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Ok, let’s do some math: take eight photographers, multiply them by 36 exposures each, add one model and a rack of costume options in a beautiful house near Mont-Tremblant, then divide by just 30 minutes per photographer to make one outstanding image to be judged by a panel of seven. What do you get? A lot of fun and learning, all while raising money for a worthy cause. Organized by Toronto photographer Michelle Quance, the Thirty6Xposures project encourages friendly competition and channels support for research on Rett Syndrome, a genetic neurological disorder that is more common in females and has a broad set of impacts on movement, speech and breathing. Those of us who weren’t in on the adventure can follow along thanks to a good- humoured movie that documents the process each photographer went through to make images and select the best one for printing. The film was directed and narrated by Quance, with excellent technical work from Rachel Bower (Cinematographer) and Shawna Eberle (Editor, and one of thie challenge participants). The Thirty6Xposures name hints at one of the challenges participants face: being limited to 36 frames, just like in the old days when shooting a roll of 35mm film was not an esthetic choice. Some of the other challenges include the time constraint, having to photograph indoors at a given time of day, and working with a live model when most participants are not used to giving direction in a fashion session. A tough assignment! Experienced photographers will sympathize—and often laugh along with—their onscreen counterparts and imagine how they might have done it differently. For less experienced viewers, the movie is punctuated with brief but helpful explanations of some of the tech-speak that peppers the dialogue. Clips of the film are being released on YouTube and anyone who wants to stay up to date with where the project is heading next can follow @Thirty6Xposures on Instagram. Additionally, an exhibition of personal work from the eight photographers featured in the 36 Xposures Photography Challenge takes place as part of the CONTACT Festival of Photography until June 28, 2024. Styles range from fine art, wildlife, celebrity, portrait, street and live music photography. Each photographer has chosen one image from their personal portfolio to be featured. @traceybielphoto @alioopphotography @skin_mf@johanna.carlo @fabricefotoartprojects @freddykoops @michaelhurcomb @shawnaeberle Enjoyed this free read?! Consider supporting us! As the ONLY independent editorial photography publication in Canada we'd love your support to continue producing great content for you to enjoy! JOIN US AS A PATRON  • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS

An interview with photoED Magazine photoED magazine spoke to Toronto–based photographer Henry VanderSpek about photography on the street. Henry VanderSpek (a.k.a. Culture Snap Photography) is a Toronto-based street photographer with a passion for people and community. He has exhibited a number of projects in the city’s CONTACT Photography and DesignTO festivals, and his work has been featured on CBC Radio, CBC TV, Now Magazine, and published in a variety of additional national media outlets. He works with both digital and film cameras to capture scenes where objects, symbols, and people interact to create something new. photoED: Based on your prolific portfolio, it seems like you have always had a camera in your hands. How did you get started, and what drives you to pick up a lens every day? Henry: I see visual opportunities every time I leave the house. Every day brings something different. I do not want to miss capturing brief alignments of beauty, irony, or curious mixtures of both. What is momentary can live on in a photograph, and so I rarely step out without a camera. Between my father developing film at home and my mother taking our family to countless galleries and museums, my parents are my original sources of inspiration. My passion grew in the mid-2000s with a project I took on with an international non-profit, and some of my images were published. In 2011 I became a stay-at-home dad, which allowed me to explore the city with my kids and to find new opportunities to practice my craft. photoED: What do you love most about creating stories through photography? Henry: Through intentional documentary projects or chance encounters, I love meeting people and hearing about their life experiences. There’s something very satisfying about the human connection that these moments offer. Capturing someone’s smile, expression, and gesture, and even their character, in a way that surprises them feels very meaningful. It is a joy to document people and their stories, but even more so to be able to share them with others. My projects often celebrate local business owners and community members, and I include both images and text excerpts from our conversations, so that those who attend can feel the warmth that came from the lively dialogues that we shared. photoED: Whose work has influenced yours? Henry: There are so many that I admire: Sally Davies’ street scenes of New York City, layered with detailed points of intrigue and juxtaposition, and her projects celebrating the people of New York and Los Angeles in their homes. Fred Herzog’s eye for composing scenes on Vancouver’s streets, captured brilliantly with colour film. Jamel Shabazz’s skill and empathy while documenting people on the streets of New York in the 1980s, which continues to have so much resonance and impact. George Webber’s beautiful work capturing the people and scenes of the Canadian Prairies. Ruth Kaplan’s documentary skill and leadership for inspiring the next generation of photographers. Larry Frank’s insight, wisdom and playfulness has also ignited a passion for photography in so many. I find myself drawn to, and constantly learning from, each of these individual’s impressive bodies of work. photoED: What makes a good photograph? Henry: Every genre of photography offers distinct ways to create a strong image. At an essential level, a good photograph begins with bold elements that draw your eye. Creating images in a street context involves seeing unusual alignments of light and shadow, words or objects, combined with a human presence. It is deeply satisfying when these all come together to present something new and engaging. Joel Meyerowitz talks about making more than just “copies of objects” in our images, but rather creating something unique by bringing together within a frame diverse components that may align only for a fleeting moment. Seeing this done well inspires me and it is what I aim for when creating a photograph. photoED: How has working in photography influenced you personally? Henry: I feel more connected and engaged with people as a result of being a photographer. I’ve learned to take risks in starting conversations and benefited from the gifts of human connection and new possibilities that come about as a result. I have found a deeper purpose in both creating art that inspires and moves people, but equally so in serving others by celebrating my city and the people in it. Each new connection and outcome along the way encourages me to continue on this journey. Over the years I’ve also grown connected to a community of photographers and that is something I am equally very thankful for. photoED: What has been your favourite or most personally impactful project or adventure? Henry: In 2017 I exhibited Taxi Drivers of Toronto, a project that celebrates the hard-working cabbies of my city. It started as an assignment for a course on portrait photography, but I soon realized that it could become a larger project. It was all new territory for me: pitching my project to cab drivers, sorting out which gear to use, building relationships with taxi companies and with arts organizations, looking for sponsorships. It was an exciting journey, and the stories that taxi drivers shared were truly wonderful. There were many challenges, but I’ll never regret taking on this project, as it helped me to develop skills that I continue to use today. photoED: What does your dream project entail? Where do you hope photography will take you in the future? Henry: Creating images that elevate others is where I aim to be. I named my photo business Culture Snap as I love to celebrate unique people and vibrant cultural expressions. I also value working in a team to accomplish something meaningful, with a greater purpose. These elements are what made my past work with non-profit organizations a real joy, and are what I look for in future opportunities. A dream project would involve being a member of a creative team whose goal is to tell the stories of people whose lives and contributions are under-recognized. The world is full of such stories to explore. GEAR UP What camera and equipment do you most use? What’s your favourite lens? Tell us about your experience using Tamron lenses. Henry: I own multiple zoom and prime lenses that work with my Nikon Z6 II. Some are used for event photography and others I like for portrait shoots. I tend to favour ultra-wide angle lenses when going out for a photo walk, as they allow me to show a larger context and to connect diverse elements into a dialogue within my frame. The Tamron 35-150mm f/2-2.8 for Nikon Z has been a wonderful surprise to me. It is so practical to have a zoom that starts at 35mm instead of the more common 70mm focal length. I’ve been impressed at how sharp and crisp the images are that this lens delivers. Having a starting aperture of f/2 certainly helps in that regard. The quality of materials and design incorporated into this lens matches, if not exceeds, that of the best lenses that I have owned. I’ve seen buzz about this lens online and having used it now for several months I can understand why. It is very handy to have a high-standard, all-around lens to work with for events, portraits, or even street scenes. See more of Henry's' work - HERE. Check out Henry's fave new Tamron lens - HERE! www.tamron-americas.com

Le magazine photoED a parlé au photographe basé à Toronto, Henry VanderSpek, à propos de la photographie de rue. Henry VanderSpek (alias Culture Snap Photography) est un photographe de rue basé à Toronto avec une passion pour les gens et la communauté. Il a exposé plusieurs projets lors des festivals de photographie CONTACT et DesignTO, et son travail a été présenté sur CBC Radio, CBC TV, Now Magazine, et publié dans divers médias nationaux. Il travaille avec des appareils photo numériques et argentiques pour capturer des scènes où les objets, les symboles et les personnes interagissent pour créer quelque chose de nouveau. photoED: À en juger par votre portfolio prolifique, il semble que vous ayez toujours eu un appareil photo entre les mains. Comment avez-vous commencé et qu'est-ce qui vous pousse à prendre un objectif chaque jour ? Henry: Je vois des opportunités visuelles chaque fois que je quitte la maison. Chaque jour apporte quelque chose de différent. Je ne veux pas manquer de capturer les brèves synchronisations de beauté, d'ironie, ou le curieux mélanges des deux. Ce qui est éphémère peut perdurer dans une photographie, donc je ne sors jamais sans appareil photo. Entre mon père qui développait des films à la maison et ma mère qui nous emmenait en famille dans d'innombrables galeries et musées, mes parents sont mes sources originales d'inspiration. Ma passion a grandi au milieu des années 2000 avec un projet que j'ai entrepris avec une organisation internationale non gouvernementale, et certaines de mes images ont été publiées. En 2011, je suis devenu père au foyer, ce qui m'a permis d'explorer la ville avec mes enfants et de trouver de nouvelles opportunités pour pratiquer mon art. photoED: Qu'aimez-vous le plus dans la création d'histoires à travers la photographie? Henry: À travers des projets documentaires intentionnels ou des rencontres fortuites, j'aime rencontrer des gens et entendre parler de leurs expériences de vie. Ces moments offrent quelque chose de très satisfaisant dans la connexion humaine. Capturer le sourire, l'expression, le geste, et même le caractère de quelqu'un, de manière à les surprendre, est très significatif. C'est une joie de documenter les gens et leurs histoires, mais encore plus de pouvoir les partager avec d'autres. Mes projets célèbrent souvent les propriétaires de petits commerces locaux et les membres de la communauté, et j'inclus à la fois des images et des extraits de nos conversations, afin que ceux qui assistent puissent ressentir la chaleur qui émane des dialogues animés que nous avons partagés. photoED: Quels travaux ont influencé les vôtres? Henry: Il y en a tellement que j'admire : les scènes de rue de Sally Davies à New York, superposées de détails intrigants et de juxtapositions, et ses projets célébrant les habitants de New York et de Los Angeles dans leurs foyers. L'œil de Fred Herzog pour composer des scènes dans les rues de Vancouver, capturées brillamment avec un film couleur. L'habileté et l'empathie de Jamel Shabazz lors de la documentation des gens dans les rues de New York dans les années 1980, qui continue à avoir tant de résonance et d'impact. Le magnifique travail de George Webber capturant les gens et les scènes des Prairies canadiennes. L'habileté documentaire et le leadership de Ruth Kaplan pour inspirer la prochaine génération de photographes. Je suis attiré par chacun de ces individus et j'apprends constamment de leurs impressionnants corpus d'œuvres. photoED: Qu'est-ce qui fait une bonne photographie ? Henry: Chaque genre de photographie offre des façons distinctes de créer une image percutante. À un niveau essentiel, une bonne photographie commence par des éléments audacieux qui attirent votre œil. Créer des images dans un contexte de rue implique de voir des alignements inhabituels de lumière et d'ombre, de mots ou d'objets, combinés avec une présence humaine. C'est profondément satisfaisant lorsque tout cela se combine pour présenter quelque chose de nouveau et d'engagement. Joel Meyerowitz parle de créer plus que simplement des "copies d'objets" dans nos images, mais plutôt de créer quelque chose d'unique en réunissant dans un cadre divers composants qui peuvent s'aligner seulement pour un moment fugace. Voir cela bien fait m'inspire et c'est ce que je vise lorsque je crée une photographie. photoED: Comment votre travail en photographie vous a-t-il influencé personnellement ? Henry: Je me sens plus connecté et engagé avec les gens grâce au fait d'être photographe. J'ai appris à prendre des risques en entamant des conversations et j'ai bénéficié des dons de la connexion humaine et des nouvelles possibilités qui en découlent. J'ai trouvé un but plus profond à la fois dans la création d'art qui inspire et émeut les gens, et également dans le fait de servir les autres en célébrant ma ville et les gens qui y vivent. Chaque nouvelle connexion et chaque résultat en cours de route m'encourage à continuer ce voyage. Au fil des ans, je me suis également lié à une communauté de photographes et c'est quelque chose pour lequel je suis également très reconnaissant. photoED: Quel a été votre projet ou aventure préféré ou qui vous a le plus affecté personnellement? Henry: En 2017, j'ai exposé "Taxi Drivers of Toronto", un projet qui célèbre les chauffeurs de taxi travailleurs de ma ville. Cela a commencé comme un devoir pour un cours de photographie de portrait, mais j'ai vite réalisé que cela pouvait devenir un projet plus vaste. C'était tout un nouveau territoire pour moi : présenter mon projet aux chauffeurs de taxi, déterminer quels équipements utiliser, établir des relations avec les compagnies de taxi et les organisations artistiques, chercher des commanditaires. C'était un voyage excitant, et les histoires que les chauffeurs de taxi ont partagées étaient vraiment merveilleuses. Il y a eu de nombreux défis, mais je ne regretterai jamais d'avoir entrepris ce projet, car cela m'a aidé à développer des compétences que j'utilise encore aujourd'hui. photoED: En quoi consiste votre projet de rêve? Où espérez- vous que la photographie vous mène à l'avenir? Henry: Mon objectif est de créer des images qui élèvent les autres. J'ai nommé mon entreprise de photographie Culture Snap car j'aime célébrer les personnes uniques et les expressions culturelles vibrantes. Je valorise également le travail en équipe pour accomplir quelque chose de significatif, avec un but plus grand. Ce sont ces éléments qui ont rendu mon travail passé avec des organisations à but non lucratif vraiment joyeux, et ce que je recherche dans les opportunités futures. Un projet de rêve impliquerait d'être membre d'une équipe créative dont le but est de raconter les histoires de personnes dont la vie et les contributions sont sous-reconnues. Le monde regorge de telles histoires à explorer. GEAR UP Quel appareil photo et quel équipement utilisez-vous le plus actuellement? Quel est votre objectif préféré? Parlez-nous de votre expérience avec les objectifs Tamron. Henry: Je possède plusieurs objectifs à zoom et à focale fixe qui fonctionnent avec mon Nikon Z6 II. Certains sont utilisés pour la photographie d'événements et d'autres que j'aime pour les séances de portrait. J'ai tendance à préférer les objectifs à ultra grand-angle lorsque je sors pour une promenade photo, car ils me permettent de montrer un contexte plus large et de relier différents éléments dans un dialogue à l'intérieur de mon cadre. La lentille Tamron 35-150mm f/2-2.8 pour Nikon Z a été une merveilleuse surprise pour moi. C’est si pratique d'avoir un zoom qui commence à 35mm au lieu de la longueur focale plus courante de 70mm. J'ai été impressionné par la netteté et la précision des images que cet objectif offre. Avoir une ouverture de départ de f/2 aide certainement à cet égard. La qualité des matériaux et du design incorporés dans cet objectif correspond, voire dépasse, celle des meilleurs objectifs que j'ai possédés. J'ai entendu parler de cet objectif en ligne et l'ayant utilisé maintenant depuis plusieurs mois, je peux comprendre pourquoi. Il est très pratique d'avoir un objectif polyvalent de haute qualité à utiliser pour des événements, des portraits, ou même des scènes de rue. See more of Henry's' work - HERE. Check out Henry's fave new Tamron lens - HERE! www.tamron-americas.com

LIGHT IS THE BASIS FOR PHOTOGRAPHY. As photographers, our craft is about documenting it or manipulating it to shape a narrative. 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 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. Meanwhile, Adam Swica, Rita Leistner and Don McKellar play with light to create visual narratives for viewers to question. 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 Coming soon... our FALL 2024 edition will focus on the theme of TIME. If you, or someone you know has work to SHARE with us - Our CALL FOR SUBMISSIONS is - HERE. Capturing a moment, whether a split-second action or an encapsulation of the slow passage of time, is one of the most beautiful and impactful things a single image can convey. Follow us on Instagram, Patreon, Facebook, and Instagram, and sign up for our e-newsletter to keep up with all our adventures!

LAND PRESENTS CONTENTIOUS AND INSPIRING POSSIBILITIES FOR PHOTOGRAPHERS The LAND issue of photoED magazine is out now! “ The Earth is what we all have in common.” — Wendell Berry From clearly demonstrating the abuse we inflict on our Earth, to celebrating and expressing beauty and gratitude for the land we live on, the artists in this edition collectively bring forth an incredible range of observations, possibilities, and questions about the future on our planet. Ella Morton’s analog manipulations speak to her layered experiences of exploring cold northern climates in our feature story by Corinna vanGerwen. Ella's photographs of Arctic lands simultaneously convey stoic beauty and unprecedented environmental changes, overlaid with physical (and metaphorical) human manipulations. Meanwhile, in our feature story by Bart Gazzola, photographer Steve Kean shares his experiences with land, raising questions around the physical experiences we have in nature, or the absence of those experiences, when challenged with accessibility issues. ⁠Naming the “space” in a landscape photograph doesn’t just⁠ evoke a “place,” but creates a framework of meaning for viewers to interpret a location.⁠ Alan Bulley shares his RE: PLACED work with us. A reflection on how the names we give (or take from) places affect the way we 'read' them.⁠ This edition also features an exciting first: the commission of a poem. We are especially excited to share an original new work by photographer and writer Tenille Campbell, which was used as a prompt for creative responses from our Patreon community. Check out the visual interpretations we received in response to her words starting on page 13, of the printed edition. The crew at SCARBOROUGH MADE, lead by Sid Naidu shared their work, RECLAIMING COMMUNITY SPACE. SM's numerous projects activating youth photographers in their local community is an inspiration for any community. This edition also features, our Books + Resource recommendations by Alan Bulley for further land-based photography explorations, and our PORTFOLIO featured artists: Janet Hinkle Arlin Ffrench Vera Saltzman Joanne White Julie Florio TJ Watt Edward Peck Jeff Adams Rachel Foster Richard Miller & Geneviéve Thibault Richard Robesco Richelle Forsey (our cover artist) We hope readers will find inspiration in this edition to reflect on and acknowledge that Turtle Island — although fraught with contentious political issues and decisions — is a place we must all work together to heal. It is with gratitude and respect to the First Peoples that came before us that we have the opportunity to live and work on their traditional lands. IN PRINT NOW! ... our Spring/Summer 2024 edition focus' on the theme of LIGHT. Check it out - HERE. If you, or someone you know has work to SHARE with us - Our CALL FOR SUBMISSIONS is - HERE. Follow us on Instagram, Patreon, Facebook, and Instagram, and sign up for our e-newsletter to keep up with all our adventures!

Billed as the world’s greatest photo game, GuruShots is an international competition platform for photographers. Players get feedback from more than three billion monthly voters and try to work their way up through rankings, from Newbie to the ultimate status (and bragging rights) of Guru. GuruShots’ challenges are voted on by the platform’s Gurus and the wider community, with a fresh challenge every day. Winners can receive prizes from GuruShots’ sponsors such as Adorama, Kodak, Lowepro, and Lensbaby. From city streets to ocean views, the Lighting Challenge showcases a world of wonderful images from around the globe. To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

An interview with photoED Magazine photoED magazine spoke to Fort McMurray–based photographer Melissa Richard about chasing light and the magic of childhood. Melissa Richard is a photographer based in Fort McMurray, Alberta. She is a Click Pro Elite photographer and a Hello Storyteller mentor. Her days are spent teaching young minds at the local school, and her nights and weekends are spent behind a camera. Melissa is a self-proclaimed “light chaser,” and a storyteller inspired by nature, her family, details, shadows, and the quest for dramatic light. photoED: You had a very unique motivation to get started in photography. Tell us what motivated you to pick up a camera and begin taking your photography seriously. Melissa: Our family home, and everything in it, was lost in the massive wildfire of 2016. Prior to the fire, I often booked family photo sessions with talented local photographers and plastered our walls with canvas prints and framed photographs from those sessions. To replace the memories and images that were lost, I may have gone a little overboard and started booking photoshoot sessions almost monthly. The cost was starting to become a burden, and I began to feel like the photographs were just not capturing what I envisioned in my own mind’s eye for my family. My husband had an entry-level DSLR and suggested that I learn to take photos myself. While the fire consumed everything we had, it also opened a new world of creativity to me that I may not have fallen in love with otherwise. photoED: What is it about creating stories through photography that you love most? Melissa: I am most passionate about photographing my family and the magic of childhood, although for one of my kids, life is turning towards an emotional teenage phase, which is shifting my images to a whole new mood. I see what I’m doing as being our family’s visual historian. I strive to capture not just the big milestone moments, but also the little ones that showcase their personalities. I love that we can look back through my images and reflect on these fleeting moments. One day our kids will move away, and these documents will keep our hearts full when we are apart. photoED: Whose work has influenced yours? Melissa: In the beginning of my photography journey, I was completely in awe of Meg Loeks’ work and wanted to be just like her. After I dabbled into many types of photography genres and found my own photography style, I started drawing inspiration from many different photographers. I am mesmerized by Niki Boon’s black and white photography, and I love Kirsty Larmour’s and Joni Burtt’s work. Burtt’s images remind me of my home and my own childhood. I always get waves of nostalgia when scrolling her images. I am also in love with Robin Fox’s work. Her points of view and use of colour is outstanding. photoED: What makes a good photograph? Melissa: I am personally drawn to dramatic light, lines, reflections, interesting points of view, and emotion. A good photograph makes you feel something, reminds you of something, or makes you wonder what the photographer was thinking when taking the photograph. photoED: How has working in photography influenced you personally? Melissa: Photography has really taught me to be more observant. I feel like I’m constantly looking at the world as though through a camera lens. I notice and appreciate little things like the way dust sparkles when the light is shining through the window just right or how little pockets of light can totally change the atmosphere of a location. I love finding leading lines, shadows, and reflections, and seeing how the quality of the sky and clouds can add untold levels of drama to a setting. I didn’t realize how much I loved creating and looking at the world with fresh eyes until I threw myself into photography. photoED: What has been your favourite photography project so far? Melissa: My favourite photography project so far has been creating online courses to inspire more creative folks. I teamed up with Hello Storyteller and wrote a course focused on shooting creatively every day. I poured my heart and soul into that project. GEAR UP What camera and equipment do you most use? What’s your favourite lens? Can you tell us about your experience using Tamron lenses? Melissa: I have two Sony camera bodies and love playing with my GoPro HERO and DJI Mavic Air for drone photography. Prior to having the opportunity to use Tamron lenses, I used to be a prime lens person who never used a zoom lens. Instead, I used to carry two camera bodies with different lenses to all occasions. This recent opportunity to test the Tamron zoom showed me how easy and convenient it was to switch back and forth from 28mm to 75mm. I loved the 28mm for tight spaces and the 75mm was ideal when I wanted to create a portrait with a beautiful bokeh. I almost always shoot wide open (F/1.4 or F/1.8), so I was pleasantly surprised by how much I loved shooting with an F-stop of 2.8. The Tamron lens made shooting different scenes and getting different looks quick, easy, and lighter without having to switch camera bodies back and forth (which is what I always end up doing). See more of Melissas' work - HERE. Check out Melissa Richards' fave new Tamron lens - HERE! www.tamron-americas.com

Le magazine photoED a discuté avec la photographe Melissa Richard, basée à Fort McMurray, à propos de la poursuite de la lumière et de la magie de l'enfance. Melissa Richard est une photographe basée à Fort McMurray, en Alberta. Elle est membre de Click Pro Elite et une mentore chez Hello Storyteller. Ses journées sont consacrées à enseigner aux jeunes esprits à l'école locale, et ses nuits et week-ends sont consacrés derrière un appareil photo. Melissa se décrit comme une "poursuiveuse de lumière" et une conteuse d'histoires inspirée par la nature, sa famille, les détails, les ombres et la quête de lumière dramatique. photoED: Vous aviez une motivation très particulière qui vous a poussé vers l’exploration de  la photographie. Dites-nous ce qui vous a motivé à prendre un appareil photo et à commencer à prendre la photographie au sérieux. Melissa: Notre maison familiale, et tout ce qui s'y trouvait, a été détruite dans l'immense incendie de 2016. Avant l'incendie, je réservais souvent des séances photo de famille avec des photographes locaux talentueux et je recouvrais nos murs de tirages sur toile et de photographies encadrées de ces séances. Pour remplacer les souvenirs et les images perdus, j'ai peut-être un peu exagéré et j'ai commencé à réserver des séances photo presque tous les mois. Le coût commençait à devenir un fardeau, et j'ai commencé à sentir que les photographies ne capturaient tout simplement pas ce que j'imaginais dans mon propre esprit pour ma famille. Mon mari avait un reflex numérique d'entrée de gamme et m'a suggéré d'apprendre à prendre des photos moi-même. Alors que le feu consumait tout ce que nous avions, il a également ouvert un nouveau monde de créativité pour moi, un monde qui a suscité une passion que je n'aurais peut-être pas découvert autrement. photoED: Qu'est-ce que vous aimez le plus dans la création d'histoires à travers la photographie ? Melissa: Je suis passionnée par la photographie de ma famille et la magie de l'enfance, bien que pour l'un de mes enfants, la vie se tourne vers une phase adolescente émotionnelle, ce qui modifie l'ambiance de mes images. Je me considère comme l'historienne visuelle de notre famille. Je m'efforce de capturer non seulement les grands moments, mais aussi les petits qui mettent en valeur leur personnalité. J'aime que nous puissions revenir en arrière à travers mes images et réfléchir à ces moments fugaces. Un jour, nos enfants partiront, et ces documents garderont nos cœurs pleins quand nous serons séparés. photoED: Quel travail a influencé le vôtre ? Melissa: Au début de mon parcours photographique, j'étais totalement en admiration devant le travail de Meg Loek et je voulais être comme elle. Après avoir exploré de nombreux genres de photographie et trouvé mon propre style photographique, j'ai commencé à puiser mon inspiration dans de nombreux photographes différents. Je suis fascinée par la photographie en noir et blanc de Niki Boon, et j'admire le travail de Kirsty Larmour et de Joni Burtt. Les images de Burtt me rappellent ma maison et mon enfance. Je ressens toujours des vagues de nostalgie en parcourant ses images. Je suis également amoureuse du travail de Robin Fox. Ses points de vue et son utilisation de la couleur sont exceptionnels. photoED: Qu'est-ce qui fait une bonne photographie ? Melissa: Je suis personnellement attirée par la lumière dramatique, les lignes, les reflets, les points de vue intéressants et l'émotion. Une bonne photographie vous fait ressentir quelque chose, vous rappelle quelque chose, ou vous fait réfléchir à ce que le photographe pensait en prenant la photographie. photoED: Comment le travail en photographie vous a-t-il influencé personnellement ? Melissa: La photographie m'a vraiment appris à observer davantage. J'ai l'impression de regarder constamment le monde comme à travers un objectif d'appareil photo. Je remarque et apprécie les petites choses comme la façon dont la poussière scintille lorsque la lumière brille parfaitement à travers la fenêtre ou comment de petits points de lumière peuvent changer totalement l'atmosphère d'un lieu. J'adore trouver des lignes directrices, des ombres et des reflets, et voir comment la qualité du ciel et des nuages peuvent ajouter des niveaux de drame inédits à un décor. Je ne réalisais pas à quel point j'aimais créer et regarder le monde avec des yeux neufs, la photographie m'a ouvert à ceci. photoED: Quel a été votre projet ou aventure préféré ou qui vous a le plus influencé personnellement ? Melissa: Mon projet photographique préféré jusqu'à présent a été de créer des cours en ligne pour inspirer plus de personnes créatives. J'ai collaboré avec Hello Storyteller et écrit un cours axé sur la prise de vue créative au quotidien. J'ai mis tout mon cœur dans ce projet. ÉQUIPEMENT Quel appareil photo et équipement utilisez-vous le plus souvent maintenant ? Quel est votre objectif préféré ? Pouvez-vous nous parler de votre expérience avec les objectifs Tamron ? Melissa: J'ai deux boîtiers Sony et j'adore jouer avec mon GoPro HERO et mon DJI Mavic Air pour la photographie par drone. Avant d'avoir l'opportunité d'utiliser les objectifs Tamron, j'étais une personne qui utilisait principalement des objectifs à focale fixe et jamais d'objectif zoom. Au lieu de cela, j'avais l'habitude de transporter deux boîtiers d'appareils photo avec des objectifs différents à toutes les occasions. Cette récente opportunité de tester le zoom Tamron m'a montré à quel point il était facile et pratique de passer rapidement de 28 mm à 75 mm. J'ai adoré le 28 mm pour les espaces restreints et le 75 mm était idéal lorsque je voulais créer un portrait avec un beau flou d'arrière-plan. Je photographie presque toujours avec une ouverture grande ouverte (f/1.4 ou f/1.8), donc j'ai été agréablement surprise à quel point j'ai aimé photographier avec une ouverture de f/2.8. L'objectif Tamron a rendu la prise de vue de différentes scènes et l'obtention de différents looks rapides, faciles et plus légers sans avoir à changer d'appareils photo en permanence (ce que je finis toujours par faire). Pour visionner le travail de Melissa Richard. Découvrez la lentille préférée de Melissa Richard. www.tamron-americas.com

Entrez pour avoir! The Tamron 17-50mm F4 lens for Sony full-frame mirrorless cameras offers an unprecedented zoom range from 17mm ultra wide-angle to 50mm standard, setting a new standard. With a constant F4 aperture for consistent performance in photography and video, this lens excels in optical performance, ensuring edge-to-edge sharpness. The VXD linear motor focus mechanism provides superior quietness and precise autofocus, while its stable physical length during zoom is ideal for gimbal stabilizers. Boasting an impressive close-range shooting capacity, it allows users to capture unique close-up shots. This "walk around" lens combines portability and convenience, empowering creators to seamlessly switch between diverse subject matter for versatile content creation. See what this lens can do, HERE. Entries close FEB 29, 2024. Entry requirements - must subscribe to receive Tamron's e-newsletter. Unsubscribe at any time. No purchase necessary. Open to residents of Canada only. One entry per person. No substitutions. No cash value. Winner will be notified by email. Prize must be claimed by April 1, 2024 or the prize is forfeited. The winner will be able to substitute the prize with the Tamron SP 100-400mm F/4.5-6.3 Di VC USD for Canon or Nikon DSLR; or Tamron 17-70mm F/2.8 Di III-A VC RXD for Fujifilm X mount; or 70-300mm F/4.5-6.3 Di III RXD for Nikon Z mount. No other substitutions. Conditions d'entrée vous abonner à la newsletter au bulletin électronique. Désabonnez-vous à tout moment. Inscrivez-vous ici. Clôture des inscriptions le 29 février 2024. Pas d'achat nécessaire. Ouvert aux résidents du Canada seulement. Pas de substitutions. Pas de valeur monétaire. Le gagnant sera averti par courriel. Le prix doit être réclamé avant le 1 avril 2024 ou le prix est perdu. Le gagnant peut remplacer la lentille  Tamron SP 100-400mm F/4.5-6.3 Di VC USD pour une reflex numérique Canon ou Nikon ; ou une lentille Tamron 17-70mm F/2.8 Di III-A VC RXD pour la monture Fujifilm X ; ou une lentille 70-300 mm F/4.5-6.3 Di III RXD pour la monture Nikon Z. Aucune autre substitution.

We feel it’s about time that these photographers of CONTEMPORARY note were acknowledged, and their names become known to every Canadian photo-nerd! Here are a few people we think you should know, and some QUICK facts as to WHY... (Consider this an incomplete cheat-sheet, in no particular order) BARBARA ASTMAN IS KNOWN FOR: Self-portraits + red objects But, more then that, a very long list of national and international exhibitions, publications, and installations of her work. She's a professor at OCAD U She's in our encyclopedia! READ MORE - HERE LYNNE COHEN IS KNOWN FOR: BIG pictures of weird empty places Awards include, the Governor General's Award in Visual and Media Arts + the inaugural Scotiabank Photography Award. Tones of international exhibitions + books and stuff. Too long to list... MORE ABOUT LYNNE - HERE JUNE CLARK IS KNOWN FOR: Deeply personal and poetic mixed media photo-based artwork. Her work often refers to growing up in Harlem, and often integrates her street photography. A national and international reputation with a life-long list of exhibitions and work in collections, including the AGO, and National Gallery of Canada. READ MORE - HERE. RUTH KAPLAN IS KNOWN FOR: Naked people bathing! and years worth of gently documenting people's daily lives. Lots of exhibitions and publications listed on her CV + she shares her talents as an educator in Toronto as well. Represented by Stephen Bulger Gallery SEE MORE - HERE. + Get the ULTIMATE CANADIAN PHOTO NERD TOTE Bag featuring a few of these celebrated names. ORDER yours today - HERE. DINA GOLDSTEIN IS KNOWN FOR: Staged pop surrealist photographs that challenge societal myths. Fallen princess', Barbie dolls, and American presidents feature. Dina's list of feature exhibitions is longer than all the Disney Princess movies combined. Check her out on CBC READ MORE about her HERE. NAOMI HARRIS IS KNOWN FOR: Photographing real people in all their quirky glory. Book projects: Haddon Hall Hotel; America Swings; and E.U.S.A. Road-trips and adventures, including canoeing for 70 days, wearing a 19th century period costume. Her super-cute side-kick, rescue dog Maggie. SEE MORE - HERE. LAURA JONES IS KNOWN FOR: Founding the FIRST photography gallery in Canada. Her space also welcomed and encouraged women to use her darkroom at a time when darkrooms were not accessible to women in Toronto. She documented her life in Toronto, and in the US, always with a lens towards equity and civil rights. Her images from the1968 Poor People's Campaign (PPC), a mass demonstration that followed after the death of Martin Luther King, are hosted in numerous museums and galleries internationally. She organised the first photo exhibition in Canada, BY women. She now focus' on researching the work of women in Canadian photo history lost or neglected in archives. READ MORE - HERE. LAURENCE PHILOMENE IS KNOWN FOR: Extreme colour A non-binary transgender artist coming of age amid the rise of social media. Laurence's work has been published and exhibited internationally, and Laurence presented at the 2019 Cannes Lyons festival. FOLLOW Laurence - HERE. DANA CLAXTON IS KNOWN FOR: Beautifully crafted studio shots that reference Indigenous history, culture, beauty and spirituality. Hunkpapa Lakota filmmaker, photographer, and performance artist. Winner of the 2020 Governor General's Award + the Scotiabank Photography Award. READ MORE - HERE. SANDRA BREWSTER IS KNOWN FOR: The 'Blur' series She has been recognized for her community-based practice that centres around Black presence in Canada. She's in our encyclopedia! SEE MORE HERE. JIN-ME YOON IS KNOWN FOR: 'Souvenirs of the Self' series of self-portraits, where she places herself at well-known tourist hot spots. South Korean-born internationally active she uses performance, photography and video to explore themes of identity as it relates to citizenship, culture, ethnicity, gender, history, nationhood and sexuality. SEE MORE - HERE. LORRAINE GILBERT IS KNOWN FOR: Her work focus' on landscape and raising questions about the social and economic aspects of land and nature. She won the Karsh Award in 2003 for her commitment to artistic excellence in photo-based art. She has been teaching art and photography for the past 25 years, and is currently the Director of the Visual Arts Department at the University of Ottawa. SEE MORE - HERE. DIANA THORNEYCROFT IS KNOWN FOR: Playing with toys to create hilarious and sometimes dark dioramas such as the "Group of Seven Awkward Moments" series. She has exhibited, lectured, and been published extensively at home and abroad. She is the recipient of numerous awards including the 2016 Manitoba Arts Award of Distinction. SEE MORE - HERE. ANGELA GRAUERHOLTZ IS KNOWN FOR: Big prints and large installation work, often blurry, always a captivating dream She is the winner of the Scotiabank Photography Award and a Governor General Award in Visual and Media Arts. SEE MORE - HERE. CLARA GUTSCHE IS KNOWN FOR: Nuns! and use of a view camera to explore personal relationships and the cultural values of Quebec. She teaches Studio Arts at Concordia, and she was a founding member of the artist-run Powerhouse Gallery. SEE MORE - HERE. RITA LEISTNER IS KNOWN FOR: Working in extreme conditions—including alongside soldiers in Iraq and Afghanistan, female patients at psychiatric hospitals, with First Nations communities in the Arctic, women wrestlers in the US, and loggers in Canada—exploring themes of purpose, struggle, and belonging. Her tree planters mega-project - exhibitions, media, an experimental documentary feature film, and book with a Foreword by filmmaker Don McKellar. SEE MORE - HERE. #womeninphotography #canadianphotography