“HONOURING EACH INDIVIDUAL’S EXPERIENCE IS THE BASIS OF THIS WORK.” A cardboard sign is a form of communication people experiencing homelessness use with the general public. Often it is the only dialogue between these two demographics. Using art as a vehicle to break down walls of stigma, photographer Kat Fulwider challenges us to look at the human beyond the sign. “What is your story? What is your message?” “Rainy” • “I met Rainy when I was volunteering at Operation Come Home. She is a compassionate young woman with a gift for writing. This photo was taken around the time she found out she was pregnant. Since this picture was taken Rainy has turned her life around. She left a toxic relationship, got off the streets, has an apartment and a job, and has a beautiful baby who she says saved her life. Her story is one of inspiration that there is a light on the other side of the darkness.” Kat asked these questions to but a few of the 800 youth in Ottawa who don’t have a place to call home. Their answers were communicated in the form of visual artwork, words, and poetry: their emotional accounts of loss, survival, and resilience sketched on cardboard. On this simple material, Kat combined their statements with portraits she created through the cyanotype process. “Youth homelessness” refers to the experience of young people between the ages of 13 and 24 who are living independently of parents or caregivers and do not have the means or ability to acquire a stable, safe, or consistent residence. “Hannah” • Many youth have different names. Some know her as “Molly,” many knew her as “Hannah.” I met her only a couple times. She was the very first participant in the project. Life on the streets is often characterized by constant movement and too many times we lose track of people. Kids slip through the cracks and the street becomes a basin to catch them. “Iftin” • “ I try to be really quiet and stay in my own corner because I don’t want to get in trouble and because you have to think about your own safety at the end of the day. You don’t want to get involved with, like, anything that can get you hurt.” Kat shared how her Your Side of the Story project materialized: “I met each of these individuals when I began volunteering at Operation Come Home, a social services centre for at-risk and homeless youth. When I first began, I was looking to help fellow youth in my community through art. I was very naive about the challenges these youth face daily. I was not aware of the housing crisis Ottawa is currently facing or the extent of the opioid epidemic and its effects on our young population. I was oblivious to many things when I began this project, but most of all, I was unprepared for the beautiful and heartbreaking relationships that I would eventually form with these youth. I did not know of the magnitude of the front-line workers’ duties and their unrelenting efforts to create a better life for these young people. As there are many complex factors that lead to youth homelessness, the social workers, support workers, and volunteers of Operation Come Home and similar social service centres have an immeasurable undertaking before them. According to research by the Homeless Hub, some of the greatest factors contributing to youth homelessness are physical, sexual, and emotional abuse; involvement with the child welfare system; homophobia; discrimination; and poverty. Regardless of the events that led to this chapter in the people’s young lives, boundless strength and resilience is held within their pages. “Chicken Little, [Cody] Murray” • Cody says, “I find a lot more street people giving and caring than people who have nine-to- five jobs who make, like, six-figure incomes.” This project is dedicated to Cody. He was one of the kindest people I have ever met and I wish that I had had more time with him. We met on a cold January winter night during the “24 hours of homelessness” campaign through Operation Come Home. When you walk into the Operation Come Home Drop-In Centre, you immediately see memorial canvasses adorning the walls. Printed upon them are the faces of young people surrounded by handwritten notes of love, loss, and wishes for the youth to rest in peace. These are grim reminders of the dangerous realities these youth face every day. I see myself in these faces. I see a fractured reflection of my generation. My hope is that the people who participated in my project found solace in the expressions of their voices. Every situation is unique; some people knew exactly what they wanted to say and I became the conduit through which they shared their stories. Others were uncertain of how, or even if, they wanted to share their stories. Honouring each individual’s experience is the basis of this work.” kfulwider.com/your-side-of-the-story This story featured in our PHOTOGRAPHY + HEALING issue. Did you enjoy this FREE read? Consider supporting us! We'd love your support to continue producing great content for you to enjoy! • JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY Follow us on Patreon, Facebook, and Instagram, and sign up for our e-newsletter to keep up with all our adventures!

An interview with photoED Magazine Anna Wilson is a Canadian photographer, educator, and artist whose eye is drawn to stories that make places meaningful, and to her camera as a tool for being more present in the world. Anna’s approach has evolved from documenting what she sees to using photography as a conduit for deeper observation, connection, and creative expression. She is the founder of Mindful Eye Photography, through which she leads creative experiences for women. Recently, her Alchemy of Light — Mindful Photography Journey (in partnership with National Geographic Journeys by G Adventures) took her and her group through Spain. photoED Magazine spoke to Anna about her latest adventure. Noticing light at the Real Alcázar of Seville • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/5000sec, ISO400, f/2.8 at 35mm photoED: How did you get started in photography? And what keeps you motivated and inspired to keep practising? Anna: I fell in love with photography in high school, when I took my first photography class. I was incredibly lucky to have an inspiring teacher, and we used Freeman Patterson’s Photography and the Art of Seeing as our textbook. Looking back, I think that may have been one of my first nudges toward the mindful approach to photography that has become such an important part of my work. At the same time, I became completely captivated by the darkroom. There was something magical about standing in that dim red light, watching an image slowly appear on photographic paper. It was a meditative way of making something physical, and I think it was probably my first experience of what I would later understand as creative flow. Growing up, my dream was to become a National Geographic photographer. I wanted to travel the world and tell stories through photography. This dream has taken a more winding path than I imagined. I’m still deeply fascinated by travel and storytelling, and I’m incredibly grateful that my work is now published and shared more widely. There’s something especially meaningful for me in that I just finished leading a group journey in partnership with National Geographic Journeys by G Adventures. This kind of leadership has become a big part of what motivates me now. I’m interested in helping people experience the world more deeply through photography, while continuing to grow and evolve my own creative practice along the way. A shop display in Madrid • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/1600sec, ISO400, f/2 at 35mm photoED: What do you love most about creating stories through photography? Anna: Photography