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A curation by Rita Godlevskis for FFOTO This special spring/summer 2026 curation for FFOTO emerges with the same sense of joy and hope as witnessing a resilient flower bud finally bloom, breaking through the brown-grey remnants of a long, cold, dark winter. Lori Ryerson • Lilies 2 Tondo The five artists featured here offer viewers works that are curious and magical, yet fully developed and intentional. All five are mothers who deeply understand the world's need for silver linings. All are fierce, independent, resilient spirits who feel and feed a need to share light, colour, and deeper breathing. They all craft unique moments of beauty and intrigue for viewers to dive into, not as works that you pass in haste, but through pieces that insist on pause. Lori Ryerson’s water lilies mesmerize with the reflections of light in water, while her image ‘Sumptuous’ is exactly that. Lori Ryerson • Sumptuous Ann Piché’s images use light to ignite our curiosity, while Tash Damjanovic’s nocturnal city wanderings paint us a fresh view of wonder and waking daydreams. Shira Gold prompts us to reflect on our attachments—the burden of history and the longing to release physical and psychological weights, and Shelagh Howard beautifully explores our connections to each other, and to the natural world. Ann Piché • aperture Ann Piché • foldspace Tash Damjanovic • Pastel Nocturne Tash Damjanovic • Through The Light Shira Gold • “Free Hugs” from the series, ‘The Fine Art of Letting Go.’ Shira Gold • “Same But Different” from the series, ‘The Fine Art of Letting Go.’ Shelagh Howard • “Dahlia ‘Cafe Au Lait" Shelagh Howard • “Dahlia ‘Arabian Night’ It brings me immense joy to present these special pieces by such incredible artists. It is my sincere hope that the works presented here—carefully crafted and imbued with connections and light—will infuse your surroundings with a new and lasting warmth. May they serve as daily sources of pleasure, offering you inspiration with the turn of every season. Shop this special collection until July 8, 2026 at ffoto.com

Dominic Boudreault describes himself as a motion photographer. Despite the fact he has no formal photography education he is considered one of the masters of the timelapse photography genre. His monumental work The City Limits is a testament to his skill and vision as a photographer and he has received due recognition. The work went viral, and hundreds upon hundreds of comments on his Vimeo account thank him for the work. Other impressive media mentions of note include appearances on MSNBC’s Today Show and CBC Radio. Boudreault not only utilizes the availability of new technologies for his self-initiated work, but also uses the forum of social media and social sharing sites to further his photographic career. His work gives new direction to what is possible with photography. Boudreault was born and raised in Quebec City. It was in the Quebec landscapes that he discovered his passion for imagery and photography. He was drawn to time-lapse photography because he felt it was the most accurate way for him to present his vision. His work shifts the nature of photography, as he aims to capture the pace, movement, and relationships of a city, rather than freezing the city in a specific moment. What led you to explore motion photography? With time-lapse photography you often see things that you don’t usually see with the naked eye — for example, the stars moving and the speed in which we live. From the top of buildings, as you see the numerous streets and heavy circulation, it can look a lot like a maze of ants. The first time I realized that, I was completely blown away. Since that first moment when I finished editing a clip, I was hooked. I needed to see more. Do you see motion photography as a relatively new genre? Yes, certainly. It has become a lot more popular in the last few years, first and foremost because of the lower cost of camera and computer equipment. Time lapse has existed for a long time but was not accessible to most hobbyists. But now, everybody with a digital camera and basic computer knowledge can attempt to make a time-lapse sequence. Also, I think that there is masterful work in time-lapse photography that has been done in recent years, like parts of the movie Baraka for example. I think it has inspired a lot of people, myself included. What is the background to City Limits? With The City Limits time-lapse video, I was trying to show the duality between city and nature. Time lapse was the perfect medium for this project. It allowed me to show cities like never before. I originally planned to visit one or two cities in Canada and in the northeast of the USA, but it quickly snowballed and I was finding myself completely obsessed by the project. I spent a lot of time doing research for this project and I think it helped me achieve my vision. I shot a lot at night because I find that cities become more alive, more magical at night. There are