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Photography highlights at TOAF64 It’s back! The Toronto Outdoor Art Fair (TOAF) returns to Nathan Phillips Square from July 11-13th 2025 for a packed weekend of art, culture and connections. Now in its 64th year, the fair has become a cherished summer ritual in the city for both locals and visitors. Nestled under the classic white tents, visitors will have the opportunity to peruse hundreds of unique artists and original works of art in person and browse online at TOAF.ca. Once again, the fair saw significant interest with 1,027 artist applications. This year’s roster includes over 400 independent artists, including 70 from across the country and 155 joining the fair for the very first time.  It was a long and rigorous selection process by a team of four independent jurors - Ed Pien, Tiana Roebuck, Callum Schuster, and Grace Zeppilli. This team has an impressive track record of art-making, education, curation, and collecting which showed in their careful decision making.  Toronto Outdoor Art Fair’s Awards Program is unprecedented in Canada. The vision behind the awards is to create opportunities for artists to advance their careers, provide them with public recognition, and make financial contributions to their practices. Prizes total over $45,000+ in cash and in-kind awards.  Look forward to winner announcements in the Photography & Digital Media category: Best of Photography & Digital Media Award  $2,000 by Jennifer Longhurst & Lars Bendsen Honourable Mention Photography & Digital Media $500 Gift Card by Toronto Image Works photoED Magazine Award Three recipients will each receive a one-year subscription to photoED Magazine. One of the recipients will also be selected for a print feature in an upcoming edition of the magazine with a $150 artist honorarium. To celebrate photoED magazine's partnership with TOAF, here are a few of the photographers selected by the fair, to keep an eye out for... Clothilde Allen " Holga and Agnes" • Clothilde Allen Montreal based artist Clothilde Allen is interested in the magic of plants, transported by her travels in the Abitibi region, where she fears witches hidden beneath the rocky capes.  From an early age, she created cedar perfumes, plant potions, and insect collections. As a gardener for the city of Montreal, her art and research focus on the representation, cultivation and reclamation of nature in the city. Bahram Rameh  "Insomnia #8: Liberty" • Bahram Rameh Bahram Rameh uses form, space, and the body as tools to express inner psychological landscapes and human fragility. “Insomnia was born from a collision — a literal one that split my life in two: before and after. I lost a close friend in a car accident. I went into a coma. And when I came back, the world was no longer the same — and neither was I. Sleep became unfamiliar. Not just physically, but deeper: my mind no longer knew when or how to switch off. Memories echoed like subcutaneous noise, swallowing the nights. This body of work is made of fragments from that private war. A tired body, a reflection of my own, is sleeping: on a gas pump, beside a cutting machine, on a subway floor. The performer surrenders his body to chaos; and it’s this surrender to disorder that renders each frame watchable. The beauty of these images lies not in taming space, but in allowing its disorder to speak. The performer is a mirror of myself. But I’m in the image too — not physically, but through the lens. This is me watching myself from the outside. The camera is not a neutral observer; it is my co-conspirator in a waking dream. And for the viewer? A pause — an invitation to see the exhaustion usually hidden behind faces. A moment to witness a sleeping body that, even in silence, is still surviving something.” Steve Kean " Windswept (1 of 7)" • Steve Kean For TOAF 2025, Steve returns with a new approach to his award winning work in the Moving Landscapes series. *As featured in the photoED magazine LAND edition. Steve Kean came to photography while in high school where, ironically, he was failing art class. His disability made it difficult for him to draw or paint, but he had a burning need to create art. A camera was the answer for him. “The images reflect on the energy of landscape: from serene to highly kinetic. Taken over the course of multiple transits on Canada’s highways and byways, these images were all created by harnessing his movement through the land on trains and buses. Intended to portray the ethereal feeling of being in-between dream states of not-quite-asleep-not-quite awake, the images blur reality just enough to allow us to contemplate our place within nature. My exhibition posits a question about our place in a fast-paced world and how we experience the land." Alex Hall "The Hong Family, Barkerville" • Alex Hall Alex Hall is a lens-based Chinese Canadian artist working in Toronto, Canada. She specializes in photography and alternative processes. She holds a BFA in photography from the Ontario College of Art and Design University (OCADU) and is a former dancer with the National Ballet of Canada. Ehiko Odeh  "Tess Barbershop 1" • Ehiko Odeh Ehiko Odeh is a multidisciplinary artist and researcher from Lagos, Nigeria. Her practice explores the interconnectedness of traditional knowledge systems, cultural identity, and resilience. Incorporating ethnobotany she highlights the importance of preserving Indigenous practices while promoting sovereignty through herbology. Michael Bedford "Ray of Light" (Limited Edition) • Michael Bedford Trained as a biologist, Michael’s work explores aspects of both the human psyche and the natural world. “As technology advances, we find ourselves less and less in touch with what fundamentally makes us human and connects us – both to the earth and to each other. I think this has some important consequences that are worth thinking about”. Michael uses seasonality, light, and darkness to explore various aspects of the human experience, including awe, reverence, isolation, and disconnection. Zahra Saleki "leaving" • Zahra Saleki Zahra Saleki is an Iranian-Canadian artist and settler based in T'Koronto. Her artistic practice encompasses video, installation art, and photography. She holds a Bachelor of Honors in Fine Art Cultural Studies from York University. Like to support MORE lens based artists? support us! We'd love your support to continue producing great content for you to enjoy! 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Fine art photo book lover Alan Bulley gets the scoop from photo book publishers across Canada in our new series of interviews with book publishers, including Chris Labonté, Publisher + President of Figure 1 Publishing. How do you choose what projects you publish? How far in advance do you work? We want to work with artists and institutions and organizations who are working at the highest levels, and who want to produce a book that is well written, edited, designed, and packaged. Many of our partners are galleries, museums, architectural firms, and restaurants, but we also work directly with individual artists, designers, and photographers. The standard photography book takes about eighteen months to produce. What has been the most commercially successful book you have published? (Why did it do well?) We’ve published numerous cookbooks (each packed with remarkable food and portrait photography) that have become national and regional bestsellers, but a book we published featuring stunning cabins and cottages called Escapology by Colin McAllister and Justin Ryan is probably our biggest commercial success to date. It has sold extraordinarily well in Canada, the U.S., and the United Kingdom. What makes an effective proposal from an artist? A clearly written description of the project, the artist’s objectives, and their professional biography, as well as a large selection of images. It is always wise to include an overview of the artist’s connections with public and private galleries and media. Illustrated book publishers are looking for clarity of vision, quality of work, and the promise of a substantial retail and special sales market. What sort of financial arrangements do you have with artists (dealing with up-front costs, revenues, etc.)