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Entrez pour avoir! The Tamron 28-75mm F/2.8 Di III VXD G2 delivers outstanding resolution and superb performance in a lightweight, compact zoom lens. Along with the soft, beautiful bokeh effects that are distinctive to this fast-aperture lenses, this beauty is equipped with the new Tamron Lens Utility™, a groundbreaking feature that lets you easily perform customization and firmware updates. This lens uses Tamron’s VXD autofocus motor for high speed, high precision AF. And its closeup capabilities are remarkable with its 7.1” MOD at the 28mm wide end, and a maximum magnification ratio of 1:2.7. The exciting 28-75mm F2.8 G2 is equipped with the new Tamron Lens Utility™, a groundbreaking feature that lets you easily perform customization and firmware updates from the lens Connector Port to your computer or via an Android smartphone with the Tamron Lens Utility Mobile app. Available for Sony mirrorless, and adaptable to Nikon Z & Canon R cameras. (Retail value $1199.) See what this lens can do, HERE. Entries closed March 1, 2023. No purchase necessary. Open to residents of Canada only. One entry per person. No substitutions. No cash value. Winner will be notified by email. Unsubscribe at any time. No purchase necessary. Open to residents of Canada only. No substitutions. No cash value. Winner will be notified by email. Prize must be claimed by April 30, 2023 or the prize is forfeited. Entrez pour avoir la chance de gagner un Tamron 28-75mm F2.8 G2 Zoom! (valeur $1199.00) Conditions d'entrée vous abonner à la newsletter électronique. Inscrivez-vous sur https://bit.ly/TamronNewsSignup Désabonnez-vous à tout moment. Pas d'achat nécessaire. Ouvert aux résidents du Canada seulement. Pas de substitutions. Pas de valeur monétaire. Le gagnant sera averti par email. Le prix doit être réclamé avant le 30 avril 2023 ou le prix est perdu.

PROBLEM OF THE PAST - A Long Trail of Misinformation In the 1960s and 70s, Laura Jones had a photography gallery on Baldwin Street, in downtown Toronto. Actually, she had a few galleries, some named the Baldwin Street Gallery, one called Sight & Mind, but all located along Baldwin Street over a number of years. Jones’s galleries displayed the work of many Toronto photographers but they gave special consideration to images by fellow female photographers. If you google Michel Lambeth (1923-1977), you’ll find tributes to a photojournalist and filmmaker who worked for Star Weekly, Saturday Night, Maclean’s, Time and Life. What is not mentioned is the bag of excrement which he delivered in person to Ms. Jones, or the rock he flung through her door, in protest of the support she was giving women in their shared profession. To top it off, Mr. Lambeth made his deliveries with offensive, puerile and unprofessional comments. It takes little imagination to guess what they might have been. I wish I could say that Mr. Lambeth’s act was an isolated one or that this misguided misogyny has drifted away from our present like so many other bereft ideas. I wish I could write something that would dissuade such thinking but that is also futile; the misinformed often remain so by choice. But perhaps, as a historian, I could let you know what might have inspired it. Charles Darwin got a lot of things right about evolution. Understandably, the years following The Origin of Species (1859) made Darwin a Victorian star. By 1864, he’d won the most important science prize of his day, the Copley Medal. Without going into the minutiae of Darwin’s day-to-day life and his many other publications, The Descent of Man (1871) was his next big book on the subject. In it, Darwin noted that female birds do the selecting in mating. What this revealed was that the selection females exercised over time directed evolutionary development in species. It was what he had observed in his research. But that wasn’t going to harmonize with what white Victorian upper and middle-class males of his day wanted to believe about their important role in evolution or an insignificant role in evolution of the female sex. Historians have pointed out, on the subject of human reproduction, that Darwin decided to side with nineteenth century patriarchy in his book. An intelligent man but ultimately a product of his time, he not only contradicted his research on birds, he intentionally disregarded all the animal kingdom examples in which powerful and skilled females ensured the survival of their species. In the chapters in which he spoke about Victorian women, he offered a jumble of unsubstantiated and unscientific assumptions, such as one suggesting that adult women were “intermediate between the child and