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An interview with photoED Magazine A starry night at Sunwapta Falls, BC. • Shot with SONY and the Tamron 28-75mm. By day, Alan Poelman is a hospital manager based in northwestern Ontario. After hours, he is an award-winning, self-taught wildlife and nature photographer. In 2022, he earned national acclaim when Canadian Geographic named him Photographer of the Year. His large Instagram follower count has encouraged media sources such as Mountain Life Magazine and the CBC to take notice and profile him and his photography. photoED Magazine spoke to Alan Poelman about his work. One of the most famous falls in Iceland, Skogafoss is an icon. I managed to get up early to photograph these falls all to myself, at least for a couple hours. • Shot with SONY and the Tamron 20-40mm. photoED: How did you get started in photography? And what keeps you motivated and inspired to keep at it? Alan : After graduating university, I initially started taking photos with a point-and-shoot camera my parents bought for me. Most of these images were of my golden retriever, Bond. About 10 years ago I picked up a Nikon D750 DSLR camera and started to take things more seriously, actively researching various forms of photography technology and practicing the craft. Perhaps it’s the process of getting outside and keeping active, or visualizing ideas and trying to make them come to life that keeps me motivated. But it’s definitely something I strive to keep pursuing, as it almost seems ingrained in my identity now. photoED: What do you love most about creating stories through photography? Alan : I like the creative process. When I first started taking images I was mostly going out and capturing what I saw, or hoping for the best case scenario where something wonderful would appear in front of me. Now, although I still hope for that, planning for images is a much more methodical process, especially with landscape photography. I really have to analyze a scene to understand what would make a compelling composition, but this can come with an inherent downside of not immersing oneself in the moment, when everything is about the shot. That’s why now, when I travel, I intentionally make time to just enjoy my surroundings and relax, taking in all that a place has to offer. photoED:  Whose work has influenced yours?   Alan : There are so many wonderful photographers I have been following that have influenced me — far too many to name. I can’t select one in particular; rather, just making the time to see more photography and creativity as a culmination has inspired me. When I first started taking images I would browse Instagram analyzing and asking myself what made a particular image stand out for me. Through this process, I would try to replicate a lot of the techniques I saw. This process eventually led me to develop my own style and visuals that have been consistent for many years now. Castle Keiss in Scotland had been on my bucket list for a long time. I look forward to returning to document the local seals as well. • Shot with SONY and the Tamron 28-75mm. photoED: What makes a good photograph? Alan : Although photography is subjective, and something that looks amazing to one person may not look great to another, for me, I like symmetry and strict composition rules. I use them in my images as guidelines —  sometimes to a fault. Although, I’ve always envied people who have the ability to capture spontaneous images or moments that elicit pure emotion. Sometimes there does not have to be a grandiose structure that has to be met in order to create a compelling image. photoED: How has working in photography influenced you personally? Alan : It has expanded who I am as an individual. It has pushed me to go outside and create when I’m not in a great state of mind mentally. It has broadened my self-esteem and knowledge through travel and culture. It has made my affinity for the natural world one of empathy and respect for the land we live in and the creatures that inhabit it.  One of my first wildlife photo encounters was with a family of foxes near Pinawa, MB. These kits were more than happy to prance around with a curious glee during a rainstorm. This particular experience holds significance to me as it kicked off my journey with photography. • Shot with Nikon and the Tamron 150-600mm. photoED:  What does your dream project entail? Where do you hope photography will take you in the future?   