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Mindful photography is not just about what we see, but how we see. It’s a contemplative way of slowing down enough to experience presence.   From the NAUTICAL REFRACTIONS  series by Anna Wilson Sunlight danced across the worn hulls of fishing boats in Lake Bolsena’s harbour, catching ripples in the water and the textures of chipped paint. In that fleeting shimmer, the ordinary — the harbour, the boats, the gentle lapping of the lake — felt extraordinary. Photographing in that moment became meditation, a pause where noticing and presence converged. From the NAUTICAL REFRACTIONS series by Anna Wilson Mindful photography offers a way to return to a moment, discover inscape  rather than escape, and access creative flow through intentional observation. For anyone seeking a pause from the everyday, it provides a restorative path back to presence and creativity. My venture, Mindful Eye Photography, grew from this insight — and from a desire to create the kind of community I wanted to support my own practice. I am looking to create a space where photographers of all levels may explore, reflect, and create without pressure or comparison — nurturing clarity, fostering connections, and rediscovering inspiration. Mindful photography   draws from Zen and Tibetan dharma art traditions, where art is a form of direct experience and spiritual expression. One lineage, Nalanda Miksang, emphasizes practice over performance — creating from awareness, authenticity, and curiosity rather than ego or decoration. Each photograph becomes a meditation, a way to see deeply, fully, and honestly. From the RECONSTRUCTED series by Anna Wilson “The contemplative practice is to transform the obvious, ordinary experience into an appreciation of the ordinary as extraordinary — the appreciation of it for what it is, the ordinary magic of being alive.”  — McQuade & Hall, Looking and Seeing: Nalanda Miksang Contemplative Photography My photographic workshops, retreats, and journeys begin with stillness — breath work, meditation, connecting to the senses, or simply pausing to observe. The camera becomes a tool for reflection, a frame through which participants explore balance, light, texture, and nuance. Mindful observation turns distraction into focus, revealing patterns and surprises that bring both order and vitality to the photograph. “Anna’s program encouraged me to slow down, be present, and truly reconnect with who I am as a photographer.”  — Jo Gomes, past retreat participant Mindful photography naturally extends to photographing people. John Daido Loori, a Zen Buddhist monk and accomplished photographer, observes in The Zen of Creativity  that the image reveals as much about the photographer as it does about the subject. In street or portrait photography, participants ask: “Am I taking or witnessing?” They approach subjects with curiosity, openness, and ethical sensitivity, considering consent and context.  Costa Rica portrait by Anna Wilson “If your mind is cluttered, your images will be cluttered. If your heart is open, your work will be open." — John Daido Loori, The Zen of Creativity Approaching your subject with presence and respect allows moments to unfold naturally. Portraits and scenes become reflections of relationship, connection, and emotional depth — turning ordinary encounters into extraordinary expressions. Bringing my Mindful Eye Photography program into new landscapes felt like a natural evolution of my work — a way to unite mindfulness, creativity, and exploration. International journeys and retreats explore a variety of stimulating locations, offering opportunities for different types of photography while emphasizing presence, connection, and curiosity. Ordinary scenes — the play of sunlight on a harbour, the textures of a weathered street, or fleeting expressions in a crowd — can feel extraordinary when observed with attention and intention. From the SAN GEMINI series by Anna Wilson These experiences gently nudge photographers towards what heals and inspires, reminding us that noticing and creating are themselves restorative acts. Mindful photography weaves together structure and spontaneity, order and intuition, experientially demonstrating that both coexist beautifully. Whether capturing sunlight dancing on a lake, wildlife on safari, or moments in a bustling street, my goal remains the same: to move with presence, finding stillness in the act of creation. In a world that celebrates speed and productivity, perhaps the real art lies in the pause — in the space between breaths, where order meets chaos and meaning begins to take shape. From the SAN GEMINI series by Anna Wilson It is in these moments of presence that photography reflects not only what we see, but also the calm, clarity, and aliveness that emerge when we are fully present. Mindful photography shows us that even amidst life’s chaos, we can find order — and in that balance, beauty, surprise, and meaning emerge. Discover Mindful Eye Photography Join photographer and educator Anna Wilson  for immersive retreats and international journeys that blend photography, mindfulness, and creative flow. mindfuleye.ca  | @mindfuleye_photography

