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An interview with photoED Magazine “When life gives you Italian lemons” - Tuscany, Italy. Shot with Tamron 28-200mm. ISO 400, 1/100 sec, f/5, 39mm Marie-Louise Moutafchieva is a Canadian-Bulgarian photographer with a passion for food and travel. At home or abroad, Marie-Louise crafts beautiful stories that celebrate food, food producers, kitchens, architecture, plants, light, and moments to savour. “The Garden of Italy”• Tuscany, Italy. Val D’Orcia shot with Tamron 28-200mm F/2.8 - 5.6 at ISO 100, 1/500 sec, f/5, 61mm. photoED: How did you get started in photography? And what keeps you motivated and inspired to keep at it? Marie-Louise : I have an old family photo of me holding a camera at age 6 — I couldn’t tell you if it was a real or toy camera, but my curiosity to explore photography definitely started around then. Travelling often with my parents throughout Europe, my mother was the family photographer, but in my early teens I began to take over. I took classes in high school and quickly discovered I wanted to get more serious. Travel is still a creative motivator for me. Observing small, everyday moments — whether it’s a cup of coffee with a slice of something sweet and homemade, documenting a change of seasons, or watching someone working away in a kitchen or food shop — I’m always excited to find a new angle to share. My friends and family have been a constant support. It’s nice to have someone say they enjoy seeing how I view the world, and that I inspire them to pick up a camera again! photoED: What do you love most about creating stories through photography? Marie-Louise : I love how photographs have the power to create memories of a place and time, like little time capsules, if you will. Images share the culture of a place — food, traditions, people, history. Instead of using words, photographs have enough power to tell a larger tale. I create stories with the hope of transporting viewers to experience being there. I want them to almost smell the seasonal fruits at the weekly market, to hear the banter of locals, to feel all the senses through my images. photoED:  Whose work has influenced yours?   Marie-Louise : My style has evolved throughout the years, finding influence from various artists. The work of Renaissance painters and Dutch masters like Johanes Vermeer and Rembrandt influenced my portrait series “ Renaissance Children ,” in 2016–2017. I’m also a big fan of Danish photographer Ditte Isager, who’s a great storyteller. Her diptychs combine food and place, and create a sense of calm. Saul Leiter and Joseph Sudek , whose photographs give elegance to their subjects, are other favourites of mine. “Duomo dog walk” • Siena, Italy • Shot with Tamron 28-200mm. ISO 160, 1/250 sec, f/4.5, 90mm photoED: What makes a good photograph? Marie-Louise : Composition, patience, a good eye, perfect timing to capture a moment, and an ability to translate a new sense of a place. Photography makes you look at the world from another perspective and forces you to pay attention to what surrounds us. Most importantly, a good photograph simply feels right. photoED: How has working in photography influenced you personally? Marie-Louise : I think it’s given me more confidence. I’ve seen my work improve with experience and I appreciate the knowledge I’ve gained. I’ve met some of the most interesting people in the industry. There are many things in life I don’t think I could have done without the growth that’s come from my persistence and constant practice in photography. “Cheeseman”  •  Tuscany, Italy. A cheesemonger at his market stall cutting from a barrel of cheese  •  Shot with Tamron 28-200mm. ISO 125, 1/200 sec, f/5.6, 168mm. photoED:  What’s been your favourite project to work on?   Marie-Louise : Travel abroad always opens up interesting adventures and leaves me inspired, wanting more. Since 2017, I’ve been collaborating with a friend and artisanal baker in Sofia, Bulgaria, when I’m there. Our passion for food and styling tie hand in hand. We’ve done several mini projects together and continue to try new experiments for the love of cooking and art. photoED:  Where do you hope photography will take you in the future? Marie-Louise : There are so many places I’m excited for photography to take me! I’d love to have more of my work published in international travel and leisure magazines, and I’m slowly working towards a photo-based cookbook of my own recipes. I’d love to continue collaborating with professional chefs and bakers in their kitchens, and extend the idea to include artisans around the world. I want to document the stories and workshops of people who work with food, such as cheesemakers, vintners, farmers, and