larger diversity of plant and animal species, whereas the much younger and simpler second-growth tree plantations typically lack a complex ecological structure.” For example, “Old-growth forests have trees of all ages, anywhere from one day old to possibly more than a thousand years old, which creates a multi-layered canopy. As older trees die and fall over, it allows more light to reach the forest floor and nourish plants, whereas the even-aged second growth stands block out much of the light, allowing fewer plants to grow.” Watt uses photographic comparisons to illustrate his point: “You see a significant difference between a forest that’s been evolving for thousands of years and a tree plantation. These photographs will either serve as tools of preservation or live on as legacies of what unique and astounding places we once had. My fingers are crossed for the first option.”  TJ WATT - BEFORE/ AFTER Vancouver, BC "Before/ After is not a series I ever hope to complete but these are before and after images of giant ancient cedars cut in the Caycuse watershed in Ditidaht territory on southern Vancouver Island. I revisited a magnificent grove that I had explored and photographed earlier, only this time it was the stumps of those same trees that would be my focus. Gone were the vibrant flourishes of red, green, and gold. Instead, a bleak, grey landscape lay before, utterly unrecognizable from what I remembered. Heart wrenching as they are, I hope these images stand as stark example of what is still happening everyday across BC and why we need to protect these endangered forests."  TJ WATT - BEFORE/ AFTER Vancouver, BC photoED Magazine featured TJ WATT and this article in our FALL 2011: Our Changing Planet – Issue 32. If you’re looking for eco photography inspiration, READ MORE in the ECO issue , and the LAND issue Check out what TJ Watt has been up to lately at: www.tjwatt.com Learn more about the Ancient Forest Alliance Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions   • Make a donation #TJWatt #nature #ecophotographycanada #canadianphotography #BritishColumbia

A curator and a care-giver in conversation A long sleek grey table is covered in dozens of photographs of over-sized leaves. Look closer, and you’ll find the foliage appears layered, like a patchwork quilt. A pair of golden paint-by-numbers looking leaves sit nestled against each other; a broad, dark green leaf bears at its centre shingles of teal, seafoam, and ochre; a flower sits afire in scarlet, crimson, and marmalade. These pieces are part of Jennifer Long ’s series, Mended Leaves , the most recent entry into her decade-spanning lens-based consideration of motherhood, caregiving, and community. At home in Toronto, the photographer shares her work with Peppa Martin , a visiting Vancouver-based gallerist, writer, and curator. The conversation flows from photography to family, care-giving, the pandemic, and how it has all shaped Jennifer’s current art practice. Peppa Martin (left) looks at a piece from Mended Leaves by Jennifer Long (right). “The artwork evolved as I circled close to home, walking through my neighbourhood as a way to reclaim public space during the lockdowns.” “While on these excursions I collected petals and leaves and upon returning home these tokens were pressed in books, placed in vases, or laid out for immediate intervention. Using on-hand art supplies, I began exploring ways to transform the foliage through repairing tears, matching and re-imagining colours, and other such experimentations. These instinctual and meditative explorations gave me time to reflect on the experience of mothering during a period filled with unease, when time bent, stood still, and stretched in unfamiliar ways. I was altered by the act of care-giving during this time and those I provide support to were also affected. It led me to consider how the balance of self-care and giving of oneself is fundamentally tied to communication.” Jennifer explains that the project began with her daughters. “My idea was that we were going to collect leaves and use old art supplies to mend them. The girls lasted maybe 30 seconds and walked away,” she jests. While her daughters weren’t as enthused about the project, it allowed Jennifer to consider “what happens when you’re care-giving, and what’s the effect of your care-giving on someone else.” For her, the pandemic’s disruption of daily life opened up space to meditate on the transformative capacity of care-giving, and family life. "Through a Feminist lens, I work with constructed narratives that are inspired by the quiet moments in women’s lives where seemingly nothing (and everything) occurs ." “I think it’s interesting being a photographer,” Jennifer says, "documenting your family, and being aware that what you’re documenting can shift the way your children remember their experiences.” For Jennifer, her photos also capture the tactility of memory. “Gravel on legs after a fall, or the hair on the back—those are the sort of details that I come back to. It’s small details. I never come back to the whole story.” It’s these sensory experiences that feel most special to her as a parent, and not the major life moments