also a lot of bridges and water in the video. Bridges connect people to the big cities. Water shows that nature is a part of the big man-made cities. Everything is connected. That’s a part of what I wanted to express with this time-lapse piece, duality of nature and man. Were you astounded by the online response? I was really surprised about the reaction of people. The City Limits quickly went viral and I am very happy that my work touched so many people around the world. I think that people were intrigued because it shows ourselves in a way we don’t see every day. Any particular shots in City Limits that stand out? My favourite shot in The City Limits is at 2:38. It’s the shot of the oil tanker at sunset stumbling below the bridge. I say “stumbling” because you can notice the huge boat drifting from side to side. In real time you cannot see this happening but with time lapse you can observe little fascinating unknown details like this one. It was a very pleasant surprise. Any advice you can share with people starting out in photography? Not to sound cheesy, but the journey is the reward. You learn so much every time you go out and shoot. You also learn a lot in post-production every time you process a clip. I truly consider this an art form and, like every art form, you need to practice a lot to master it. The interest in Boudreault’s style of time-lapse photography is proof that photography is evolving, but there is just as much passion and interest surrounding the medium itself. Photography still has the ability to show us the world in a new way and this is very apparent in The City Limits. There may not be as many traditional photography jobs as there used to be, but Dominic Boudreault is an example of just how successful you can be if you are dedicated and involved in photography because you have something to share with the world. Check out more of Dominic's work at: dominicboudreault.com #cityscape #DominicBoudreault #aerialphotography #timelapse #cityphotography #motion #canadianphotographer #urbanphotography Enjoyed this free read?! Why not support us for more?! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions •Make a donation

An interview with photoED Magazine Seth Macey is an Ontario-based photographer and videographer specializing in creating images and videos of all things related to the outdoors. He is also the co-host of The Photographer Mindset, a podcast for photographers looking for strategies to enhance their approaches to business, creativity, and mindfulness for creators looking to increase their mental resilience. photoED Magazine spoke to Seth about his work. Humpback Whales “Lunge Feeding” on Herring in the Gulf of Alaska • Shot on Sony A7iii with the Tamron 150-500mm F/5-6.7 Di III VC VXD - 1/2500 sec, ISO 1600, f/11 photoED: How did you get started in photography? What keeps you motivated and inspired to keep at it? SETH: In high school, a friend with a camera decided to take on a 365-day challenge. The goal was to capture a creative image every single day for a year. At the time, I wasn’t particularly interested in photography, but I spent most of my summer days off from school hanging out with him and collaborating on ideas. We turned simple, everyday moments into images we thought were the absolute best and this sparked something in me. I became instantly hooked on the idea of creating something interesting out of nothing but ideas. I was fortunate to discover my passion for photography ahead of the pressures of working in social media now. Back then, there wasn’t the same culture of validation over metrics, and practising photography felt very different. It was about creating interesting work without worrying as much about how it might be received by audiences online. As for my motivation, I’ve learned to accept that inspiration comes in waves. There are peaks and valleys. It’s impossible to stay at a 100% motivation level all the time. However, I’ve found that having a curious mind is crucial. It leads to discovering hidden passions. The more things you find yourself drawn to, the more you’ll want to document them as a photographer. And when you do, you naturally strive to capture them in the most creative and meaningful way possible. Long Exposure of Northern Lights, Highland Grove, Ontario, Canada • Shot on Sony A7iii with the Tamron 28-75mm F/2.8 Di III VXD G2 - 10 sec, ISO 500, f/2.8 photoED: What do you love most about creating stories through photography? Seth: Visual storytelling provides me with the opportunity to inspire people and witness their reactions, whether it’s to something they’ve never seen before or something familiar, but presented in a fresh and unique way. I love when my visuals spark that sense of wonder in others. I’m also really passionate about inspiring people to reconnect with the natural world. In our fast-paced society, it’s easy to overlook the beauty and complexity of nature, its fauna, flora, and the ecosystems we’re all a part of. Through my photography and videography, I aim to revitalize that connection. I want my work to remind people that we’re not just observers of nature but also active participants in it. There’s so much we can learn from the natural world, and I revel in the firm belief that this reminder is not only important, but it’s also necessary for us all. photoED: Whose work has influenced yours? Seth: It’s funny, I’m a wildlife and nature photographer, but my favourite photographer of all time is Haris Nukem, who creates incredible, edgy studio portraits. Perhaps it’s unusual, but I think it’s important to look outside your own genre for inspiration. It gives you a fresh perspective. Photographers in other genres can influence you in ways beyond your subject matter, like in how they edit and approach their craft. The influence doesn’t always have to come from the photo itself. That said, when it comes to being influenced, I try to strike a balance. I stay up to date with photographers I admire and enjoy looking at their work, but I purposefully avoid letting them influence me too much. I want my photos to feel uniquely mine and original. Of course, by naturally consuming great images from the community, certain aesthetics or techniques inevitably rub off on you, which I feel is a desirable effect. Even conversations with other photographers about their projects, or how they’re tackling challenges, can be influential in a more indirect way. When I was starting out, following photographers was something I routinely did. I’d find images I loved and try to reverse-engineer edit their aesthetics using my own photos. It was a great way to understand what the pros were doing and how they achieved their final looks. This process really accelerated my learning of the editing process. While I’ve moved away from that approach now, it was an invaluable part of my growth as a photographer. Juvenile Bald Eagle, Alaska, USA • Shot on Sony A7iii with the Tamron 50-400mm F/4.5-6.3 Di III VC VXD - 1/640 sec, ISO 800, f/6.3 photoED: What makes a good photograph? Seth: At its simplest, I think a good photograph is one that makes someone stop and look at it. That said, this could be oversimplifying things. After all, something outrageous or shocking could grab attention without necessarily being “good.” So, perhaps a good photograph is one that makes someone feel something. Whether it’s fear, excitement, wonder, or curiosity, a good image should evoke a response. For iconic locations that have been photographed countless times, I think a great photograph is one that breaks away from the status quo. It takes risks, offers a fresh perspective, and still manages to nail that emotional connection. On the other hand, a great photo doesn’t need to win awards or go viral. If even one person is genuinely enthralled by it, or if you’re proud of it yourself, you could argue that’s enough to call it a good photo. From a technical standpoint, rules like the rule of thirds, leading lines, and other compositional guidelines exist for a reason. They’ve been proven to create strong, visually appealing images. But rules are also meant to be broken. Some of the most memorable photographs disregard these conventions entirely, but the photographers behind them knew how and when to break the rules in a way that served the image. Ultimately, I think creating a good photograph comes down to understanding that you are a servant and messenger to the scene or subject. It’s about capturing it in a way that tells its story in the best possible way. When you approach photography with that mindset, you’re far more likely to create something good. photoED: How has working in photography influenced you personally? Seth: First and foremost, I think curiosity is a feedback loop. You take pictures of things, become interested in them, learn more about them, leading to new interests, and the cycle continues. Photography has also taught me to be more mindful. Even when I don’t have a camera in hand, I find myself stopping to really look at things, noticing how they feel, look, and even smell. It’s made me more present and aware of the world around me, which I think is incredibly important for everyday life. It’s also helped me connect with people. I’ve made so many friends who share a similar passion for photography, and that’s something I’m deeply grateful for. My favourite thing about social media is how easy it makes it to connect with like-minded people from all over the world. Without photography, I’m not sure I would have built such a strong and diverse community of friends. Photography has also made me more explorative. I don’t think I would have been as naturally inclined to discover or travel to new places without the urge to photograph them. My camera has pushed me to venture out, experience new things, and see the world in ways I might not have otherwise. Kenai Fjords National Park, Alaska, USA • Shot on Sony A7iii with the Tamron 16-30mm F/2.8 Di III VXD G2 - 1/200 sec, ISO 100, f/6.3 photoED: How has working in social media influenced you and your photography? Seth: When I first started using social media, I thought having as many followers as possible was the key to “making it” as a photographer. I believed that success was tied to numbers and metrics, and I spent a lot of time chasing that validation. But over time, I began to understand how the attention economy works and how the platforms more recently have leaned towards rewarding formulaic, predictable content. To play the game of social media and acquire growth, you sometimes have to sacrifice creativity for what the algorithm favours and I really don’t like that. That realization made me step back and reflect on why I got into photography and video in the first place. It wasn’t to follow trends or create for algorithms. It was to make the work I wanted, in the way I wanted. I realized that the algorithms don’t reward that kind of authenticity, and I had to decide what mattered more to me. For a while, I focused on quantity over quality, thinking that constant posting was the way to grow. But as I became more aligned with my values, I shifted my approach. I didn’t abandon social media entirely. It’s still important to stay relevant and active, showcase your work to brands and companies, and stay connected with friends and the photography community. I feel my return on investment as a photographer can be maximized by improving my website, reaching out to clients, creating spec work to attract the right opportunities, and ultimately focusing on what I set out to do 15 years ago, which was to turn my creative visions into something I’m proud of. photoED: How do you decide what to post on social media? Seth: If I like it, it goes on my feed. There’s a famous Rick Rubin quote that says, “The audience comes last,” which essentially means that, as artists, our primary purpose is to create work we’re proud of and the rest should take care of itself. I believe that when you’re truly devoted to and proud of your own work, that energy translates into the work itself. Viewers pick up on this, whether consciously or subconsciously. That said, I do understand the importance of audience reception and retention, especially when working for a client or a brand. In those cases, you sometimes have to set aside your personal tastes and focus more on the marketing potential of the work you’re creating. For example, if you’re being paid by a business to produce social media content, the goal shifts. You’re creating content that needs to perform or achieve the desired outcome. It’s a different mindset. On a personal level, though, I don’t care if a photo gets 10 likes as long as it represents my best work, and reflects my current abilities. I think it’s important to strive to create the best images you can, but also not to take yourself too seriously. Social media isn’t the be-all and end-all of being a photographer. In fact, some of the most “successful” photographers I know personally don’t even have social media accounts. “Overwintering” Monarch Butterflies in Pacific Grove Butterfly Sanctuary, Pacific Grove, California, USA • Shot on Sony A7iii with the Tamron 150-500mm F/5-6.7 Di III VC VXD - 1/500 sec, ISO 10,000, f/6.3 GEAR UP: What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using Tamron lenses? SETH: I shoot exclusively with a Sony A7III. It’s not the top-of-the-line Sony model, but it’s a fantastic camera that has served me well in a variety of harsh outdoor conditions. I firmly believe that while high-end gear has its place and justifies its price, you can achieve incredible results with middle-of-the-line equipment, or even a basic starter kit. I always encourage people to advance their gear as their skills grow. If you can learn to take amazing images with a basic kit, upgrading later will only enhance your foundational skills and allow you to flourish with the added features. Personally, I only upgrade when I hit a hard limit with my current gear, when the technical specs can no longer support or severely hinder what I’m trying to achieve. My favourite lens is the Tamron 28-75mm F/2.8 Di III VXD G2. It’s incredibly versatile and never leaves my kit, no matter what I’m shooting or where I’m going. If I’m out in the forest photographing wildlife with my Tamron 150-500mm F/5-6.7 Di III VC VXD (my second-favourite lens), I always keep the 28-75mm F/2.8 G2 in my bag. It’s perfect for capturing something unexpected, like a unique patch of mushrooms on the forest floor or even a portrait of someone who’s joined me on the outing. I also love how well it performs in midday light. I’m not someone who strictly plans around golden hour, I like to shoot when I feel like it, and the 28-75mm F/2.8 G2 is reliable in all conditions. Primarily I use it for landscape images and non-wildlife nature shots. When it comes to wildlife, I exclusively use the Tamron 150–500mm lens. That range is essential for maintaining a safe distance from large, potentially dangerous, or skittish animals. It performs beautifully in both cold and warm conditions, as do all of Tamron’s lenses. I also have to give an honourable mention to the Tamron 50–400mm F/4.5–6.3 Di III VC VXD It’s an incredibly versatile lens that allows me to zoom wide at 50mm for landscapes or lifestyle images and then quickly reach 400mm if wildlife suddenly appears. Tamron lenses have been a huge part of my kit, and I’ve been consistently impressed by their performance, durability, and versatility. They’ve allowed me to adapt to a wide range of shooting scenarios without compromising on quality. Seth Macey See more of Seth Macey’s work here, follow him on instagram @sethmacey and on youtube.com/@sethmacey & The Photographer Mindset Podcast Check out Seth's fave Tamron lens - HERE! www.tamron-americas.com

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The magazine for people who love photography with purpose. MOVEMENT - Issue #75 MEMORY - Issue #74 The MELD issue #73 Winter 2024/ 2025: COLOUR Fall 2024: TIME Spring/Summer 2024: LIGHT Fall 2023: WATER Spring/ Summer 2023: FOOD 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 Order vs Chaos - Issue #76 Order vs Chaos - Issue #76 Order vs Chaos - Issue #76 Order vs Chaos - Issue #76 “Any order is a balancing act of extreme precariousness.” — WALTER BENJAMIN In this print edition, we have taken the opportunity to flip the script on how readers experience our magazine. 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, again concluding in the middle. Featuring... Quincey Spagnoletti in conversation with Pelle Cass Crafted compositions with Milad Safabakhsh by Sherry Chunqing Liu 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 Geomatic Meditation by DW Alexander Laura Kay Keeling : Untitled Portals by Rita Godlevskis Daniel Everett : Systems of (Dis) Organization by Alan Bulley + PORTFOLIO Artists from our International Call for submissions: 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), and Jung Ui Lee (KR). AND... 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 Issue #76 coverss feature work by artists; Pelle Cass, “Red Ball Shadows in Driveway — It was a silly fight,” and Fausta Facciponte’s,“Story Fragment No. 11,” from the Little Tragedies and New Beginnings , series. 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. 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. 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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. 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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. 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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.

Inspiring photography stories in print magazine Order vs Chaos “I have a gift for Order and a taste for Chaos.” – Leigh Bardugo Our 76th edition in print celebrates us meeting in the middle. In this edition photoED magazine flips the script on how readers experience fine art photography in print. From the cover, the publication opens as per usual, but somehow concludes in the middle. Flip the print edition onto its back to find another beginning, a different entry point, through a second cover. Perhaps as a subconscious reflection of a collective global zeitgeist, the artists featured in issue #76 / Order vs Chaos, work towards creating images that inspire calm, through mindful minimalist compositions, and in contrast the publication also presents work intentionally packed with details, questions, and busyness, energizing, puzzling, and dazzling viewers. This issue features: 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 FEATURES 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), and Jung Ui Lee (KR). AND... 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 works by crafting images from thousands of layers, “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. 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 , B3K Digital, Front Row Insurance , Professional Photographers of Canada , 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.... 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 outside 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: An augmented reality piece by artist Erin McGean Ryan Van Der Hout’s incredible photographic work accompanied by a unique conversation between writers Kerry Manders and brandy ryan, who discuss the multitude of layers that this work presents. Danny Custodio Jennifer Long T.M. Glass Julya Hajnoczky Sally Ayre Ali Penko + MANY MORE! This issue was curated by Peppa Martin, founder of TheCommotion.ca, a virtual photography salon. Our cover features an image 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: The BIPOC photography mentorship program Emerging photographers from across Canada 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.“ Our cover features an image by SATY NAMVAR + PRATHA SAMYRAJAH WINTER 2021- TYPOLOGIES Featuring: Resources you'll love 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.