? We are what is known as a hybrid publisher, which means artists and organizations hire us to produce their books and sell, market, and distribute them to the wholesale and retail markets throughout North America and abroad. We pay very good royalties on every copy we sell into the wholesale and retail markets. We are unlike most hybrid publishers in that we cover the cost of printing any copies that go into the retail market, which means we share with our partners the risk of bringing their books to market. We prefer the term “partner publishing” over “hybrid publishing.” Our model is highly collaborative. How involved is the artist in book design? Speaking of collaborative: the artist is indeed closely involved with design. We discuss early in the process the artist’s (or curator’s) vision for their book, and then keep them involved every step of the way. We will provide the artist with sample covers for review, then make adjustments until we have a cover that the artist loves and that we feel will sell well in the market. And then we do the same with the interior design. We also have discussions with the artist (or curator) about paper stock, format, binding, and special print features. How do you market and distribute the books you publish? Where do they go? How many copies do you print on average? We have full national and international sales, marketing, and distribution. This means our sales representative groups in Canada, the U.S., and overseas will present our books to wholesalers and retailers such as Indigo, Amazon, Barnes & Noble, independent book retailers, college and university bookshops, gallery and museum gift shops, library wholesalers, and non-traditional retailers (like those funky shops that sell contemporary furniture and chachkas and the like). We are with two of the finest sales and distribution outfits in the world: in Canada, sales and distribution (and some marketing) is handled by Raincoast Books, and in the U.S. and overseas these are managed by Publishers Group West/Ingram Distribution. What is your view of the publishing market in Canada? Speaking specifically about high quality illustrated non-fiction titles—which is what Figure 1 publishes—the retail market in Canada is vibrant, diversified, and relatively strong. It would be amazing if there was a national retail chain dedicated to selling books on art, architecture, design, and photography—the sort of retailer one still finds in Europe and parts of the U.S. But Indigo, the independent book retailers, Amazon, gallery and museum gift shops, and non-traditional book retailers do a fair job of carrying and selling quality illustrated titles. What one message would you give photographers who want to publish their work? Get creative about financing. Photography books remain, for the most part, a challenging category for retailers. Which means that truly excellent books by remarkable photographers will not find their way to market because traditional publishers do not see a viable financial reason to publish such books. But there are ways to raise the funds necessary to produce and distribute a quality photography book. We have these discussions with potential publishing partners all the time. What's your dream publishing project? Only one dream: working with remarkable, talented people to produce visually arresting books that have a positive impact on readers. What's one thing that would surprise our readers about your work behind the scenes? Ironically, I do far less reading than one might expect in such a job. It’s an occupational hazard, but I’ve come to terms with it. I can always read after work. Is there anything else that our readers should know about your company or the work you do? Our goal is to be the finest partner-publisher in all of North America, producing fine illustrated non-fiction titles for a broad market, especially in the areas of art, architecture, design, food and wine, and photography. A core component of our program is books about Indigenous art and culture, one of the most important of which is Where the Power Is , which we published in partnership with the Museum of Anthropology at UBC. The photography in this work is incredibly moving. The book has been shortlisted for a BC and Yukon book prize. Website : figure1publishing.com Enjoyed this free read?! Consider supporting us! As the ONLY independent editorial photography publication on Canadian newsstands we'd love to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS

Following footsteps from the past “They paved paradise, put up a parking lot." – Joni Mitchell A view toward the Athabasca Glacier. R.C. McDonald, 1938, Stn. 40, 31 E,  The Mountain Legacy Project &  Library and Archives Canada / Bibliothèque et Archives Canada.  The Mountain Legacy Project is a collection of some of the most urgent and compelling photographic representations of time. Directed by Eric Higgs and founded by Higgs and Jeanine Rhemtulla, the project’s mandate is to “explore changes in Canada’s mountain landscapes over time through photographic comparisons.” The project is home to a collection of over 120 000 historical mountain photographs from nineteenth- and early twentieth-century systematic surveys, 20 000 of which are available online, as well as over 10 000 new comparative photographs. Participants both care for the archival collection and build on it, revisiting the coordinates of historical images to create new comparison images. While the project’s primary contributors are graduate students, members also include research assistants, external contractors, and volunteers. Katelyn Fryer, the project’s archivist and librarian who assisted with this article, began as a research assistant.  The work has many aims, but a core aim is to document the effects of climate change and to make the findings as widely accessible as possible. The website features a tool called Explorer, which enables users to peruse the collection using an interactive map that spans Alberta, British Columbia, and the Yukon. A map is populated by clickable “stations,” which are the sites of the photographic pairs in the collection. Browsing through the stations, users will find stark visual contrasts between the historical mountain photographs and their contemporary counterparts. A view toward the Athabasca Glacier. Mountain Legacy Project Field Team,  Stn. 40, July 9th, 2024.  Recently, the field team had the opportunity to re-photograph the Athabasca Glacier, located at Station 40. A photograph by R.C. McDonald in 1938, more than 85 years ago, clearly demonstrates the marked change. Ten years ago, Bill Graveland wrote an article titled “Athabasca glacier melting at ‘astonishing’ rate of more than five metres a year,” which posited that the glacier may disappear completely within a generation. This visual comparison provides alarming evidence of the rapid recession. Looking forward, members of the Mountain Legacy Project, currently based at the University of Victoria, are working to rephotograph early twentieth-century images of Jasper National Park and Waterton Lakes National Park through partnership with the Stoney Nakoda First Nation. Mountain Legacy Project also works in close partnership with Library Archives Canada to digitize and care for the collection. The Mountain Legacy Project, founded in 1998, continues to grow and build on its body of work, creating visual comparisons both powerful and alarming that serve as a call to action for the viewer. As seen in our TIME themed edition This feature was produced with the generous support of the Photographic Historical Society of Canada.  www.phsc.ca 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!