that you’d expect. “Something amazing could have happened and all I’ll remember is ‘[my daughter] had a skinned knee that day.’” "I am especially interested in the complex emotions that underlie these mundane points in time. Themes of vulnerability, growth, and community are explored within my practice as I examine daily life and my rituals within it." Sometimes she finds herself in periods where she’s documenting her family life very actively. Other times, she will take snapshots of quick moments. In other situations, her work is based on “something I’ve snapped on my phone and then I get the girls to recreate it with me later.” It's clear that Jennifer’s images are made (and remade) in conversation with those she cares for; the photographs aren’t something she takes of her family, but are instead made with them, again echoing themes of motherhood, care-giving, and transformation. “It changes… how they relate, the dynamic with each other, and with you,” Peppa comments. Peppa notes, “I think it’s really important for daughters to see that you can work creatively in tandem with care-giving. You don’t have to forego your identity entirely for the family.” “That’s a huge point,” says Jennifer. “One of the things I did find a lot during the pandemic [was that] it was very clear what my husband did for a living. Whereas I would be seen simply shifting through photos. I found I had to be very clear [in] articulating, this is my work, this is what I do, you just can’t always see it.” Find Jennifer Long's work featured in our Winter 2022/23 issue, BOTANICALS. Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions   • Make a donation

In Possible Lands pairs superimposed photographs of landscapes — one image captured 45 years ago by the artist’s father, and the other a present-day image taken by Annie Briard at the same location—that together evoke a sense of wonder with their vivid colours and majestic yet familiar subjects. But examined up close, they reveal a world altered by human action. Annie Briard | In Possible Lands IV On repeated long-haul hikes across Western Canada and the United States, the artist has been documenting a rapidly changing environment where, trip to trip, the evidence of climate change has become impossible to overlook. Briard was struck by the connections she saw between these photographs and an archive of slides her father took years earlier, as he traveled from Quebec to British Columbia while studying geology. Each image of In Possible Lands compresses the time gap between these two sources. By looking at the changing landscape, the artist meditates on these visible as well as unseen human impacts. The resulting photographic works offer us a medium to see into the future, asking: How do we read the past and understand the present to make predictions about what is to come? Annie Briard | In Possible Lands I "Three slide projectors blend, at random, slides from my father’s archive. Photographs taken during his travels across Canada 45 years ago working on the railway, and my own slides from my own visits to the same locations. A newly formed image is composed by chance and then re-photographed offering prescient insights into our future lands as they transform from our shifting climate." Annie Briard | In Possible Lands III Due to the current global health crisis, many people have been forced to slow down and stay close to home. As a result, our land use, among myriad other things, has changed swiftly. In only one short month, we saw (temporary?) measurable reductions in air pollution. Our relationship to landscapes nearby—accessible through daily walks around parks such as Lafarge Lake in Coquitlam where this work was exhibited - as well as to faraway places, now visible only through digital technology, have been dramatically altered in a way so few people foresaw. Annie Briard | In Possible Lands II Briard’s artwork resonates as a reminder that the environment we too easily take for granted can be viewed anew. Annie Briard’s work challenges how we make sense of the world through visual perception. Creating lens-based and light-focused works, she explores the intersections between perception paradigms in psychology, neuroscience and existentialism. Installation at Art Souterrain festival 2021 in Montreal. Annie Briard holds a BFA from Concordia University, Montreal, and an MFA from Emily Carr University of Art + Design, Vancouver, where she currently teaches. Her work has been exhibited nationally and internationally. She is represented by Monica Reyes Gallery in Vancouver. anniebriard.com Annie Briard's | In Possible Lands featured on the cover of our ECO ISSUE Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions   • Make a donation