gives me a way to express what I find meaningful in the world. It helps me notice things that I might otherwise overlook, and gives me a way to hold on to those experiences. When I photograph something that stops me in my tracks, I’m essentially saying, “I see you. This matters to me.” Later, when I look at the photograph, I’m not just remembering what something looked like, I can also remember how I felt when I was there. photoED: Your work is focused on two areas of photographic exploration: mindfulness and travel. Tell us more about how these ideas come together, and what excites you about these explorations. Anna: Mindfulness has become the foundation of how I approach life and image-making. In practice, it means slowing down enough to actually notice what is in front of me, rather than rushing toward a preconceived idea of what I think I should photograph. When I’m working this way, photography becomes less about taking pictures and more about seeing, about being fully present with light, gesture, atmosphere, and details as they unfold in real time. I have always found travel to be the best means of igniting my creativity. I’ve found that being somewhere unfamiliar naturally heightens my awareness. Mindfulness creates the inner conditions for attention: presence, curiosity, openness. Photography gives that attention a form. The camera becomes a tool for staying with an experience a little longer, for deepening it rather than moving past it. Instead of simply documenting a place, I find myself in a dialogue with it, noticing something, responding to it through the frame, then noticing something new in return. I’m particularly interested in what happens when I move beyond obvious landmarks and allow myself to be guided by attention itself, following small, fleeting, unexpected details that reveal the character of a place. Palace overview at the Real Alcázar of Seville • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/5000sec, ISO400, f/2.8 at 35mm photoED: Why did you launch Mindful Eye Photography? Anna: I had dreamt for years about leading photography experiences, but I wanted to create something that went beyond a traditional photography tour. I wanted to create the kind of creative community I had been looking for myself, a space where women could travel, make photographs, experiment, have meaningful conversations, and simply be curious together. My approach is that photography is not about chasing perfect images, but about slowing down enough to really see. When we remove the pressure to produce a “great” photograph, something shifts and people begin to notice more, trust their instincts, and reconnect with their own way of seeing. I’ve discovered that some of the most meaningful parts of these experiences happen in the spaces between making photographs: in conversations over morning coffee, during the dinners that last longer than planned, or standing together simply observing light. These are the moments when a group starts to feel like a community. There’s also a little bit of rebellion in it. I’ve spent a lot of my life working within other people’s structures, and at some point I realized I wanted to build my own table instead of waiting for someone to give me a seat at theirs. Ultimately, the journeys are about photography, but they’re also about attention, creativity, connection, curiosity, and the experience of being fully alive in a place. Marcado San Miguel in Madrid • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/250sec, ISO1000, f/2.7 at 90mm photoED: Whose work has influenced yours? Anna: Early on, I was drawn to documentary photographers like Sebastião Salgado and Larry Towell. I’ve also always admired Steve McCurry’s use of colour and composition, and I continue to be inspired by it. As my own practice evolved, I became increasingly interested in John Daido Loori’s ideas around Zen photography, and I found myself returning to Freeman Patterson’s teachings after many years. I’ve also spent a lot of time reading about creativity, the creative process, and flow. From Julia Cameron’s The Artist’s Way to Mihaly Csikszentmihalyi’s work on flow, I’m endlessly curious about what allows us to become absorbed in making something and what gets in the way. Ultimately, I think my greatest teacher has been exploring and making. You can read about creativity forever, but at some point you have to put the books down, go outside, and pay attention to what is actually in front of you. Golden Hour at Plaza Mayor in Madrid • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/500sec, ISO100, f/2.8 at 113mm photoED: What makes a good photograph? Anna: For me, a good photograph is one that makes me feel something. It doesn’t necessarily have to be technically perfect or show something spectacular. It has to communicate something about the experience of being there. I want a photograph to carry some of the awe, wonder, beauty, curiosity, or even quietness that I felt in the moment. If I can look at an image years later and be transported back to that experience, then I think the photograph has done its job. I’m interested in images that feel true to an experience. Blue Hour view of the Alhambra in Granada • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/40sec, ISO1600, f/2.8 at 88mm photoED: How has working in photography influenced you personally? Anna: Photography has been the most powerful gratitude practice for me. It has taught me to notice and celebrate the life I’m actually living and to document the things I want to remember. It has also taught me how powerful attention can be. When I’m looking through a camera, I’m not thinking about everything else. I’m noticing light, colour, gesture, texture, relationships between things. This understanding has influenced the way I teach. I’m less interested in teaching people how to operate a camera and more interested in helping them develop the ability to see, explore, and experiment. Photography has become much bigger for me than technique. It’s a creative practice and a way of connecting with the world. Looking out to the Patio de los Leones (Court of the Lions) in the Nasrid Palaces of the Alhambra in Granada • Shot on Nikon Z6II with the Tamron 16-30mm f/2.8 - 1/8000sec, ISO800, f/2.8 at 16mm photoED: As an educator, what’s the one place you see students (of any age) get stuck in their photographic journeys? And what’s your advice? Anna: I think one of the biggest problems is that people rush. They decide they need to “get the shot,” take one or two photographs, and move on. Or they become so focused on the technical settings that they forget to actually look at what they’re photographing. I see a lot of divided attention, too. We’re surrounded by so much stimulation that simply being present with one thing has become surprisingly difficult. Over the years, I’ve moved further and further away from lecture-style teaching and toward creating conditions where people can experiment and experience creative flow for themselves. I want students to make lots of photographs, make mistakes, follow their curiosity, and stay with an observation longer than feels necessary. My advice is simple: stay longer. If something catches your attention, don’t photograph it once and move on. Ask yourself what exactly attracted you. Change your position. Look at the light. Get closer. Step back. Try a detail. Try a different focal length. Wait. The first photograph is often just the beginning of the conversation. photoED: Do you have travel tips for photographers? Anna: My advice is to slow down and connect with a place before you start wildly capturing everything. When I arrive somewhere new, I try to observe first. What is the light doing? What colours keep appearing? What details are