An interview with NIKON Ambassador Lu Chau Taika Waititi, 2018 • Shot with Nikon D4. 1/160, 2.8, ISO 640. Nikon AF-S Nikkor 24-70 f/2.8G ED As the founder of Photagonist.ca , a visual media agency, Lu Chau has produced visual content for a broad range of celebrities, brands, and festivals. His impressive client list includes Giorgio Armani, Google, the Sundance Film Festival, and personalities including former prime minister Justin Trudeau, astronaut Chris Hadfield, Martha Stewart, Jim Carrey, Natalie Portman, and Keira Knightley. Lu’s career has spanned over 20 years as a photographer, filmmaker, director, mentor, and Nikon Ambassador. We spoke to Lu about his work and his adventures. Jennifer Lopez, 2019 • Shot with Nikon Z7. Settings: 1/125 sec, f/3.5, ISO 400, NIKKOR Z 24-70mm f/2.8 S photoED: Your client list over the years is impressive and extensive, and your work involves collaborating with a lot of different people. Does anything still make you nervous? How do you prepare for working with high-profile people or clients? Lu Chau : Yes, some assignments and projects still keep me on my toes — especially the ones that involve both photo and video or require more resources, since they mean juggling different skills and coordinating closely with my team. Thankfully, I’ve had plenty of hands-on experience that’s helped me fine-tune my workflow. With high-pressure clients, I lean on the system I’ve built over years — which includes referencing past work, having upfront conversations with my clients and my team members about the workload, and flagging any potential challenges early. I’m also always working on staying mentally flexible as the work world keeps shifting. photoED: What do you love most about sharing stories through photography? Lu Chau : Photography is a means of communication for me. Images convey the textures and emotions that lie between lines of text. From the inception of an idea, to the creation in the field, to sharing it with the world — you grow, you change, you are impacted by the place, the creatures, and the humans you meet along the way. Through creation I experience my own story. I am shaped by it and, frankly, I love the human that I’ve become because of it. photoED:  What do you love most about sharing stories through photography?   Lu Chau : I just really enjoy sharing experiences through visuals. Photography lets me meet all kinds of interesting people, connect with different environments, and explore places or parts of life I might not have had access to otherwise. Adam Levine & Keira Knightley, 2013 • Shot with Nikon D600. 1/80, 2.8, ISO 250. Nikon AF-S Nikkor 24-70 f/2.8G ED photoED: Whose work has influenced yours? Whom do you follow? How do you keep learning? Lu Chau : Joe McNally — a fellow Nikon Ambassador — has always been a meaningful source of inspiration for me. His mentoring style and his willingness to share his creative process and stories really resonates with me. Learning is a continuous organic experience — shaped by visuals, sounds, conversations, and the willingness to experiment. I make it a point to attend seminars and workshops to broaden my perspective, and I often find inspiration in visiting galleries, museums, and photo exhibits with friends. Brian Cox, 2022 • Shot with Nikon Z9. 1/200, f/5.6, ISO 800. NIKKOR Z 24-70mm f/2.8 S photoED: What makes a good photograph? Lu Chau : A good photograph captures a moment — or even an entire experience. The photograph doesn’t need to be technically perfect all the time, but it should have intention, emotion, or a strong sense of timing. photoED: How has working in photography influenced you personally? Lu Chau : Photography has given me the chance to connect with people from all over the world and appreciate how uniquely everyone moves through life. It’s also been a privilege to collaborate with peers, clients, and so many different personalities along the way. Lulu Wang, 2023 • Shot with Nikon Z9. 1/500, f/4.5, ISO 250. NIKKOR Z 24-70mm f/2.8 S photoED:  What has been your favourite or most personally impactful project or client?   Lu Chau : Working with the YMCA of Greater Toronto, I’ve seen first-hand how they support diverse communities and individuals — and how those connections help people grow, thrive, and build stronger futures. photoED:  Tell us about your hardest or most challenging day as a photographer. What keeps you going on a hard day? Lu Chau : Film festivals are incredibly demanding — you’re managing long hours that run from shooting to editing, often over several days and at multiple locations. You’re on your feet for hours, staying sharp while juggling team coordination and your own creative responsibilities. It’s both physically and mentally exhausting, but what keeps me going is knowing I’m capturing meaningful moments for my clients. The energy, the connections, and the final result always make it worth it. What drives me is pure determination and a clear understanding of my limits — and how much I can push them, year after year. Barbara Palvin, 2025 • Shot with Nikon Z6III. 1/200, f/5.6, ISO 400. NIKKOR Z 24-70mm f/4 S photoED:  Where do you hope photography will take you in the future? Do you have a dream project or client? Lu Chau : I hope photography continues to open doors to meaningful experiences — allowing me to work on projects that resonate, shift perspectives, and create lasting impact. Whether it's capturing international events, crafting interesting portraits, or collaborating on stories that matter, I want every frame to have purpose. A dream client is one who values authenticity, trusts the creative process, and sees visual storytelling as a core part of their message. Dave Franco, 2025 • Shot with Nikon Z8. 1/200, f/3.5, ISO 800. NIKKOR Z 35mm f/1.4 photoED:  What advice do you have for photographers just getting started?   Lu Chau : Start with an affordable camera — buying second-hand or an older model is a great option if you're on a limited budget. Make shooting a regular habit — consistency leads to growth. Take time to read the camera’s manual and truly understand your camera. Review your work often and keep refining your craft. Priyanka Chopra, 2019 • Nikon D750. 1/200, f3.5, ISO 400. Nikon AF-S Nikkor 24-70 f/2.8G ED GEAR UP What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using NIKON products. Lu Chau : I primarily work with the Nikon Z9, Z8, and Z6III — they’re my go-to bodies for all my assignments. My all-time favourite lens is the Nikon Nikkor Z 400mm f2.8 TC VR S lens; I don’t own it, but when I get to use it from time to time, it produces incredible images. I got my professional start shooting events with the Nikon D80, and over the years, as I’ve evolved into a hybrid shooter, Nikon has remained a constant and foundational part of my career. Nikkor lenses are unmatched for sharpness and reliability, and Nikon’s legacy of innovation — from early autofocus systems to full-frame sensors and rugged, weather-sealed bodies — continues to push the boundaries of what’s possible in visual storytelling. To see more of Lu Chau's work, check out his website,  photagonist.ca . Follow on Instagram: @photagonist Lu Chau Photographed by Yuto Yamada