Alan : Honestly, it’s really the most simplistic things that have resonated with me the most; whether that’s enjoying a sunset at a nearby lake, or finding a symmetrical stack of local wildflowers. Hopefully there are many adventures ahead, both in familiar places and some places not yet explored. The main projects that I have in mind for the future would include more wildlife adventures. I’d love to see some monkeys in Japan or India, or take a wildlife safari in Africa to see lions and elephants, or head to Wyoming to capture moose in the fall. Ultimately, I’m happy just to see any critter: a good butterfly encounter in my backyard would keep me on cloud nine for days, if not weeks. Arches National Park, UT, offers some of the world's most unique landscapes and photography opportunities. • Shot with Nikon and the Tamron 15-30mm. photoED:  Do you have any tips for emerging photographers? Alan : Make connections. Being a photographer of note is about getting yourself out there through social media and local groups. That is, if you want to use it as an income tool. If not, just enjoy it. I recommend finding a niche that you enjoy and focusing on it. Once you feel confident enough, start expanding to something else —  as long as it speaks to you. Don’t compare yourself to others, as this may strip the joy away from what you do. Focus on yourself and what brings you happiness behind the lens. A curious swan in Hamilton, ON came right up to me. I was not expecting this interaction and the only lens I had on me at the time was a wide angle. In hindsight this was fortunate as it allowed me to get a caricature portrait that always makes me laugh. • Shot with Nikon and the Tamron 15-30mm. GEAR UP What camera and equipment do you use most now? What’s your favourite lens? Tell us about your experience using Tamron lenses. Alan : I’m now using a Sony body (A9ii and A7iv) with a lot of different lenses. Depending on the shot I’m going for, I will use a Tamron 28-75mm or the Tamron 70-180mm. But, I’d have to say the Tamron 35-150mm i s my favourite. This lens’ ability to shoot wide landscapes and then zoom in for close portrait shots is a game changer. Plus, it has the option of setting the aperture to f/2-2.8, creating extremely sharp images, making it uniquely versatile for many shooting styles. A lens with this low aperture ability is very uncommon in tandem with a large zoom range. It’s like having multiple lenses all-in-one, making it a great travel companion. Alan Poelman See more of Alan Poelman's work - HERE. Check out Alan Poelman's fave Tamron lens - HERE! www.tamron-americas.com

L'une des chutes les plus célèbres d'Islande, Skogafoss est un véritable icône. J'ai réussi à me lever tôt pour photographier ces chutes rien que pour moi, du moins pendant quelques heures. • Pris avec un appareil SONY et la lentille Tamron 20-40mm. Le jour, Alan Poelman est gestionnaire d’hôpital dans le nord-ouest de l’Ontario. Une fois ses heures de travail terminées, il devient photographe autodidacte primé, spécialisé dans la faune et la nature. En 2022, il a été reconnu au niveau national lorsque Canadian Geographic  l’a nommé Photographe de l’année. Son grand nombre d’abonnés sur Instagram a attiré l’attention des médias tels que Mountain Life Magazine  et la CBC, qui ont décidé de le reconnaître, lui et son travail photographique. photoED Magazine a interviewé Alan à propos de son travail. Si vous attendez la tombée de la nuit, des structures délabrées comme cette vieille église près de Regina, SK prennent vie et offrent de magnifiques images du ciel nocturne pendant une aurore. • Pris avec un appareil SONY et la lentille Tamron 28-75mm. photoED: Comment avez-vous commencé la photographie? Et qu’est-ce qui vous motive et vous inspire à continuer? Alan : Après l’université, j’ai commencé à prendre des photos avec un appareil compact que mes parents m’avaient offert. La plupart de mes photos étaient de mon golden retriever, Bond. Il y a environ dix ans, j’ai acheté un appareil reflex numérique Nikon D750 et j’ai commencé à prendre la photographie plus au sérieux, en faisant des recherches sur les différentes technologies photo et en pratiquant régulièrement. Peut-être est-ce le fait de sortir, de rester actif, ou encore de visualiser des idées et d’essayer de leur donner vie qui me motive. Mais c’est clairement quelque chose que je veux continuer à poursuivre, car cela semble maintenant faire partie intégrante de mon identité. photoED: Qu’aimez-vous le plus dans le fait de raconter des histoires à travers la photographie? Alan : J’aime le processus créatif. Quand j’ai commencé, je sortais simplement pour capturer ce que je voyais, ou j’espérais qu’un moment magique apparaît devant moi. Aujourd’hui, même si j’espère toujours cela, la planification des photos est devenue un processus bien plus méthodique, notamment pour les paysages. Je dois vraiment analyser une scène pour comprendre ce qui en ferait une composition captivante. Mais cela peut parfois avoir pour inconvénient de ne pas vivre pleinement l’instant, car tout tourne autour de la photo. C’est pourquoi, maintenant, lorsque je voyage, je prends volontairement du temps pour simplement profiter de l’environnement et me détendre, en absorbant tout ce que le lieu a à offrir. photoED:  Le travail de qui a influencé le vôtre?   Alan : Il y a tellement de photographes talentueux que je suis et qui m’ont influencé — beaucoup trop pour tous les nommer. Je ne peux pas en choisir un en particulier; c’est plutôt l’ensemble des œuvres vues au fil du temps qui m’ont inspiré. Quand j’ai commencé, je parcourais Instagram en analysant les images et en me demandant pourquoi certaines me touchaient. Ce processus m’a conduit à essayer de reproduire beaucoup de techniques. Finalement, cela m’a permis de développer mon propre style, que je continue à suivre depuis plusieurs années. Le château de Keiss en Écosse figurait sur ma liste depuis longtemps. J’ai hâte d’y retourner pour documenter également les phoques locaux. • Pris avec un appareil SONY et la lentille Tamron 28-75mm. photoED: Qu'est-ce qui fait une bonne photographie? Alan : Même si la photographie est subjective — ce qui peut paraître magnifique pour une personne ne l’est pas forcément pour une autre —, pour moi, j’aime la symétrie et les règles de composition strictes. Je les utilise comme guides dans mes photos, parfois à l’excès. Cela dit, j’ai toujours admiré les personnes capables de capturer des instants spontanés ou chargés d’émotion pure. Parfois, il n’est pas nécessaire qu’une image réponde à une structure complexe pour être percutante. L'une de mes premières rencontres photographiques avec la faune a été avec une famille de renards près de Pinawa, MB. Ces petits étaient plus qu'heureux de gambader avec une curiosité joyeuse pendant un orage. Cette expérience particulière a beaucoup de sens pour moi, car elle a marqué le début de mon aventure photographique. • Pris avec un appareil Nikon et la lentille Tamron 150-600mm. photoED:  Comment la photographie vous a-t-elle influencé personnellement?   Alan : Elle m’a permis de m’épanouir en tant que personne. Elle m’a poussé à sortir et à créer même lorsque je n’étais pas dans un bon état d’esprit. Elle a renforcé ma confiance en moi et enrichi mes connaissances à travers les voyages et les cultures. Elle a transformé mon lien avec la nature en une relation d’empathie et de respect pour la terre que nous habitons et pour les créatures qui y vivent. photoED:  En quoi consiste votre projet de rêve? Où espérez-vous que la photographie vous mènera à l’avenir? Alan : Honnêtement, ce sont les choses les plus simples qui m’ont le plus marqué; comme profiter d’un coucher de soleil au bord d’un lac ou découvrir un bouquet de fleurs sauvages locales parfaitement symétrique. J’espère qu’il y aura encore de nombreuses aventures, tant dans des lieux familiers que dans des endroits encore inexplorés. Les projets que j’envisage incluent davantage d’excursions axées sur la faune. J’aimerais voir des singes au Japon ou en Inde, faire un safari en Afrique pour observer des lions et des éléphants, ou aller au Wyoming pour photographier des orignaux en automne. Finalement, je suis heureux de voir n’importe quelle créature: une belle rencontre avec un papillon dans mon jardin me rendait euphorique pendant des jours, voire des semaines. Une nuit étoilée aux chutes Sunwapta, en Colombie-Britannique. • Pris avec un appareil SONY et la lentille Tamron 28-75mm. photoED:  Avez-vous des conseils pour les photographes en herbe? Alan : Créez des liens. Se faire connaître comme photographe passe par les réseaux sociaux et les groupes locaux — si l’on souhaite en faire une source de revenus. Sinon, profitez simplement de l’expérience. Je recommande de trouver un domaine que vous aimez et de vous y concentrer. Une fois que vous vous sentez à l’aise, explorez d’autres styles — du moment qu’ils vous parlent. Ne vous comparez pas aux autres, car cela peut vous faire perdre la joie de créer. Concentrez-vous sur vous-même et sur ce qui vous rend heureux derrière l’objectif. Un cygne curieux à Hamilton, ON est venu directement vers moi. Je ne m’attendais pas à cette interaction et l’unique objectif que j’avais sur moi à ce moment-là était un grand angle. Avec le recul, ce fut une chance, car cela m’a permis de capturer un portrait caricatural qui me fait toujours rire. • Pris avec un appareil Nikon et la lentille Tamron 15-30mm. ÉQUIPEMENT: Quel appareil et quel équipement utilisez-vous le plus souvent maintenant? Quel est votre objectif préféré? Parlez-nous de votre expérience avec les objectifs Tamron. Alan : J’utilise désormais un boîtier Sony (A9ii et A7iv) avec une grande variété d’objectifs. Selon le type de photo, j’utilise un Tamron 28-75 mm ou un Tamron 70-180 mm. Mais mon préféré reste le Tamron 35-150 mm. Sa capacité à capturer à la fois de grand paysages et des portraits en gros plan est une véritable révolution. De plus, la possibilité de régler l’ouverture entre f/2 et f/2.8 permet d’obtenir des images extrêmement nettes, ce qui le rend très polyvalent pour de nombreux styles. Un objectif avec une telle ouverture et une plage focale aussi étendue est rare. C’est comme avoir plusieurs objectifs en un seul, ce qui en fait un excellent compagnon de voyage. Alan Poelman Découvrez plus du travail d’ Alan Poelman – ICI. Découvrez l’objectif Tamron préféré d’Alan Poelman – ICI. www.tamron-americas.com

"Of course I remember that birthday!" But the truth is, you can’t. You were a kid. Someone else held the camera. They pointed it at your cake-streaked face, crooked paper hat, and unsupervised fingers digging into frosting like it was a hidden treasure. Now, decades later, you say you remember the whole party. You even believe it. The now faded photo lives on your fridge door, but without the photo, would the memory remain? Memory doesn’t always play fair. It can cheat and borrow. And photography, benevolent, flattering, and, we might as well admit it, a little smug, sits beside it, suggesting ideas. What we remember and see has formed a co-dependent little ecosystem increasingly distorted by screens and scrolls. This story is about photography and memory, how they shake hands, trade secrets, and sometimes sabotage one another. Memory, media, and that subtle slide into fiction In the second half of the twentieth century, thinkers like Baudrillard and Debord began making a racket about images. Debord wrote about the so-called society of the spectacle , where people watched rather than lived, where no human experience remained unmediated by images. Baudrillard proposed that simulations eventually replace the real, first mimicking, then standing in for it, and finally erasing it altogether. You don’t need a lecture to grasp the point; it’s our contemporary world we’re talking about. Look at your vacation photos from five years ago. You remember the moment the shutter clicked. The scent of the ocean. The sun that bit the back of your neck. But look closer. Are you remembering the day? Or: Are you remembering the photograph? The filters we swim through Social media amplifies the above confusion. It does not merely reflect reality – it can more than easily stage it. You pose and perform. You post. And over time, the image does what images do best: it becomes the reference point. You didn’t feel so well that night, but the photo says otherwise. So, which do you believe? One of the main issues with our so-called digital age is the following statement: photographs are no longer developed – they’re accumulated. We document everything now . Screenshots, selfies, snaps, reels: your digital self has no consistent hairstyle. It is always smiling. It exists in layers of JPEGs, each image like sediment compressed into a version of truth. You once had a handful of prints tucked into albums. You turned the pages slowly, with ceremony. Now you simply flick past your face with a thumb. There’s a good chance your child will one day discover a hard drive of 40,000 pictures labeled IMG_3829.jpg and IMG_3830.jpg, with no captions, context, or smell of old paper. Photographs double as cultural artifacts. They document war, revolution, weddings, odd fashion choices… They gather, which is the way walls gather fingerprints. The Vietnam War changed public perception largely because of images. The Civil Rights Movement marched beside photographers. Memory, in these contexts, means more than sentiment. It becomes public record. Today, people preserve entire decades on hard drives, thumb drives, or in the cloud, often digitized. Through Capture , thousands of images can now be summoned in seconds, turning history into something as searchable as it is sometimes forgettable. Digitizing photos ensures long-term access and protection of meaningful visual memories. But here’s a warning: images without context fade fast. Even a powerful photo of a protester loses meaning if no one remembers what they were fighting for. Why’s imagery so seductive? Short answer: because it offers a shortcut. A photograph gives you the illusion of completion. One glance and you feel you’ve revisited a place, a time, a face. But the truth sits outside the frame, off-camera. Photographs promise memory with less labor. This is comforting. And dangerous. Memory, when left alone, evolves. It stumbles, it reshapes. It grows teeth. A photograph can freeze it in amber. Sometimes that’s lovely. Sometimes it’s an anchor. Ever argued with someone about a shared past? They recall one thing. You recall another. And then someone pulls out a photo, and everything shifts. The argument doesn’t resolve. In a way, it fossilizes. Photography, like language or plumbing or email, is a tool. It behaves based on how you use it. If you treat photos as conversation starters rather than verdicts, they can deepen memory rather than trap it. Ask questions of them. Use them as evidence, not a conclusion. Let them stretch your recollection, not shrink it. There’s a practice in some therapy circles: looking at old images not so much to confirm memory but to challenge it. To stir something unspoken. That’s where photography and memory do their best teamwork: the image becomes a key, not a cage. Every now and then, resist the urge to document, let your face remain unfiltered, or let a moment exist without proof. It’s not romantic or rebellious. It’s just... responsible. Photographs keep our ghosts well-dressed. But ghosts they remain. In the age of saturation, we rarely ask how photography and memory interact. We assume the relationship is loyal, factual, maybe even helpful. But loyalty can be lazy. And truth, filtered too often, loses its temperature. We need to be less certain about what we remember. That’s called humility . Photography can offer a kind of clarity, but memory thrives in contradiction. The best recollections are unreliable, full of strange emphasis and blurred details. Let them be messy. Let them breathe. If we’re lucky, a photo will someday take us back to a feeling, not to the exact moment. Not a record, but a doorway cracked open, leading to a room we once knew, furnished by time , softened by forgetting, and, oddly, made whole by the fact that we do not remember it perfectly. Let the image nudge. Let the memory wander. And maybe, just maybe, leave some pictures un-posted. Let them live in silence, in drawers, in private folders. Memory deserves that space. Did you enjoy this FREE read? Consider supporting us! For as little as $2./ month we'd love your support to continue producing great content for you to enjoy!   • JOIN US AS A PATRON  • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS   Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

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Print publishing is a unique and rare privilege that offers photographers a legacy document of their work and story. We love how it feels to hold beautiful images in your hands, and we want to share this experience with everyone. photoED magazine is not a pay-to-play publication, charity, data collection agency, nor are any editorial decisions based on institutional gate keeping or politics.  photography. Editorial. From emerging artists to established photographers, we share photography stories in a brand new light. since 2001. With origins in classrooms well before the dawn of virtual learning, photoED magazine started as a grassroots resource publication to feature local content, by and for Canadian educators. An inspiration for the past 23+ years to professionals, students, educators, and enthusiasts alike, photoED is now the leading creative content publisher in the editorial photography space in Canada spanning print, digital, and social media. Meet the team Pam Lau Curatorial Advisory Board Member Photographer, educator, and co-founder of Ecru ; a grassroots initiative for emerging creatives. Toronto based. Dana Stirling Curatorial Advisory Board Member Photographer, & Editor In-Chief of Float Photo Magazine. NY based. Peppa Martin Curatorial Advisory Board Member Founder + Director, The Commotion Digital Gallery Vancouver based. Maria Kanellopoulos Curatorial Advisory Board Member Associate Curator, TD Contemporary Art Collection Toronto based. Tobi Asmoucha Curatorial Advisory Board Member Photographer + educator Toronto based. Vicki Hoysa Curatorial Advisory Board Member Publisher at Applied Arts Magazine Toronto based. Louie Palu Curatorial Advisory Board Member Documentary photographer and filmmaker Washington based. Eric Stewart Curatorial Advisory Board Member Photographer + photo-educator at Langara College Vancouver based. Mark Walton Curatorial Advisory Board Member Photographer, arts writer and editor at curatednow.ca Waterloo based. Patricia Ellah Curatorial Advisory Board Member Photographer, Toronto based. Photograph by Ebti Nabag and Oya Black arts. John Healey Curatorial Advisory Board Member Photographer + educator, Ottawa based. Jonathan Hobin Curatorial Advisory Board Member Creative Director, School of Photographic Art Ottawa Ottawa based. Corinna vanGerwen Contributing writer. Toronto based. Alan Bulley Photographer, and contributing writer Gatineau based. Rita Godlevskis photoED magazine Editor/ Publisher, Toronto based. Ruth Alves photoED magazine Art Director, London based. Marie-Louise Moutafchieva Photographer + photoED magazine Editorial Assistant, Toronto based. Deborah Cooper photoED magazine copy editor, Vancouver based. We publish Print publishing is a unique and rare privilege that offers artists a legacy document of their work and story. We love how it feels to hold beautiful images in your hands, and we want to share this experience with everyone. photoED magazine is not a pay-to-play publication, charity, data collection agency, and all editorial decisions are independent. photoED magazine is primarily reader supported and respects our audience by presenting fresh, original, editorial ideas in accessible language (no art-speak or tech-talk here). If you're interested in reading more detail about what goes on BTS - READ THIS. We warmly welcome contributors at any level of their experience with lens-based art. + Find our replica editions on photoED magazine is supported by our readers, subscribers, PATREON PATRONS, and select advertisers & community partners with a lens towards celebrating and supporting qualitative editorial content for photography lovers. Occasionally receive funding from grant programs for special projects we produce. We PUBLISH - in print and online: WELL CONSIDERED SUBMISSIONS by images makers with INTENTION. Fine art or commercial ORIGINAL creative works Diverse interpretations on our themes that challenge us to see things in a new way Existing projects/ works only. We do not commission new works at this time. Submissions are open to students, emerging photographers, as well as established pro's - ALL are welcome! FIND OUT MORE ABOUT SUBMITTING YOUR WORK - HERE. we support Community is what keeps us inspired and excited about the possibilities lens based storytelling offers. We proudly offer our content freely to organisations such as Ecru, a grassroots initiative supporting emerging creatives, founded by self-taught and self-employed photographers. + Connecting BIPOC Artists with Engagers & Employers

MELD. Issue #73 MELD. Issue #73 1/7 Photography Editorials for people that value intentional photography. Order the PRINT edition Pre order the MEMORY issue SUMMER READING SPECIAL Kick off a new subscription with this special summer offer! Find out more 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. Featured Articles “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 Current Edition Order Print Edition Subscribe to get this issue + more! Meld Issue #73 Meld Issue #73 Meld Issue #73 Meld Issue #73 “The job of the artist is always to deepen the mystery.” – Francis Bacon Issue #73, is filled with fresh perspectives on photography from around the world. The MELD themed issue showcases photography as a creative blender, where artists work slowly and carefully crafting considered, intentional, and complicated works. Optimism and empowerment Although much of the work speaks to many of the dark challenges we collectively face — environmental disaster, war, human rights issues, AI, and more — this edition presents a quiet, optimistic, hopeful, and empowered collective view. Inspiration for change This issue invites viewers to slow down and to be curious, empathetic, and inspired towards positive, peaceful change in the world. FEATURING: Book recommendations by Brian St. Denis Change Made: Melding change through storytelling by Sid Naidu HANNAH MAYNARD’S GEMS by Cassandra Spires SPAO: IF YOU BUILD IT THEY WILL COME by Corinna vanGerwen Emma Nishimura: Stories, Memories, Histories by Corinna van Gerwen Curiosity, Wonder, and Unmitigated Optimism: Martha Davis at work + PORTFOLIO Features: Trina O’Hara Sarah E. Fuller Pavlo Fyshar Maryam Firuzi Rosemary Horn Diego Fabro Monica Rooney Christine Germano Zelda Zinn and Ralph Nevins + MORE! Cover image from the Submersed Landscapes series, by Sarah E. Fuller Digital EXTRA Edition A free digital companion edition Check it out - HERE “I love it! It’s a nice, analog way to interact with photography.” Subscribe Special Offers Digital EXTRA Edition DIGITAL BONUS CONTENT. Flick through our FREE BONUS companion edition. 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With origins in Canada as a grassroots education resource publication, it is now a leading creative content publisher in the editorial photography space globally—spanning print, digital, and social media. Jet Tag Safety Reflector Key Chain C$12.00 Price Buy Now Best Value! 6x issue /2 year SUBSCRIPTION C$85.00 Price Buy Now Great Value! 3x issue /SUBSCRIPTION 1 YR C$45.00 Price Buy Now GuruShots Extraordinary Architecture READ MORE HERE photoED magazine is for... Photographers and photography lovers. Process driven lens-based creators. Intentional image-makers. The open minded & curious creatives. People who believe conversations about photography and art should be accessible. People passionate about qualitative storytelling through photography. Culture vultures. People that feel good about surrounding themselves with quality content and ideas because it is going to make their lives better. People seeking worthwhile content that isn’t click-bait rip-offs. People who celebrate and enable others to share their work despite industry trends and popularity-based online algorithms. Folks that know you can never replace a live experience with fine art photography with a virtual one. photoED is NOT for… Gear heads who want tech reviews. People who enjoy buzzwords and art speak. Click bait doom scrollers. Critics & judges. Folks that don’t see value in editorial integrity. People who believe in old school institutional value structures determining an artists ‘worth.’ Old boys club members and associates. How can I get photoED Magazine? We have a few great options for print and digital delivery! If you’re loving what we’re about, and have an interest in reading the publication (and getting some sweet perks) – join us on PATREON to support what we do for as little as $2./ month. Our SUBSCRIBERS receive the printed publication 3x/ year via snail mail, in April, September, and November. If you missed a theme you’re interested in – we have PAST EDITIONS available HERE. Our list of bricks and mortar retail partners is HERE. If your preference is digital, we post our replica editions – on Press Reader HERE. If you’re a school or library – yes! You can order our publication via EBSCO / Flipster. Can I give photoED magazine as a gift? Of course, YES! Simply place your order for subscriptions, merch, past issues, special offers... online and edit the 'Shipping address' to be your giftees! If you include a 'note' we'll add a hand written postcard or note on the packaging to let your giftee know it's from you and how you thought they would enjoy our stuff! Everything we ship comes from our office in Toronto not a fancy fulfillment sorta place. Does photoED do refunds? Sorry, we just can't. Between postage and bank transaction fees, we just can't. But if anything changes for you, or an issue occurs, we do our absolute best to make things right. We respect our customers. Who creates photoED magazine? photoED magazine is independently published by Rita Godlevskis and a crew of new and regular collaborators. Find out more about our editorial curatorial team HERE. PATREON PATRONS, subscribers and select advertisers collectively fund the creation of original editorial content with integrity, printed with high quality production values. Advertising with photoED magazine photoED magazine does not 'sell advertising,' We’re content partners that connect the brands we love with the readers and contributors we cherish. We don't do click bait or promotions for products or services that do not align with our readers interests. Our readers are sophisticated and we do not wish to serve them irrelevant junk. We help brands create connections and value through our print and digital platforms. Every brand and budget is unique, so every partner we work with is offered a bespoke promotional package that serves their goals & budget, and our readers equally. Get in touch to receive our media kit for general rates and production dates and deadlines. How do I get my photography published in photoED magazine? We always have opportunities going for photographers at any level! Our upcoming print edition themes and information on what we're working on is posted HERE. For single image and short series works, we use online platforms for submission calls so that our JURY can review work easily from wherever they are across Canada. Please do not send images for jury consideration via email. We welcome writers and photographers feature proposals that align with our editorial plans. Inquiries for such feature proposals may be sent via email. Please note, as a small independent publisher, we usually work 6-9 months in advance of our press dates to ensure that every artist and collaborator is pleased with our productions. Sign up to our news/ read the print magazine/ read the digital edition/ follow us on social media/ check out the info on our website to stay in the loop! Does it cost $ to be published in photoED magazine? No. photoED magazine is NOT a pay-to-play business. We publish work we are excited to share and invest our professional resources to make our contributors works and words shine. Although some of our featured artists are also community supporters, this is not a requirement or consideration when we are putting together our editorial packages. Does photoED magazine pay contributors? Yes, photoED magazine offers small artist honorariums to Canadian contributors, dependent on a variety of factors. Each case is unique and each budget for each edition varies. Although CARFAC rates are still out of reach for our budget, we offer contributors printed copies of the publication (inc postage) and all our editorial support, working collaboratively to showcase artists work. We take our work seriously, and approach every artist at any level of their experience with the same respect. We do not commission new works and currently only publish existing projects. Does publishing with photoED magazine restrict my work? Submitting to PhotoED Magazine does not transfer any rights of ownership - the photographer retains full rights. We do not ask for exclusivity and the photographer is free to submit the image to any other publication/ project or exhibition. The owner of the photographs allows us the rights to publish and promote their work with credit, on our print and digital platforms. By submitting, the photographer acknowledges that they have full rights to the images and has obtained proper releases where warranted.