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We spoke to Toronto-based photographer Anthony Gebrehiwot (a.k.a. Tony Tones) about his work. An interview with photoED Magazine photoED: What is it about creating stories through photography that you love most? Anthony: Telling stories through photography is an opportunity to share a part of yourself with the world. I see this form of storytelling as a tool for healing, not only for the creator but for the audience as well. Photographs are also a way of capturing moments that can be passed onto the generations that come after you. photoED: Whose work has influenced yours? Anthony: I’m most inspired by Gordon Parks. Capturing everyday moments and significant events in his life the way that he did moves me deeply. I’m also inspired by Jamel Shabazz, Tyler Mitchell, and Joshua Kissi. These images are a part of my annual initiative called The Reciprocity Project. Partnering with TO studio, I offer free studio portrait sessions to emerging artists, entrepreneurs, and creators. I started this initiative because I am aware that early-stage creators run up against many barriers as they try to launch their careers. Visual branding is a key component of establishing yourself in the digital space. photoED: What makes a good photograph? Anthony: There are so many elements that can make a good photograph. For me it starts with the idea. So much has already been done, so when I see something fresh I get really excited and inspired. I’m always looking at how compositions come together through set design, lighting arrangements, and the subject of the photograph. photoED: What advice would you give an aspiring Canadian photographer? Anthony: The best advice that I’ve received from another artist was to make time and space to create work that’s meaningful to no one else but yourself. I think as photographers, we can get caught up in making other people’s visions come to life. But every year I try to make a personal project that’s close to my heart and soul. These projects ultimately attract the kind of work that I want to do and also get me the opportunities that I desire. photoED: How has working in photography influenced you personally? Anthony: Photography and digital art have become such a huge part of my life that I’m not sure who or how I would be without it. On one level, it’s how I spend most of my time: in the studio, editing and working with clients. On another level, it makes me slow down to appreciate the day-to-day moments in my life. I don’t have the best memory so I use photos to help me document time. photoED: What has been your favourite or most personally impactful project to work on? Anthony: My favourite projects to work on are my personal projects because they come from a very deep place within me. The From Boys to Men series has been my favourite project to work on. I knew it was needed and the response that it’s gotten confirmed my suspicions. I think there’s a lot of work to do around the ideas that society holds around masculinity. I also really enjoyed working on It Takes a Village. This portrait series documents a youth-led artist community called RISE Edutainment. Since I had deep ties in this community, it was a real joy capturing the people that helped make this community so special. photoED: Any photography or adventures you can share? Any great shots by happy accident? Anthony: One of my favourite unplanned photos was taken at a live show of one of my favourite artists, Jay Electronica. I submitted my name for a radio contest and won two tickets. While he was on stage, he said, “Anyone that has the courage can come up on stage with me.” I hopped over a fence with my camera, and got a really great photo of him! photoED: What photography projects are you most excited about right now? Anthony: I’m really looking forward to releasing the It Takes a Village project this year. This exhibition at Daniels Spectrum in Toronto is a follow-up to my Communities of Love photography exhibition (2018). This body of work is a retrospective legacy portrait series documenting and honouring members of the RISE community over the past decade. photoED: What does your dream project entail? Anthony: I would love to work on an international campaign for a major brand that highlights some of our most culturally impactful figures from around the world. I’d LOVE to photograph Kendrick Lamar, Issa Rae, Janelle Monáe, Teyana Taylor, Denzel Washington, Damson Idris, Jamie Foxx.