chocolatiers, as well as craftspeople like woodworkers and ceramicists. I also have a goal of exhibiting my work in the courtyard of the the Archeological Museum at the Regional Museum of History in Veliko Tarnovo, Bulgaria. They have a gallery space and lovely porticoes, which I’ve already visualised a display for! I can picture a very interactive show. My mother and father grew up in the old part of the city, so I have a very personal connection there. “Old walls of Siena” • Siena, Italy. • Shot with Tamron 28-200mm. ISO 250, 1/160 sec, f/6.3, 98mm photoED:  Do you have any travel tips for photographers? Marie-Louise : Travel light! Keep extra batteries handy. I don’t like to carry too many lenses, only ones that could be versatile for everything, from portraits to landscape to details. Mirrorless lenses are very light and ideal for travelling. Bring business cards or postcards of your work with you to share. You never know who you may meet along the way. Potential future clients, friends, and other connections are always a possibility! Take your time. For travel photographers, the journey is part of the point! Keep your eyes open and stay curious. “Tuscan pigeon” • Tuscany, Italy • Shot with Tamron 28-200mm. ISO 160, 1/200 sec, f/5.6, 200mm. GEAR UP What camera and equipment do you use most now? What’s your favourite lens? Tell us about your experience using Tamron lenses. Marie-Louise : I shoot with Sony equipment, and am currently using the Sony A7 III. My go-to lens until recently was the Sony Zeiss 24–70mm, although after using Tamron’s 28–200mm F/2.8 Di III RXD All-in-One Zoom , I can easily say it’s my new favourite.  The quick aperture was very useful on cloudier days with lower lighting situations. Starting at F2.8, it adjusts while zooming, to F3.5 at 50mm, F4.5 at 100mm, and so forth. I’m impressed with the range of the Tamron zoom, in addition to its speedy autofocus and super-sharp results. It was an absolute pleasure framing beautiful landscapes with every detail while on my recent travels in Tuscany. I enjoyed taking advantage of the zoom capacity to see all the intricate ornaments on centuries-old architecture. It's a great lens that switches easily between micro detail and landscapes. Marie-Louise  Moutafchieva See more of Marie-Louise Moutafchieva's work - HERE. Check out Marie-Louise Moutafchieva's fave new Tamron lens - HERE! www.tamron-americas.com

Water is a loaded theme for a photographer to explore. The WATER issue of photoED magazine is in PRINT now! “Individually, we are one drop. Together, we are an ocean.” — Ryunosuke Satoro Images of water can trigger highly emotive responses that run the gamut from easy, warm summer memories at the local pool to activist movements fighting toxic waste dumping and our terrible treatment of marine life. There’s no question that water is essential to life. THE WATER ISSUE presents a number of Canadian photographers that make it their life’s work to spell out ways that we as a society continue to self-harm by how we treat this crucial element. Amy Romer ’s documentary investigations into salmon in British Columbia and commercial photographer Benjamin Von Wong ’s incredible international constructions both present us with eye-opening facts and figures on industrial activity. These incredible Canadian photographers both clearly demonstrate a need for change. We also look to water for mental health and healing, as Ruth Kaplan ’s Bathers work presents. We look to water as creative fuel, as seen in Osheen Harruthoonyan ’s work. We look to water to anchor our community, as the Scarborough Made crew shares. We look to water to both sustain and inspire us all. This special edition also features, our Books + Resource recommendations or further water photography explorations, and our PORTFOLIO featured artists: Tobi Asmoucha, Gustavo Jabbaz, Richard Miller, Steve Simon, Amy Friend, Carol How, Carey Shaw, Shelley Wildeman, Catherine Page, and Lori Ryerson. We hope all of our readers find fresh inspiration to dive into new water-based directions from this edition. Follow us on Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

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