25 Years of AlternativePhotography.com What started as a small online resource has grown into a thriving international community of artists, experimenters, and lovers of alternative photographic processes. Marlene Weinstein, West Meadow Undercurrents #7, mixed-media cyanotype Malin Fabbri AlternativePhotography.com started its journey in the 1990s when founder, Malin Fabbri was living in London and studying at Central St. Martin’s School of Design. She says, “I’ll never forget seeing my first cyanotype. I was captivated by its handmade quality – the brushstrokes of chemicals, the vibrant blue, and the painterly effect of the print. I didn’t know what alternative photographic processes were, and I had never heard of cyanotypes before, but in that moment, I found the topic for my master’s thesis.” Over the next two years, she researched, studied, and fell in love with the versatility and artistic expression of alternative photographic processes. “Back then, finding written material on the subject was not easy. I uncovered a few rare art books in the London Printing Library, including an amazing copy of Anna Atkins’ cyanotype book. While textbooks explained the chemical process, I wanted to explore the artistic potential of these techniques. To do that, I needed to connect with artists.” Kathryn Reichert, Searching for Signals, solarplate intaglio print   Art and Technology Connections In 1999, Malin completed her thesis and wanted to share it, however, as a student with little money, printing and mailing was expensive. Devastated at the thought of her work left to gather dust, and motivated to give back and share with others, Malin launched cyanotypes.com to publish her thesis. The internet was slow and clunky at the time, modems eked and beeped as they dialled up patchy connections to the internet, but artists were enthusiastic to share their work and information. Communication was focused through email lists, and group email conversations. Soon after the site launched, one of the artists she had worked with reached out to ask if she could publish his essay on her website. Other requests soon followed, and the site grew steadily, with more art, essays, and how-to tips being published regularly. Soon, Malin discovered, “there was more to life than cyanotypes,” so the name cyanotypes.com became limiting. In 2000, she registered the domain AlternativePhotography.com , and the platform became a hub for a wider range of alternative photographic processes. By 2002, the site featured over 50 artists and included a wealth of resources like instructional articles, essays, and tips for finding chemicals and supplies. It grew organically through word of mouth as contributors shared it with one another, and teachers introduced it to their students. After years of working with fighting spam in chat forums on the website, we closed them and shifted group sharing to Facebook. In 2009 we started the Facebook group ‘Alternative Photographic Processes’. Malin says, “This group now has over 64,000 members, and I’m so grateful to the volunteer moderators that work tirelessly to keep discussions engaging and free from trolls and spam. Without them, it would not be possible. We were latecomers to the Instagram party, but when COVID struck, we needed new ways to support the community. In the summer of 2020, we launched our account, @alternativephotography_com , and it has been steadily growing with over 13K followers to date!” Peter J. Blackburn, Studio Practice 1, casein dichromate print Love not money It's interesting and important to note that AlternativePhotography.com offers itself as a free resource and platform for artists. Malin says, “We don’t charge for access to learning materials, and we don’t get paid. We do this because we love doing it. Our goal is to keep it hands-on, fun, and inspiring, and to make it easier for photographers to connect with each other. If you appreciate what we offer, we would be grateful for your support. All contributions go towards running the website. ” Publishing Alternative Photography Over the years the team at AlternativePhotography.com have published several projects to showcase work from the creative community. In 2006, the first edition of Alternative Photography: Art and Artists published as a coffee table book with an aim to inspire people to try something new. In 2010, a calendar event was launched. Artists submitted images created with alternative photographic processes, and the community voted to select 12 winners. This annual event ran four years, until they lost their printing partner. Unable to find an affordable replacement, the event was paused for what turned out to be a decade. Inspired by motherhood, Malin's interests shifted towards exploring non-toxic photographic process to work with. These investigations culminated in in the publication of the book, Anthotypes – Explore the Darkroom in Your Garden and Make Photographs Using Plants. In 2022, the calendar project was revived as “A Tribute to Anna Atkins,” with over 100 artists creating images in Anna Atkins’ honour. The 2023 event theme was more experimental: creating composites by combining techniques, processes, and ideas into something entirely new. This pushed artists to stretch the boundaries of creativity – merging processes, reassembling materials, and mixing media. The stunning results inspired the 2024 calendar and journal, and a compilation book, Pure Inspiration, Volume 1 – Composites .   Kate Jordahl, Bellingham: Daisies, lumen print Days Following the lead of World Cyanotype Day, founded by the Shootapalooza collective and led by Judy Sherrod, AlternativePhotography.com launched World Anthotype Day to honour the art of making images with plant-based emulsions and sunlight. Celebrated on the last Saturday in October, this event brings together a global community of artists passionate about plant based image making. Unlike other ‘days’, it has no set theme but a clear mission: to expand the database of plants and pigments that can be used to make anthotypes. Participants worldwide collect local plants, create emulsions, coat paper, and expose prints in the sun. They then share their research notes and results, contributing to a free, growing online emulsion database. To participate and find out more, visit:   AlternativePhotography.com/world-anthotype-day   Maria Trunk, Knife's Edge, cyanotype No rainbows or unicorns Many individuals and groups generously share their knowledge and expertise. However, Malin notes, “running a learning resource is not always rainbows and unicorns. Over the years, we have also faced challenges, including content theft by others claiming to be “curators”, pawning content off as their own and selling it in their courses and books. However, the majority of our community is generous, supportive, and committed to learning and sharing.”   Today and ahead Today, AlternativePhotography.com features over 900 how-to articles, highlights the work of 400 artists, and hosts regular events. Operated entirely by volunteers, it remains a non-profit organisation dedicated to providing free access to educational resources. The platform showcases artists’ works to spark creativity and fosters opportunities for photographers to connect and share knowledge. Its guiding philosophy captures this mission: “As much as possible, for as little as possible, to as many as possible.” This independent learning resource relies on the generosity of its members to keep the lights on.   Celebrating 25 years To mark their 25-year milestone, the team behind the website is launching a new book, Alternative Photography: Art & Artists, Edition 2. This much-anticipated publication showcases the work of 137 artists, working in everything from cyanotypes and bromoil prints to platinum/palladium and wet plate photography. It’s a tribute to the incredible creativity in alternative processes – and a celebration of the artists keeping these techniques alive. 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!

