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Photography highlights at TOAF64 It’s back! The Toronto Outdoor Art Fair (TOAF) returns to Nathan Phillips Square from July 11-13th 2025 for a packed weekend of art, culture and connections. Now in its 64th year, the fair has become a cherished summer ritual in the city for both locals and visitors. Nestled under the classic white tents, visitors will have the opportunity to peruse hundreds of unique artists and original works of art in person and browse online at TOAF.ca. Once again, the fair saw significant interest with 1,027 artist applications. This year’s roster includes over 400 independent artists, including 70 from across the country and 155 joining the fair for the very first time.  It was a long and rigorous selection process by a team of four independent jurors - Ed Pien, Tiana Roebuck, Callum Schuster, and Grace Zeppilli. This team has an impressive track record of art-making, education, curation, and collecting which showed in their careful decision making.  Toronto Outdoor Art Fair’s Awards Program is unprecedented in Canada. The vision behind the awards is to create opportunities for artists to advance their careers, provide them with public recognition, and make financial contributions to their practices. Prizes total over $45,000+ in cash and in-kind awards.  Look forward to winner announcements in the Photography & Digital Media category: Best of Photography & Digital Media Award  $2,000 by Jennifer Longhurst & Lars Bendsen Honourable Mention Photography & Digital Media $500 Gift Card by Toronto Image Works photoED Magazine Award Three recipients will each receive a one-year subscription to photoED Magazine. One of the recipients will also be selected for a print feature in an upcoming edition of the magazine with a $150 artist honorarium. To celebrate photoED magazine's partnership with TOAF, here are a few of the photographers selected by the fair, to keep an eye out for... Clothilde Allen " Holga and Agnes" • Clothilde Allen Montreal based artist Clothilde Allen is interested in the magic of plants, transported by her travels in the Abitibi region, where she fears witches hidden beneath the rocky capes.  From an early age, she created cedar perfumes, plant potions, and insect collections. As a gardener for the city of Montreal, her art and research focus on the representation, cultivation and reclamation of nature in the city. Bahram Rameh  "Insomnia #8: Liberty" • Bahram Rameh Bahram Rameh uses form, space, and the body as tools to express inner psychological landscapes and human fragility. “Insomnia was born from a collision — a literal one that split my life in two: before and after. I lost a close friend in a car accident. I went into a coma. And when I came back, the world was no longer the same — and neither was I. Sleep became unfamiliar. Not just physically, but deeper: my mind no longer knew when or how to switch off. Memories echoed like subcutaneous noise, swallowing the nights. This body of work is made of fragments from that private war. A tired body, a reflection of my own, is sleeping: on a gas pump, beside a cutting machine, on a subway floor. The performer surrenders his body to chaos; and it’s this surrender to disorder that renders each frame watchable. The beauty of these images lies not in taming space, but in allowing its disorder to speak. The performer is a mirror of myself. But I’m in the image too — not physically, but through the lens. This is me watching myself from the outside. The camera is not a neutral observer; it is my co-conspirator in a waking dream. And for the viewer? A pause — an invitation to see the exhaustion usually hidden behind faces. A moment to witness a sleeping body that, even in silence, is still surviving something.” Steve Kean " Windswept (1 of 7)" • Steve Kean For TOAF 2025, Steve returns with a new approach to his award winning work in the Moving Landscapes series. *As featured in the photoED magazine LAND edition. Steve Kean came to photography while in high school where, ironically, he was failing art class. His disability made it difficult for him to draw or paint, but he had a burning need to create art. A camera was the answer for him. “The images reflect on the energy of landscape: from serene to highly kinetic. Taken over the course of multiple transits on Canada’s highways and byways, these images were all created by harnessing his movement through the land on trains and buses. Intended to portray the ethereal feeling of being in-between dream states of not-quite-asleep-not-quite awake, the images blur reality just enough to allow us to contemplate our place within nature. My exhibition posits a question about our place in a fast-paced world and how we experience the land." Alex Hall "The Hong Family, Barkerville" • Alex Hall Alex Hall is a lens-based Chinese Canadian artist working in Toronto, Canada. She specializes in photography and alternative processes. She holds a BFA in photography from the Ontario College of Art and Design University (OCADU) and is a former dancer with the National Ballet of Canada. Ehiko Odeh  "Tess Barbershop 1" • Ehiko Odeh Ehiko Odeh is a multidisciplinary artist and researcher from Lagos, Nigeria. Her practice explores the interconnectedness of traditional knowledge systems, cultural identity, and resilience. Incorporating ethnobotany she highlights the importance of preserving Indigenous practices while promoting sovereignty through herbology. Michael Bedford "Ray of Light" (Limited Edition) • Michael Bedford Trained as a biologist, Michael’s work explores aspects of both the human psyche and the natural world. “As technology advances, we find ourselves less and less in touch with what fundamentally makes us human and connects us – both to the earth and to each other. I think this has some important consequences that are worth thinking about”. Michael uses seasonality, light, and darkness to explore various aspects of the human experience, including awe, reverence, isolation, and disconnection. Zahra Saleki "leaving" • Zahra Saleki Zahra Saleki is an Iranian-Canadian artist and settler based in T'Koronto. Her artistic practice encompasses video, installation art, and photography. She holds a Bachelor of Honors in Fine Art Cultural Studies from York University. Like to support MORE lens based artists? support us! We'd love your support to continue producing great content for you to enjoy! 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Fine art photo book lover Alan Bulley gets the scoop from photo book publishers across Canada in our new series of interviews with book publishers, including Chris Labonté, Publisher + President of Figure 1 Publishing. How do you choose what projects you publish? How far in advance do you work? We want to work with artists and institutions and organizations who are working at the highest levels, and who want to produce a book that is well written, edited, designed, and packaged. Many of our partners are galleries, museums, architectural firms, and restaurants, but we also work directly with individual artists, designers, and photographers. The standard photography book takes about eighteen months to produce. What has been the most commercially successful book you have published? (Why did it do well?) We’ve published numerous cookbooks (each packed with remarkable food and portrait photography) that have become national and regional bestsellers, but a book we published featuring stunning cabins and cottages called Escapology by Colin McAllister and Justin Ryan is probably our biggest commercial success to date. It has sold extraordinarily well in Canada, the U.S., and the United Kingdom. What makes an effective proposal from an artist? A clearly written description of the project, the artist’s objectives, and their professional biography, as well as a large selection of images. It is always wise to include an overview of the artist’s connections with public and private galleries and media. Illustrated book publishers are looking for clarity of vision, quality of work, and the promise of a substantial retail and special sales market. What sort of financial arrangements do you have with artists (dealing with up-front costs, revenues, etc.)? We are what is known as a hybrid publisher, which means artists and organizations hire us to produce their books and sell, market, and distribute them to the wholesale and retail markets throughout North America and abroad. We pay very good royalties on every copy we sell into the wholesale and retail markets. We are unlike most hybrid publishers in that we cover the cost of printing any copies that go into the retail market, which means we share with our partners the risk of bringing their books to market. We prefer the term “partner publishing” over “hybrid publishing.” Our model is highly collaborative. How involved is the artist in book design? Speaking of collaborative: the artist is indeed closely involved with design. We discuss early in the process the artist’s (or curator’s) vision for their book, and then keep them involved every step of the way. We will provide the artist with sample covers for review, then make adjustments until we have a cover that the artist loves and that we feel will sell well in the market. And then we do the same with the interior design. We also have discussions with the artist (or curator) about paper stock, format, binding, and special print features. How do you market and distribute the books you publish? Where do they go? How many copies do you print on average? We have full national and international sales, marketing, and distribution. This means our sales representative groups in Canada, the U.S., and overseas will present our books to wholesalers and retailers such as Indigo, Amazon, Barnes & Noble, independent book retailers, college and university bookshops, gallery and museum gift shops, library wholesalers, and non-traditional retailers (like those funky shops that sell contemporary furniture and chachkas and the like). We are with two of the finest sales and distribution outfits in the world: in Canada, sales and distribution (and some marketing) is handled by Raincoast Books, and in the U.S. and overseas these are managed by Publishers Group West/Ingram Distribution. What is your view of the publishing market in Canada? Speaking specifically about high quality illustrated non-fiction titles—which is what Figure 1 publishes—the retail market in Canada is vibrant, diversified, and relatively strong. It would be amazing if there was a national retail chain dedicated to selling books on art, architecture, design, and photography—the sort of retailer one still finds in Europe and parts of the U.S. But Indigo, the independent book retailers, Amazon, gallery and museum gift shops, and non-traditional book retailers do a fair job of carrying and selling quality illustrated titles. What one message would you give photographers who want to publish their work? Get creative about financing. Photography books remain, for the most part, a challenging category for retailers. Which means that truly excellent books by remarkable photographers will not find their way to market because traditional publishers do not see a viable financial reason to publish such books. But there are ways to raise the funds necessary to produce and distribute a quality photography book. We have these discussions with potential publishing partners all the time. What's your dream publishing project? Only one dream: working with remarkable, talented people to produce visually arresting books that have a positive impact on readers. What's one thing that would surprise our readers about your work behind the scenes? Ironically, I do far less reading than one might expect in such a job. It’s an occupational hazard, but I’ve come to terms with it. I can always read after work. Is there anything else that our readers should know about your company or the work you do? Our goal is to be the finest partner-publisher in all of North America, producing fine illustrated non-fiction titles for a broad market, especially in the areas of art, architecture, design, food and wine, and photography. A core component of our program is books about Indigenous art and culture, one of the most important of which is Where the Power Is , which we published in partnership with the Museum of Anthropology at UBC. The photography in this work is incredibly moving. The book has been shortlisted for a BC and Yukon book prize. Website : figure1publishing.com Enjoyed this free read?! Consider supporting us! As the ONLY independent editorial photography publication on Canadian newsstands we'd love to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS

Following footsteps from the past “They paved paradise, put up a parking lot." – Joni Mitchell A view toward the Athabasca Glacier. R.C. McDonald, 1938, Stn. 40, 31 E,  The Mountain Legacy Project &  Library and Archives Canada / Bibliothèque et Archives Canada.  The Mountain Legacy Project is a collection of some of the most urgent and compelling photographic representations of time. Directed by Eric Higgs and founded by Higgs and Jeanine Rhemtulla, the project’s mandate is to “explore changes in Canada’s mountain landscapes over time through photographic comparisons.” The project is home to a collection of over 120 000 historical mountain photographs from nineteenth- and early twentieth-century systematic surveys, 20 000 of which are available online, as well as over 10 000 new comparative photographs. Participants both care for the archival collection and build on it, revisiting the coordinates of historical images to create new comparison images. While the project’s primary contributors are graduate students, members also include research assistants, external contractors, and volunteers. Katelyn Fryer, the project’s archivist and librarian who assisted with this article, began as a research assistant.  The work has many aims, but a core aim is to document the effects of climate change and to make the findings as widely accessible as possible. The website features a tool called Explorer, which enables users to peruse the collection using an interactive map that spans Alberta, British Columbia, and the Yukon. A map is populated by clickable “stations,” which are the sites of the photographic pairs in the collection. Browsing through the stations, users will find stark visual contrasts between the historical mountain photographs and their contemporary counterparts. A view toward the Athabasca Glacier. Mountain Legacy Project Field Team,  Stn. 40, July 9th, 2024.  Recently, the field team had the opportunity to re-photograph the Athabasca Glacier, located at Station 40. A photograph by R.C. McDonald in 1938, more than 85 years ago, clearly demonstrates the marked change. Ten years ago, Bill Graveland wrote an article titled “Athabasca glacier melting at ‘astonishing’ rate of more than five metres a year,” which posited that the glacier may disappear completely within a generation. This visual comparison provides alarming evidence of the rapid recession. Looking forward, members of the Mountain Legacy Project, currently based at the University of Victoria, are working to rephotograph early twentieth-century images of Jasper National Park and Waterton Lakes National Park through partnership with the Stoney Nakoda First Nation. Mountain Legacy Project also works in close partnership with Library Archives Canada to digitize and care for the collection. The Mountain Legacy Project, founded in 1998, continues to grow and build on its body of work, creating visual comparisons both powerful and alarming that serve as a call to action for the viewer. As seen in our TIME themed edition This feature was produced with the generous support of the Photographic Historical Society of Canada.  www.phsc.ca Did you enjoy this FREE read? Consider supporting us! For as little as $2./ month we'd love your support to continue producing great content for you to enjoy!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS   Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

MELD. Issue #73 MELD. Issue #73 1/7 Photography Editorials for people that value intentional photography. Order the PRINT edition SUMMER READING SPECIAL Kick off a new subscription with this special summer offer! Find out more Winter 2024/ 2025: COLOUR Fall 2024: TIME Spring/Summer 2024: LIGHT WINTER 2023/24: LAND Fall 2023: WATER Spring/ Summer 2023: FOOD Winter 2022/2023: Botanicals Fall 2022: Photography + Activism Spring/ Summer 2022: Fashion X Future photoED magazine is for: Culture Vultures. People who feel good about surrounding themselves with quality content and ideas. The Community. For intentional photographers seeking authentic, process-driven stories. Featured Articles “Gorgeous. Inspirational. Informative.” Current Edition Order Print Edition Subscribe to get this issue + more! Meld Issue #73 Meld Issue #73 Meld Issue #73 Meld Issue #73 “The job of the artist is always to deepen the mystery.” – Francis Bacon Issue #73, is filled with fresh perspectives on photography from around the world. The MELD themed issue showcases photography as a creative blender, where artists work slowly and carefully crafting considered, intentional, and complicated works. Optimism and empowerment Although much of the work speaks to many of the dark challenges we collectively face — environmental disaster, war, human rights issues, AI, and more — this edition presents a quiet, optimistic, hopeful, and empowered collective view. Inspiration for change This issue invites viewers to slow down and to be curious, empathetic, and inspired towards positive, peaceful change in the world. FEATURING: Book recommendations by Brian St. Denis Change Made: Melding change through storytelling by Sid Naidu HANNAH MAYNARD’S GEMS by Cassandra Spires SPAO: IF YOU BUILD IT THEY WILL COME by Corinna vanGerwen Emma Nishimura: Stories, Memories, Histories by Corinna van Gerwen Curiosity, Wonder, and Unmitigated Optimism: Martha Davis at work + PORTFOLIO Features: Trina O’Hara Sarah E. Fuller Pavlo Fyshar Maryam Firuzi Rosemary Horn Diego Fabro Monica Rooney Christine Germano Zelda Zinn and Ralph Nevins + MORE! Cover image from the Submersed Landscapes series, by Sarah E. Fuller Digital EXTRA Edition A free digital companion edition Check it out - HERE “I love it! It’s a nice, analog way to interact with photography.” Subscribe Special Offers Digital EXTRA Edition DIGITAL BONUS CONTENT. Flick through our FREE BONUS companion edition. Patreon Perks Advertise With Us Call for Submissions “Subscribing to photoED is such a delight ... not only do we get to see wonderful images in the publication, but we also get great stuff in the mail! It's like a birthday party (without the cake) or Christmas (without the gaudy decorations) 3x/ year!” - Jude from Hamilton What’s on Patreon See the latest news for our community of Patreon supporters Find out more MOVEMENT Community, momentum, motion. Submit Here CALL FOR SUBMISSIONS Photo Books About photoED Photography. Editorial. From emerging artists to established photographers, we share photography stories in a brand new light. Meet The Team Since 2001 photoED magazone has been an inspiration for over 20+ years to photography professionals, students, educators, and enthusiasts alike. With origins in Canada as a grassroots education resource publication, it is now a leading creative content publisher in the editorial photography space globally—spanning print, digital, and social media. Jet Tag Safety Reflector Key Chain C$12.00 Price Buy Now Best Value! 6x issue /2 year SUBSCRIPTION C$85.00 Price Buy Now Great Value! 3x issue /SUBSCRIPTION 1 YR C$45.00 Price Buy Now GuruShots Extraordinary Architecture READ MORE HERE photoED magazine is for... Photographers and photography lovers. Process driven lens-based creators. Intentional image-makers. The open minded & curious creatives. People who believe conversations about photography and art should be accessible. People passionate about qualitative storytelling through photography. Culture vultures. People that feel good about surrounding themselves with quality content and ideas because it is going to make their lives better. People seeking worthwhile content that isn’t click-bait rip-offs. People who celebrate and enable others to share their work despite industry trends and popularity-based online algorithms. Folks that know you can never replace a live experience with fine art photography with a virtual one. photoED is NOT for… Gear heads who want tech reviews. People who enjoy buzzwords and art speak. Click bait doom scrollers. Critics & judges. Folks that don’t see value in editorial integrity. People who believe in old school institutional value structures determining an artists ‘worth.’ Old boys club members and associates. How can I get photoED Magazine? We have a few great options for print and digital delivery! If you’re loving what we’re about, and have an interest in reading the publication (and getting some sweet perks) – join us on PATREON to support what we do for as little as $2./ month. Our SUBSCRIBERS receive the printed publication 3x/ year via snail mail, in April, September, and November. If you missed a theme you’re interested in – we have PAST EDITIONS available HERE. Our list of bricks and mortar retail partners is HERE. If your preference is digital, we post our replica editions – on Press Reader HERE. If you’re a school or library – yes! You can order our publication via EBSCO / Flipster. Can I give photoED magazine as a gift? Of course, YES! Simply place your order for subscriptions, merch, past issues, special offers... online and edit the 'Shipping address' to be your giftees! If you include a 'note' we'll add a hand written postcard or note on the packaging to let your giftee know it's from you and how you thought they would enjoy our stuff! Everything we ship comes from our office in Toronto not a fancy fulfillment sorta place. Does photoED do refunds? Sorry, we just can't. Between postage and bank transaction fees, we just can't. But if anything changes for you, or an issue occurs, we do our absolute best to make things right. We respect our customers. Who creates photoED magazine? photoED magazine