We’re Already Here   is a portrait series by Tilly Nelson that was developed during her 2024 artist residency at Langara College. The Langara College Photography Residency is a special program designed for experienced photographers looking to develop a personal portfolio project centred on social advocacy or broader humanitarian themes. Tilly was the first Photographer in Residence for the college, and her work there included mentoring students, studio work at the school, an exhibition, and a public lecture to share her experiences.  When commercial photographer Tilly Nelson moved to Vancouver, Canada, from London, England, she immediately noticed a gap, not in the city’s diversity, but in the lack of diversity represented in commercial advertising images. “There was this disconnect,” she says. “I noticed that the talent that was considered at castings for commercial advertising jobs was diverse in ethnicity and body shapes, but lacking in diversity when it came to visible disability.” Over the past decade, Tilly has built a commercial career in visual storytelling defined by empathy and connection. Her work is focused on themes of visibility, belonging, and the need for authentic representation. Her clients include BC Children’s Hospital, lululemon, and the Canucks Autism Network. She got her start as an assistant at one of London’s top photography studios, but early on realized that this line of work wasn’t a creatively sustainable approach for her. As she began prioritizing her passion for inclusion and advocating for diverse casting, she found herself welcomed into the disabled community and learning even more through connections and collaborations. “I have a lot of passion for justice and equality,” Tilly says, and it’s clear these ideas are at the heart of her work. Tilly’s project for Langara College was originally sparked by conversations with people in the local disabled community over a number of years. To build a foundation for the project, she began by surveying 50 people with various disabilities, asking open-ended questions, and listening to their responses with an open heart. She said she knew it was important to bring the voices of people with lived experience into the project’s planning stages and, as a person without a disability, she had to create this project very carefully. She challenged her own vision of what the project could be and let her subjects shape their own narratives. Tilly notes that the responses she received were “both overwhelming and beautiful at the same time.” The project resulted in eight portrait sessions and an exhibition of eight final images. Two voices from this project were of special note for Tilly. Breanna, who uses a wheelchair and is a makeup artist for M.A.C Cosmetics, shared an empowering moment with Tilly: “A little girl in a wheelchair with light-up wheels approached me with her mum, and she said, ‘Look, Mum, she works here. That means I can work here too.’ And that’s what made all the hard work worth it.” Robin, an opera singer, commented, “It’s isolating not to see yourself represented in the images around you. Many disabled singers think they are alone in this, but they’re not. We’re already here, and it’s time that you realized it. I’m here loudly and proudly disabled in the opera world, so that hopefully in the future others can be too.” Robin’s quote became the project’s title.  While the message behind We’re Already Here  is powerful, the images hold intentional subtleties. Tilly’s goal was not to spotlight disability as a difference, but to weave it into the visual narrative in a way that mirrors real life. She knew she wanted to create a series of portraits in work environments, but she wanted the viewer to see the person, not just their disability. Tilly describes one shoot featuring Zoe, a young girl who uses a wheelchair and wants to be a visual artist: “We created a scene where she was an artist in an art studio. I wanted the paintbrushes to sit perfectly so you could see only a small bit of the wheelchair.” Another image features Omar, an actor who has an autoimmune condition that causes the skin to lose its pigment. “I didn’t want his vitiligo to be the busiest part of the image,” says Tilly. So she crafted this image in layers, utilizing intentional foreground and background props and elements to craft a busy composition to create depth and blend him into the space naturally. When it came to the presentation of the images, Tilly felt it was important to share more information with viewers. She explains, “As I was creating this project without the lived experience of a person with disability, it was really important to give a voice to those involved so that it wasn’t solely my narrative or my words that were being presented. By including text panels next to the images, each person’s perspective could be best explained with their own words. We also presented letters from the parents of the kids involved to add another dimension. The text layered on the images was an opportunity for the people involved to share what they wanted to say without anyone else’s voice getting in the way. It felt important that these images had a powerful message built into them so that people would view the image, read the text, and then look at the image again. I wanted there to be a process and experience for viewers, and I wanted the message to be clear. It was about giving a voice to the disabled community.” Though Tilly is no stranger to both commercial and personal projects, working out exactly how she would produce this work and engage the student community was a challenge she warmly welcomed when her proposal was accepted following her application and interview with the college. Tilly knew it was important to allow herself the space to recognize the opportunity she had been given to use her creative talent to tell someone else’s story. She summarizes, “There’s power and beauty in working out the process.” Tilly said that the ability to produce a personal project with the school’s support was empowering. The stipend, access to facilities, and the community of students and faculty made this collaborative work possible. “I had a team of staff and professors encouraging me,” she notes. As much as she saw the residency as an opportunity to teach student photographers entering the industry about inclusion, their collaboration also helped to spark conversations that shaped her project. Tilly says she hopes the work “ignites conversations about inclusion, inspires people to think more inclusively about who they work with and who they hire, and challenges the meaning of belonging. Creating projects that are sensitive, authentic, and genuinely showcase the beauty and joy of disability is something that hasn’t been done enough yet.” “I want to be known for being a part of change that needs to happen,” says Tilly. “It might be uncomfortable at times, but we have to push for what we believe in.” It is the hope of the college and the photography department that they can create an ongoing relationship with each of the residency alumni, and that photographers like Tilly become valued ambassadors for this professional program and the community at large. This feature appeared in the MOVEMENT edition and was produced with the support of Langara College. Find out more about their photography program - HERE.

I spend a lot of time thinking about big data and its effects on our everyday lives. Outside of creating fine art photography, I work with spreadsheets in the field of database marketing. Unrelated to my creative photography work, I stumbled onto an Australian-born mathematician named Matt Parker. Matt is the Public Engagement in Mathematics Fellow at Queen Mary University of London who developed (or at least popularized) a script that converts each RGB pixel of an image into a cell in an Excel spreadsheet. After seeing his technique, I wanted to try it for myself. I was curious as to what the results of this script would look like printed. The idea of bothering to print something that may not be saleable intrigued me because I like to use my art as a vehicle to get more people contemplating the impact (both good and bad) of the constant data collection in our lives. My personal stance is that it is mostly bad for us as individuals; the more people talking and thinking about this issue, the better off everyone will be. When I first started experimenting with this idea, I found that if I had tried to print my initial attempts of working with this script, I would have ended up with an image over 23 metres wide. After several more attempts, I was able to adjust the image to a more reasonable size (1.55 m - 1.27 m) that my printer could handle. I experimented with several images and settled on a photograph I created at the Blue Lagoon in Iceland. The image evokes a sense of place, of being human, and of experiencing a moment in life. Even in these instances, when we are not conscious of it, data is captured about our lives, our physical location, and the people around us. Regardless of how remote Icelandic hot springs are, it has become increasingly difficult to distance ourselves from digital data. Timothy Starchuk is a practicing fine art photographer based in Edmonton, Alberta. He sits on the Board of The Works International Visual Arts Society and has exhibited work at galleries such as Latitude 53, Harcourt House, and Vacancy Hall. As a driving force in communicating his visual messages, he thoroughly enjoys pushing technical limits through experimentation, printing his work on different substrates such as large format printing on Baltic birch; playing with Polaroid prints; and through trying digital data challenges such as converting his images into Excel documents. Tim talks about data + marketing, how we balance modern convenience with how our private data is tracked - everywhere - we - go. Check out his video presentation from our Edmonton - PHOTO INSPIRATION NIGHT VIDEO - HERE . photoED Magazine featured Timothy Starchuk's story in print in our SOLD OUT, but... The digital replica is available on PRESS READER Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions   • Make a donation

CALL FOR SUBMISSIONS Who Are We 1/1 In our 2026 year season, we will be producing editions that explore contrasts, Order VS Chaos - DEADLINE: February 13 Home VS Away - DEADLINE: June 15 Real VS Imagined - DEADLINE: September 9, 2026. photoED magazine is looking to publish – in print and online: Well considered submissions – A project/idea crafted with intention Fine art – not stock photography Original artistic work Diverse interpretations on the themes – which may refer to either aspect of the contrast. Submissions from our Calls are blind reviewed by our Volunteer Curatorial Editorial board members . When examining entries, judges assess how the work presents a unique interpretation on the theme. Selected artists receive Ten selected contributors projects will be published in photoED magazine's print (and digital replica versions.) Selected contributors will receive printed copies of the publication (including shipping worldwide.) An additional 25 selected contributors feature in the free DIGITAL EXTRA companion editions. All selected contributors receive exposure across photoED magazine’s email campaigns and social media channels. WHAT TO SUBMIT 1- 8 image files per submission Allowed file types: JPG At least 2000px on the long edge Notes: Entry is always FREE to our community members with a print edition subscription, or current Patreon patronage. The GENERAL Submission fee for our Calls for submissions: $20. CDN To join us as a PRINT SUBSCRIBER - find out more - HERE To join us as a PATREON PATRON & receive the publication + perks - find out more HERE. If you reside in Canada & would like to enter a Call for submissions and pre-purchase a single copy of the edition : $30.CDN If you do not reside in Canada & would like to pre-purchase a single printed copy of the edition + enter a Call for submissions: $35.CDN With independent editorial integrity as a guiding principle, submissions by all artists including BIPOC artists, Women, Persons with Disabilities, members of the Deaf Community, and persons living in poverty are warmly welcomed. Any economically challenged artists may be relieved of payment requirements to ensure we reduce as many barriers we can in celebrating under-valued, under-represented creative work. Please contact the editor with your exemption request: rita@photoed.ca Entries are welcome from anyone, worldwide* who makes photographs with intention. Emerging photographers, and established professional artists - all are welcome to share their work with us. *Exceptions: Residents of Russia, the Republic of Belarus and sanctioned countries (ie. Cuba, North Korea) Order VS Chaos theme Call NOW open! Join our email newsletter for deadline reminders + future Calls for SubmissionS + more!

The magazine for people who love photography with purpose. MEMORY - Issue #74 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 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 Order Print Edition Subscribe to get this issue + more! The MOVEMENT Issue #75 The MOVEMENT Issue #75 The MOVEMENT Issue #75 The MOVEMENT Issue #75 “Every avalanche begins with the movement of a single snowflake, and my hope is to move a snowflake.” – Thomas Frey Movement. Community, momentum, motion. Our 75th edition in print celebrates photography with forward-facing momentum. 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 Artists from our International Call for submissions: Lorena Zschaber, Amy Heller, Yasser Alaa Mobarak, Roland Ramanan, Nika Belianina, Xiatong Cai, Ed McDonough, Peter Dušek, Julia Nathanson, Jonny Silver, Paul Mitchnick, Lesley Nakonechny, Ashot Harutyunyan, János Lakatos, Andre Conceicao. AND... Change Made with JAYU by Sid Naidu Mattie Gunterman: Playful Pictures by Cassandra Spires Thinking Outside the Cube: SPAO Photo Palk 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. Our 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. Digital EXTRA Edition A free digital companion edition Check it out - HERE “I love it! It’s a nice, analog way to interact with photography.” Subscribe 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. 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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? 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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? 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