On any given spring or summer day, you will find Rocio Graham playing in the dirt. Coming from a Mexican family that grows food and flowers, including uncles who grow watermelons, beans, and other vegetables for exportation to the US and Canada, it was truly only a matter of time before Rocio went back to her roots in terms of working with the land. She feels she has always been very connected to the landscape and that it connects her to her home, and defines her identity. In 2002, a move to Canada from Mexico meant that Graham had to reacquaint herself with growing flowers and plants in a much harsher environment. She started to pay attention to the shifts of the seasons and observe the microclimates in her backyard. In 2013 after the rigorous family canning season, Graham started the painful process of mourning her garden. Late September in Calgary means the luscious greens that once graced the landscape become a tangled, brown, decaying mess. It was around this time that the idea of “canning” her flowers as a way to preserve them inspired her to think about ways to further immortalize the lifecycle of the garden. The question arose: What if, instead of fighting the cycles of nature, she could surrender to their power? That year, Graham started to freeze her flowers to preserve them so she could revisit them whenever she wanted, to be reworked and incorporated into her art along with other organic matter. Foraging within the boundaries of her home, she began to play with different combinations of compost and discarded organic materials from her home, both of food and flowers. The following year, Graham’s gardening became more sophisticated as she desired a larger variety of things to forage. New plants, seeds, and heirloom varieties were introduced. She planted flower seeds according to their textures, colours and shapes. Another mode of research put into place was the comparison of her work to famed historical artists who also used the garden as inspiration: Claude Monet, Georgia O’Keeffe, Jan De Heem, Rachel Ruysch, and other Dutch still-life masters. Aesthetically, the dramatic lighting of these still-life works seemed more appropriate to mourn the loss of the fertile garden at season’s end, but Graham soon discovered that her emotions were coming from a deeper level. Digging in the mud will unearth worms and other unexpected creatures, and in the same way, digging deeper emotionally brought to light enormous parallels between nature’s cycles and Graham’s inner garden. The inner landscape shifts and ebbs with the seasons, and as a trauma survivor, the bouts of PTSD Graham experiences are unearthed and reclaimed through gardening and art. The savage nature of still-life fits the underlying tones of her work in that the rawness of life, the flourishing and the decay, can mix together to reflect the contradictions and tensions of life and the remnants of post-traumatic stress. Feeling disconnected to her body in these moments led her to search for ways to reconnect with it, and for Graham, gardening and its labour-intensive qualities allow her to feel grounded and to access the landscape in a cathartic way. Her work is infused with metaphor and reflection and every aspect of her compositions transpires a deep intention. Her rigorous meditative art practice allows her to not only connect to the land, but ultimately, to herself. Rocio Graham is a multidisciplinary #canadianartist🇨🇦 and the driving force behind @santa.rosa.arts.and.healing See more of Rocio's work:   rociograhamstudio.com   Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions   • Make a donation #womeninphotography #AlbertaPhotographer #stilllifephotography #naturephotography #lightingtechniques #fineartphotography #photoart #canadianphotography

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! We would love your support to continue producing great content for you to enjoy!   • JOIN US AS A PATRON  • SUBSCRIBE FOR PRINT DELIVERY   • Read Digital ReplicaS • DONATE 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

“Seeing Through Touch” by Ramon Castillo “ The bond between father and son transcends sight. The father, with a steady and loving hand, guides a young boy who is blind, helping him experience art through touch and trust. The boy’s face radiates curiosity and a quiet joy, revealing the beauty he feels within. ”  Images have a profound impact on our wellbeing. These days, people see hundreds of images daily; consciously and subconsciously influencing our emotions and outlook on life. So how are we, as photographers and editors, affecting people with the images we choose to share?  The above image by Ramon Castillo, received an Honourable Mention in the 2024 Our World is Kind international photo contest, in Ramon’s words, "This image speaks to the heart of compassion—showing us that kindness can open doors to worlds unseen. The father’s patient guidance embodies the idea that true vision is found in connection, in giving others the tools to express their own inner light.” As poignant as these words are, this image itself transcends the need for language, showcasing the power of photography.  Envision Kindness has studied the way that people feel before and after viewing images of kindness, love, and care, to have confirmed again and again that these types of images greatly reduce stress, help people feel more positive about life, and treat others with more kindness. Concrete evidence drives seizing this important opportunity to make positive impact through the images we put out into the world.  “Pet Love” by Mieke Dalle “My son was very happy with the chicks that came as a surprise during the Easter holidays. He hugged the animals with dedication, which with the soft sunlight, created a warm image that fit the kindness theme well…”  Envision Kindness focus' on using images of kindness and care to help people strengthen their connection to their own humanity and that of others. The organisation has crowdsourced images of people and animals loving, helping, and caring for each other from photographers around the world. The goal is to use these diverse perspectives to drive positivity and connection. Molly Ferrill, Director of Photography Collaborations at Envision Kindness says; "We share inspiring and moving images of kindness with people in high-stress environments like hospitals and schools, crafting them into short-form videos that are played in waiting rooms and hallways. We have studied the impact of these videos many times: viewing them decreases stress, irritation, and anxiety in minutes. Behaviour also changes: viewers feel more cared for, and in return they are more likely to be generous and kind to others, such as making a donation to support a needy family. Hospital staff who view the videos also treat each other better. All of this has important consequences for people’s experience of healthcare." Here  is a 2-minute video sample of their media. Building a community of kindness photographerS Envision Kindness  is always looking for new and inspiring images. To do so they have created two photography programs. The Our World Is Kind photo contest, is an international kindness photography competition that is free to enter and offers multiple prizes. Beyond any monetary prize, participating photographers know that their images can help inspire people and make the world a bit better. The current contest closes December 15, 2025, offers multiple prizes of up to $2,000 USD. Their other program, Select Photographers, is an invitation-only group of photographers who see the need for more kindness, peace, and caring in the world. Image makers are invited based on their submissions to the Our World is Kind photo contest. "We welcome more photographers to join us in the mission to spread kindness through sharing images. The more that people participate, the more we can help people feel better about their lives and act with more kindness to those around them" says Molly Ferrill. “Precious Moments” by Felicia Tolbert “After being told that my grandmother's cancer was inoperable, my daughter decides to gift her great-grandmother one of her stuffed animals to comfort her.” “Loving Kiss” by Albert Tay "The love and innocence of two, week-old monkeys taking time off from their playing and jumping around and having a quick kiss. We humans should emulate them and spread our love." “Passing Down a Beloved Book” by Tracey Rice "This is a photo of my son, Michael, who gave one of his beloved childhood books on dinosaurs to his nephew, Andy.  Michael carefully made an inscription inside the cover of the book and presented it to Andy for Christmas. As Michael began reading the book aloud, Andy leaned in to say "thank you" and their foreheads touched in a tender moment." Find out more about Envision Kindness - HERE. Consider supporting us to help us bring you  more incredible photography stories!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions

TOP PHOTOGRAPHER WINNER: Unnamed • Iceland 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. GURU’S TOP PICK WINNER: Kathy Dorsey • USA The street photography challenge showcases an exceptional collection of images highlighting diverse perspectives and candid moments captured by photographers from around the globe.  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. TOP PHOTO WINNER:  Julien Serarre • Mexico   Will • USA Michael Shmidt • Israel Americo Paulo Sequeira • Portugal Sanja_ B •  Bosnia and Herzegovina Aivars Boro • Latvia Joshua Christoffersen • USA Lisa Tang • Hong Kong Stephane Pagnier • UK Melanie  Flynn • USA Roy Egloff • Switzerland  Beata S.J. • Poland jpoulat • Mexico Joao Alves • Portugal Maria  Richardson • USA  Joanna Chambers • France Malcolm Baldwin • UK To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

Our recommendations for the perfect gift for photographers + photography lovers we LOVE... Alternative Inspiration 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, calendars, and journals are great resources that will save you time, and present you with fresh inspiration for finding the next plant or pigment to use for printing. Plant based photography printing instructions Alternative Photography: Art and Artists, Edition 2 Edited by Malin Fabbri In celebration of the alternativephotography.com 25th anniversary, 137 contemporary artists share their work in this incredible volume as they push the boundaries of alternative photography with processes like cyanotype, gum, and platinum printing. Sir John Herschel tribute calendar The John Herschel tribute calendar is available with 2026 dates, or to start anytime! JOURNALS As daily planners or for journaling these beautiful books offer both pre-defined pages and blank pages for you to plan and dream. Templates are there to help you focus and find balance between work, home and everything else that happens in life. Lots of great options here. 