catching my attention? What feels distinctive about this place? I think those observations often lead to more personal photographs than simply trying to recreate the postcard images everyone has already seen. I also recommend working in series. On our trip to Spain, for example, we spent a day looking for specific shapes and another focused on a colour. Once you start following one of these small visual obsessions, you begin to see a place differently. A collection of seemingly ordinary observations can tell you something about a destination that a single “hero” photograph can’t. Simplify: one of the greatest powers we have as photographers is deciding what not to include in the frame. Ask yourself what the actual subject of your photograph is, and then remove the distractions. Take the first photograph, then explore what else is there. Experiment. Allow yourself to be surprised. Mindfulness is a wonderful companion to photography because it trains the very thing photography requires first: the ability to notice. Start practising before the trip. Separating the subject against a busy background with shallow depth of field at the Real Alcázar of Seville • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/1600sec, ISO400, f/2.8 at 150mm GEAR UP: What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using Tamron lenses? Anna: I have been a Nikon shooter from the very beginning, and I recently moved to the Nikon Z6II mirrorless system. I had the opportunity to test the Tamron 35–150mm f/2–2.8 and the16–30mm f/2.8 lenses for the Nikon Z mount. The 35–150mm f/2–2.8 was incredible. It covered such a broad range of situations, allowing me to move quickly from wider environmental angles to intimate details without constantly changing lenses. When I was travelling, that flexibility was ideal. I particularly loved that lens for photographing the participants on our Spain journey. The longer focal lengths allowed me to make intimate portraits of people without interrupting what they were doing. It’s also a fantastic street photography option because you can stay a little farther away and photograph naturally without putting a camera right in someone’s face. The 16–30mm f/2.8 was especially useful inside tight interior places like the Alhambra and Real Alcázar, where I wanted a wider perspective to capture the architecture and sense of space. I also appreciated its focusing distance, which allowed me to move quickly from an architectural overview to small details in close proximity. Both lenses gave me the flexibility to work handheld in lower light, and the wide apertures were particularly useful for isolating subjects, creating beautiful bokeh and that softer, more atmospheric background that I love. For me, the best travel gear is the gear that gets out of the way. I want to spend my energy responding to what I’m seeing rather than constantly thinking about what equipment I need next. These two lenses gave me that. Anna Wilson, photo by Jo Gomes Check out Anna’s work here, follow her on instagram @mindfuleyephotography and learn more about her Mindful Eye adventures, here. Check out Anna's fave Tamron lens - HERE! www.tamron-americas.com

Anna Wilson est une photographe, éducatrice et artiste canadienne. Son regard se pose sur les récits qui donnent une âme aux lieux et sur l’appareil photo comme un moyen d’être pleinement présente au monde. Au fil du temps, sa pratique a évolué: de la simple observation et documentation de ce qui l’entoure, elle est passée à une approche où la photographie devient un espace d’attention, de connexion et d’expression créative. Fondatrice de Mindful Eye Photography, Anna crée et anime des expériences photographiques destinées aux femmes. Récemment, son voyage Alchemy of Light — Mindful Photography Journey, organisé en partenariat avec National Geographic Journeys by G Adventures, l’a menée en Espagne avec un groupe de participantes. Le magazine photoED s’est entretenu avec Anna à propos de cette dernière aventure. Mezquita-Cathédrale de Cordoue • Photographiée avec un Nikon Z6II et l’objectif Tamron 16–30 mm f/2,8 — 1/6 s, ISO 2000, f/13 à 30 mm photoED: Comment avez-vous commencé à vous intéresser à la photographie? Et qu’est-ce qui continue de nourrir votre motivation et votre inspiration? Anna: Je suis tombée amoureuse de la photographie au secondaire, lorsque j’ai suivi mon premier cours. J’ai eu la chance d’avoir un professeur profondément inspirant, et notre manuel était Photography and the Art of Seeing de Freeman Patterson. Avec le recul, je crois que ce fut l’un de mes premiers pas vers cette approche consciente de la photographie qui allait devenir si importante dans mon travail. À la même époque, j’ai été complètement fascinée par la chambre noire. Il y avait quelque chose de magique dans le fait de se tenir sous cette lumière rouge tamisée et de regarder lentement une image apparaître sur le papier photographique. C’était une façon presque méditative de donner une forme concrète à quelque chose, et je pense que c’était probablement ma première expérience de ce que j’allais plus tard reconnaître comme le flow créatif. Quand j’étais enfant, je rêvais de devenir photographe pour National Geographic. Je voulais parcourir le monde et raconter des histoires à travers mes images. Le chemin que ce rêve a emprunté s’est révélé beaucoup plus sinueux que je ne l’avais imaginé. Je suis toujours profondément attirée par le voyage et la narration, et je suis extrêmement reconnaissante que mon travail soit aujourd’hui publié et partagé auprès d’un public plus vaste. Le fait que je vienne tout juste de terminer l’accompagnement d’un groupe dans le cadre d’un voyage en partenariat avec National Geographic Journeys by G Adventures revêt d’ailleurs une signification toute particulière pour moi. Aujourd’hui, ce rôle d’accompagnatrice est devenu une source importante de motivation. J’aime aider les gens à vivre le monde plus intensément grâce à la photographie, tout en continuant, moi aussi, à faire évoluer et à approfondir ma propre pratique créative. Dans les jardins du Real Alcázar de Séville • Photographiée avec un Nikon Z6II et l’objectif Tamron 35–150 mm f/2–2,8 — 1/250 s, ISO 640, f/2,8 à 74 mm photoED: Qu’est-ce que vous aimez le plus dans le fait de raconter des histoires à travers la photographie? Anna: La photographie me permet d’exprimer ce qui, dans le monde, me touche et me semble important. Elle m’apprend à remarquer ce que je pourrais autrement laisser passer et me donne un moyen de conserver ces instants. Quand quelque chose m’arrête dans mon élan et que je le photographie, je dis en quelque sorte: « Je te vois. Tu comptes pour moi. » Et lorsque je retrouve cette image des années plus tard, je ne me souviens pas seulement de ce que je voyais. Je me souviens aussi de ce que je ressentais à cet endroit, à cet instant. photoED: Votre travail s’articule autour de deux grands territoires d’exploration photographique: la pleine conscience et le voyage. Comment ces deux univers se rencontrent-ils, et qu’est-ce qui vous passionne dans cette exploration? Anna: La pleine conscience est devenue le socle de ma façon d’aborder la vie et la création d’images. Concrètement, cela signifie ralentir suffisamment pour voir véritablement ce qui se trouve devant moi, plutôt que de courir après une idée préconçue de ce que je devrais photographier. Lorsque je travaille ainsi, la photographie devient moins une question de prendre des images qu’une question de regarder. D’être pleinement présente à la lumière, aux gestes, à l’atmosphère et aux détails qui apparaissent sous mes yeux. J’ai toujours considéré le voyage comme l’un des meilleurs moyens de réveiller ma créativité. Être dans un environnement inconnu aiguise