An interview with photoED Magazine “When life gives you Italian lemons” - Tuscany, Italy. Shot with Tamron 28-200mm. ISO 400, 1/100 sec, f/5, 39mm Marie-Louise Moutafchieva is a Canadian-Bulgarian photographer with a passion for food and travel. At home or abroad, Marie-Louise crafts beautiful stories that celebrate food, food producers, kitchens, architecture, plants, light, and moments to savour. “The Garden of Italy”• Tuscany, Italy. Val D’Orcia shot with Tamron 28-200mm F/2.8 - 5.6 at ISO 100, 1/500 sec, f/5, 61mm. photoED: How did you get started in photography? And what keeps you motivated and inspired to keep at it? Marie-Louise : I have an old family photo of me holding a camera at age 6 — I couldn’t tell you if it was a real or toy camera, but my curiosity to explore photography definitely started around then. Travelling often with my parents throughout Europe, my mother was the family photographer, but in my early teens I began to take over. I took classes in high school and quickly discovered I wanted to get more serious. Travel is still a creative motivator for me. Observing small, everyday moments — whether it’s a cup of coffee with a slice of something sweet and homemade, documenting a change of seasons, or watching someone working away in a kitchen or food shop — I’m always excited to find a new angle to share. My friends and family have been a constant support. It’s nice to have someone say they enjoy seeing how I view the world, and that I inspire them to pick up a camera again! photoED: What do you love most about creating stories through photography? Marie-Louise : I love how photographs have the power to create memories of a place and time, like little time capsules, if you will. Images share the culture of a place — food, traditions, people, history. Instead of using words, photographs have enough power to tell a larger tale. I create stories with the hope of transporting viewers to experience being there. I want them to almost smell the seasonal fruits at the weekly market, to hear the banter of locals, to feel all the senses through my images. photoED:  Whose work has influenced yours?   Marie-Louise : My style has evolved throughout the years, finding influence from various artists. The work of Renaissance painters and Dutch masters like Johanes Vermeer and Rembrandt influenced my portrait series “ Renaissance Children ,” in 2016–2017. I’m also a big fan of Danish photographer Ditte Isager, who’s a great storyteller. Her diptychs combine food and place, and create a sense of calm. Saul Leiter and Joseph Sudek , whose photographs give elegance to their subjects, are other favourites of mine. “Duomo dog walk” • Siena, Italy • Shot with Tamron 28-200mm. ISO 160, 1/250 sec, f/4.5, 90mm photoED: What makes a good photograph? Marie-Louise : Composition, patience, a good eye, perfect timing to capture a moment, and an ability to translate a new sense of a place. Photography makes you look at the world from another perspective and forces you to pay attention to what surrounds us. Most importantly, a good photograph simply feels right. photoED: How has working in photography influenced you personally? Marie-Louise : I think it’s given me more confidence. I’ve seen my work improve with experience and I appreciate the knowledge I’ve gained. I’ve met some of the most interesting people in the industry. There are many things in life I don’t think I could have done without the growth that’s come from my persistence and constant practice in photography. “Cheeseman”  •  Tuscany, Italy. A cheesemonger at his market stall cutting from a barrel of cheese  •  Shot with Tamron 28-200mm. ISO 125, 1/200 sec, f/5.6, 168mm. photoED:  What’s been your favourite project to work on?   Marie-Louise : Travel abroad always opens up interesting adventures and leaves me inspired, wanting more. Since 2017, I’ve been collaborating with a friend and artisanal baker in Sofia, Bulgaria, when I’m there. Our passion for food and styling tie hand in hand. We’ve done several mini projects together and continue to try new experiments for the love of cooking and art. photoED:  Where do you hope photography will take you in the future? Marie-Louise : There are so many places I’m excited for photography to take me! I’d love to have more of my work published in international travel and leisure magazines, and I’m slowly working towards a photo-based cookbook of my own recipes. I’d love to continue collaborating with professional chefs and bakers in their kitchens, and extend the idea to include artisans around the world. I want to document the stories and workshops of people who work with food, such as cheesemakers, vintners, farmers, and chocolatiers, as well as craftspeople like woodworkers and ceramicists. I also have a goal of exhibiting my work in the courtyard of the the Archeological Museum at the Regional Museum of History in Veliko Tarnovo, Bulgaria. They have a gallery space and lovely porticoes, which I’ve already visualised a display for! I can picture a very interactive show. My mother and father grew up in the old part of the city, so I have a very personal connection there. “Old walls of Siena” • Siena, Italy. • Shot with Tamron 28-200mm. ISO 250, 1/160 sec, f/6.3, 98mm photoED:  Do you have any travel tips for photographers? Marie-Louise : Travel light! Keep extra batteries handy. I don’t like to carry too many lenses, only ones that could be versatile for everything, from portraits to landscape to details. Mirrorless lenses are very light and ideal for travelling. Bring business cards or postcards of your work with you to share. You never know who you may meet along the way. Potential future clients, friends, and other connections are always a possibility! Take your time. For travel photographers, the journey is part of the point! Keep your eyes open and stay curious. “Tuscan pigeon” • Tuscany, Italy • Shot with Tamron 28-200mm. ISO 160, 1/200 sec, f/5.6, 200mm. GEAR UP What camera and equipment do you use most now? What’s your favourite lens? Tell us about your experience using Tamron lenses. Marie-Louise : I shoot with Sony equipment, and am currently using the Sony A7 III. My go-to lens until recently was the Sony Zeiss 24–70mm, although after using Tamron’s 28–200mm F/2.8 Di III RXD All-in-One Zoom , I can easily say it’s my new favourite.  The quick aperture was very useful on cloudier days with lower lighting situations. Starting at F2.8, it adjusts while zooming, to F3.5 at 50mm, F4.5 at 100mm, and so forth. I’m impressed with the range of the Tamron zoom, in addition to its speedy autofocus and super-sharp results. It was an absolute pleasure framing beautiful landscapes with every detail while on my recent travels in Tuscany. I enjoyed taking advantage of the zoom capacity to see all the intricate ornaments on centuries-old architecture. It's a great lens that switches easily between micro detail and landscapes. Marie-Louise  Moutafchieva See more of Marie-Louise Moutafchieva's work - HERE. Check out Marie-Louise Moutafchieva's fave new Tamron lens - HERE! www.tamron-americas.com