… My list goes on! GEAR UP What camera/equipment do you most use now? Can you tell us about your experience using Tamron lenses? Anthony: I was introduced to Tamron in 2017 while I was in Accra, Ghana, being mentored by an amazing photographer named Apag. He let me borrow his 24mm–70mm f/2.8 zoom lens for Canon, and it quickly became my favourite lens. I love its versatility and performance in the studio and outdoors. I’m also really enjoying using the fixed 24mm f/2.8 lens. It’s lightweight, has a great build, and its functionality pairs perfectly with my Sony A7R IV. It keeps a great level of sharpness across all apertures and provides a consistent exposure throughout the frame. I haven’t had a better experience with any other lens! Anthony Gebrehiwot is an award-winning visual artist, photographer, and community leader who sees photography as an ongoing dialogue for social change between subject and society. A self-taught artist, Anthony founded his studio XvXy-photo in 2014 focusing on portraiture. He has worked with several notable brands, including Nike, Royal Bank of Canada, Vice Canada, Absolut, Hudson’s Bay, the City of Toronto, and LinkedIn to name a few. His work has been featured in local and international publications, such as the Star, the Globe and Mail, Paper Magazine, Elle UK, and Yahoo Lifestyle. www.xvxyphoto.com Check out Anthony Gebrehiwot's fave new Tamron lens - HERE! www.tamron-americas.com

Nous avons discuté avec le photographe Anthony Gebrehiwot, établi à Toronto, (a.k.a. Tony Tones) de sa pratique artistique. Une entrevue avec photoED Magazine photoED: Qu’est-ce qui vous plaît le plus dans votre création de récits à travers la photographie? Anthony: Créer des récits à travers la photo me permet de partager un peu de moi-même avec le reste du monde. Je perçois cette forme de récit comme une méthode de guérison, pas seulement pour l’artiste mais aussi pour le public. De plus, la photographie saisit des moments qui peuvent ensuite être récupérés par les générations qui viennent après vous. photoED: Quelle œuvre artistique inspire la votre? Anthony: Gordon Park m’inspire énormément. La façon avec laquelle il saisit des moments de tous les jours et des événements significatifs de sa vie m’émeut profondément. Jamel Shabazz, Tyler Mitchell et Joshua Kissi m'inspirent aussi. Ces images font partie de mon initiative annuelle The Reciprocity Project. Selon mon partenariat avec TO studio, j’offre une session de photo gratuite dans mon studio aux artistes, aux entrepreneurs, et créateurs tous émergents. J’ai commencé ces sessions de portraits gratuites car je connais très bien les barrières auxquelles ces jeunes créateurs se butent aux débuts de leurs carrières. L’identité visuelle est un élément clé pour s’établir dans un espace digital. photoED: D’après vous, qu'est-ce qui constitue une bonne photo? Anthony: Une bonne photo peut être le résultat de bien des éléments. Selon moi, l'idée est le point de départ. Tout a déjà été fait, alors lorsque je vois quelque chose de nouveau, je suis emballé et inspiré. Je suis toujours curieux de voir et de comprendre comment les compositions sont réalisées soit à travers la scénographie, l’éclairage et le sujet de l’image. photoED: Quels conseils donneriez-vous aux photographes canadiens de la nouvelle garde? Anthony: Le meilleur conseil que j’ai reçu d’un autre artiste était de prendre le temps et l’espace afin de créer des œuvres significatives pour personne d’autre que moi. Je crois que comme photographe, nous pouvons rester coincé à effectuer la vision des autres. Alors chaque année j’essaie de créer un projet personnel qui me remplit - coeur et âme. Ces projets attirent finalement le genre de travail que je veux et les opportunités que je désire. photoED: Comment est-ce que votre travail en photographie a influencé votre vie personnelle? Anthony: La photographie et l’Art digital font tellement une grande partie de ma vie que je ne sais pas qui je serais ou comment je serais sans ces médiums. D’une part c’est ainsi que je passe la majorité de mon temps: dans le studio, à monter et travailler avec les clients. D’une autre part c’est ainsi que j’arrive à ralentir afin d’apprécier les moments quotidiens de ma vie. Je n’ai pas une bonne mémoire alors j’utilise les images comme document du temps qui passe. photoED: Quel est votre projet favori ou celui qui vous a affecté le plus personnellement? Anthony: Mes projets favoris sont mes projets personnels car ils sont issus d’une grande profondeur personnelle. La série, From Boys to Men, fut ma série préférée. Je savais que cette série était nécessaire et les résultats confirment mon soupçon. Je crois qu’il y a beaucoup à faire en ce qui concerne l’idée de la masculinité tenue par la société. J’ai aussi beaucoup aimé travailler sur It Takes a Village. Cette série de portraits documentent RISE Edutainment, une communauté dirigée par des jeunes artistes. Puisque j’avais des liens importants dans cette communauté, ce fut mon réel plaisir de photographier ces gens, grâce à ces gens cette communauté est très spéciale. photoED: Avez-vous des photos ou aventures à partager avec nous? Peut-être des bonnes photos prisent par accident chanceux? Anthony: Une de mes photos favorite et imprévue fut prise lors d’un concert d’un des mes artistes favoris, Jay Electronica. J’avais soumis mon nom à la radio pour une compétition et j’avais gagné deux billets. Lors du concert, l’artiste en question a dit: “Toute personne qui a le courage peut se joindre à moi sur scène”. J’ai sauté la clôture caméra en main et j’ai pu prendre une excellente photo de lui! photoED: Avez-vous un projet photographique qui vous emballe en ce moment? Anthony: Cette année j’ai bien hâte de diffuser le projet It Takes a Village. Cette expo qui sera à Daniels Spectrum, galerie Torontoise, donne suite à mon exposition photo Communities of Love (2018). Cette collection est une série de portraits qui documentent et rendent hommage aux membres de la communauté RISE. Elle est une rétrospective qui marque l’héritage de l’organisme à travers les dix dernières années. photoED: Quel est le projet de votre rêve? Anthony: J’aimerais travailler sur une publicité internationale pour une grande marque, une pub qui souligne les personnalités mondiales connues pour leur impact culturel. Je serais ravi de photographier Kendrick Lamar, Issa Rae, Janelle Monáe, Teyana Taylor, Denzel Washington, Damson Idris, Jamie Foxx.…et la liste continue! ÉQUIPEMENT: Quelle caméra et quel équipement utilisez-vous? Pouvez-vous partager votre expérience avec les objectifs Tamron? Anthony: En 2017 lorsque j’étais à Accra, Ghana, et encadré par un photographe incroyable Apag, j’ai fait connaissance de Tamron. Apag m’a prêté son objectif 24mm–70mm f/2.8 zoom pour Canon, et très rapidement cet objectif devint mon favori. J’aime beaucoup la versatilité et la performance qu’il offre tant dans le studio qu’à l’extérieur. Aussi j’aime bien utiliser l’objectif fixe 24mm f/2.8, il est léger, est bien construit et fonctionne très bien avec mon appareil Sony A7R IV. Il maintient un haut niveau de netteté à travers toutes les ouvertures et offre une exposition constante dans l’ensemble du cadre. Je n’ai pas eu une meilleure expérience avec d'autres objectifs! Anthony Gebrehiwot est un artiste visuel plusieurs fois primé, photographe et leader communautaire, il considère la photographie comme un dialogue continue pour le changement social entre individu et société. Artiste autodidacte, Anthony, en 2014, a fondé son studio XvXy-photo, un studio centré sur le portrait. Il a travaillé avec plusieurs marques de commerces importantes telles Nike, Royal Bank of Canada, Vice Canada, Absolut, Hudson’s Bay, Ville de Toronto, et LinkedIn. Ses œuvres ont paru dans plus de 30 publications locales et internationales telles: The Star, The Globe and Mail, Paper Magazine, Elle UK, et Yahoo Lifestyle. www.xvxyphoto.com Check out Anthony Gebrehiwot's fave new Tamron lens - HERE! www.tamron-americas.com

Une entrevue avec photoED Magazine Nous avons discuté avec Dani Lefrancois à propos de ses aventures incroyables parmi les Rocheuses. Dani Lefrancois est une photographe paysagiste à temps plein et un guide photographique. Elle guide des visiteurs à travers le parc National Banff plus de 200 jours par année, ils ramènent avec eux des photographies exceptionnelles à l’aide de sa compagnie, Banff Photo Workshops. Son but pour sa pratique photographique est de capter l’émotion ressenti de l’expérience du terrain montagneux et d’explorer la façon avec laquelle la lumière interagit avec le paysage. photoED: Qu’est-ce qui vous plaît le plus dans votre création de récits à travers la photographie? DANI: J’aime la possibilité de capter des moments qui mettent en évidence des émotions et des expériences irremplaçables. La photographie me permet de figer un moment et de le partager avec d’autres afin d’évoquer des émotions, des souvenirs et des connections. photoED: Quelles oeuvres artistiques inspire la vôtre? DANI: La nature et le paysage qui m’entourent m’inspirent et m’influencent. Je me laisse guider par le paysage, il me dirige vers mon sujet photographique. Au début de mon parcours photographique j’étais inspirée par Marc Adamus, il chasse des conditions météorologiques extrêmes. Ceci reflétait ma passion, celle de capter des moments, des scènes en voie de disparition. Des artistes telles Viktoria Haack et Jaclyn Jaclyn Tanemura influencent ma créativité, leurs pratiques démontrent un engagement constant d’écouter leurs coeurs et de capturer ce qui les inspire. C’est remarquable de voir comment leurs intérêts évoluent à travers le temps, c’est un témoignage à la nature, une inspiration artistique qui est en constante évolution. photoED: D’après vous, qu'est-ce qui constitue une bonne photo? DANI: Je trouve ça difficile de définir une bonne photographie. Une image qui a tous les éléments essentiels afin d’être une bonne photo peut aussi avoir des lacunes. Une bonne photo résulte d’une raison d’être capturée. “Pourquoi?” la question la plus fréquente que je demande aux photographes à qui j’enseigne. Pourquoi avez-vous choisi cette composition, pourquoi utilisez-vous cette ouverture, pourquoi avez-vous placé votre trépied à cette hauteur? Tout ce que