the man” in terms of having evolved. In effect, it proposed that all women were inferior because they hadn’t gone through as many evolutionary cycles of development as men. If you think about that for just one minute you realize, like any contemporary biologist, how that is physically impossible. Darwin’s theory of natural selection holds up to modern science’s scrutiny. Yet the most absurd of his social constructions about women, the ones that have no basis in fact, seem to have a greater lifespan. Currently, professing to be a man heading a new era of masculinity, Jordan Peterson exhibits a form of craven Victorian male hysteria, one with which Darwin would have been familiar. What Peterson, Lambeth and even Darwin have in common is that such frantic emphasis on subordinating women demonstrates insecurity and fear, not confident masculinity. Ms. Jones will never receive an apology from Mr. Lambeth, now deceased. But she can be confident that capable women like her, women photographers and maybe all women everywhere, scared the absolute living daylights out of men like Lambeth. This article originally appeared in the Photo Historical Society of Canada's June 2018 e-newsletter. To find out more about them & sign-up to their e-news list, check them out: www.phsc.ca or contact: info@phsc.ca #womeninphotography #photohistoryincanada #fineartphotography

In Possible Lands pairs superimposed photographs of landscapes — one image captured 45 years ago by the artist’s father, and the other a present-day image taken by Annie Briard at the same location—that together evoke a sense of wonder with their vivid colours and majestic yet familiar subjects. But examined up close, they reveal a world altered by human action. On repeated long-haul hikes across Western Canada and the United States, the artist has been documenting a rapidly changing environment where, trip to trip, the evidence of climate change has become impossible to overlook. Briard was struck by the connections she saw between these photographs and an archive of slides her father took years earlier, as he traveled from Quebec to British Columbia while studying geology. Each image of In Possible Lands compresses the time gap between these two sources. By looking at the changing landscape, the artist meditates on these visible as well as unseen human impacts. The resulting photographic works offer us a medium to see into the future, asking: How do we read the past and understand the present to make predictions about what is to come? "Three slide projectors blend, at random, slides from my father’s archive. Photographs taken during his travels across Canada 45 years ago working on the railway, and my own slides from my own visits to the same locations. A newly formed image is composed by chance and then re-photographed offering prescient insights into our future lands as they transform from our shifting climate." Due to the current global health crisis, many people have been forced to slow down and stay close to home. As a result, our land use, among myriad other things, has changed swiftly. In only one short month, we saw (temporary?) measurable reductions in air pollution. Our relationship to landscapes nearby—accessible through daily walks around parks such as Lafarge Lake in Coquitlam where this work was exhibited - as well as to faraway places, now visible only through digital technology, have been dramatically altered in a way so few people foresaw. Briard’s artwork resonates as a reminder that the environment we too easily take for granted can be viewed anew. Annie Briard’s work challenges how we make sense of the world through visual perception. Creating lens-based and light-focused works, she explores the intersections between perception paradigms in psychology, neuroscience and existentialism. Annie Briard holds a BFA from Concordia University, Montreal, and an MFA from Emily Carr University of Art + Design, Vancouver, where she currently teaches. Her work has been exhibited nationally and internationally. She is represented by Monica Reyes Gallery in Vancouver. anniebriard.com Enjoyed this free read?! Consider supporting us! As the ONLY independent editorial photography publication on Canadian newsstands 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

Billed as the world’s greatest photo game, GuruShots is an international competition platform for photographers. Players get feedback from more than three billion monthly voters and try to work their way up through rankings, from Newbie to the ultimate status (and bragging rights) of Guru. GuruShots’ challenges are voted on by the platform’s Gurus and the wider community, with a fresh challenge every day. Winners can receive prizes from GuruShots’ sponsors such as Adorama, Kodak, Lowepro, and Lensbaby. From long-exposure landscapes to delicate detailed droplets, the Water Wonders Challenge showcases a world of wonderful interpretations on this theme. To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