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! www.sparkplug.coffee 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 Photo history fun Photographic Memory:  Match & Reveal 25 Iconic Photos By Joshua Kercher Jara Do you remember that memory card game you played as a kid?  Well, here’s a version created for photography lovers. Twenty five classic photographs by artists we know and love have been split into halves to challenge your memory. What’s even more to love here is that the deck contains some of our most favourite artists such as Hannah Maynard and Anna Atkins, Cindy Sherman and Vivian Maier. This is the perfect gift for fans of photography. $25. CDN + shipping Laurence King Publishing 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! SO many reasons to LOVE this! Aside from GORGEOUS SPICE Co. being an awesome Canadian product created by a rockstar female entrepreneur, these spice blends are guaranteed to spice up your life. These small batch premium spice blends - pack a punch. All killer, NO fillers. A great gift for foodies that goes easy on the postage $... $6. + up. Can't decide? JOIN THE SPICE CLUB for monthly deliveries of inspiration. Members get specially created recipes, The Gorgeous ‘Zine, playlists, recos to cool gear, and more … everything you need to make food fascinating! Our PATREON PATRONS may recall, our Spring/Summer 2023 edition was shipped with a little sample pack of GORGEOUS SPICES... Flav-O-matic. It's the 'everything bagel' of spice blends! YUM! Such a lovely treat for our PATREON crew! For the artists out there... We LOVE artist/photographer Danny C ustodio 's T's. 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... Total 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. Spring/Summer (delivered in March) + Fall (August) + Winter (November) We also have a neat catalog of BACK ISSUES - if there's a theme your gift-ee is into but missed out on previously - check it out. photoed.ca/shop + Feel the bonus karma points flow your way when you SHARE all these goodies through your social media channels! Behind all of these suggestions are REAL HUMANS working super hard to bring you their best - a 'Like' or a 'follow' on social media is a sweet little boost of the ego we could all use!

photo by Margaret Mulligan / @ mulligan.studio “Every avalanche begins with the movement of a single snowflake, and my hope is to move a snowflake." — Thomas Frey For our 75th edition in print, we felt it was only fitting to celebrate the concept of movement and forward-facing momentum. The word “movement” encompasses social change, migration, and all forms of physical motion, and this edition celebrates it all. For many creatives, pushing forward can feel like an arduous journey against an incoming tide of obstacles and challenges. But movement may also manifest as a flow of positive energy. All the work leading up to this milestone edition has frequently aligned with the former. However, the incredible momentum generated by our supporters and contributors propels us forward, allowing us to celebrate in the latter. A flip through the MOVEMENT edition If you’re a print edition subscriber or Patreon supporter and have received your personal copy of this print edition in the mail, you will likely already be enjoying a lovely 3D tactile photographic print we inserted into your magazine. As a special limited edition offering to our print readers, we produced a run of three unique images. A sample print has been randomly inserted into each copy of the publication sent to our supporters. These images come to us exclusively from Japanese photographer Mariko Tagashira, AKA ©Singraphy+. As you’ll read in the feature story “An Inclusive Ode to Joy,” by Corinna vanGerwen, Mariko has been working with the White Hands Chorus NIPPON to produce incredible exhibitions and performances from around the world. A 3D photograph insert in the MOVEMENT edition for PATRONS and subscribers The choir is made up of two parts, a singing group and a gestural team that performs songs using sign language. The 3D print you may be holding now is a copy from a series of tactile photographs created for a special exhibition and performance the choir participated in. In 2024, the choir travelled to Vienna to perform as part of a special anniversary celebration — 200 years since the premiere of Beethoven’s 9th Symphony. The WestLicht Museum for Photography mounted an accompanying exhibition, Visible An die Freude, which included tactile prints as a way of making the exhibition experience more accessible to people with different levels of vision. We’re thrilled to share this 3D printing technology sample with our readers and hope the story inspires more people to consider how their own photography might be experienced in a new way, moving forward. This edition also features the story behind another very different photography exhibition project that took place on a busy downtown Toronto street in a beat-up, graffitied, 1970s RV. We’re excited to feature a far from typical buddies road trip story. In the summer of 2024, Daniel