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Lumen printing is an easy way to make an image with the sun. It simply involves setting objects onto a piece of silver gelatin photographic paper and exposing them to the sun. Artist/photographer Bob St Cyr shares his HOW-TO + a few new ideas to take your results in new directions. You'll need: Photographic paper - any size or age A contact printing frame (you can also create a makeshift printing frame using any board and glass, such as an un-used photo frame.) Two trays - for washing and fixing Hypo fixer mixed at 1:9. Tongs STEP 1 - Once you've got your stuff set up, under a safelight or subdued/ low lighting, arrange your subject on the glass frame. Plants and flowers work well, but be creative and think of other 'flat-ish' things (string, lace, paper, etc) that could be used that when compressed will not break the glass, please be careful. STEP 2 - Place the photo paper with the shiny side/matt side facing the items on the glass, i.e., the side that would normally be exposed when making a darkroom print. STEP 3 - Replace the backing into the picture frame and compress the items between the glass and photo paper. STEP 4 - Place the picture frame in direct sunlight for about 60 minutes. This exposure time will vary depending on the strength of the sunlight. STEP 5 - When it feels ready... and the paper has turned brown, carefully remove the photo paper from the frame and give the paper a quick water rise to remove any particles from the organic materials. OPTION: If you like what you see at this stage - allow the paper to dry + pop it in your scanner - or take a digital pic, so you can work with this version of the image digitally. To make the resulting image last, it needs to be chemically fixed. However, fixing will change the contrast and colour, so you might want to digitize the image before fixing, giving you two different versions. STEP 6 - If you want a permanent image, after washing the print, place it into a photographic fixing bath for about 2 minutes. Remember to do this under tungsten light or subdued light. STEP 7 - Thoroughly wash the print for at least 15 - 20 minutes in a tray of running water. Empty and fill the tray several times during the wash. STEP 8 - Hang your print to dry. STEP 9 - If the paper curls when it's dry - you may need to flatten the print by pressing it between heavy books for a few days. STEP 10 - Go DIGITAL - scan/ manipulate away for more options! Here are some of artist BOB ST CYR's results References Brough, D. (2016, June 26). How to make lumen prints. https://www.lomography.com/magazine/321837-how-to-make-lumen-prints Daniel, M. (2004, October). William Henry Fox Talbot (1800–1877) and the invention of photography. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000– https://www.metmuseum.org/toah/hd/tlbt/hd_tlbt.htm If you're up for more amazing ANALOG... Check out our RESILIENCE OF ANALOG edition! We SOLD OUT of our print copies - but its available on PRESS READER Enjoyed this free read?! Consider supporting us! We'd love to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY #analog #fineartphotography #HistoricalProcess #cameraless

An interview with photoED Magazine A farmer in his rice terrace of Belimbing, Bali, Indonesia. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 102mm - 1/1600sec, ISO400, f/2.8 Driven by adventure, Alexandre Rouleau ’s cinematic travel photos and videos connect his biggest personal passions — exploring new places and meeting people from different cultures. Originally from Rimouski, Quebec, Alexandre now splits his time between the mountain town of Revelstoke, British Columbia, and the creative hub of Bali when he’s not travelling elsewhere.   photoED Magazine spoke to Alexandre Rouleau about his work. A local kid in Rammang, Indonesia. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 107mm - 1/400sec, ISO400, f/2.8 photoED: How did you get started in photography? And what keeps you motivated and inspired to keep at it? Alexandre : I was probably 12 years old when I started playing around with cameras, photographing car shows on film, and shooting short films with my friends on mini DV tapes. I began digital photography and filmmaking seriously after leaving home at 19 to travel. For a few years I travelled aboard a converted school bus, documenting my adventures with tons of photos and a few vlog episodes until a road accident ended that journey abruptly. Following that, I took a 10-year break from photography to explore other art forms and passion projects. About three years ago now, I flipped my life upside down one more time when I circled back to realize there was no other way than through photography to best share my visions. Travelling to new places definitely keeps me motivated and inspired but I think more importantly, it’s about constant learning and trying new things. If I feel stuck and uninspired, I’ll reach out and go shoot with another photographer I have not met yet: It’s always interesting to see someone else’s approach, or try some new equipment or lighting techniques, just to get out of my comfort zone. Boats and canals of Khlong Lat Mayom Floating Market, Bangkok, Thailand. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 150mm - 1/1250sec, ISO640, f/3.5 photoED: What do you love most about creating stories through photography? Alexandre : I love being able to capture fractions of time that transmit a genuine emotion on someone’s face. I enjoy sharing the vibe of a room through colour, or how I felt in a moment through the angle I took. There is a lot that can be understood through an image that would be a lot harder for me to do with words. photoED:  There are some beautiful places in the world that are being “loved to death” due to over tourism. How do you balance your goals as a creator, crafting enticing images with being sensitive to the various cultures and landscapes you visit?   Alexandre : I try to avoid tourist areas as much as possible, but if I do visit them I look to photograph the locals and their daily life, which does sometimes get drowned by a sea of tourists who are there for the wrong reasons and show no respect to the people welcoming them on their land. Take Bali for example, a controversial place at the moment in terms of tourism. The government is to blame for letting so many developers destroy beautiful locations, but a lot of what is happening is also due to influencers and the party scene. Bali originally charmed people through stunning landscapes and kind people, but since massive beach clubs and “Instagramable” places are posted online repeatedly, people now come for these reasons. I’m sure 90% of the people visiting Bali these days will not even notice any of it, they will stay in Canggu, complain about traffic, get wasted, and go back home. Through my images, you will not be seeing those beach clubs, you’ll be looking at local life in remote villages, genuine smiles from local people happy to see you and curious about you as much as you are curious about them. If my viewers are attracted to visit Bali through my work, I hope and think they will be able to go for good reasons and with a respectful approach. Roads of East Bali, Indonesia. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 95mm - 1/200sec, ISO100, f/4.5 photoED: Why Revelstoke? Why Bali? Alexandre : I’ve been a snowboarder and mountain biker for most of my life, and the mountains have been my favourite place since I first discovered them at age 18 on a trip to the Rockies. Revelstoke delivers in terms of playground, there is an infinite amount of terrain you can explore, some of the best snow on earth, and the town has a super cool community with lots of opportunities for me. Bali on the other end just randomly came up to me. After visiting for the first time, even though I did fall in love with the place, it was an opportunity that came up that made me decide to set up a base camp there. I love South East Asia and I do spend a lot of time on that side of the planet, which just happens to be far from Canada. photoED: Do you have any tips for travel photographers? Alexandre : Travel slowly. Roam by yourself and get lost, see where that leads you. Connect with the locals, be kind and respectful, make friends, and take time to understand the deeper layers of the place. Balinese dancer in Ubud, Bali, Indonesia. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 150mm - 1/125sec, ISO3200, f/2.8 photoED:  Whose work has influenced yours?   Alexandre : The first person I always think of is Emmett Sparling an extremely talented storyteller based in Vancouver. Next to him would be Ashraful Arefin a huge influence when it comes to my street photography. Michael Sidofsky also played a huge part inspiring me as well as Luke Stackpoole. Butterfly Park in Tabanan, Bali, Indonesia. • Shot on Sony A7IV with the Tamron 150-500mm f/5-6.7 @ 500mm - 1/1600sec, ISO800, f/6.7 photoED:  What makes a good photograph? Alexandre : Light. I think a good photograph delivers a story and makes you feel something. A good photograph doesn’t have to be technically perfect if the story is told and an emotion is transmitted to the viewer. Sunset over Mount Agung from Amed, Bali. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 35mm - 1/60sec, ISO160, f/2.0 photoED: How has working in photography influenced you personally? Alexandre : Photography has pushed me outside of my comfort zone many times, chasing risks and committing to a creative life. It has taught me how to connect on a deeper level; every shoot and every trip is a reason to meet people and hear their stories, and this makes you see your own life from so many different perspectives. photoED: What does your dream project entail? Where do you hope photography will take you in the future? Alexandre : I have been working on small, solo projects for the most part but I am really looking forward to working on larger projects with a crew. I’m talking about 4 to 5 photographer and filmmaker friends going on a trip together to shoot a specific project. Everywhere I go, I try to connect with local creatives and whoever I run into if the timing is right. I love travelling solo, but the occasional group trip with a bunch of talented creatives does sound good! Mostly, I want photography to keep taking me to places I never imagined visiting. photoED: Do you have any tips for emerging photographers? Alexandre : Don’t waste your time chasing the same places and recreating the same photos you’ve seen over and over on the Internet. Find a new angle, pay attention to details around you, and find your own way of telling a story. Learn from as many people as possible and make your own presets, try as many things as possible and see what works and what doesn’t. Don’t wait for perfection to put your work out there; it will never be perfect. But feedback will help you grow.  A local vendor serving street food at the Khlong Lat Mayom Floating Market, Bangkok, Thailand. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 135mm - 1/250sec, ISO400, f/2.8 GEAR UP What camera and equipment do you use most now? What’s your favourite lens? Tell us about your experience using Tamron lenses. Alexandre : I currently shoot with a SONY A7IV for most of my still photographs and I also have an A7S3 for video stuff, which serves me as a second body when needed. Now that I have a Tamron 35–150mm f/2–2.8 though, I rarely need to go with the dual body setup. This lens is just crazy great and it has become a fast favourite. I still use my 24–70mm a lot, but if I have to choose only one lens to go on a trip it will in most cases be the 35–150mm. It’s the perfect focal range for my type of photography. I’ve always loved the Tamron lenses, they really deliver when it comes to making travel-friendly lenses. I also own the 150–500mm, and I don’t know of any other telephoto lens with such a wide focal range that is smaller or lighter than this one. It’s not just that the Tamron lenses are sharp with a creamy bokeh that I love; they are consistently the best bang for the buck compared to other brands. Alexandre Rouleau See more of Alexandre’s work - HERE. Check out Alexandre Rouleau's fave Tamron lens - HERE! www.tamron-americas.com

Animé par l’aventure, les photos et vidéos de voyage cinématographiques, Alexandre relate ses plus grandes passions personnelles — explorer de nouveaux endroits et rencontrer des personnes de différentes cultures. Originaire de Rimouski, au Québec, Alexandre, lorsqu’il ne voyage pas ailleurs, partage désormais son temps entre la ville de Revelstoke en Colombie-Britannique et le centre créatif de Bali. photoED Magazine a rencontré Alexandre Rouleau pour parler de son travail. Parc aux papillons à Tabanan, Bali, Indonésie. • Pris avec Sony A7IV et Tamron 150-500mm f/5-6.7 @ 500mm – 1/1600s, ISO800, f/6.7 Un enfant local à Rammang Rammang, Indonésie. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 107mm – 1/400s, ISO400, f/2.8 photoED: Comment vous êtes-vous lancé dans la photographie? Et qu’est-ce qui vous motive et vous inspire à continuer? Alexandre : J’avais probablement 12 ans lorsque j’ai commencé à jouer avec des appareils photo, photographiant des salons automobiles sur film et réalisant des courts métrages avec mes amis sur des cassettes mini DV. J’ai commencé la photographie numérique et le cinéma de manière sérieuse après avoir quitté la maison à 19 ans pour voyager. Pendant quelques années, j’ai voyagé à bord d’un autobus scolaire converti, documentant mes aventures avec des tonnes de photos et quelques épisodes de vlog jusqu’à ce qu’un accident de la route mette fin brutalement à ce voyage. Après cela, j’ai pris une pause de 10 ans de la photographie pour explorer d’autres formes d’art et projets passionnants. Il y a environ trois ans, j’ai bouleversé ma vie une fois de plus en réalisant qu’il n’y avait pas d’autre voie que la photographie pour mieux partager mes visions. Voyager dans de nouveaux endroits me motive et m’inspire certainement, mais je pense que plus important encore, c’est l’apprentissage constant et l’essai de nouvelles choses. Si je me sens bloqué et sans inspiration, je contacte un autre photographe que je ne connais pas pour aller shooter ensemble: c’est toujours intéressant de voir l’approche de quelqu’un d’autre, ou d’essayer du nouveau matériel ou des techniques d’éclairage, juste pour sortir de ma zone de confort. Un homme local faisant une pause au marché flottant de Khlong Lat Mayom, Bangkok, Thaïlande. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 150mm – 1/2500s, ISO800, f/2.8 photoED: Qu’aimez-vous le plus dans la création d’histoires à travers la photographie? Alexandre : J’aime pouvoir capturer des fractions de temps qui transmettent une émotion authentique sur le visage de quelqu’un. J’apprécie partager l’ambiance d’une pièce à travers la couleur, ou comment je me sentais à un moment donné via l’angle choisi. Beaucoup de choses peuvent être comprises par une image, choses que j’aurais du mal à exprimer avec des mots. photoED: Certains endroits magnifiques dans le monde sont « aimés à mort » en raison du supertourisme. Comment équilibrez-vous vos objectifs en tant que créateur, entre la création d’images attrayantes et la sensibilité envers les diverses cultures et paysages que vous visitez?   Alexandre : J’essaie d’éviter autant que possible les zones touristiques, mais si je les visite, je cherche à photographier les locaux et leur vie quotidienne, ce qui est parfois noyé dans une mer de touristes qui sont là pour de mauvaises raisons et qui ne respectent pas les personnes qui les accueillent sur leur terre. Prenez Bali par exemple, un endroit controversé en ce moment en termes de tourisme. Le gouvernement est en partie responsable d’avoir laissé tant de promoteurs détruire de beaux endroits, mais beaucoup de ce qui se passe est aussi dû aux influenceurs et à la scène festive. Bali a charmé à l’origine les gens par ses paysages époustouflants et sa population gentille, mais depuis que d’immenses clubs de plage et des endroits « instagrammables » sont postés en boucle en ligne, les gens viennent maintenant pour ces raisons. Je suis sûr que 90 % des visiteurs de Bali aujourd’hui ne remarquent même pas tout cela, ils restent à Canggu, se plaignent du trafic, se saoulent et rentrent chez eux. À travers mes images, vous ne verrez pas ces clubs de plage, vous verrez la vie locale dans des villages reculés, des sourires authentiques de gens locaux heureux de vous voir et aussi curieux de vous que vous l’êtes d’eux. Si les spectateurs sont attirés à visiter Bali grâce à mon travail, j’espère et je pense qu’ils pourront le faire pour de bonnes raisons et avec une approche respectueuse. Routes de l’est de Bali, Indonésie. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 95mm – 1/200s, ISO100, f/4.5 photoED: Pourquoi Revelstoke? Pourquoi Bali? Alexandre : Je fais du snowboard et du vélo de montagne depuis la majeure partie de ma vie, et les montagnes ont été mon endroit préféré depuis que je les ai découvertes à 18 ans lors d’un voyage dans les Rocheuses. Revelstoke offre un terrain de jeu incroyable, un terrain infini à explorer, certaines des meilleures neiges au monde, et la ville a une super communauté avec plein d’opportunités pour moi. Bali, quant à elle, est venue de façon un peu aléatoire. Après ma première visite, même si je suis tombé amoureux de l’endroit, une opportunité s’est présentée qui m’a fait décider d’y établir une base. J’adore l’Asie du Sud-Est et j’y passe beaucoup de temps, ce qui se trouve être loin du Canada. photoED: Avez-vous des conseils pour les photographes de voyage? Alexandre : Voyagez lentement. Errez seul et perdez-vous, voir où cela vous mène. Connectez-vous avec les locaux, soyez gentil et respectueux, faites des amis et prenez le temps de comprendre les couches profondes du lieu. Danseur balinais à Ubud, Bali, Indonésie. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 150mm – 1/125s, ISO3200, f/2.8 photoED:  Quel travail a influencé le vôtre?   Alexandre : La première personne à laquelle je pense est Emmett Sparling un conteur extrêmement talentueux basé à Vancouver. Ensuite, Ashraful Arefin   une énorme influence pour ma photographie de rue. Michael Sidofsky   m’a aussi beaucoup inspiré, ainsi que Luke Stackpoole. Les yeux uniques d’un chat, Bangkok, Thaïlande. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 143mm – 1/160s, ISO800, f/4.5 photoED:  Qu’est-ce qui fait une bonne photographie? Alexandre : La lumière. Je pense qu’une bonne photo raconte une histoire et vous fait ressentir quelque chose. Une bonne photo n’a pas besoin d’être techniquement parfaite si elle raconte une histoire et transmet une émotion au spectateur. Sunset over Mount Agung from Amed, Bali. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 35mm - 1/60sec, ISO160, f/2.0 photoED: Comment le travail en photographie vous a-t-il influencé personnellement? Alexandre : La photographie m’a poussé hors de ma zone de confort à de nombreuses reprises, à prendre des risques et à m’engager dans une vie créative. Elle m’a appris à me connecter à un niveau plus profond; chaque séance et chaque voyage sont une occasion de rencontrer des gens et d’entendre leurs histoires, ce qui vous fait voir votre propre vie sous de nombreuses perspectives différentes. photoED: En quoi consiste votre projet de rêve ? Où espérez-vous que la photographie vous mènera dans le futur? Alexandre : J’ai principalement travaillé sur de petits projets en solo, mais j’ai vraiment hâte de travailler sur des projets plus grands avec une équipe. Je parle de 4 à 5 amis photographes et cinéastes partant ensemble en voyage pour shooter un projet spécifique. Partout où je vais, j’essaie de me connecter avec des créatifs locaux et ceux que je rencontre si le moment est bon. J’adore voyager seul, mais l’idée d’un voyage en groupe avec un tas de talents créatifs me plaît vraiment! Surtout, je veux que la photographie continue de me faire découvrir des endroits que je n’aurais jamais imaginé visiter. photoED: Avez-vous des conseils pour les photographes débutants? Alexandre : Ne perdez pas votre temps à courir après les mêmes endroits et à recréer les mêmes photos que vous avez vues encore et encore sur Internet. Trouvez un nouvel angle, faites attention aux détails autour de vous, et trouvez votre propre manière de raconter une histoire. Apprenez des gens autour de vous et créez vos propres presets, essayez autant de choses que possible et voyez ce qui fonctionne ou pas. N’attendez pas la perfection pour montrer votre travail ; il ne sera jamais parfait. Mais les retours vous aideront à grandir.   Un vendeur local servant de la nourriture de rue au marché flottant de Khlong Lat Mayom, Bangkok, Thaïlande. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 135mm – 1/250s, ISO400, f/2.8 GEAR UP Quel appareil et matériel utilisez-vous le plus maintenant? Quel est votre objectif préféré? Parlez-nous de votre expérience avec les objectifs Tamron. Alexandre : Je shoote actuellement avec un SONY A7IV pour la plupart de mes photos fixes et j’ai aussi un A7S3 pour la vidéo, qui me sert de deuxième boîtier quand nécessaire. Maintenant que j’ai le Tamron 35–150 mm f/2–2,8, je n’ai presque plus besoin d’avoir les deux boîtiers. Cet objectif est tout simplement incroyable et est rapidement devenu un favori. J’utilise encore beaucoup mon 24–70 mm, mais si je devais choisir un seul objectif pour un voyage, ce serait dans la plupart des cas le 35–150 mm. C’est la plage focale parfaite pour mon type de photographie. J’ai toujours aimé les objectifs Tamron, ils sont vraiment parfaits pour les objectifs faciles à transporter en voyage. Je possède aussi le 150–500 mm, et je ne connais pas d’autre téléobjectif avec une plage focale aussi large qui soit plus petit ou plus léger. Ce n’est pas seulement que les objectifs Tamron sont nets avec un bokeh crémeux que j’adore; ils offrent constamment le meilleur rapport qualité-prix comparé aux autres marques. Alexandre Rouleau Pour voir plus de travaux d’Alexandre - ICI. Découvrez l’objectif Tamron préféré d’Alexandre - ICI. www.tamron-americas.com

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The magazine for people who love photography with purpose. Order the PRINT edition “It’s the kind of magazine you want to revisit—slow down with, learn from, and maybe even pass along to someone else who’d appreciate it. Highly recommended—and not just for one read, but many.” - Sandrine Hermand-Grisel, AllAboutPhoto.com 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. The MELD issue #73 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 TAMRON LENS GIVEAWAY! Enter a draw for a chance to win a Tamron 18-300mm zoom lens! 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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 Frequently asked questions 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.

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