naturellement mon attention. La pleine conscience crée les conditions intérieures nécessaires pour être attentive: la présence, la curiosité, l’ouverture. La photographie donne ensuite une forme à cette attention. L’appareil devient un outil qui me permet de rester un peu plus longtemps avec une expérience, de l’approfondir plutôt que de la laisser derrière moi. Au lieu de simplement documenter un lieu, je me retrouve dans une sorte de dialogue avec lui. Je remarque quelque chose, j’y réponds à travers mon cadre, puis cette attention fait surgir autre chose. Je suis particulièrement intéressée par ce qui se passe lorsque je vais au-delà des monuments et des points de vue incontournables et que je me laisse guider par mon attention elle-même. Je suis alors les petits détails fugitifs, inattendus, parfois presque invisibles, qui révèlent véritablement la personnalité d’un lieu. L’Alhambra de Grenade baignée par la lumière du coucher de soleil • Photographiée avec un Nikon Z6II et l’objectif Tamron 35–150 mm f/2–2,8 — 1/500 s, ISO 100, f/2,8 à 97 mm photoED: Pourquoi avez-vous créé Mindful Eye Photography? Anna: Je rêvais depuis des années d’animer des expériences photographiques, mais je voulais créer quelque chose qui dépasse le cadre d’un voyage photographique traditionnel. Je souhaitais bâtir le genre de communauté créative que je cherchais moi-même: un espace où des femmes pourraient voyager, photographier, expérimenter, avoir des conversations profondes et, tout simplement, être curieuses ensemble. Pour moi, la photographie ne consiste pas à poursuivre l’image parfaite. Elle consiste à ralentir suffisamment pour vraiment voir. Lorsque nous retirons la pression de devoir produire une « excellente » photographie, quelque chose se transforme. Les gens commencent à remarquer davantage, à faire confiance à leur instinct et à retrouver leur propre façon de voir. J’ai aussi découvert que certains des moments les plus précieux de ces expériences se trouvent entre les photographies: dans les conversations autour d’un café le matin, dans les soupers qui s’éternisent sans que personne ne regarde l’heure, ou simplement lorsque nous nous tenons ensemble quelque part à observer la lumière. C’est dans ces moments-là qu’un groupe commence véritablement à devenir une communauté. Il y a aussi une petite dose de rébellion dans cette démarche. J’ai passé une grande partie de ma vie à évoluer dans les structures créées par d’autres. À un moment donné, j’ai compris que je préférais construire ma propre table plutôt que d’attendre qu’on m’invite à m’asseoir à celle de quelqu’un d’autre. Au fond, ces voyages parlent de photographie, bien sûr. Mais ils parlent aussi d’attention, de créativité, de connexion, de curiosité et de cette sensation d’être pleinement vivante dans un lieu. Vitrine de magasin à Madrid • Photographiée avec un Nikon Z6II et l’objectif Tamron 35–150 mm f/2–2,8 — 1/30 s, ISO 100, f/2,8 à 35 mm photoED: Quels photographes ou artistes ont influencé votre travail? Anna: Au début, j’étais attirée par des photographes documentaires comme Sebastião Salgado et Larry Towell. J’ai également toujours admiré la manière dont Steve McCurry travaille la couleur et la composition, et son approche continue de m’inspirer. À mesure que ma pratique évoluait, je me suis intéressée de plus en plus aux idées de John Daido Loori autour de la photographie zen. Après de nombreuses années, je suis également revenue aux enseignements de Freeman Patterson. J’ai passé beaucoup de temps à lire sur la créativité, le processus créatif et le flow. De The Artist’s Way de Julia Cameron aux travaux de Mihaly Csikszentmihalyi sur le flow, je reste fascinée par ce qui nous permet de nous abandonner complètement à un processus créatif — et par ce qui peut nous en détourner. Mais, au bout du compte, je crois que mon plus grand professeur a été l’exploration elle-même et le fait de créer. On peut lire sans fin sur la créativité, mais arrive un moment où il faut refermer les livres, sortir et porter attention à ce qui se trouve réellement devant soi. Vue d’ensemble du plafond orné du Real Alcázar de Séville • Photographié avec un Nikon Z6II et l’objectif Tamron 16–30 mm f/2,8 — 1/40 s, ISO 800, f/2,8 à 16 mm photoED: Qu’est-ce qui fait, selon vous, une bonne photographie? Anna: Pour moi, une bonne photographie est une image qui me fait ressentir quelque chose. Elle n’a pas besoin d’être techniquement parfaite ni de représenter quelque chose de spectaculaire. Elle doit transmettre quelque chose de l’expérience vécue. Je veux qu’une image porte en elle une part de l’émerveillement, de la beauté, de la curiosité ou même du calme que je ressentais à cet instant. Si, des années plus tard, je peux regarder une photographie et me retrouver instantanément transportée dans cette expérience, alors je pense qu’elle a accompli ce qu’elle devait accomplir. Je suis attirée par les images qui restent fidèles à une expérience. L’enthousiasme de la photographie au Real Alcázar de Séville • Photographié avec un Nikon Z6II et l’objectif Tamron 35–150 mm f/2–2,8 — 1/8000 s, ISO 400, f/2,8 à 60 mm photoED: Comment la photographie vous a-t-elle transformée personnellement? Anna: La photographie est devenue pour moi la pratique de gratitude la plus puissante qui soit. Elle m’a appris à remarquer et à célébrer la vie que je suis réellement en train de vivre, ainsi qu’à garder une trace des choses dont je souhaite me souvenir. Elle m’a également enseigné le pouvoir extraordinaire de l’attention. Lorsque je regarde à travers un appareil photo, je ne pense plus à tout le reste. Je regarde la lumière, les couleurs, les gestes, les textures et les relations entre les choses. Cette compréhension a profondément influencé ma façon d’enseigner. Je m’intéresse moins à apprendre aux gens à manipuler un appareil photo qu’à les aider à développer leur capacité à regarder, à explorer et à expérimenter. Pour moi, la photographie est devenue bien plus qu’une question de technique. C’est une pratique créative et une façon d’entrer en relation avec le monde. Vue du Puente Nuevo à Ronda • Photographiée avec un Nikon Z6II et l’objectif Tamron 16–30 mm f/2,8 — 1/2000 s, ISO 400, f/8 à 30 mm photoED: En tant qu’éducatrice, où voyez-vous les étudiants — quel que soit leur âge — rencontrer le plus souvent des difficultés dans leur parcours photographique? Et quel conseil leur donneriez-vous? Anna: Je pense que l’un des principaux obstacles est la précipitation. Les gens décident qu’ils doivent « avoir la photo », prennent une ou deux images et passent à autre chose. Ou alors ils deviennent tellement absorbés par les réglages techniques qu’ils oublient de regarder véritablement ce qu’ils photographient. Je remarque aussi beaucoup d’attention divisée. Nous sommes entourés de tant de stimulations qu’être simplement présent à une seule chose est devenu étonnamment difficile. Au fil des années, je me suis éloignée de plus en plus de l’enseignement traditionnel basé sur les cours et les explications pour créer plutôt des conditions dans lesquelles les gens peuvent expérimenter et découvrir par eux-mêmes le flow créatif. Je veux que mes étudiants prennent beaucoup de photographies, fassent des erreurs, suivent leur curiosité et restent avec une observation plus longtemps qu’ils ne pensent nécessaire. Mon conseil est simple: restez plus longtemps. Si quelque chose attire votre attention, ne le photographiez pas une seule fois avant de passer à autre chose. Demandez-vous ce qui vous a précisément attiré. Changez de position. Observez la lumière. Approchez-vous. Éloignez-vous. Essayez un détail. Utilisez une autre longueur focale. Attendez. La première photographie n’est souvent que le début de la conversation. photoED: Avez-vous des conseils