Water is a loaded theme for a photographer to explore. The WATER issue of photoED magazine is in PRINT now! “Individually, we are one drop. Together, we are an ocean.” — Ryunosuke Satoro Images of water can trigger highly emotive responses that run the gamut from easy, warm summer memories at the local pool to activist movements fighting toxic waste dumping and our terrible treatment of marine life. There’s no question that water is essential to life. THE WATER ISSUE presents a number of Canadian photographers that make it their life’s work to spell out ways that we as a society continue to self-harm by how we treat this crucial element. Amy Romer ’s documentary investigations into salmon in British Columbia and commercial photographer Benjamin Von Wong ’s incredible international constructions both present us with eye-opening facts and figures on industrial activity. These incredible Canadian photographers both clearly demonstrate a need for change. We also look to water for mental health and healing, as Ruth Kaplan ’s Bathers work presents. We look to water as creative fuel, as seen in Osheen Harruthoonyan ’s work. We look to water to anchor our community, as the Scarborough Made crew shares. We look to water to both sustain and inspire us all. This special edition also features, our Books + Resource recommendations or further water photography explorations, and our PORTFOLIO featured artists: Tobi Asmoucha, Gustavo Jabbaz, Richard Miller, Steve Simon, Amy Friend, Carol How, Carey Shaw, Shelley Wildeman, Catherine Page, and Lori Ryerson. We hope all of our readers find fresh inspiration to dive into new water-based directions from this edition. Follow us on Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

Alan Bulley gets the scoop in our series of interviews with photo book publishers, including a Q&A with Sara Faridamin & Daren Zomerman of Soft Grain Books. Founded in 2022, Soft Grain is an independent photobook publisher based in Vancouver, dedicated to creating a platform for both emerging and established lens-based artists. What is your view of the publishing market in Canada? There is a great artist population in Canada, and this is one of the most exciting times to be in publishing. But the market is difficult for new entrants because of the high costs of printing, as well as the skills and programs required to create a good book . There are many print-on-demand services, but they have little customization and the costs are extremely high. There is a hunger for Canadian art and stories, but the artists haven’t always been present, in Canada—as many moved abroad to bigger international markets. But, we're now seeing many artists coming back and being represented at local galleries. For example, Jeff Wall, a Canadian-born artist who published most of his works in the UK has recently partnered with some local galleries in BC. We're also seeing greats like Greg Girard, Dave Heath, and Fred Herzog being published and shown through Canadian institutions, which is building a lot of momentum in the Canadian market. Equally exciting is seeing many traditionally underrepresented artists finding it easier to have their voices heard. More CanCon is always a good thing, and we are very excited to help promote it every chance we get. How do you choose what projects you publish? How far in advance do you work? We’re very new entrants into publishing. That means we have a tighter budget to work with, but we are also open to experimentation and projects from newer lens-based artists. The first thing that we look for is art with a clear, strong message, usually in a documentary format. The works we’ve published have had a range from long-term projects that have spanned two years, to one that literally came together in less than two months from developing the film to sending them to the printer. We also post our Call for Submissions online. Between Blocks is a photo series documenting flowers in Vancouver’s West End on Polaroid film. Authors: Daren Zomerman & Sara Faridamin, 2023. Pages: 100, Limited Edition of 500 What has been the most commercially successful book you have published? Between Blocks has been our most successful project so far. We believe it has been successful because this story combines a soft subject and format with a strong environmental/activist message about preserving nature within municipal landscapes. Morocco is not a fair country. Luxury is hidden behind centuries-old city walls, endless unrelenting desert outside. All of it is beautiful, none of it is fair. By Daren Zomerman, 2023. Limited Edition of 250 What makes an effective proposal from an artist? An effective proposal will have a strong message that the work is expressing, and contain a series of eye-catching, one-of-a-kind photos with a cohesive look and narrative. Don’t use big, meaningless words meant to appeal to other artists without saying a single thing — we publish art that is direct and impactful. We like to receive projects that are well-defined, visually engaging, and accompanied by a short introduction text or even longer essays depending on the type of project. Research and artist statement is one of the key components of understanding the purpose of the book and the photo project, however, the aesthetic is equally important. If the two do not work in harmony, then it will not make a good book. We are open to different genres of photography at the moment. We hope to receive proposals that make us think, feel, or question something about life and our surroundings. What sort of financial arrangements do you have with artists (dealing with up-front costs, revenues, etc.)? Right now, since we’re just getting started, we may ask artists to contribute to the initial publishing cost, which we work hard to keep costs and risks down. Once all the costs are covered for both sides, then we split revenue down the middle. What sets us apart is that we will work with the artist to write grant proposals, collaboratively conduct pre-sales, and help them show their work in local spaces — we take a very hands-on approach that helps artists grow organically. How involved is the artist in book design? We like to hear the artist’s ideas and collaborate with them to make sure the project's main ideas are presented in the book. We like to hear their ideas and experiment with different formats, types of prints, paper, and sequencing of the photos. We aim to present the work in a unique and artistic way — a process that looks very different for each book. How do you market and distribute the books you publish? Where do they go? How many copies do you print on average? We use social media to promote the work and mainly use our website for selling the book. We look forward to seeing more book fairs in Canada so we can present our books in person and meet our potential audience, and also to partner with galleries to sell books in person. The number of copies also depends on the project and artist. But on average we like to make limited editions ranging from 250 to 500 copies — that way, people who buy Soft Grain Books will know they’re getting a genuine, well-thought-out, and one-of-a-kind book that directly supports the artist who made it. Chances are you’ll see different books on the shelf every visit, and the one you picked up