Ennett, a quadruple amputee artist and director, and Frederick Kroetsch, his friend, creative collaborator, and caregiver, embarked on a road trip across North America. Followed by a film crew, the Crip Trip   team share their adventures, highs, and lows, in what is now a TV series. Our writer Gladys Lou spoke to Daniel and Frederick about how making photographs on their trip (developed and printed in the RV) really shares a larger story about making art within and against the constraints of ableist structures. Crip Trip feature story Ruth Kaplan and Isabelle Hayeur BORDER stories feature We also consider migration as movement in this edition. Ruth Kaplan and Isabelle Hayeur share their compassionate images and perspectives on the surreal experience of people desperate to move themselves to a better safer life by crossing international borders. What lines represent, the crossers’ experience with officials, and how these two artists approached this topic from a humanitarian perspective is a lot to take in. Although they work independently and observe the crossing experience from two very different climates, Ruth at Roxham Road in Quebec, and Isabelle documenting along the U.S. border with Mexico, their work shares a sort of kinship. Neither are employed as journalists seeking breaking news shots, but both present viewers with images that aim to inspire bigger questions about human migration, politics, and how we treat people that uproot their lives, in many cases just to stay alive.  This issue makes time to celebrate the forward momentum of optimism we can find through photography, and seeing beauty and peace around us. Lori Ryerson and Stuart Robertson work in very different ways to share images that take viewers to new places with an aim of calm, introspection, and unity. Stuart’s Peace in 10,000 Hands   project has taken him around the world and is spurred on by his own incredible ambition to do good in the world. Lori’s work takes viewers to new emotional places by presenting the beauty of quiet movement in nature. From roller skaters in London, to equestrian events in Morocco, to shopping cart pinhole experiments in Winnipeg, contributors from our international call for submissions came through with wonderful and diverse contributions to our theme for our PORTFOLIO pages. I hope you enjoy the curation by our editorial advisory jury that showcases how the simple idea of forward motion may be interpreted in so many unique ways. PORTFOLIO featured artists Lorena Zschaber Amy Heller Yasser Alaa Mobarak Roland Ramanan Nika Belianina Xiatong Cai Ed McDonough Peter Dušek Julia Nathanson Jonny Silver Paul Mitchnick Lesley Nakonechny Ashot Harutyunyan János Lakatos Andre Conceicao Paul Bolasco AND this edition also features... Change Made with JAYU by Sid Naidu Mattie Gunterman: Playful Pictures by Cassandra Spires Thinking Outside the Cube: SPAO Photo Walk by Alan Bulley Tilly Nelson: Authentic R r epresentation by Hazel Love        I’m incredibly grateful to everyone photoED Magazine has worked with to showcase photography crafted with intention over the course of our 75 editions, and the momentum we’re now building towards sharing even more inspiring stories ahead of us! The Movement issue front cover features a detail from Xavi Bou’s  “Orinthography #24” Yellow Legged Gulls at sunset in Prat de Llobregat, Catalonia. Xavi Bou is represented by The Cardinal Gallery  in Toronto. IG: @thecardinalgallery Our back cover features, Maya Guice's “Peace and progress” She says; The white flag is not surrender, but an invitation, an offering — a call to something more. Wouldn’t you like to imagine a future worth running toward? Follow us on Instagram and Patreon and sign up for our e-newsletter to keep up with all of our adventures! Your editor, Rita Godlevskis photoED magazine is also available as digital replicas for readers worldwide on Press Reader  and Flipster platforms.    This edition could not have been made possible without the support of: Tamron , Nikon , The Photo Historical Society of Canada, Beau Photo, Harcourt House, GuruShots, The Image Centre, a very generous anonymous private donor passionate about supporting Canadian women in photography, our Patreon Patrons , Downtown Camera, B3K Digital, Front Row Insurance, Professional Photographers of Canada, and Total Image Works. Please Consider supporting us to help us bring you more incredible photography stories!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions

An interview with Nikon Ambassador Taku Kumabe Toronto skyline framed by ice-covered trees and rocks • Nikon Z 7 with Z 35mm f/1.8 S at f/11, 1/6sec., ISO200 With a diverse range of interests, Taku Kumabe's portfolio includes explorations in nature, documenting live events, and crafting beautiful lifestyle images for brands and organizations.  As a freelance commercial photographer, his client list includes hotels, tourism agencies, film festivals, and many more. Taku’s passion for the outdoors and nature has him leading photo walks and workshops in his hometown and around the world. Taku’s work has been published in a number of magazines including enRoute , and Canadian Geographic , and his photography has been featured in various media outlets including The Toronto Star , CBC Radio, The Guardian , Huffington Post Canada , Toronto Life , BlogTO , and The Nikka Times . photoED Magazine asked Taku about his work and adventures. Three black-crowned night herons perched in a tree as light faded into darkness. • Nikon Z9 with Z 800mm f/6.3 VR S at f/6.3, 1/160sec., ISO3200 photoED: Your work is so diverse in the various genres you cover, from large busy live events to small quiet moments in nature, yet in each portfolio your style and voice is clear. How did you arrive at the decision to cover so many bases? taku : Photography for me has always been about capturing a moment to share a connection between my images and viewers. My goal is always to illustrate and express what I felt at the instant I snapped the shutter.  Originally dedicating myself to event and festival photography, I found I wanted to do more with my camera. I have now developed a broad base of photography genres to expand my horizons and learn new styles and techniques. Being out in nature forced me to take myself away from the busyness of live events and festivals — it was literally a breath of fresh air! As a freelance artist, I thrive on challenging myself across various genres. This diversity is key to staying motivated and maintaining balance in my work. In my Toronto Sunrise series, I photograph knowing that each outing creates a unique moment and story. This project has grown to something I would have never imagined. Having done this now for over 11 years, my semi-annual sunrise meetups gather as many as 80 like-minded people who are just as enthusiastic (or crazy) as I am to wake up at 4:00 a.m. to photograph the sun. The silhouette of the CN Tower backed by the solar eclipse of 2021. Taken with a solar filter to expose for the sun. • Nikon Z 7 with 200-500mm f/5.6 at 480mm, f/5.6, 1/80sec., ISO500 photoED: Do you have a favourite story from your adventures you can share with us? taku : In the summer of 2021, the people of Southern Ontario witnessed a solar eclipse. Knowing that the sun was to rise directly behind the CN Tower, it was going to be an extremely popular event for local photographers. I prepared by scouting a location ahead of time to find the exact place I wanted to be for that short intense moment. I knew I had to pre-compose and pre-focus my shot as I wouldn’t be able to see anything until the sun started to creep from behind the tower, and I wanted to photograph the eclipse with a solar filter so that I could properly expose for the sun. With a filter, the sun turns a beautiful orange hue instead of an overexposed white that you would get otherwise. On the day, I set myself up alongside 40 to 50 other photographers, and felt ready for the moment. As the sun crept behind the tower, it showed beautifully in my Nikon Z 7 viewfinder. I started to take a few photos but I realized I had forgotten to switch autofocus off on the lens. This meant the camera hunted for a while before it was able to properly focus and take the photo. My heart skipped a beat, as I feared losing this instant. Fortunately, I had my focus square placed on the edge of the tower, so the camera was able to focus relatively quickly. As soon as I noticed, I quickly switched to manual focus and managed to get the shot I had envisioned weeks beforehand.  Later, I was happy to see that I was one of the only ones who thought to use a solar filter for this event, proving that with enough planning and dedication, you can  photograph what you aim for. A gentle winter’s snowfall creates beautiful textures in the woodlands. • Nikon Z9 with Z 70-200mm f/2.8 VR S at 200mm, f/8, 1/500sec., ISO250 photoED:   What do you love most about sharing stories through photography? taku : As a self-taught photographer, I learned by reading books and perusing through magazines, engulfed in these stories with wide eyes, soaking in stunning images by professional photographers. Their stories and images motivated me to pick up a camera to see what I  could do with it. Fifteen years on, I now have my own stories to share, and I teach photograp hy.  I feel blessed to impart this knowledge, hoping to motivate others to explore new possibilities with their cameras. By sharing, we all learn and inspire one another. photoED:   Whose work has influenced yours? How do you keep learning?   taku : I find inspiration and a breadth of work to admire in the creations of my fellow Nikon ambassadors: Joe McNally, Kristian Bogner, and Michelle Valberg . They are not only great photographers but also great storytellers and human beings. I don’t think we ever stop learning in photography. As Joe would say, “once you feel comfortable with your camera, a new one comes along with new features you have to learn!” My use of colour in photography has been influenced by photographers who use post-processing techniques. Artists like Trey Ratcliff or Elia Locardi taught me how editing can change and enhance the final outcome of a photograph.  