de voyage pour les photographes? Anna: Mon conseil serait de ralentir et de créer d’abord un lien avec un lieu avant de commencer à tout photographier frénétiquement. Lorsque j’arrive quelque part pour la première fois, j’essaie d’observer avant tout. Que fait la lumière? Quelles couleurs reviennent sans cesse? Quels détails attirent mon regard? Qu’est-ce qui rend cet endroit particulier? Je trouve que ces observations donnent souvent naissance à des photographies plus personnelles que le simple fait d’essayer de reproduire les images de carte postale que tout le monde connaît déjà. Je recommande également de travailler en séries. Lors de notre voyage en Espagne, par exemple, nous avons consacré une journée à rechercher des formes précises et une autre à une couleur particulière. Dès que l’on commence à suivre l’une de ces petites obsessions visuelles, on se met à voir un lieu autrement. Une collection d’observations apparemment ordinaires peut révéler quelque chose d’une destination qu’une seule photographie « emblématique » ne pourrait jamais raconter. Simplifiez. L’un des plus grands pouvoirs dont nous disposons en tant que photographes est de décider de ce que nous n’allons pas inclure dans le cadre. Demandez-vous quel est réellement le sujet de votre photographie, puis éliminez les distractions. Prenez une première photographie, puis cherchez ce qui se trouve au-delà. Expérimentez. Laissez-vous surprendre. La pleine conscience est une merveilleuse compagne de la photographie parce qu’elle développe précisément la qualité dont la photographie a besoin avant toute autre: la capacité de remarquer. Commencez à la pratiquer avant même de partir en voyage. Spectacle de flamenco, Séville • Nikon Z6II avec Tamron 35–150 mm f/2–2,8 — 1/25 s, ISO 1250, f/2,8 à 109 mm ÉQUIPEMENT Quel appareil photo et quel équipement utilisez-vous? Quel est votre objectif préféré? Parlez-nous de votre expérience avec les objectifs Tamron. Anna: Je photographie avec Nikon depuis mes débuts et je suis récemment passée au système hybride Nikon Z6II. J’ai eu l’occasion de tester les objectifs Tamron 35–150mm f/2–2.8 et 16–30mm f/2.8 pour la monture Nikon Z. Le Tamron 35–150mm f/2–2.8 était remarquable. Il couvre une plage de situations extrêmement large, ce qui me permettait de passer rapidement de cadrages environnementaux larges à des détails plus intimes sans devoir constamment changer d’objectif. En voyage, cette polyvalence était idéale. J’ai particulièrement aimé cet objectif pour photographier les participantes de notre voyage en Espagne. Les longues focales me permettaient de réaliser des portraits intimes sans interrompre ce qu’elles étaient en train de faire. C’est également une excellente option pour la photographie de rue, puisqu’on peut rester un peu à distance et photographier naturellement sans placer son appareil directement devant le visage de quelqu’un. Le 116–30mm f/2.8 s’est révélé particulièrement utile dans des espaces intérieurs exigus comme l’Alhambra et le Real Alcázar, où je souhaitais disposer d’une perspective plus large pour saisir l’architecture et la sensation d’espace. J’ai également apprécié sa distance de mise au point, qui me permettait de passer rapidement d’une vue d’ensemble de l’architecture à de petits détails situés à proximité. Les deux objectifs m’ont donné la liberté de travailler à main levée dans des conditions de faible luminosité. Leurs grandes ouvertures étaient également particulièrement utiles pour isoler les sujets, créer un magnifique bokeh et obtenir cet arrière-plan plus doux et atmosphérique que j’aime tant. Pour moi, le meilleur équipement de voyage est celui qui sait se faire oublier. Je veux consacrer mon énergie à répondre à ce que je vois plutôt qu’à réfléchir constamment au matériel dont j’aurai besoin ensuite. Ces deux objectifs m’ont offert cette liberté. Anna Wilson Découvrez le travail d’Anna ici, suivez-la sur Instagram @mindfuleyephotography et apprenez-en davantage sur ses aventures Mindful Eye ici. www.tamron-americas.com

Inspiring photography stories in print magazine Home vs Away “Tourists don't know where they've been, travellers don't know where they're going.” ― Paul Theroux While routes of transit frequently cross through the same physical places that characterize Away as a realm of discovery, the idea of Home represents an entirely distinct emotional landscape. We may think of Home as a single physical place, but artists in this issue took a different approach by considering it as a conceptual space. Our 77th edition in print celebrates the land of in-between In this print-first edition, the second issue in the 2026 contrasts trilogy, photoED magazine again flips the script on the reader's experience. From the cover, the publication opens as per usual but somehow concludes in the middle. Flip the print edition on its back to find another beginning, a different entry point, through a second cover. This issue features: Martine Côté’s LIGHTHOUSES Antarctica: The Frozen Muse. Two NZ photographers, one unique place. The first daguerreotypes created on the continent. Wish you were here , Vacation culture at a time of climate crisis, Holga photos by Sarah Palmer Arrivals + Departures, 36 photographers in conversation through images Camille Turner: Living History into the Present An Old Reverie, Pooya Nabei and the Canadian immigration experience Western Consumption , mordançage road trip images question “progress” by J. Jason Lazarus Cameras For Girls, Photojournalism training for women in Africa PORTFOLIO: A curation from our international Call for Submissions + PORTFOLIO FEATURES Diane Holmes (CAN), Sophie Derouin (CAN), Dominique Philippe Bonnet (FR) Jo Panasiuk (CAN), Jordan Potae (NZ), Elizabeth Siegfried (CAN), Mary Beth Doble (USA), Jackie Weik, Elsa Hashemi (CAN), Mehrana Nazari (CAN), Krista Charbonneau (CAN), Olga Bondarenko (CAN), Sungsoo Lee, and Avigail Ramirez (USA). AND... Photo book recommendations by Alan Bulley Change Made: A lens on the beautiful game by Sid Naidu E. Haanel Cassidy: Seeking Transcendence by Cassandra Spires The Poiesis Collective by Craig D’Arville Covers by Martine Côté, "Lighthouse # 022, Cape Spear (new), Atlantic Ocean, Newfoundland, Canada, 2026" & Maya Guice,“King of Cancun" photoED magazine is also available as digital replicas for readers worldwide on Press Reader and Flipster platforms. This edition could not have been made possible without the support of: Tamron , Nikon, The Photo Historical Society of Canada, Beau Photo, Harcourt House, GuruShots, a very generous anonymous private donor passionate about supporting Canadian women in photography, our Patreon Patrons , Downtown Camera , Front Row Insurance and Total Image Works. GET IT IN PRINT ! GET IT DELIVERED IN PRINT ! READ THE DIGITAL REPLICA A little sample of what we've done in the past.... ORDER vs CHAOS - Issue #76 Featuring: Crafted compositions with Milad Safabakhsh by Sherry Chunqing Liu Quincey Spagnoletti in conversation with Pelle Cass Geomatic Meditation by DW Alexander Daniel Everett: Systems of (Dis) Organization, by Alan Bulley Digital Manifestations: The Meditative Practice of Anthony Gebrehiwot, by Craig D’Arville Wes Bell: Lost for words, by Sherry Chunqing Liu One Thing After Another, An exquisite photography retrospective at the AGO, by Corinna vanGerwen Laura Kay Keeling: Untitled Portals by Rita Godlevskis + PORTFOLIO Feature Artists: Rebecca Tunks (AUS) Julia Zyrina (NL) Paulo de Tarso Souza (BR) Violetta Lorentzou (UK) Fausta Facciponte (CAN) Ava Margueritte (CAN) Henry VanderSpek (CAN) Franciszek Chilinski (POL) Tash Damjanovic (CAN) Shira Gold (CAN) Jung Ui Lee (KR). + MORE! Jane Hinton: Contained Chaos by Cassandra Spires Mindful photography in a chaotic world by Anna Wilson Love + Order: Resilience, a photo book by Alan Bulley Photo book recommendations by Brian St Denis Change Made: Building the next chapter in mentorship by Sid Naidu Order vs Chas covers: Pelle Cass' “Red Ball Shadows in Driveway — It was a silly fight” from the series, Tossed. And Fausta Facciponte smashes china to create new stories, “Story Fragment No. 11,” from the series, Little Tragedies and New Beginnings. Movement - Issue #75 Featuring: Xavi Bou & nicholas x bent: Motion in Frame by Corinna vanGerwen Isabelle Hayeur & Ruth Kaplan: Border Stories by Alan Bulley Stuart Robertson: Peace in 10,000 Hands by Craig D’Arville Lori Ryerson: Quiet, noise, and moving in between by Rita Godlevskis Crip Trip: Reframing Disability by Gladys Lou + PORTFOLIO Feature Artists: Lorena Zschaber (Brazil) Amy Heller (USA) Yasser Alaa Mobarak (Egypt) Roland Ramanan Nika Belianina (Canada) Xiatong Cai (Canada) Ed McDonough (Canada) Peter Dušek (Canada) Julia Nathanson Jonny Silver (Canada) Paul Mitchnick (Canada) Lesley Nakonechny Ashot Harutyunyan János Lakatos Andre Conceicao. + MORE! Change Made with JAYU by Sid Naidu Mattie Gunterman: Playful Pictures by Cassandra Spires Thinking Outside the Cube: SPAO Photo Walk by Alan Bulley Tilly Nelson: Authentic representation by Hazel Love Book recommendations by Alan Bulley Protest is a Creative Act: Resistance and tides of change in Australia. The Movement issue cover features a detail from Xavi Bou’s Ornithography #24. Yellow-legged gulls at sunset in El Prat de Llobregat, Catalonia. Xavi Bou is represented by The Cardinal Gallery in Toronto. The back cover features Peace and Progress by Maya Guice. “The white flag is not surrender, but an invitation, an offering—a call to something more. Wouldn’t you like to imagine a future worth running toward?” MEmory - Issue #74 Featuring: Shelagh Howard 's The Secret Keepers Geneviève Thauvette's Empowered Dark Memories by Craig D’Arville Materials of Memory by Mina Markovic Change Made: Room Up Front by Sid Naidu Chris Goodyear The GOODYEARS Kyler Zeleny: Leaning Bones Against a Landscape What has the artist’s contribution been to the history of photography? by Craig D’Arville Collective Memory: Memories shared by invitation from our community of Patreon friends. + PORTFOLIO Feature Artists: Anthoula Lelekidis (USA) Aline Smithson (USA) Maya Guice (USA) David Ofori Zapparoli (Canada) Rebecca Wood (Canada) Dalia Rahhal (Canada) Yuhan Zheng (Canada) Jaehyun Han (Canada) and Michelle Leone Huisman (Canada) + MORE! Divergence & Connection: The Flash Festival of Photography by Leona Herzog SPAO Residencies: The gift of time and space by Johanna Mizgala Peter Chatterton: Within These walls Book recommendations by Alan Bulley The Memory issue cover features “White Roses #3,” from the Lexicon for Loss series by Sheila Spence, and back cover image, “Such Great Heights,” from The Secret Keepers series by Shelagh Howard. MELD - Issue #73 Featuring: 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 vanGerwen Curiosity, Wonder, and Unmitigated Optimism: Martha Davis at work Book recommendations by Brian St. Denis + PORTFOLIO Feature Artists: Trina O’Hara (Italy) Sarah E. Fuller (Canada) Pavlo Fyshar Maryam Firuzi Rosemary Horn (NZ) Diego Fabro (UK) Monica Rooney (Canada) Christine Germano Zelda Zinn (USA) and Ralph Nevins (Canada) + MORE! The MELD issue features a cover image from the Submersed Landscapes series, by Sarah E. Fuller Winter 2024- COLOUR Featuring: Finn O’Hara in conversation with Craig D’Arville/ffoto.com Michael Seleski: After All Curator Peppa Martin reflects on the art of Leslie Hossack & Peter Owusu-Ansah Brianna Roye + Wanna Thompson’s, Portraits of Mas by Corinna vanGerwen A Vibrant Vision by Djenabé Edouard Patricia Parsons: Perceptions of Colour The Hand-Tinted Lantern Slides of Mary Schäffer Warren by Mina Markovic Scarborough Made: Culture in Colour by Sid Naidu + PORTFOLIO Feature Artists: Featuring: Amanda Devison, Manfred Mueller, Stephane Alexis, Daphne Faye Boxill, Eva Kolcze , Monica Rooney, Paul Gravett, Trina Turl, Vanessa Pejovic, David Dorrance, Ryan Puchalski, Marie-Louise Moutafchieva, and Tessy Morelli, our TAMRON Award winner + MORE! The COLOUR issue features a cover image from the Standing Rock series, “On the Heavens,” by Finn O’Hara. FALL 2024- TIME Featuring: Scarborough Made: Community Spotlights By Sid Naidu June Clark & Christina Leslie, in conversation with Craig D’Arville Zinnia Naqvi, Time after Time, by Darren Pottie Sylvia Galbraith, What Time Is This Place? Camera Obsura Rooms Wade Comer , Layering time in a single frame, by Cece M. Scott Arianne Clement, Aging, beautifully. Documenting centenarians, by Alan Bulley + PORTFOLIO Feature Artists: Daphne Faye Boxill, Elsa Hashemi, Lucy Lu , Farah Al Amin, Julianna D’Intino, Elizabeth Siegfried, and Catherine Page. + MORE! Our cover features an image by Bret Culp Spring/Summer 2024- Light Featuring: 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 + PORTFOLIO Feature Artists: Henry VanderSpek, Monica Rooney, Amy Friend, Grant Withers, Nikki Baxendale, Jennifer Gilbert, Felicity Somerset, Alan McCord, and Pablo Villegas. + MANY MORE! Our cover features an image by THIERRY Du BOIS WINTER 2023- LAND Featuring: Scarborough Made: Reclaiming community space, by Sid Naidu This summer we travelled, A poem by Tenille Campbell ELLA MORTON: Northern Curiosity, by Corinna vanGerwen STEVE KEAN: Moving Landscapes, by Bart Gazzola ALAN BULLEY: re:Placed PORTFOLIO Featuring: Janet Hinkle, Arlin Ffrench, Vera Saltzman, Joanne White, Julie Florio, TJ Watt, Edward Peck, Jeff Adams, Rachel Foster, Richard Miller & Geneviéve Thibault, Richard Robesco, and Richelle Forsey + MANY MORE! Our cover features an image by Richelle Forsey FALL 2023- WATER Featuring: Ruth Kaplan: The Bathers - by Bart Gazzola Scarborough Made: Making Waves By Sid Naidu Amy Romer: The Last Salmon Run Chris Myhr: Ab-solutes + Vessels Benjamin Von Wong: Big Brands, Complex Systems of Global Production, & A.I. Osheen Harruthoonyan: Floating, by Corinna vanGerwen Ocean Wise Team - Pacific Northwest Whale Watchers + MANY MORE! Our cover features an image by Ruth Kaplan SPRING/Summer 2023- FOOD Featuring: Scarborough Made: Community connections + culinary culture By Sid Naidu A meditation on the perishable: S. Maria Brandt’s Installation 50%, By Bart Gazzola Food Chain: A conversation through photographs about food Apples to iPhones? By Ali Penko PORTFOLIO: Marie-Louise Moutafchieva, Kate Ince, Carl Rittenhouse, Jennifer Chin, Anthony Carr, Gladys Lou, and Peggy Taylor Reid SVAVA TERGESEN Ian Kapitan’s Black Sheep Supper Club By Corinna vanGerwen GAB BOIS: Playing with her food + MORE! Our cover features an image by S. Maria Brandt Winter 2022-2023 Botanicals Featuring: Augmented reality work by artist Erin McGean A unique conversation between writers Kerry Manders and brandy ryan, about Ryan Van Der Hout SOLAR-POWERED: Phyllis Schwartz's Lumen Prints By Peppa Martin PORTFOLIO: Carolyn Cheng, Danny Custodio, Erin McGean, Jennifer Long, Joe Atikian,T.M. Glass, Walter Raemisch, Jerome Clark, Orysa Stein, Ashley Senja, Julya Hajnoczky, Sally Ayre, Anna Church, Cherry Archer, Akemi Matsubuchi, Deedee Morris, Alex Neumann + MORE! This issue was curated by Peppa Martin, founder of TheCommotion.ca, a virtual photography salon. Our cover by Anna Church FALL 2022- Photography + Activism Featuring: AMBER BRACKEN – ‘A witness with a camera,’ By Laurence Butet-Roch Carole Condé + Karl Beveridge - ‘Democratizing Art’ An interview by Ingrid Forster KC ADAMS - PERCEPTION Alex Jacobs-Blum, ‘Home is Calling’ By Laurence Butet-Roch ‘Blurred lines: A conversation between photographers, Jackie Dives & Kate Schneider ‘An Ethical Photography Practice’ By Danielle Khan Da Silva +MORE! This issue was curated by award winning photographer, author, and academic, Laurence Butet-Roch. Our cover features an image by Kate Schneider SPRING/SUMMER 2022- FUTURE X FASHION Featuring: Emerging photographers tell us how they see the future of photography Christopher Schmitt's (Virtual) Perception of Reality Patricia Ellah's Fashion Forward Frames Richard Bernardin speaks about the importance of The Muse +MORE! This issue was curated by Djenabé a multi-disciplinary artist, producer, and art director for @Aquarius.Mood. She says, “In this issue, I was keen to share future-focused stories, make space for imagination, and explore the two-headed entity that has influenced all of my creative inclinations: fashion and the future.