This exposure was made over the course of a photography class between January 16, and April 3, 2023, for a total shutter speed of 34 hours and 10 minutes using an aperture of f/32 and shot on Ilford FP4 125 ISO film with a one-stop push at the time of processing. 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! 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1. Fishing line (nylon/acrylic thread) If you enjoy designing elaborate sets for still life objects or products, then thread is your best friend! Acrylic string contains the power of invisibility and optical illusion. With the right lighting and post-production techniques, it can make things appear as if they are magically floating in the air. 2. Magnets Fashion designers often use them to pick up stray pins and needles, but on set they can be used to hold up metal jewellery and fasten lightweight props onto upright surfaces. 3. Sticky tack and bubble gum This one’s for you improvisers and MacGyvers out there! When all else fails, these two adhesives are the most reliable. Imagine trying to photograph an upright pencil without string or tape. Chewing gum will solve that problem real quick. 4. Lucky socks “Dude, where’s my lens cap!?” is the age-old internal dialogue of a photographer. Critics may disagree, but I always bring a pair of socks with me on set in case I lose a lens cover or need to cushion it on a hard surface. Think about socks like a lens-cozy. Fuzzy socks or slippers can also be a great substitute for dirty sneakers on light-coloured, seamless backdrops. 5. Party horn (noise-makers) Not your conventional studio tool, but these can come in super handy when you’re trying to get toddlers and pets to focus on the lens. 6. Bristol board Whether you’re on a budget or on the go, buying some black and white bristol board from a dollar store will never fail you. This versatile paper board can become a reflector, flag, or even a backdrop. The options are limitless! 7. Binder clips Nowadays these nifty little things come in all kinds of colours and sizes, and they are perfect for fitting clothing to a model, attaching fabric backdrops to each other, or fashioning a bristol board flag to a stand. 8. Plastic wrap Another optically illusive tool, this kitchen staple can act as a protective lens barrier for spit-takes, wet dogs, or any situations where the camera can be exposed to splashes. Plastic wrap can also create some glaring effects, so you may need to use a polarizing lens filter to avoid those. 9. Mounting tape Regular tape does most jobs, but mounting tape has the added bonus of being double-sided and super strong! 10. Beaded jewellery Not a necessity, but definitely a surefire way of simulating lovely lens flares and beautiful bokehs when you’re feeling creative. 11. Water A friendly reminder to stay hydrated! But it’s also good to keep spray bottles of water handy for adding a dewy effect to products or to quickly wipe down surfaces. This story featured in our FASHION X FUTURE edition, a special curation by Djenabé! Order your print edition - HERE or read more in the DIGITAL REPLICA - HERE . Looking for more STUDIO stories... Enjoyed this free read?!  Consider supporting us! We need your support to continue producing great, original content for you to enjoy! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions

"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 The COLOUR issue IN PRINT • Cover image by Finn O'Hara • photo by Marie-Louise Moutafchieva 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 Find our playlist of COLOUR inspired tunes on SPOTIFY! Follow us on Patreon and Instagram , and sign up for our e-newsletter to keep up with all our adventures! Consider supporting us!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions

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

“You don’t take a photograph, you make it” This well-known Ansel Adams (1902–1984) quote would have had a very different audience and intention given the image-making technology of his time. Adams challenged the then mainstream idea that a photograph was a document and confidently stated that the tools he used to record scenes were tools of a fine art craft rather than instruments of factual recording. Issue #73 - MELD - Cover image by Sarah E. Fuller , photo by Margaret Mulligan Photography purists still applaud Adam’s proclamation that photography should be considered an artform; but this quote takes on a bold new meaning now, given the limitless technology options available today to creative practitioners. From historical processes to AI, the “making of photographs” has never been a more diverse and contentious landscape. New combinations and previously unheard voices present us with truly exciting, fresh conversations. Cameras are no longer even needed to create hyper-real images. “Photographs” are “made” every day at a rate beyond anyone’s comprehension with AI. With the volume of images being “made,” my question is “What are they saying?” What are we visually breathing in from beneath this avalanche? Issue #73 celebrates photo-based artists that dare to meld technologies to craft powerful creative statements. Emma Nishimura feature story by Corinna vanGerwin Emma Nishimura ’s multimedia works are a tribute to her family