With so much technology in our hands, our cameras are more capable than ever. I aim to learn new features even if they’re something that I don’t necessarily need in my workflow. Understanding these features and knowing how to use them has allowed me to apply them in unexpected areas. For example, I was not a bird photographer until the pandemic grounded us. Pre-capture mode on Nikon cameras comes in really useful to be able to capture the fleeting moment of a bird taking off into flight. By focusing in on our subject, textures, shapes, and curves give viewers a different perspective of the everyday swan. • Nikon Z9 with Z 100-400mm f/4.5-5.6 VR S at 330mm, 1/800sec., f/5.6, ISO1250 photoED: What makes a good photograph?    taku : For event and natural landscape photographs, pulling me into the image evoking an emotional response leaves a strong impression on me. Photographs that make me think twice before realizing what I’m looking at, or images that make me seek out what is happening in the frame, I feel are impactful as well. Photography is not only a great way to capture a moment in time, but it’s also an art form for expressing your creativity.  While I know post-processing can bring a lot into an image, I try to inspire others to not rely on editing alone to bring out the story you’re after. Doing as much as you can when you press the shutter will — I believe — create a more impactful photo and emotional story, rather than heavily manipulating images later. photoED:  How has working in photography influenced you personally?   taku : I have always been a technical person from childhood. Studying engineering and print management in university further honed my technical acumen. When I learned photography, the technical side of me took over as I figured out the camera settings. Over years of photographing live events, I’ve met so many photographers from different backgrounds, enriching my style of the art form. I enjoy seeking new compositions and trying different things in an effort to provide my clients with something new . Sometimes it works, and sometimes it doesn’t — but that’s okay as you learn most from the things that didn’t work out. More than ever, I’ve learned to appreciate the creative side of photography. I enjoy the abstract, thinking outside the box, and coming up with something unique in hopes of sparking the creative process for others. A two-photo panorama of the iconic Humber Bay Arch Bridge and the city skyline. • Nikon Z7 with Z 35mm f/1.8 S at 35mm, f/16, 20sec., ISO64 photoED:  What has been your favourite or most personally impactful project? taku : I would consider the Toronto Sunrise  series to be significant for me in terms of creative growth. Without my meetups over the years I would never have met so many people, learned from them, and been inspired by them. I’m always happy to see familiar faces at the meetups, meet new people, and observe new connections and friendships being made along the way.  As we exchange ideas, techniques, and styles, it not only fosters connections but also inspires everyone — including myself — to try something I may not have thought to try.  I encourage everyone to seek out their local photography community to make connections and learn something new. photoED:  What advice do you have for photographers just getting started? taku: The best way to learn is to get out and take photos. Whether you want to learn photography for fun, or start a new career, putting yourself into the situation you want to be in will force you to learn quickly. Learn by figuring out camera settings and seeing what effects they make. Knowing this will help being in the moment as you photograph, and enable you to see and react as things happen in front of you. The more you practise with settings, the more they become second nature. Don’t worry about what others are doing and focus on yourself, where you need to grow, and what you need to do to improve. You will enjoy the art form much more. A Goldeneye launches into flight with a sunrise glow behind him. • Nikon Z9 with Z 800mm f/6.3 VR S at 800mm, f/6.3, 1/1000sec., ISO2800 GEAR UP What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using NIKON products.   Taku: One of the reasons why I use Nikon cameras is that they are tools that I can trust to be there and function properly, rain or shine, and they have never failed me. I pair my Nikon Z9 with my Z8 for my still photography, and add my Z6iii for video productions, including for my YouTube channel. I love how each camera excels in its own way, but using them together is second nature as their interfaces and features are all similar, which makes for a very convenient workflow. One of my favourite lenses is the Z 24–120mm f/4 S. It is versatile and capable of photographing practically anything you put in front of it. From landscapes, to events, to portraits, and even video work, it excels in every way. It has been in my camera bag no matter where I go. It also makes for a fantastic travel lens since it’s so compact and lightweight that it can replace several different lenses. It’s the one lens that I always recommend people consider first with their Z bodies. To see more of Taku’s work, check out his websites,  smaku.com  and takukumabe.com Find him on Instagram, and YouTube Check out his favourite Nikon gear, HERE. Taku Kumabe