“ Cover by SATY NAMVAR + PRATHA SAMYRAJAH WINTER 2021- TYPOLOGIES Featuring: Heather Doughty INSPIRE: The Women’s Portrait Project Tanja-Tiziana’s Buzzing NEON Lights Bart Gazzola DISCARDED Discovering Self: VERA SALTZMAN By Peppa Martin Thierry du Bois: PROJECT Y Stéphane Alexis’ Chains & Crowns Arnaud Maggs: A career in three acts By Anne Cibola Émilie Régnier and The Devotees of Leopard Print By Laurence Butet-Roch Morris Lum - Chinatowns By Briar Chaput Walter Segers Story Lines Our cover features images by Stéphane Alexis. FALL 2021- The ECo Issue Featuring: Resources you'll love THE ECO-FRIENDLY DARKROOM NICK HAWKINS - Adventurer & Conservation Photographer Q&A ROCIO GRAHAM Forest Miracles TAYLOR ROADES The Aerial Perspective John Healey PLASTIC BEACH Coffee for Film By Kate Roy Samantha Stephens: Little Things + Big Changes By Briar Chaput & The READERS GALLERY Our cover features an image from the In Possible Lands series by Annie Briard. Spring/Summer 2021- FUN! Featuring: THE ULTIMATE PHOTO NERD WORDSEARCH ALI PENKO PLAY IN PHOTOGRAPHY JOANNIE LAFRENIÈRE’S PLAYTIME: Kerry Manders & brandy ryan in conversation CAROL SAWYER × NATALIE BRETTSCHNEIDER By Mark Walton or Walter Markson BLAKE MORROW: Pop culture & PhotoShop LINDSI HOLLEND: Heightened Vision By Michelle Joseph 2021 Astrological advice for photographers By Djenabé Our cover features Priyanka, Winner of Canada’s Drag Race. Image by Blake Morrow. winter 2020- beautiful B&W Featuring: Rosalie Favell - Facing the Camera Photography as a Gift By Ruth Bergen Braun Matt Williams’ Two Rivers Kamelia Pezeshki - Attention to detail Francis A. Willey’s “Blindness” By Kerry Manders Jessica Deeks GIRLS+ ROCK OTTAWA Christine Fitzgerald - A fierce and ordinary reality By Brandy Ryan Karolina Kuras - Romance, flight, & fluidity By Mark Walton Ally Gonzalo BAKLA! By Michelle Joseph Kate Roy - Affinity Cover by Karolina Kuras Fall 2020- Fresh PORTRAITURE Featuring: #PORCHtraits: Images from isolation Liam Mackenzie - Beautiful, messy, wild, and dynamic Lyle XOX: About Face Q&A: XVXY Photo Yucho Chow: Chinatown Through a Wide Lens FRESH FACES: The future of Canadian Portraiture Cover by Liam Mackenzie Spring/Summer 2020- Mental Health Featuring: Kat Fulwider: Ottawa homeless youth + cyanotypes Representing Ideas: New Brunswick College of Craft and Design students explore mental health, by Karen Ruet THE ONE PROJECT The power of photography to change the conversation, by Bryce Evans SHIRA GOLD: Finding her breath, by Peppa Martin Rick Miller’s Homecoming, by Kerry Manders Sara Harley: Stroke of emotions Megan Conley: Vulnerable Expressions, by Ali Penko Cover by Shira Gold Winter 2019- Canadian Risk-Takers Featuring: Haley Eyre: New and bonkers, by Ali Penko Windfields Middle School students Experiential Learning Project, by Briar Chaput Shannon Fitzgerald: A little bit weird, by Joshua Cameron Nicholas Aiden: Introductions Sage Szkabarnicki-Stuart: Portrait of the Artist as a Young Woman, by Peppa Martin Martine Marie-Anne Chartrand: Drôle de ménagerie Joseph R. Adam: BURN Laurence Philomène: In Living Colour, by David Fulde Justin Atkins + Steven Restagno: Mirage Theodora Mitrakos: Mythos Cover self-portrait by Sage Szkabarnicki-Stuart Fall 2019- Documentary Photography Featuring: Christine Love Hewitt’s Wanderlust Representing with Dignity. A panel discussion moderated, by Laurence Butet-Roch Morgan Sears-Williams' Queer Love and Care Ears, Eyes, Voice: Black Canadian Photo journalists 1970s–1990s, by Dr. Julie Crooks Chris Donovan: Complicated Maritime Clouds Paul Seesequasis’ Indigenous Archival Photo Project Patti Gower: From the front lines to leading the next generation JAYU- Photography + community good, by Joshua Cameron Cover by Chris Donovan Spring/ Summer 2019-Analog Photography Featuring: 5 things to look for in a used camera Stephen Brookbank’s - The making of a place Burke Paterson’s - Objects + Ritual Photograms A.T. Kingsmith’s Berlin: A fractal city How-To: Double exposures - Twice as nice! Sara Fleiszig: SOAKED in bodily fluids Sally Ayre, Cyanotypes Kali Spitzer: A Portrait of Resilience SEITIES: A platform for analog photography Our cover features a Tintype by Kali Spitzer Winter 2018 - Studio Work Featuring: In Studio How-To: One light, Three ways, with Margaret Mulligan Vicky Lam: Eye Candy, by Briar Chaput Imagining Exoplanets. Adam Makarenko’s Toronto workshop, by Alexander Tesar David J. Fulde, shooting with flair, by Joshua Cameron In studio with Torrie Groening, by Peppa Martin Grand Masters of Flash. Jens Kristian Balle, Larissa Issler, and Nik Mirus. New Kids on the Block. Emerging talents, hangin’ tough. Five recent photo school grads tell us about the transition from school to the real world. Cover image of Mango Sassi, by David J Fulde Fall 2018- Canadians Abroad Featuring: Marie Louise Moutafchieva/ Renaissance light & culinary delights by Nicola Irvin Travel Tips. Travel advice you may not expect... Thomas Brasch - Out of the Darkness Nathalie Doust’s Korean Dreams, by Samatha Small Anton Mwewa: Curious + Candid, by Joshua Cameron Meaghan Ogilvie’s Underwater worlds, by Briar Chaput Samra Habib ‘JUST ME AND ALLAH,’ by Joshua Cameron Jo-Anne McArthur - Animal Advocate INTAC - A Global Collaboration of Universities by Peter Sramek Samuel Bolduc: From Matane to London Cover by Anton Mwewa Spring/Summer 2018 - Manipulation Featuring: The TIME-TRAVELLING HIPSTER by Joshua Cameron Jessica Thalmann: Destroy and reinvent by Cece Scott Meet Forensic Video Analyst - Michael Plaxton Goodbye Photography, hello Computers by Dolores Gubasta/KlixPix Timothy Starchuk’s Data – Based Art Natalia Osmolovskaya: A City Dweller’s Magic Two Canadian STOCK photo companies making waves online by Nicola Irvin (POSSIBLY) The last roll of colour Infrared film in CANADA by Bob St. Cyr HOW-TO: Edit in Adobe Lightroom Cover by Natalia Osmolovskaya Winter 2017-Landscapes: Real & Imagined Featuring: ISABELLE HAYEUR ’s - Disorientation Desirée Patterson’s - Enraciné by Peppa Martin HOW-TO: Make frozen bubbles by Chris Ratzlaff DANI LEFRANÇOIS - Landscape photography in Banff Alex McLeod: Endless Connectivity by Briar Deacon Pat Kane: The Land Up North HOW-TO: Tips for Winter Photography Adisa Sadaf Rawi: New Worlds Cover by Desirée Patterson FALL 2017 Canadian Collaborations Featuring: The women of TEA & BANNOCK LM CHABOT “One does not go without the other” by Briar Deacon Photo Collectives: Toronto V. Fredericton HOW-TO: BUILD CONFIDENCE PHOTOGRAPHING PEOPLE by Lauren Lim Nadya Kwandibens’ Concrete Indians Cover by LM Chabot IN PRINT 3x/ year Past issues available in PRINT and THE GUIDE are available HERE. Alternatively, payments can be made with cheques, money orders, or purchase orders to: PhotoED MAGAZINE 2100 Bloor St. West, Suite 6218, Toronto, ON M6S 5A5 Canada. Connect with the Editor for any questions or concerns, at: rita@photoed.ca Sorry friends, No returns or refunds on magazines or subscriptions.