Julia Konovalova (AKA: Imagelicious) has just released her new book! The Ultimate Guide to Food Styling dives deep into techniques for how to make your food shots stand out and swoon-worthy by mastering the art of styling. The book is divided into 3 parts; Food Syling Pillars: Main Concepts & Techniques How-Tos & Know-Hows and Food Styling Lessons Lucky photoED readers get a preview and a few quick tips to level up your food photography, here! Styling Process Shots Process shots are most often associated with cookbooks or food blogs. This is where we go to see step-by-step instructions on how to cook, and process shots often help us understand directions better. Process shots are also a great storytelling technique as they let the viewer imagine what happened right before and what would happen right after the photo was taken, thus immersing themselves into the experience. Regardless of whether you style the process shot to teach people how to cook or to tell a story, there are a few things to keep in mind. Most process shots will not be real process shots. I don’t mean that you can’t use the chopped onion that you are photographing to cook the recipe later. What I mean is that the knife used to chop that said onion most likely will need to be either replaced with a food photography prop or at least wiped clean. Onion skins would need to be strategically placed and unnecessary scraps removed. If you have good lighting in the kitchen and a beautiful kitchen counter, you might be able to take process photographs where you actually cook. But for most people process shots will have to be moved into the same space used for photographing the final dish. Using your actual kitchen counter for process shots may also mean that your process photos are in a different style than the final food photographs if the backdrops are different. It is something to consider. Since food photography works better with smaller plates and utensils, using a real cutting board and knives that you use for cooking may also not work well. Whenever I create process shots, I transfer the ingredients to smaller bowls, plates, and cutting boards. Since the props are smaller, the quantity of ingredients also needs to be adjusted accordingly. Instructional process shots and storytelling process shots both follow the same compositional and food styling techniques that were discussed earlier. Instructional process shots are usually used in blogs, so they are created in the same style as the rest of the blog photos—tighter and closer cropping, with fewer props—whereas storytelling or Instagram-style process shots appeal to emotions and entangle the viewer in the mood of the photograph. In both cases, process photos need to be meticulously styled. I don’t know about you, but for me, cooking isn’t always tidy. There are spills and crumbs, towels and napkins, and too many plates and dishes. This real mess isn't photogenic, but it could be styled to create beautiful photos. As you can see in this example, took a photo of myself mixing up some cookie dough. Composition here is quite deliberate. I followed a golden spiral grid with the dough being in the center and the spiral going around to the top right corner, top left, and then ending at the cinnamon sugar plate. Three bowls are acting as a frame for the dough. It is also framed by the flour on the surface and hands. There are lots of textures here in the dough, sugar, flour, and even the empty bowl at the top right corner. There are not a lot of colors but they are repeated throughout the scene. There is brown-orange cinnamon sugar, a brown tinge in the surface, and a bit of orange in the dough. This is not my actual kitchen. It is a photography surface that I used for this photograph. Unfortunately, I also ruined the surface with that photo shoot while cleaning the dough off of it. Process photographs can be simple, educational, yet compelling and beautiful at the same time. Cutting Boards If you usually photograph using distressed and vintage props, you may have a few cutting boards that have deep cracks. They are beautiful and provide a lot of texture and character to photos. They work great as layers for either other props or for dry foods. However, they are not great to be used for process photos showing some kind of cutting or chopping. Those cracks would be difficult to clean afterwards and the viewer will wonder why juicy vegetables or fruits are chopped on such cracked boards. These boards aren't food safe as bacteria would thrive in the cracks. This is one of the reasons why I add a piece of parchment paper onto the cutting board under cookies. Placing cookies on a distressed cutting board looks unsafe, and I didn't want the image to evoke uneasy feelings. Regular wooden cutting boards also require a bit of special treatment for photos. Juices from cutting produce create stains on the cutting board. Our eyes don't really notice those stains, yet the camera does .I suggest cutting the vegetables on one cutting board and then placing them on a different cutting board for a photo. There will still be a bit of juice escaping from the produce and it is needed to make the photo look beautiful and real, but the water stain will be minimal and not distracting. Depending on your style of photography, you may want to keep a separate cutting board for process photos and never use it. If you prefer a cleaner look in the images, then you may want to avoid lines made on the wood from a knife. I personally like them as they add texture to the photo, but it really depends on the style of photo you are trying to create. Knives and Other Cooking Utensils Many cooks use a chef’s knife for slicing and dicing.It’s versatile and convenient to use. It is also big. Unless you are photographing specifically for the brand of that knife, it’ll most likely overwhelm the scene. If you are using a smaller cutting board, then it’ll also look even bigger next to it. I have a few food photography prop knives that I usually use in process photos. They aren’t sharp, but they work well in photos because they are smaller and proportional to the cutting boards. They are also less shiny than my regular knives. The same goes for other cooking utensils like spatulas, whisks, spoons, forks, and even rolling pins. Make sure they don’t look comically large next to smaller plates and bowls. Whenever I visit kitchen or home stores,I’m always on the lookout for smaller cooking utensils. Unlike eating utensils that are relatively easy to find in small-medium sizes, cooking utensils are less common. Regardless of whether you use rustic props or not, you need to make sure that they do not have a lot of reflections; if they do, position them in a way that they are least reflective. To dirty or not to dirty? That is a personal decision. I do both, depending on the photo. If I am showing some-thing cut in half, then I might leave the knife clean. If I’m showing a process shot that involves a lot of dicing and chopping, then leaving the knife clean will look fake. I would use the knife to make a few cuts, just so that it has a few juices or crumbs stuck to it without it looking too used and dirty. For spatulas and whisks, I am also mindful of the actual process shot. If all the ingredients are piled into a bowl but not mixed yet, then I will leave the spatula or whisk clean. If the process shot shows ingredients already mixed, then I’ll dip the utensil into the mixture and make sure that it looks used, but barely. Some of my favourite ideas for photographing recipe ingredients: Eggs: If eggs are one of the ingredients, I like showing one of them in half a shell. Carefully break an egg and pour a little bit of the egg white out in a bowl. Keep if for the recipe but you won’t need it for the photo. Use some museum putty to position half the eggshell with the egg so that it doesn’t roll. The golden shiny egg yolk instantly elevates and brightens up photos. Vegetables and fruit: Keep some whole and cut or halve some of them. It’s nice to show the inside and break the monotony of all the whole produce. If there are outer shells or stems and leaves present that are usually discarded, leave some intact. I love using the outer papery skin from garlic. It adds a lot of texture and character to the images. Herbs: With their long stems and curves, herbs can work perfectly as a framing device. Sometimes, I put most of them on one side of the ingredients and just a few more on the other side to create that framing. Meats: Raw meats are not usually appetizing. They are also often too pink and too smooth. I like breaking that smoothness by adding texture. A few drizzles of olive oil, a bit of salt, and freshly ground black pepper often help with creating more visually appealing images. Get a copy of Julia Konovalova's new book here: The Ultimate Guide to Food Styling: Essential Lessons for Creating Picture-Perfect Dishes Posted with permission from The Ultimate Guide to Food Styling by Julia Konovalova. Page Street Publishing Co. 2023. Photo credits: Julia Konovalova.

Discarded items of convenience document the poisoning of our environment and ultimately ourselves. With the precision of a gentle archaeologist, Ottawa-based artist John Healey quietly began a collection of plastic objects found along the rocky shores of the St Lawrence Seaway. He took his findings home, photographed them, and examined everything, trying to understand the mystery of each object; what it is, who threw it away, and why it was there in the first place. But these questions can be nearly impossible to answer. So why are Healey’s images so captivating, and feel like they are more than a simple reminder of our wasteful habits? What can his project Plastic Beach add to the complicated conversation that surrounds responsibility and legacy of plastics in Canada? Many of the photographs feature a single object, lit precisely enough to see each and every detail, yet dramatically enough to give the object a certain kind of gravitas that allows my mind to shift between representation and imagination. Take for example Healey’s image Coolpac Bird. At first, I see a soaring animal in the night sky emerging from the isolation of the deep black background. On a closer look, the creature’s materiality becomes easily apparent. This bird is made up of cheap crinkled textures, jagged edges, and surface dirt. I should be revolted. Yet, I am enamoured by the image’s peacefulness and its ability to elevate something so mundane. Throughout the project, other objects transform in front of my eyes. A piece of Styrofoam becomes a hovering cloud, screw caps become a dramatic portrait, and a grocery bag becomes a rushing waterfall. Through masterful lighting and presentation, Healey brings forward imaginative ways to reuse materials, reigniting a recycled desire for plastic. Captured in time in a way that only a photograph can, these plastic objects float in empty space, as if they’ve always been there and will be here forevermore, which in fact, will be the case. Virtually every piece of plastic that was ever made still exists in some shape or form. The birds 1 soaring in the night sky often have bellies bursting with plastic debris. Recent discoveries of 2 microplastics in our bodies 3 and in our atmosphere affecting cloud formation 4 are reminders of how deeply plastic is enmeshed in our natural systems. With this in mind I began to wonder if Healey’s images were truly glorifications of the continued potential of plastic, or if they had become symbolic icons that describe the way in which our natural systems are slowly being replaced. Rather than celebrating Healey's ability to make the plastic objects look desirable, I’m instead marvelling at how striking a warning can be. Warnings that our natural systems have already been plasticized. Warnings that our desire is still rooted in plastic in a perverse sense of neuroplasticity. Is that why is it so hard to change? A study completed in 2022 at the University of Waterloo suggests that the reduction of plastic in the Great Lakes will not happen unless incentives and disincentives, in conjunction with raising awareness and other legislative regulations, are used in a coordinated manner to move people toward this goal. 5 In other words, plastic is so deeply rooted within everyday life that dismantling it will require both an internal voluntary change and external regulation - a change that will undoubtedly take a long time to instill. Time is a hidden element to the project, and to the duplicitous nature of plastic; quickly used yet outlasting a lifetime. Perhaps the most prevalent reference within Healey’s photographs are found in the annals of time in the Dutch seventeenth-century vanitas paintings. Using realistic painting techniques often with dark lighting and a cluttered approach, vanitas paintings contained icons or symbolic items that encouraged people to contemplate their life, their legacy, and their faith. 6 Drawing from religious texts and encouraging the ideals of self-contemplation, the paintings attempted to communicate to the public that the pursuits of this world - pleasures, money, beauty and power - were not everlasting properties. Rather, the nature of life and the world is fleeting, finite and temporary, with a reminder that you too will die. Healey’s Composition 12 is the best example of this reference. A crowded table of his plastic objects gracefully stands in a sea of black. There is a controlled chaos to the composition in which some objects appear to almost fall off the table, while others stand tall piercing the background. In the centre of the image, a neon green circular object surrounds a figurine, invoking a kind of religious subtext, suggestive of an altar. In this work, the pleasures of this world, our pursuits and even our faith have all been replaced with plastic. If the vanitas paintings are reminders of the fleeting nature of life, then Healey’s work contributes by asking: “What will you leave behind after your brief and wondrous time on this earth?”. Plastic Beach contemplates notions of legacy, mortality, desire and of course, materiality. Healey’s care of small individual objects and chosen aesthetics seduced me into becoming closer than normal to discarded plastic objects, reigniting a latent desire. However, invoking the latent dangers of plastic alongside historical and religious references suggests a much more ominous message of deeply rooted beliefs and our legacy of plastic for the future. His work demonstrates the overwhelming (almost futile) undertaking of picking up each piece of plastic and caring for it until our shores are once again clean. Indeed, it is not within our lifetime that this shift will happen. I am left wondering if my legacy might include not just the plastic I am trained to use, but the steps toward de-plasticization, both in mind and along our waterways.7 There is a curious resolution that washes ashore when viewing this type of legacy work, I can perhaps see a great future in plastics, just not the one we bargained for. These items are the messages in a bottle that have washed up on our shoreline which we no longer can ignore. May 25 - August 25, 2023 The Public Art Program and the City of Hall Art Gallery Present: John Healey’s PLASTIC BEACH City Hall Art Gallery 110 Laurier Avenue West (Ground Floor) Ottawa, ON, K1P 1J1 This exhibition is open to the public and is free of charge. Darren Pottie is an artist, writer and curator focused on the intersection between lens-based media and contemporary craft. From digital experimentation to analogue techniques, his research seeks the symbiosis of real and virtual. He currently lives and works in Ottawa on the unceded territory of the Anishinabe Algonquin Nation. https://darrenpottie.ca/ John Healey (he/him) is a devoted photographer and instructor who grew up along the St. Lawrence River in Brockville, Ontario. His work has been shown nationally at the Scotiabank CONTACT Photography Festival in 2017 and 2020. His work has garnered numerous awards, including winner of the 2020 Project X, Photography Award and First Prize winner for the international Figureworks competition in 2019. Healey lives in Ottawa, on the unceded territory of the Anishinabe Algonquin Nation and is currently an instructor at the School of the Photographic Arts: Ottawa (SPAO). www.johnhealey.ca As featured in photoED magazine's ECO ISSUE Roland Geyer, Jenna R Jambeck and Kara Lavender Law. “Production, use, and fate of all plastics ever made.” 1 Science Advances, Vol 3 Issue 7. 19 July 2017.https://www.science.org/doi/10.1126/sciadv.1700782 “Laysan Albatrosses’ Plastic Problem.” Smithsonian National Museum of Natural History.. https://ocean.si.edu/ 2 ocean-life/seabirds/laysan-albatrosses-plastic-problem Damian Carrington. “Microplastics found in human blood for first time.” The Guardian. 24 March 2022. https://www.theguardian.com/environment/2022/mar/24/microplastics-found-in-human-blood-for-first-time Mischa Aeschlimann Guangyu Li, Zamin A Kanji and Denise M. Mitrano. “Potential impacts of atmospheric 4 microplastics and nanoplastics on cloud formation processes”. Natural Geoscience 15, 967-975. 2022.. https:// www.nature.com/articles/s41561-022-01051-9 contemplate their life, their legacy and their faith. Trang Vu Quynh Le, “Plastic Pollution in the Canadian Great Lakes: Drivers, Barriers and Policy 5 Recommendations,” (Master’s thesis, University of Waterloo, 2022), https://uwspace.uwaterloo.ca/bitstream/handle/ 10012/19003/Le_Trang%20Vu%20Quynh.pdf?sequence=3. Fraser Hibbitt. Vanitas: Dutch Master Paintings Explained. The Collector. July 14, 2020. https:// 5 www.thecollector.com/vanitas-dutch-master-paintings/ Get involved with The Great Lakes Plastic Cleanup at greatlakesplasticcleanup.org and other organizations. The artist gratefully acknowledges the financial support of the Ontario Arts Council. Enjoyed this 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! 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"I have been privileged to bear witness to many remote wondrous places on earth. Through the art of photography, I strive to capture and share these experiences to raise awareness about the interconnectedness of our world and the commonalities of our humanity. I use my lens to bring forth the inspirational possibilities of a landscape, and the landscape of possibilities in the faces and places of others. In Black and White brings together many of my experiences from faraway places. These moments challenged my realities, moved my heart and informed the footsteps I now take." Join us in celebrating images of humanity, hope, and resilience from around the world by SHERRY PRENEVOST at the exhibition in Toronto. AREEJ ARTS CENTRE 1896 Danforth Ave Toronto, ON M4C 1J4 Opening Reception: Saturday, April 15th 6-9pm Exhibition runs until April 30th, 2023 Gallery hours 11- 6pm daily Cameras for Girls Camera for Girls provides females in under-developed countries with in person and virtual photography and skills-based training to help secure employment. Cameras for Girls was created to support marginalized females living in poverty. Participants can then support their families, communities and dreams. In keeping with the community outreach of Areej Artist Centre; Artists to Artists Foundation and the work of artist Sherry Prenevost as an advisor to the Board of Directors for Cameras for Girls, an image by Annet Numusisi, a Camera for Girls student, will be featured at this exhibition in Toronto. Sherry Prenevost's photography has been internationally exhibited and collected. Her work has been presented to the Queen, The Governor-General of Canada (David Johnson), David Suzuki, and many more. An ardent supporter of social justice, human rights, and the environment, she is the former CEO of an international humanitarian /environmental charity, and now travels to positively influence advocacy, policy development and community empowerment at local, national and international levels.

Canadian photography educators Andrew Craig in Brampton, ON and Karen Stentaford in Sackville, NB have taken wild "new" approaches towards engaging their photography students in a mindful, meaningful way with impactful results. In a Western post-covid society most of what we learn and teach now comes through a screen. The volume of information and images we flick past is immeasurable. However, research clearly (and obviously) speaks to issues around information absorption from screens. Attention spans, mental health, cognitive overload, and in many more ways our brains are impacted by "life" online. Did you know... there is an organisation called, The Attention Council? People paid to figure out what works for advertisers to effectively push out big brand messages , and it's not always things flashing at you on a screen. The UK's MAGNETIC provides stats around analog information absorption, specifically editorial content, sharing research and data around the efficacy of slowing down via analog experiences and information. Some of the research they share indicates information from printed sources is considered more trustworthy by readers, and 75% of people in one study said they find reading a print magazine "relaxing." If the idea of analog slow experiences/ information works for big brands aiming for a long game, could the same human behavioural research have a similar effect in classrooms as teachers navigate student attention spans? The approaches Andrew and Karen as educators take go against the pervasive digital grain, and mass-marketing / education trends, as they guide their learners towards more impactful alternatives of information sharing. Castlebrooke Secondary Grade 12 teacher Andrew Craig shared this independent assignment he does with his class. He says; There’s not much to it, but I’ve found that it’s been an effective approach to giving my grade 10 students a new entry point into learning about photography. It’s analog by design without digital distractions, which is why I love the print edition of your magazine so much. The Assignment Your Goal: We start each class session with10 minutes of independent reading about photography. You must select a choice from the options that are available in the classroom. We have a collection of magazines and books on photography. No technology use is permitted during this time. You must read a print publication of your choice. What You Will Submit: At the end of each month you will write a two paragraph (10 sentence) handwritten reflection to summarize the single most interesting idea that you have discovered. Your focus questions are: Why do the ideas in my chosen article resonate with me? (include a quote from the article, and a diagram to illustrate the idea.) How could I apply these ideas into my own creative work? Mount AlLison University Educator Karen Stentaford created images reflecting her time with her students. Our teatime conversations echoed our course content – awareness of surroundings, being present, and slow photography. The Assignment TEATIME TUESDAY evolved from the desire to make time each week to slow down and have conversations with my students about work in progress, ideas, and checking in with each other. This time was about sharing and listening, free of screens and the usual busyness of class time. The tea was locally sourced and we had a local herbalist/farmer come in to talk about her love of making tea, her process, and her connection to the land. Lumen prints were a document of our time. Once the tea steeped, the ingredients were placed on a piece of photographic paper and left to expose for the duration of our class. Exposures ranged based on location, changing light as we moved to shorter days, and the length of our conversations. The first in the series is blank, as we did not begin making lumen prints until the second week, however it is important to reference the time we shared. 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

It cannot be said that women have been accepted easily into the photography world. In fact, history shows us that not only have women continually had to fight for their rightful place but even when recognition is achieved there is no guarantee that they are written into history. Early in 2020, PhotoED Magazine, collaborated with the School of Photographic Art Ottawa, to poll Canadians for a Canadian list of important photographers – specifically a list of women who have made significant contributions to the practice. A public tribute to women who have added to the canon… The list of suggestions collected is impressive and one that is meant to inspire further conversations. And that brings me back to my bag – it sports the names of the five finalists: “Maynard, Cohen, Kaplan, Astman and Clark.” To my mind these women are all remarkable - they have changed not only how we look at photography but at photographers. Each woman is, dare I say it, “mistress” of her craft. They may have worked independently, but they share common traits – they prove limitless in their visions; they are tenacious; and all are driven to explore and create. Moreover, each fought for their place, garnered respect, notoriety and projected their voice UN-apologetically. As the host of the Defend the Darkroom podcast, I’m honoured to share their stories. I have been fortunate in having had the opportunity of interviewing Kaplan, Astman and Clark for the podcast. Our conversations confirm that these women are more than visionaries – they are leaders and perhaps most importantly mentors. These did follow the trodden path, they set their own compass - creating community, supporting and promoting others. Even as they demand rigour they demonstrate thoughtfulness. And in speaking with them, I was truly inspired. Ruth Kaplan is based in Toronto; she is an observer, a recorder of moments within communities that she inserts herself into. Her images are thoughtful portrayals of individuals being themselves. They are not posed or influenced. She is looking to understand, to engage with the subject and her images are witness to the respect and connections she has fashioned. Check out my interview with RUTH KAPLAN - HERE. She is represented by Stephen Bulger Gallery, Toronto. Barbara Astman is a creator and an inspiration to the next generation. In her work she somehow demonstrates an inner dialogue that is so fascinating one can’t help but become engaged. What I find staggering is how she remains so involved in all aspects of her life and her community: she has an active studio practice (one that reveals her fascination with new media); is involved is many different boards and committees; all while being a notable professor and past department head at OCAD U. Check out my interview with BARBARA ASTMAN - HERE. She is represented by Corkin Gallery, Toronto and Elan Fine Art, Vancouver. June Clark is a force – there is no other word to describe her. She uses her photography to document community and while her work is often autobiographical, it is also about history, social change, and identity. June moved to Toronto in 1968 and connected to her new home through the camera. She has helped build an arts community and continues to evolve her practice to new levels as she connect with others. Through passion and devotion to their craft, these women have brought us new and unique ways to see our world. They have not sought out entry into or acceptance by the male dominated art cannon – rather they have created exceptional art while serving as mentors and built communities. June's work is represented by Daniel Faria Gallery in Toronto. Check out my interview with JUNE CLARK - HERE. I can only hope that more of us look at these examples as an opportunity to challenge ourselves and do things in a new way. To take a moment to question and evolve. And let’s all hope “It’s in the Bag.” The other two celebrated names on the bag are: Hannah Maynard (1834-1918) was an innovator and creator who spent most of her working life in Victoria B.C. At a time where knowledge was gained through exploration, Hannah forged a unique path for herself. Her industriousness and desire to promote herself as a “photographic artiste” knew no bounds. She pushed studio photography far beyond contemporary expectations. Lynne Cohen (1944-2014) created environments that provoke the viewer, making us question ourselves and what is occurring around us. Her large format work is often haunting. Yet, she never forced a narrative; instead her work is stark; it seldom includes a human presence, making it both unnerving and strong – a word that is seldom used in the positive sense when describing a woman in the arts. + Get the ULTIMATE CANADIAN PHOTO NERD TOTE Bag featuring these celebrated names. ORDER yours today - HERE. Or pick one up from our friends at SPAO - OTTAWA or BEAU PHOTO - VANCOUVER! #womeninphotography #canadianphotography

NatGeo Live! at Roy Thomson Hall • Tuesday March 28 photoED magazine PATRONS attend for FREE! Maureen Beck loves to prove people wrong. Born with one hand, she tried rock climbing for the first time after a camp counsellor told her she could skip it. Her love of the sport was instantaneous, but there was no guide for climbing with one hand. Unfazed, she decided to figure it out for herself through trial and error—one of her early adaptive climbing innovations even involved taping a metal ladle to her arm. Before long she was leading a crew of passionate adaptive climbers around the world, forging a path for a new generation. After tackling some of the hardest climbs by a one-handed athlete and securing two world paraclimbing championships, Beck yearned to push still further outside of her comfort zone. So when legendary adaptive climber Jim Ewing asked her to join his attempt to make the first adaptive ascent of one of North America’s classic, most wild towers—the Lotus Flower Tower in Canada’s Cirque of the Unclimbables—she didn’t hesitate. On their month-long expedition they dealt with rough weather, sudden illness, and a food shortage, yet Beck found herself growing addicted again to the thrills and challenges of the sport. With her trademark humour and wit, this 2019 National Geographic Adventurer of the Year will share how a little creativity and a whole lot of grit and determination have propelled her to the top of her field. JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS