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The Image Centre showcases Mary Ellen Mark's unflinching and compassionate photographs of women living in a psychiatric facility Ward 81—an early series by one of America’s most distinguished and respected photographers—sheds light on the invisible lives of women institutionalized for mental illness. American documentary photographer Mary Ellen Mark (1940–2015) transported her viewers to places rarely seen, from the brothels and circuses of India to the streets of Seattle. Her humanistic approach and long-term commitment to her subjects were legendary. This winter, visitors to The Image Centre (IMC) at Toronto Metropolitan University (TMU) are invited to experience life in the women's ward of the Oregon State Hospital, the state's only locked, high security psychiatric facility at the time. On view from January 25 through April 1, 2023, Mary Ellen Mark: Ward 81 presents photographs, audio recordings and archival materials—many of which are being shown for the first time—to offer an in-depth view of Mark’s experimental and groundbreaking approach to documentary photography. “Mary Ellen Mark’s willingness to immerse herself in her subjects’ lives and to show them empathy, care and dedication allowed her to create extraordinary portraits that were also candid and relatable,” says IMC Exhibition Curator, Gaëlle Morel. “We’ve brought together Mark’s Ward 81 photographs, striking black-and-white images with an almost cinematic quality, with many of the ‘behind-the-scenes’ materials that offer a fuller picture of the project.” Mark first met several of the female residents of Ward 81 in 1975 while photographing on the set of the movie, One Flew Over the Cuckoo’s Nest at Oregon State Hospital. After nearly a year of correspondence with the institution, as well as the patients and their families, Mark and her collaborator, licensed therapist and writer Karen Folger Jacobs, moved into the women’s ward for 36 days in 1976. They were given unprecedented access. The resulting project—published as the seminal book Ward 81 in 1978—was a nuanced and compelling portrayal of female psychiatric treatment in the United States. While much of Mark’s 50-year career was spent photographing people on the fringes of mainstream society—those who she referred to as the “un-famous”—she resolutely avoided voyeurism and sensationalism, focusing instead on the humanity of her subjects. Through photography and recorded interviews, Mark and Jacobs hoped to portray the women of Ward 81 as complex individuals with multifaceted personalities, bringing attention to their daily life, their private thoughts, intimate interactions, and intense medical treatments. Mark and Jacobs brought a Polaroid camera to the hospital, empowering the residents to produce images of each other as well as of the visiting photographer and writer. A tape recorder was also left in the communal space in Ward 81 for the patients to record anything they wanted to share. As Mark said after the project was complete, “I wanted to help these women make contact with the outside world by letting them reach out and present themselves." The exhibition at the IMC—like Mark’s project—insists on the individuality of the women and their distinctive voices. The residents of Ward 81 are introduced one-by-one through groupings of photographs that portray their daily lives and highlight their personalities. Quotations from the residents further emphasize their presence in the space. Archival materials on display include signed patient waivers, contact sheets, press coverage, the collaborative Polaroids, as well as letters, drawings, and cards made by the women. Also on view is Moonlight Heaven Black (2022), a new film by Mark's husband, the filmmaker Martin Bell, which features images and audio recordings made by Jacobs, Mark, and the residents of Ward 81. Mary Ellen Mark: Ward 81 is curated by the IMC’s Gaëlle Morel and Kaitlin Booher, Newhall Curatorial Fellow, Museum of Modern Art, New York. The exhibition is organized by The Image Centre, Toronto, in collaboration with Falkland Road Inc./The Mary Ellen Mark Foundation, New York. ABOUT MARY ELLEN MARK Mark achieved worldwide recognition through her numerous books, exhibitions and editorial work in such publications as LIFE, New York Times Magazine, The New Yorker, Rolling Stone, and Vanity Fair. Her images of the world's diverse cultures have become landmarks in the field of documentary photography. Her portrayals of Mother Teresa, Indian circuses, and brothels in Bombay were the product of many years of work in India. A photo essay on runaway children in Seattle became the basis of the academy award nominated film STREETWISE (1985), directed and photographed by her husband, Martin Bell. Over the course of her career, Mark was the recipient of several honorary degrees, as well as countless grants and awards, including the Lifetime Achievement in Photography Award from George Eastman House and the Outstanding Contribution to Photography Award from the World Photography Organization. FREE ADMISSION 33 Gould Street Toronto, ON M5B 1W1 Canada Toronto is in the 'Dish With One Spoon Territory’. The Dish With One Spoon is a treaty between the Anishinaabe, Mississaugas and Haudenosaunee that bound them to share the territory and protect the land. Subsequent Indigenous Nations and peoples, Europeans and all newcomers have been invited into this treaty in the spirit of peace, friendship and respect. Learn more about Toronto Metropolitan University's Land Acknowledgement. Gallery Hours Monday: Closed Tuesday: Closed (Tours by appt.) Wednesday: 12–6 pm Thursday: 12–6 pm Friday: 12–6 pm Saturday: 12–6 pm Sunday: Closed

Highlights from our 2022 publishing season! This year we published THREE gorgeous editions, by three incredible guest curators, Djenabé, Laurence Butet-Roch, and Peppa Martin. We published 75 photographers in print + over 80 more in our digital issues. We couldn't have done any of it with out the support of our PATRONS + subscribers + advertisers + collaborators + the Ontario Arts Council + The Canada Council for the Arts + The Government of Canada. • JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS

Alan Bulley gets the scoop from publishers in our new series of interviews with publishers, including a Q&A with Dr. Philipp Müller, Founder of Snap Collective Publishing About Snap Collective Snap Collective is an innovative and unconventional publishing concept, founded by Dr. Philipp W. Müller, designed to help to bring to life portfolios of international photographers and artists. The idea behind Snap Collective is to give artists a possibility to publish a photo book or a portfolio of their work by offering a streamlined platform with some of the best printing and distribution partners, the support of a design team and more. Snap Collective works with Print-on-Demand technology, which means there is no financial risk involved and artists can print books as they are ordered. The artist receives a discount on all purchases and also receives royalties. What is your view of the publishing market? Excellent photographers deserve to publish a book. A book is both an old-fashioned—and at the same time innovative—way to communicate with fans and followers. It ennobles every photographers work. How do you choose what projects you publish? How far in advance do you work? Our editors are qualified and know what to do. I trust their decision making. If the editor and the photographer agree upon a new project the cover can be ready in three days and the pre-order campaign starts immediately afterwards. As soon as the project reaches a threshold of 25 pre-orders it has its “GO!” from the market. The photographer chooses the pictures for the book block and our designers are quick. About a month later the book is available in our shop and later in bookstores and online worldwide. What has been the most commercially successful book you have published? Sorry to disappoint you, but we are not interested in best sellers. If a book sells 25, 50 or 100 copies we are more than happy. Most of our titles reach this goal so they are all commercially successful. Our concept is based on the long tail economy—in other words lots of niche titles bringing our success. What makes an effective proposal from an artist? The proposal generally comes from us not from the artist. Our editors are always searching for amazing photographers and sending them our proposal. They are looking for outstanding works AND the artists ability to communicate in a professional way to fans and followers. This means that our proposal is to publish an art book for free, so that you can invest your time—rather than your money—to communicate with your fans and followers about the book. What sort of financial arrangements do you have with artists (dealing with up-front costs, revenues, etc.)? The German word for “publisher” is Verleger. To us, that means that it is the publisher — and only the publisher — who invests money. So, there are no up-front costs, no obligation to buy a certain number of copies, etc. Yes, it really is for free under two conditions: 1) that the photographers work is outstanding; and 2) that the photographer is willing to invest time communicating with fans and followers about the book. Once a year the photographer receives 12% royalties. That’s it. How involved is the artist in book design? It depends on the photographer. Our designer creates drafts and deals directly with the photographer. In some cases, the photographer does the design. How do you market and distribute the books you publish? Where do they go? How many copies do you print on average? During the pre-order phase the photographer does the pre-marketing with his or her community. We provide information and concrete help on how to reach the minimum 25 advance-sales to trigger production. Once the pre-order finishes successfully we offer the book to wholesalers worldwide. And yes, it’s then also available at Amazon. What one message would you give photographers who want to publish their work? Don't hesitate, just contact us! If you like to communicate with your fans and followers, you could be the right artist for us. What's your dream publishing project? SOLO by Mimo Khair was a dream project. When Madara, our editor, talked to Mimo for the first time there was an immediate “flow.” When she came to our office, I felt I had known her since my school days. She is a very sensitive and positive person, and she impressed me very much by sending handwritten letters to her friends and presenting her book by this old fashioned but lovely way. All of this led to a big success in terms of sales. What's one thing that would surprise our readers about your work behind the scenes? My wife and I, together with our eight kids and lots of crazy dogs are behind the scenes. We are an international, family-owned business based in Warsaw, Dusseldorf, Kyiv, London, and San Francisco. More places are coming as we grow! Find out more about the SNAP Collective - HERE. 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

In case you missed our CALGARY 2020 PHOTO INSPIRATION NIGHT, check out our video featuring our editor, Rita Godlevskis. PhotoED Magazine shares Canadian photography stories in a brand new light. Publisher, Rita Godlevskis shares her passion for Canadian photography + some publishing behind the scenes stories in a live presentation to an audience of over 350+ Calgary photography lovers. If you are not familiar - Pecha Kucha is a format where speakers only have 20 slides X 20 secs/ slide to share their story. It's TOUGH. But really, really worth it. WANT MORE?! Check out more videos from our PHOTO INSPIRATION nights HERE. • Consider supporting us! As the ONLY 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

A curator and a care-giver in conversation A long sleek grey table is covered in dozens of photographs of over-sized leaves. Look closer, and you’ll find the foliage appears layered, like a patchwork quilt. A pair of golden paint-by-numbers looking leaves sit nestled against each other; a broad, dark green leaf bears at its centre shingles of teal, seafoam, and ochre; a flower sits afire in scarlet, crimson, and marmalade. These pieces are part of Jennifer Long’s series, Mended Leaves, the most recent entry into her decade-spanning lens-based consideration of motherhood, caregiving, and community. At home in Toronto, the photographer shares her work with Peppa Martin, a visiting Vancouver-based gallerist, writer, and curator. The conversation flows from photography to family, care-giving, the pandemic, and how it has all shaped Jennifer’s current art practice. “The artwork evolved as I circled close to home, walking through my neighbourhood as a way to reclaim public space during the lockdowns.” “While on these excursions I collected petals and leaves and upon returning home these tokens were pressed in books, placed in vases, or laid out for immediate intervention. Using on-hand art supplies, I began exploring ways to transform the foliage through repairing tears, matching and re-imagining colours, and other such experimentations. These instinctual and meditative explorations gave me time to reflect on the experience of mothering during a period filled with unease, when time bent, stood still, and stretched in unfamiliar ways. I was altered by the act of care-giving during this time and those I provide support to were also affected. It led me to consider how the balance of self-care and giving of oneself is fundamentally tied to communication.” Jennifer explains that the project began with her daughters. “My idea was that we were going to collect leaves and use old art supplies to mend them. The girls lasted maybe 30 seconds and walked away,” she jests. While her daughters weren’t as enthused about the project, it allowed Jennifer to consider “what happens when you’re care-giving, and what’s the effect of your care-giving on someone else.” For her, the pandemic’s disruption of daily life opened up space to meditate on the transformative capacity of care-giving, and family life. "Through a Feminist lens, I work with constructed narratives that are inspired by the quiet moments in women’s lives where seemingly nothing (and everything) occurs." “I think it’s interesting being a photographer,” Jennifer says, "documenting your family, and being aware that what you’re documenting can shift the way your children remember their experiences.” For Jennifer, her photos also capture the tactility of memory. “Gravel on legs after a fall, or the hair on the back—those are the sort of details that I come back to. It’s small details. I never come back to the whole story.” It’s these sensory experiences that feel most special to her as a parent, and not the major life moments that you’d expect. “Something amazing could have happened and all I’ll remember is ‘[my daughter] had a skinned knee that day.’” "I am especially interested in the complex emotions that underlie these mundane points in time. Themes of vulnerability, growth, and community are explored within my practice as I examine daily life and my rituals within it." Sometimes she finds herself in periods where she’s documenting her family life very actively. Other times, she will take snapshots of quick moments. In other situations, her work is based on “something I’ve snapped on my phone and then I get the girls to recreate it with me later.” It's clear that Jennifer’s images are made (and remade) in conversation with those she cares for; the photographs aren’t something she takes of her family, but are instead made with them, again echoing themes of motherhood, care-giving, and transformation. “It changes… how they relate, the dynamic with each other, and with you,” Peppa comments. Peppa notes, “I think it’s really important for daughters to see that you can work creatively in tandem with care-giving. You don’t have to forego your identity entirely for the family.” “That’s a huge point,” says Jennifer. “One of the things I did find a lot during the pandemic [was that] it was very clear what my husband did for a living. Whereas I would be seen simply shifting through photos. I found I had to be very clear [in] articulating, this is my work, this is what I do, you just can’t always see it.” Find Jennifer Long's work featured in our Winter 2022/23 issue, BOTANICALS. 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

PhotoED Magazine's 2022 season featured a collaboration we were extra excited to facilitate... With the help of our friends at THINK TANK PHOTO, we produced three very special feature stories around the mentor / mentee pairs that connected through a local BIPOC Photo Mentorship project. The BIPOC Photo Mentorship Program (BPM) began in Toronto in 2020 as a way to address systematic barriers that face Black, Indigenous, and People of Colour entering into professional photographic practice. There is significant lack of diversity in all areas the creative industry but, mentorship can help to fast track inclusion, and offer crucial support to emerging photographers. Mentors in the BPM program offer what they can, and mentees comb through a master list to find a fit that is right for them. Since the program began, mentors and mentees from all parts of the industry have connected with with mentees from Canada, the U.S, and all over the world. Here are some of the BTS details on the incredible products our featured mentorship program participants received as part of this collaboration! Our sold out! Spring/ Summer 2022 issue, FASHION X FUTURE featured a showcase of unique fashion images by self-taught photographer SUMI SIDDIQA where she shared her experience of being mentored by photographer MARK BINKS. “Being a photographer can be an isolating experience, especially when you are starting out and trying to figure out your business, aesthetics, and the fashion world. It’s nice to have someone show you the ropes." Mark related to Sumi's experience and that is what drove him to offer his time and expertise as a mentor. He says, “As someone who never had much mentorship myself, I can tell you that it can be a pretty lonely place emotionally trying to get started, to plug away, to wonder if what you’re doing is even any good.” Sumi now shoots on location with a Think Tank Retrospective 10 shoulder bag, and when she needs something small and light the Think Tank Turnstyle 10 sling bag is her go-to. She loves these features on the Lightweight Sling Bag: Easy rotation for rapid access to gear and accessories Stabilizer strap holds the bag steady while active or tucks away when not in use Dedicated, padded pocket fits a 8″ tablet Fully customizable interior dividers Seam-sealed rain cover included in dedicated pocket Mentor Mark Binks is SO right, these bags have "Pockets for DAYS!" Mark now carries a Think Tank Retrospective 10 shoulder bag for his lens collection! Features he loves: Secure zippered opening under the main flap that tucks away when not in use. Hook-and-loop “Sound Silencers” offer discretion when needed Seam-sealed rain cover + POCKETS POCKETS POCKETS: Dedicated pocket fits a 15″ laptop Collapsible water bottle pocket Webbing rail to accommodate modular pouches or carabineer Additional dividers to sub-divide compartments for smaller lenses Organizer pocket Wide storage pocket on back Zippered pocket for valuables and small items In the Fall, we featured Joel Rodriguez and his mentor, Surendra Lawoti. The pair spent three months working together on the production of Joel’s documentary project Certified Organic, an exploration of food production and regenerative agriculture in Canada. Both Joel and Surendra work from an activist perspective and, though they both use a documentary approach, their practices are unique. Joel now carries his gear in this super sturdy THINK TANK Retrospective 50 Duffel This bag is perfect for back road travel. The duffel bag features: Thick abrasion-resistant canvas with a DWR treatment to repel the elements A wide, padded shoulder strap, Think Tank’s legendary carry comfort World-class YKK zippers slide easily even under overpacked loads Full-grain Dakota leather accents and zipper pulls Surendra travels a LOT, so he now uses the both the big Retrospective® Duffel 75 and the Retrospective 30 V2.0 shoulder bag . BIG bags for BIG trips! In our WINTER 2022/23 edition we featured Mentor Jessica Thalmann and her mentee Natalie Asumeng. Jessica echoes a familiar sentiment among artist mentors when she says, “Mentoring and teaching is a significant part of my practice that I cherish. Some of the most meaningful moments and best words of wisdom in my career have been shared by watching and assisting other artists and I want to pay that forward to a new generation of photographers.” Jessica will also soon be moving forward with some sweet stuff from THINK TANK! We LOVE this handy cable management bag, and the carryall duffel holds an insane amount of STUFF! PhotoED Magazine thanks our friends at THINK TANK PHOTO for their generous support in helping us share the stories behind BIPOC emerging Canadian photographer in 2022! Follow the adventures of @thinktankphoto (Twitter, Facebook, Instagram and TikTok) #thinktankphoto #mythinktank #thinktanktravel

At -25˚C/-13˚F, when it gets this cold, I can often be found outside my house, bubble blower in one hand and camera in the other (I think my neighbours have gotten used to this sort of behaviour by now). Soap bubble mixtures freeze faster than they pop, making for some fascinating effects. However, frozen bubbles are still very fragile creatures, so I’ve experimented to create a more durable bubble soap recipe that won’t pop in the slightest breeze. I let the mixture chill in the freezer to help speed up the freezing once outside, and use a straw to blow bubbles with, rather than a store-bought dipstick, for more control. Frozen Bubble Recipe 200 ml warm water 35 ml corn syrup 35 ml dish soap 2 tbsp sugar TIP: If you blow the bubble onto a smooth surface (such as ice) it will be less likely to pop before it can freeze. #HowTo #winterphotography #naturephotography

A 'luxury print' is really the best and most honest way we could describe the incredible fine art print our PATRONS & Subscribers received with the Winter 2022/23 edition of photoED magazine! Here's why we are in LOVE with this piece... 1. The art. RYAN VAN DER HOUT “VANITAS WITH TULIPS, PEAR AND SKULL” (Need we say more?! ...well, ok!) Toronto based artist, Ryan Van Der Hout’s work has been widely featured in a range of international publications and exhibitions, most notably in the Art Gallery of Ontario’s Collectors Series, as part of the Scotiabank CONTACT Photography Festival. In this exclusive piece, from his 'Collecting Dust' series he re-imagines traditional still life vanitas while considering our fascination with mortality. His compositions explore personal and universal transformations, along with the anxiety and grief that emerged from the pandemic. Taking on the illusion of artifacts documented within a world of decay, the table is adorned with canonical symbols as if belonging to Dutch vanitas paintings of the Baroque period. The artist covers these meticulously arranged tableaux with dust and ash. Closer inspection reveals that the still life objects, while alluding to a post-apocalyptic present, actually belong to a world outside of time. While it may appear that his lens looks back at a world gone by, it is indeed an act of looking forward. Ryan kindly took the time to provide our PATRONS with signed copies of this exclusive limited edition print! 2. Perfect presentation This exclusive limited edition print that captures the black dust details this image needs has been expertly printed by the team at Akasha Art Projects using HDX Ink for fade-resistant ink for up to 400 years. The team at AKASHA ART PROJECTS takes presentation seriously. With meticulous attention to detail, and an expert eye for designing the perfect presentation - this team goes above and beyond. Akasha is custom printing and framing for anyone serious about lookn' sharp. 3. Optimal paper “Vanitas with Tulips, Pear and Skull” has been printed on Hahnemühle Photo Rag® Baryta, a pure cotton, acid- and lignin-free paper with an inkjet coating optimised for the needs of fine art applications. White, without optical brighteners this paper is museum quality. White gloves recommended. 4. Packaging perfection This print has been packaged in an archive-safe, acid-and lignin-free flap seal Crystal Clear Bag made with 10% recycled content. This special project is made possible with the support of United Contemporary. United Contemporary proudly represents Ryan Van Der Hout’s diverse artistic practice. Consider supporting us! As the ONLY editorial photography publication in Canada, we'd love to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS

A playlist by Oliver Flecknell to complement 'The WatcherS' Darkroom – Tunes for an analogue darkness – A playlist to print photographs to "Working in the darkroom, usually alone, and typically late at night, is a much more immersive experience with music. I built this playlist to help me to get into the flow of creation. It’s a glimpse into my mind and state of being while existing in that creative moment that we all strive to achieve. This mix is nearly 5 hours of energetic beats, darkness, weirdness, and motivation. Yes, it’s long and it’s growing, but you don’t want to have to pull out your phone while in the middle of a print session to figure out how to keep the vibe alive. I started with “The 1975” by The 1975 to set the mood. This playlist is equally at home while slogging through grant applications, grinding at that day job, or trying to get your steps in, just press play and turn on those safe lights." Find it here - or on SPOTIFY! The Watchers “Change is in the air; you can smell it from behind your mask. Children are pushing politics, the government is selling weed, winter is getting warmer while summer’s heat is killing the elderly. The eternal flame now burns in the Amazon, California, and British Columbia. Lethal flooding is common around the world. But climate change is fake news. Change is coming but the super-rich resist, rebelling against the science, profiting on the laziness of humans, putting their faith in the dollars they’ve stashed on the islands. Like pirates, they stash their stolen bounty, while their workers visit food banks. The children skip school on Fridays, you won’t find them at the mall though. They’re in the streets. They’re at the legislatures. They’re trying to teach science to the clueless politicians who only listen to the super-rich pirates that need bailout money in a “crisis.” Little do they know, not even the super-rich will survive the end of the human era. These scientists, these activists/rebels/protesters/watchers, are the only true visionaries of our future. Their intentions are pure. Their future is unwritten.” IG: @oliverflecknell Enjoyed this free CONTENT? 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 in PRINT + online! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS

If you've only just discovered photoED magazine in print - an extra special - welcome! We're a small (but mighty!) independent print based publication exclusively showcasing CANADIAN photography - in high quality PRINT. The quality of our printed publication is paramount in showcasing our photographers works. We don't cheap out. But we've had to make some changes. Since 2021, the cost to print our magazine has gone up over 100%. We've done what we can to mitigate and absorb costs with more volunteers than ever! but the situation seems to just get worse as all our hard costs have escalated. We've taken some steps, not towards mass expansion, but towards focusing our efforts more intensely on people (like us) who truly value producing a legacy for diverse Canadian photography - in print. We LOVE reading from paper without pop-ups and taking a break from our screen-based lives. We LOVE sharing past articles for inspiration, as opposed to trying to recall or find some random Instagram reel... We've started a PATREON - Patronage option to do more fun stuff with our super-fans, AND allow a sort-of pay-as-you go subscription starting at $3./ month. (and get named in PRINT!) And, we raised our prices in 2022. And we're doing it again... PhotoED magazine was started in 2001 by a group of photography educators in Canada as a way to share CANADIAN photographers stories in an accessible format. As we aim to stay true to that goal of accessibility, making accommodations any time we can, we simply can't continue to produce without this price hike to cover our hard production costs (printing/ postage). (still, less than the cost of a movie ticket!) From NOVEMBER 2022, New issue single copies purchased via the website/ on newsstands will cost $12.99 Back issues from Fall 2022, will continue to cost $8. From DECEMBER 2022 PRINT Subscriptions will rise from $22. / year (3 issues) to $35. and from $42./ 2 years (6 issues) to $65. DIGITAL ISSUU subscriptions will continue at $20. to access 4 issues. 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