history. Her use of photographic documents in crafting intricate, delicate, beautiful pieces connects the viewer with a very real family immigration story. The images she “makes” blend her story with that of her grandmother’s. All the artists in this edition share practices that are slow, arduous, complicated, and layered. Works presented in this issue offer disruptions and diversions from the high-volume digital life quips that we have gotten used to streaming endlessly on our screens. Prolific outsider artist Martha Davis ’ dioramas and greenscreen projects are vivid, quickly made sketches that demand attention and slam down really hard conversation ignitions about genuinely important topics: community, seniors, children, our environment, social justice, and more. Natalie Hunter ’s work takes a gentler approach, inviting viewers into a physical experience of quiet light and joyful colour. Her work asks us to pause and breathe as we enjoy a rare analog experience. Natalie Hunter feature by Bart Gazzola In the context of mainstream conversations arguing the virtues and warnings of AI, Benjamin Freedman ’s work questions, and mirrors Adam’s quote directly. Benjamin’s fabricated camera-less narratives in the context of contemporary art ask us not to challenge the truth of an image (those days have passed) but present us with a new tool for storytelling our memories, and other narratives that may or may not exist. Duane Isaac ’s work combines the physical craft of mask-making with photography to present viewers with an Indigiqueer perspective that explores identity, culture, and sexuality. ( Read more here ) The PORTFOLIO pages in this edition are especially exciting for us, as the artists we present here have been selected by our curatorial team from our first-ever international open call. Trina O’Hara (Australia / Italy) PORTFOLIO featured artists Trina O’Hara (Australia / Italy) Sarah E. Fuller (Canada) Pavlo Fyshar (Ukraine / Germany) Maryam Firuzi (Iran) Rosemary Horn (New Zealand) Diego Fabro (Brazil / Dublin) Monica Rooney (Canada) Christine Germano (Canada) Zelda Zinn (USA) Ralph Nevins (Canada) AND, Check out the GuruShots Pure Minimalism showcase in print or online HERE. Find our playlist of MELD inspired tunes on SPOTIFY! Consider supporting us!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions

Duane Isaac, Snake Series, 2023. AS I AM AN  Ojibwe and Wasauksing First Nation (Eagle Clan) member, my curatorial interests explore many facets of identity, including discussions of queerness, gender, and the importance of cultural representation in art. I have always focused on rising artists who push boundaries and align with the themes and concepts I research.  Duane Isaac is one of those artists. They are of Mi’gmaq descent from rural Listuguj, Quebec. From studying at Dawson College to exhibiting in various galleries and publications, their practice catalyzes discussions of indigeneity and queerness, woven into themes of masculinity, femininity, and the power of camp.  Duane Isaac, “Bloom,” 2018. Duane states, “My Indigiqueer perspective shapes my artistic practice by exploring the intersectionality of identity, culture, and sexuality.” Duane creates surreal, fantastical masks inspired by ideas around their identity, made of found objects and recycled supplies. Their fabrication process involves forging every mask with a base layer of aluminum foil applied to a mould to create a smooth, seamless form. When pleased with the mould prototype, the mask gains a layer of foam clay, filling any gaps and creating stability. Once the foam clay has congealed, the mask is ready for protruding forms and embellishments. Duane’s masks are fabricated in an organic flow in which mistakes and anomalies  are embraced. These moments push the creative work in new directions throughout the process. The creative process continues through the camera lens and later in post-production. Duane works with models, friends, and strangers to embody archetypes that comment on the ongoing glorification of the ideal body. The photographs are narrowed down to four or five for the editing process. Duane uses Lightroom and Photoshop to layer in otherworldly environments to create an eerie playfulness. Ultimately, mask-making has been the most important part of their photography journey. I first became aware of Duane’s practice in 2018 when I came across "Bloom" (2018). This image specifically spoke to the concepts and themes I research, queerness and gender. Queer identity holds many complex states of fluctuation. The embodiment and notions of masc and fem are never in a fixed state and always waver. Often, our desires, relationships, and interactions are subjected to scrutiny, and expectations are made around sexuality and gender identity to fit a pre-manufactured mould. "Bloom" (2018) presents a traditionally masculine body that evolves past colonial ideologies surrounding sexuality and gender.   Duane Isaac, Snake Series, 2023. Celestial Bodies / Corps célestes /Enangog Bemaadzojig , exhibition at daphne Gallery, Montreal, in collaboration with articule, photographed by Guy L'heureux, 2023. Duane and I worked together in 2023 at daphne x articule in Montreal. Celestial Bodies  became a travelling exhibition that stemmed from my residency there. This group exhibition explored the experience of Indigenous Two-Spirit and Indigiqueer identities. Our work presented the audience with the statement: We are celestial bodies, and we transcend. Duane Isaac, Snake Series, 2023. Celestial Bodies / Corps célestes /Enangog Bemaadzojig , exhibition at daphne Gallery, Montreal, in collaboration with articule, photographed by Guy L'heureux, 2023. The Snake Series , consisting of three photographs and three sculptural masks’ were pieces created specifically for Celestial Bodies . This work challenges the traditional way we view photographs as art by allowing the viewer a new dimension to their experience. The handmade masks on display share the artist’s hand and challenge the connection with the subject in the image. In this series, Duane presents concepts of the queer gaze through myth and fable iconography crafting a sense of the forbidden. Apples, pills, and snakes embody temptation, caution, and consequence, cloaked around the ideals of traditional beauty.  Duane Isaac, “Untitled 3,” 2023. Duane’s practice is ever-evolving. A recent outdoor exhibition of their work in Quebec featured large-scale images printed on transparent sheets pressed into blocks of ice. New presentations such as this push their ideas around encapsulating the surreal, while continuing to propel viewers to question beauty and identity through ethereal, strange, and heavenly works. See more work by Duane Isaac: duanedisaac.com This story appeared in issue #73, the MELD edition. This issue showcased photography as a creative blender, presenting artists who work slowly and carefully crafting considered, intentional, layered, and complicated works. Follow curator and artist Jesse King, HERE Did you enjoy this FREE read? Consider supporting us!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   READ our digital editions  Follow us on Patreon and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

LIGHT IS THE BASIS FOR PHOTOGRAPHY. As photographers, our craft is about documenting it or manipulating it to shape a narrative. THIERRY Du BOIS • From the Edification of Light series OUR 70TH PRINT EDITION shares contemporary visual depictions of electromagnetic radiation and its unique qualities, opening our eyes to the power of light through a new lens. The LIGHT issue IN PRINT • Cover image by THIERRY Du BOIS • photo by Margaret Mulligan #MadeWithAffinity The artists in this issue work with light as the basis of their photography, taking their explorations to new levels. “In the right light, at the right time, everything is extraordinary." — Aaron Rose Ann Piché crafts her images featuring light as her central subject; while Thierry du Bois creates abstract visions from the glow of urban architecture at night; and Vicki DaSilva uses light as a tool to create graffiti only visible with a camera. Ann Piché • fractured Vicki DaSilva • I am Malala • Light graffitti Meanwhile, Adam Swica, Rita Leistner and Don McKellar play with light to create visual narratives for viewers to question. “She Is Tangled In The Light" ©Rita Leistner and Don McKellar, courtesy of Stephen Bulger Gallery and FFOTO.com This issue features:        SCARBOROUGH MADE Community Spotlights By Sid Naidu RITA LEISTNER & DON MCKELLAR  Searching for light in dark times By Craig D’Arville THIERRY Du BOIS  Lit from within By Alan Bulley THE PHOTOGRAPHY OF ANN PICHÉ By Darren Pottie VICKI DA SILVA  Running with Light By Rita Godlevskis SOFT-FOCUS AND SERENDIPITY: PINHOLE PHOTOGRAPHY By Peppa Martin ADAM SWICA  Rendering Light By Corinna vanGerwen Minna Keene & Violet Keene Perinchief By Mina Markovic Chasing Light is Chasing Life By Rocio Graham This edition also features, our Books + Resource recommendations by Alan Bulley for further light-based photography explorations, and our PORTFOLIO featured artists: Henry VanderSpek Monica Rooney Amy Friend Grant Withers Nikki Baxendale Jennifer Gilbert Felicity Somerset Alan McCord Pablo Villegas A Canadian photo history highlight by the phsc.ca Find our playlist of LIGHT inspiration tunes on SPOTIFY! Follow us on Patreon and Instagram , and sign up for our e-newsletter to keep up with all our adventures!