last time won’t be available anymore. What one message would you give photographers who want to publish their work? Keep making work and believe in making progress over time, not overnight! Find a subject that you have knowledge and passion for — if you wouldn’t get out of bed at 4 am in the dead of winter to go get your cover photo, then it’s not the right project. Refine your perspective and have a point to make. What's your dream publishing project? The books we dream of publishing are the ones that break boundaries and provide a unique, unflinching perspective on things relevant to us locally, and important globally. For example, we dream of publishing books that show the personal effects of climate change, clear-cutting, the opioid crisis, and much more. This series captures the reactions, and the new social space created by a grain barge landing on a Vancouver beach for a year. Erosion of Spectacle By Sara Faridamin, 2023, Limited Edition of 300 What's one thing that would surprise our readers about your work behind the scenes? We're a small, new team, and we're also local artists who are publishing and exhibiting work across the country. We're here to mentor and prop up new artists as much as we are to promote art — because at the end of the day, we want to create the environment we wish we’d had when we first started out. Is there anything else that our readers should know about your company or the work you do? The world needs more CanCon! We are at the beginning of our journey as a photo book publisher and we look forward to getting to know more photographers and working with them to promote the art of photo books. There are not enough publishers that aim to help emerging artists. We want to make sure that art can be seen. Find out more about SOFT GRAIN BOOKS - HERE. we need your support! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions

This exposure was made over the course of a photography class between January 16, and April 3, 2023, for a total shutter speed of 34 hours and 10 minutes using an aperture of f/32 and shot on Ilford FP4 125 ISO film with a one-stop push at the time of processing. Algonquin College coordinator and professor, Tracy Byers Reid, used a single sheet of 4x5 film to document the last semester of a photographic theory course. The story of this photograph began in 2013 when I was a new college professor teaching Photographic Theory at Algonquin College in Ottawa. I was eager to inspire my students and sought unique opportunities to engage them in the basics of photography. I firmly believe theory informs practice and has the power to unlock creative potential. I soon recognized my students' curiosity about extremes - what was the widest possible aperture, the longest possible lens, and the highest possible ISO. In preparing a lesson on shutter speed, I remember googling "What is the longest possible shutter speed?" and encountering the work of German photographer Michael Wesely, who captured images with shutter speeds measured in years. For the next decade, I'd share Wesley's work with my students. I loved how his work fostered critical discussions about exposure, light, and, of course, the passage of time. Each year, I'd promise myself time to explore this technique, only to let the opportunity slip away under the weight of marking, prep, and, eventually, a pandemic pivot to online teaching. As years passed and the film technology that enabled Wesley to explore such long exposures became less familiar to photography students. In the Fall of 2022, a quiet but eager student booked a meeting with me to ask how to make month-long exposures. Students sometimes don't know how much they can inspire teachers! Excited to assist her, we sat down and ran through the variables. Film speed, average amount of light to expect each day, what aperture to use, whether we need neutral density (ND) filters, and how to factor in the law of reciprocity failure. After about 30 minutes, we had a plan. Over the following weeks, I had occasional check-ins with her about that weeks daylight quantities. It was un-seasonally overcast, so we discussed lengthening the exposure by a few days. Finally, the exposure was over; she processed the film, and it worked! No longer was this a fun theoretical conversation. I was thrilled (and a little jealous.) Time was slipping past in other ways. Our program was changing. I taught photographic theory and production as separate courses; however, my colleagues and I recognized a disconnect with this delivery. For some students, the time delay between the delivery of the two courses weakens the connection between theory and practice. In 2021, we revised the program, merging theory with the practical production course. In December 2022, I prepared for my last semester of Photographic Theory, ending a ten-year run with that course, I decided that was the time to capture and commemorate my time uniquely. When I began at Algonquin in 2012, the students still learned to photograph some projects using a 4x5 view camera. I decided to use that camera to capture this last semester in a single exposure. With the assistance of my colleague, Jason Machinski, we mounted a Sinar 4x5 view camera on the wall in the corner of the classroom. I framed and focused the shot and spent an afternoon determining the various factors that controlled the exposure. How many hours of class would I have that semester with all the lights on, and how many with the overhead lights off and just the projector? Could I calculate for both? What aperture should I use? Would that be enough to prevent overexposure? Do I need additional filtration? The last step was calculating the magic that makes extremely long exposures possible, law of reciprocity failure. I felt a lot of pressure to get this right; after all, I had taught Photographic Theory to almost 700 students, high stakes if I was off and it didn’t work. Eventually, I decided to simplify the process with fewer unpredictable variables. I only exposed the film with the overhead lights off and the projector on. This situation was the most common scenario in the lecture-heavy class, and it allowed me to have less light, hopefully making it easier to have a longer exposure time. Between two sections in a 14-week semester, I estimated I would teach 50 hours with the lights off and the projector on. The initial meter reading for the room was f/45 for 8 minutes using ISO 125. To achieve a 50-hour exposure, factoring in light level and the law of reciprocity failure, I needed to cut the exposure by 7 stops through ND filtration. Our program did not have the correct filters to fit the lens; luckily, we sourced ND 8 (3 stops) sheets from Television Broadcasting. I cut down the ND 8 filters, stacked two on top of each other, and taped them around the inside of the lens. This tactic was common when I learned large format photography, as placing a lower-quality filter on the back end of the lens has less impact on image quality. The borrowed ND filters only came to 6 stops instead of 7, so I used f/32 for 4 minutes, with ISO 125 as the base exposure. I introduced the project at the semester's first class and opened the shutter on January 