The magazine for people who love photography with purpose. Home VS Away - Issue #77 Order VS Chaos - Issue #76 MOVEMENT - Issue #75 MEMORY - Issue #74 The MELD issue #73 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. “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 Featured Blog Articles Current Edition CANADA + USA orders INTERNATIONAL ORDERS Home vs Away - Issue #77 Home vs Away - Issue #77 Home vs Away - Issue #77 Home vs Away - Issue #77 “Tourists don't know where they've been, travellers don't know where they're going.” — Paul Theroux In this print-first edition, the second issue in the 2026 trilogy, photoED magazine flips the script on the readers experience. From the cover, the publication opens as per usual but somehow concludes in the middle. Flip the print edition on its back to find another beginning, a different entry point, through a second cover. Featuring... Martine Côté’s LIGHTHOUSES guide us towards home, by Alan Bulley Antarctica: The Frozen Muse. Two NZ photographers one unique place. The first daguerreotypes created on the continent. Wish you were here , Vacation culture at a time of climate crisis, Holga photos by Sarah Palmer Arrivals + Departures, 36 photographers in conversation through images Camille Turner: Living History into the Present by Melissa Bennett An Old Reverie, Pooya Nabei and the Canadian immigration experience , by Arlo Jukes Western Consumption, mordançage road trip images question “progress” by J. Jason Lazarus Cameras For Girls , Photojournalism training for women in Africa , by Sherry Chunqing Liu + PORTFOLIO Artists from our International Call for submissions: Diane Holmes (CAN), Sophie Derouin (CAN), Dominique Philippe Bonnet (FR) Jo Panasiuk (CAN), Jordan Potae (NZ), Elizabeth Siegfried (CAN), Mary Beth Doble (USA), Jackie Weik, Elsa Hashemi (CAN), Mehrana Nazari (CAN), Krista Charbonneau (CAN), Olga Bondarenko (CAN), Sungsoo Lee, and Avigail Ramirez (USA). AND... Photo book recommendations by Alan Bulley Change Made: A lens on the beautiful game by Sid Naidu E. Haanel Cassidy: Seeking Transcendence by Cassandra Spires The Poiesis Collective by Craig D’Arville + MORE! Issue #77 covers feature work by artists; Martine Côté and Maya Guice “I love it! It’s a nice, analog way to interact with photography.” Digital EXTRA Edition A free digital companion edition Check it out - HERE Subscribe for delivery 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 Photo Book Reviews 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 magazine 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 the leading creative content publisher in the editorial photography space in Canada—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$125.00 Price Buy Now Great Value! 3x issue /SUBSCRIPTION 1 YR C$70.00 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? Easy! We have a few great options for print and digital delivery! International folks can order copies from our distribution partners, BOUTIQUE MAGS + Newsstand UK. Canadian and USA friends can SHOP HERE for single copies and 3x/ year SUBSCRIPTIONS. If you’re loving what we’re about, and have an interest in supporting us for more sweet perks – join us on PATREON to support what we do for as little as $2./ month. If you missed an issue 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.

Where to find PhotoED Magazine on newsstands. PhotoED Magazine is available across Canada at a range of independent and large retail store newsstands. STOCKISTS INTERNATIONAL Internationally, we are distributed by Boutique Mags picsandink.com & Newsstand.co.uk UK Good News, London Shreeji News, London Unitom, Manchester Catalog, Manchester Street Level Photoworks, Glasgow EUROPE Athenaeum, Amsterdam IMS, Antwerp and Hasselt USA Avril50, Philadelphia Smoke Signals, San Francisco AUSTRALIA MagNation, Melbourne IN CANADA BRITISH COLUMBIA VANCOUVER McNews - North Vancouver INDIGO shops: GRANVILLE, ROBSON, PARK ROYAL VICTORIA Bolen Books Art Gallery of Greater Victoria Munro's Bookstore Ltd + Dawson Creek - Bill's News & Confectionary Prince George Books & Company Terrace - Misty River Books Salt Spring Island - Salt Spring Books Sidney - Tanner's Books CHAPTERS: COQUITLAM, KAMLOOPS INDIGO shops: LANGLEY, BURNABY, METROTOWN SURREY, WHITE ROCK GRANDVIEW CO ALBERTA CALGARY Daily Globe News CHAPTERS: #906 CROWFOOT, #909 GATEWAY, DALHOUSIE INDIGO shops: #279 SIGNAL HILL, CROSSIRON MILLS, SHEPARD CTR#412 EDMONTON McBain Camera CHAPTERS: SOUTHPOINT, WEST EDMONTON, WEST SIDE INDIGO shops: EDMONTON, SOUTH EDMONTON + Grande Prairie - Al's News Lethbridge - Club Cigar ST. ALBERT - CHAPTERS SASKATCHEWAN SASKATOON McNally Robinson Booksellers INDIGO CENTRE @ CIRCLE & 8TH MANITOBA WINNIPEG McNally Robinson Booksellers INDIGO: WINNIPEG ONTARIO TORONTO STEPHEN BULGER GALLERY Art Gallery of Ontario - Shop ISSUES (Magazine shop) Dundas St West Type Books - Queen st. + Presse Internationale - Beaches & Bloor St. Book City - Danforth, Bloor West Village & Queen Street INDIGO: BAY & BLOOR + EATON CENTRE + GTA CHAPTERS: AJAX, WOODBRIDGE, BRAMPTON, MARKHAM, ERIN MILLS, NEWMARKET INDIGO-BURLINGTON Daisy Mart Pickering &. Smokers Corner - Pickering OTTAWA Ottawa Art Gallery Shop Glebe Smoke Shop CHAPTERS: SOUTH KEYS & CHAPTERS-RIDEAU INDIGO-BARRHAVEN - NEPEAN CHAPTERS: SUDBURY INDIGO-THUNDER BAY Books and Music - Ayr, ON INDIGO: CONESTOGA Disko Coffee INDIGO: WINDSOR, GUELPH CHAPTERS-PETERBOROUGH INDIGO - ANCASTER INDIGO - BARRIE CHAPTERS-BELLEVILLE Novel Idea (Kingston) INDIGO-KITCHENER CHAPTERS-SOUTH LONDON QUEBEC MONTREAL Paragraphe Bookstore INDIGO 282 PLACE MTL TRUST + Quebec City - Magazines Lecto LAVAL - INDIGO 415 - LAVAL POINTE-CLAIRE - CHAPTERS 794 POINTE-CLAIRE EAST COAST CANADA HALIFAX CHAPTERS-HALIFAX & Atlantic News Campbellton - Flying Canoe Bookstore FREDERICTON - CHAPTERS-FREDERICTON DIEPPE - CHAPTERS-MONCTON SAINT JOHN - INDIGO-SAINT JOHN Corner Brook - Island Treasures ST. JOHN'S - CHAPTERS-ST. JOHN'S DARTMOUTH - CHAPTERS-DARTMOUTH + CHARLOTTETOWN- INDIGO + Read about us - www.adrianharrison.com.au