is independently published by Rita Godlevskis and a crew of new and regular collaborators. Find out more about our editorial curatorial team HERE. PATREON PATRONS, subscribers and select advertisers collectively fund the creation of original editorial content with integrity, printed with high quality production values. Advertising with photoED magazine photoED magazine does not 'sell advertising,' We’re content partners that connect the brands we love with the readers and contributors we cherish. We don't do click bait or promotions for products or services that do not align with our readers interests. Our readers are sophisticated and we do not wish to serve them irrelevant junk. We help brands create connections and value through our print and digital platforms. Every brand and budget is unique, so every partner we work with is offered a bespoke promotional package that serves their goals & budget, and our readers equally. Get in touch to receive our media kit for general rates and production dates and deadlines. How do I get my photography published in photoED magazine? We always have opportunities going for photographers at any level! Our upcoming print edition themes and information on what we're working on is posted HERE. For single image and short series works, we use online platforms for submission calls so that our JURY can review work easily from wherever they are across Canada. Please do not send images for jury consideration via email. We welcome writers and photographers feature proposals that align with our editorial plans. Inquiries for such feature proposals may be sent via email. Please note, as a small independent publisher, we usually work 6-9 months in advance of our press dates to ensure that every artist and collaborator is pleased with our productions. Sign up to our news/ read the print magazine/ read the digital edition/ follow us on social media/ check out the info on our website to stay in the loop! Does it cost $ to be published in photoED magazine? No. photoED magazine is NOT a pay-to-play business. We publish work we are excited to share and invest our professional resources to make our contributors works and words shine. Although some of our featured artists are also community supporters, this is not a requirement or consideration when we are putting together our editorial packages. Does photoED magazine pay contributors? Yes, photoED magazine offers small artist honorariums to Canadian contributors, dependent on a variety of factors. Each case is unique and each budget for each edition varies. Although CARFAC rates are still out of reach for our budget, we offer contributors printed copies of the publication (inc postage) and all our editorial support, working collaboratively to showcase artists work. We take our work seriously, and approach every artist at any level of their experience with the same respect. We do not commission new works and currently only publish existing projects. Does publishing with photoED magazine restrict my work? Submitting to PhotoED Magazine does not transfer any rights of ownership - the photographer retains full rights. We do not ask for exclusivity and the photographer is free to submit the image to any other publication/ project or exhibition. The owner of the photographs allows us the rights to publish and promote their work with credit, on our print and digital platforms. By submitting, the photographer acknowledges that they have full rights to the images and has obtained proper releases where warranted.

PhotoED Magazine shares the stories behind photographers work. Emerging AND established photographers can get published with us! SHARE YOUR WORK WITH US IN PRINT photoED magazine is published 3 X / year in print editions, released in: MARCH + AUGUST + NOVEMBER In addition reviewing work through our Open CALLS FOR SUBMISSIONS, we also welcome feature article pitches from writers. Short synopsis of the idea, links to further information, and an explanation of which of the themes the feature idea relates to may be sent to the editor at any time. Content considered for the print editions must align with the themes listed below. We HIGHLY recommend reading a full print or digital replica of our most recent edition in advance of sending us your pitch. This research step will assist YOU in determining if your work is a fit for our publication. photoED print edition THEMES - 2025 MEMORY. Fall 2025. Submissions closed. Photography that looks backwards to move forward. MOVEMENT. Winter 2026. Open Call - HERE Community, momentum, motion. 2026 - A year of contrasts Now accepting feature story proposals on these themes: Order VS Chaos Home VS Away Real VS Imagined WRITERS TAKE NOTE: photoED magazine aims to be a welcoming space where understanding of art is accessible to everyone. Please draft text with this awareness. We use language that respects all our readers and is accessible and understood by all. No formal academic writing please. Connect with the EDITOR: rita@photoed.ca Small print: Submitting to PhotoED Magazine does not transfer any rights of ownership - the photographer retains full rights. We do not ask for exclusivity and the photographer is free to submit the image to any other publication/ project or exhibition. The owner of the photograph allows us the rights to publish and promote their work with credit, on our print and digital platforms . By submitting, the photographer acknowledges that they have full rights to the images and has obtained proper releases where warranted.

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