16, 2023, at 9:33 am. In each class, the students and I tracked the hours, writing down the precise time I lifted the lens cap to start the exposure and when I replaced it to end the exposure. I was nervous all semester that someone might ruin the project, open the shutter when I wasn't in class, or remove the film. I was comforted by how eager the students were to take part in the process, frequently reminding me to remove the lens cap at the start of class or record the precise time for the exposure. I was also nervous that I had made an error; maybe I hadn't focused or loaded the film correctly, or perhaps the tape had slipped knocking the ND filter out of place. Ultimately, a few unforeseen changes affected the 50-hour exposure estimate (guest speakers, a class moved to the studio space, shorter lectures, etc.) and the final exposure from the start of the semester on January 16, 2023, to the last class on April 3, 2023, only captured 34 hours and 10 minutes of overheads off and projector on exposure. Once the semester ended and I closed the shutter, the image sat in a paper-wrapped film holder on my desk for a year. Why? Only another film photographer might know the answer - the fear of the unknown. Latent images are potent in potential but fragile. Had I calculated the exposure correctly? Would anything be on the film? Was there a leak in the bellows? Did the students mess with the exposure? While the latent image sat in a covered holder on my desk, it lived only in my imagination as a perfect project. Once processed, I'd face the truth. My students were eager to see the final image. Almost every week, at least one student asked about the film. I laughed it off, full of excuses; I didn't trust anyone to process it or needed time to finish the calculation. But as time passed, I liked the poetry of the image waiting for them to finish their studies in the last year of our old program, still developing their skills before I developed the film to finally become a finished image. On the day of their convocation, I drove to the lab in downtown Ottawa. Before leaving, I checked my original exposure estimate against the accurate in-class exposure calculations, confirming I was one-stop underexposed. I dropped off the film, requested a one-stop push, and headed to their graduation ceremony. The image isn't the best I've taken, but is my most memorable. It captures so many moments in one frame. The light trails visible in a few areas of the image are the traces of a lesson on lighting metal where the students use flashlights to find the family of angles. The students worked in groups, which explains why the light trails appear in clusters in a few areas in the room. I never thought that moment, which lasted 30 minutes, would be rendered so clearly in a 34-hour and 10-minute exposure. Another trace is the light fog along the bottom edge, which I am certain occurred when two students accidentally fired their small flash, full power, directly under the camera. Two lamps are visible at the back of the classroom; however, we only have one. We rearranged the furniture for our grad show in mid-March, and evidently, we didn't put the lamp back in the same position. I love how consistent some students are with placing their laptops in almost the exact position each week. It even appears as though one student took extra care each week to sit still in the same spot and potentially appears visible in the middle of the frame. I like that their conscious dedication and clear understanding of the process have made them visible to me, if not to anyone else. Beyond the image's content, it uses a capture medium we no longer teach to capture the teaching strategy we no longer use. This image represents my ten-year journey teaching photographic theory in the last remaining years of analog through the final transition to digital, relying far too frequently on lectures but hoping to inspire students by exploring the potential to push the medium's limits. While I am happy I took the opportunity to make this image; it reminds me of missed moments and how much more I could have done with that time. Enjoyed this free read?! Consider supporting us! 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1. Fishing line (nylon/acrylic thread) If you enjoy designing elaborate sets for still life objects or products, then thread is your best friend! Acrylic string contains the power of invisibility and optical illusion. With the right lighting and post-production techniques, it can make things appear as if they are magically floating in the air. 2. Magnets Fashion designers often use them to pick up stray pins and needles, but on set they can be used to hold up metal jewellery and fasten lightweight props onto upright surfaces. 3. Sticky tack and bubble gum This one’s for you improvisers and MacGyvers out there! When all else fails, these two adhesives are the most reliable. Imagine trying to photograph an upright pencil without string or tape. Chewing gum will solve that problem real quick. 4. Lucky socks “Dude, where’s my lens cap!?” is the age-old internal dialogue of a photographer. Critics may disagree, but I always bring a pair of socks with me on set in case I lose a lens cover or need to cushion it on a hard surface. Think about socks like a lens-cozy. Fuzzy socks or slippers can also be a great substitute for dirty sneakers on light-coloured, seamless backdrops. 5. Party horn (noise-makers) Not your conventional studio tool, but these can come in super handy when you’re trying to get toddlers and pets to focus on the lens. 6. Bristol board Whether you’re on a budget or on the go, buying some black and white bristol board from a dollar store will never fail you. This versatile paper board can become a reflector, flag, or even a backdrop. The options are limitless! 7. Binder clips Nowadays these nifty little things come in all kinds of colours and sizes, and they are perfect for fitting clothing to a model, attaching fabric backdrops to each other, or fashioning a bristol board flag to a stand. 8. Plastic wrap Another optically illusive tool, this kitchen staple can act as a protective lens barrier for spit-takes, wet dogs, or any situations where the camera can be exposed to splashes. Plastic wrap can also create some glaring effects, so you may need to use a polarizing lens filter to avoid those. 9. Mounting tape Regular tape does most jobs, but mounting tape has the added bonus of being double-sided and super strong! 10. Beaded jewellery Not a necessity, but definitely a surefire way of simulating lovely lens flares and beautiful bokehs when you’re feeling creative. 11. Water A friendly reminder to stay hydrated! But it’s also good to keep spray bottles of water handy for adding a dewy effect to products or to quickly wipe down surfaces. This story featured in our FASHION X FUTURE edition, a special curation by Djenabé! Order your print edition - HERE or read more in the DIGITAL REPLICA - HERE . Looking for more STUDIO stories... Enjoyed this free read?!  Consider supporting us! We need your support to continue producing great, original content for you to enjoy! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions