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

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

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

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MELD. Issue #73 MELD. Issue #73 1/7 Meld Issue In Print Order Now Subscribe Back Issues 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 Here Featured Articles Framing the world through a viewfinder to find yourself If you build it, they will come Karene-Isabelle Jean-Baptiste: Power from a Palette “Gorgeous. Inspirational. Informative.” Current Edition Order Print Edition Subscribe Meld Spring 2025 Meld Spring 2025 Meld Spring 2025 Meld Spring 2025 “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 The Colour Issue – Winter 2024-2025 Check it out - HERE “I love it! It’s a nice, analog way to interact with photography.” Subscribe Special Offers Digital EXTRA Edition OUR WINTER 2025 - 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 MEMORY Photography that looks backwards to move us forward Submit Here CALL FOR SUBMISSIONS Photo Books Canadian Photographs — A new book by Geoffrey James Pressing Business: Soft Grain Books Photo Book review: Synchronicity 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.

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