nous choisissons pour capter une image doit avoir une raison et un but. Cette photographie démontre mon choix de photographier très près du sol afin de minimiser le fouilli des roches, ça m’a permis de mettre en vedette la montagne et sa réflexion. J’ai aussi choisi de photographier avec une profondeur de champs peu profonde afin de minimiser les roches davantage et d’utiliser leurs couleurs comme cadrage. photoED: Quels conseils donneriez-vous à la relève de photographes canadiens? DANI: Photographier le plus possible! C’est la seule façon. L’expérience. Plus vous photographiez, plus vous formez votre oeil. Captez des sujets qui vous intéressent. Mon trajet photographique a commencé lors de mon adolescence, lorsque je photographiais des groupes de musiciens dans des petits clubs qui jouaient dans le sud de l'Ontario. L’expérience m’a permis d’améliorer mon habilité d’utiliser ma caméra rapidement et avec confiance. J’ai tenté ma main à la photographie de mariage lorsque je cherchais ma vocation. Cette expérience m’a appris à ne pas sous-estimer la valeur de mon travail. Éventuellement je suis devenue têtue et déterminée uniquement à la photographie de la nature et du paysage car elle résonnait avec mon âme comme nul autre. C’est ici, avec la nature, que je sentais la plus forte connection. Sans les innombrables images que j’ai prises au fur et à mesure de mon trajet je n’aurais pas la confiance et l'habileté de photographier comme je le fais aujourd’hui. photoED: Quelle influence votre travail en photographie a-t-il eu sur vous? DANI: Je crois qu’être une photographe m’a permis d’accepter toutes mes forces. Étant une personne avec trouble déficitaire d’attention avec hyperactivité je profite d’une attention hyper concentrée qui me permet de voir les détails et m’aide beaucoup dans ma pratique. Ça m’a permis de sortir des sentiers battus, de pousser ma pratique photographique vers ce que je n’aurais pas imaginé. Ceci est un rappel que la diversité dans la photographie, soit neurologique et expérientiel, peut être un outil important dans un domaine si créatif et technique. Je remercie la photographie car elle m’a donné l' opportunité d’exprimer mon monde à travers mon point de vue si personnel. Elle m’a aidé à accepter mon TDAH comme un bénéfice au lieu d’une déficience. Cette expérience m’a donné une force personnelle. photoED: Quel est votre projet favori ou celui qui vous a affecté le plus personnellement? DANI: Chaque jour est une aventure avec la photographie de paysage mais il y a quelques moments qui se démarquent. Le plus mémorable pour moi est mon premier voyage au Lac O’Hara, Colombie Britannique en 2010. Ce voyage marque le début de ma trajectoire actuelle. Je vivais en Ontario à ce moment-là, je planifiais un second voyage aux Rocheuses canadiennes afin de voir si je voulais déménager dans l’ouest canadien. J’étais sans doute à la page 100 sur Google à visionner les images de la région lorsque j’ai trouvé une photo d’un lac que je n’avais jamais vu. Je n’avais jamais entendu parler du Lac Oesa alors j’ai commencé ma recherche et j’ai découvert qu’il était dans la région du Lake O’Hara. Le lac O’Hara est seulement accessible par autobus-navette. J’ai réussi à réserver un terrain de camping dans la région, mais lors du temps venu, il y avait une alerte de grizzli. J’ai eu peur alors j’ai annulé ma réservation du terrain de camping et en même temps, sans que je le sache, j’ai annulé mon billet d’autobus. Lorsque je suis arrivée on m’a dit que ma place dans l’autobus n'était plus disponible mais si il y avait des gens qui ne se pointaient pas je pourrais prendre leurs places. Heureusement j’ai pu prendre une place dans le bus ce jour-là. J’avais prévu monter jusqu’au Lac Oesa, le lac responsable pour mon excursion, mais l’élévation des Rocheuses canadiennes étaient bien différentes de celles de la région du Niagara en Ontario. J’ai pris tellement de photos cette journée-là que ce n’était pas important si je ne me rendais pas au Lac Oesa. Je me souviens, je marchais le long de la rive et je voyais tous les sentiers qui donnaient accès aux montagnes et je pensais “je veux être capable de faire tous ces sentiers.” Avance rapide de 10 mois: j’ai trouvé un emploi au Lac Louise et j’ai déménagé dans l’ouest afin de suivre mon rêve de vivre dans les montagnes. Chaque année pendant 5 ans j’ai pu avoir une place sur l’autobus direction Lac O’Hara et finalement de voir le Lac Oesa. Aujourd’hui j’ai escaladé tous les sentiers des montagnes que j’avais vu lors de mon premier voyage dans la région. photoED: Quels sont vos projets photographiques qui vous emballent le plus en ce moment? DANI: Lors de la dernière décennie je visite la région des glaciers de la Colombie, je prends des photos de paysages d'automne et des montagnes, spécifiquement le glacier Athabasca. Ces photos sont toutes des pièces d’Art traditionnelles prisent au même endroit mais, en visionnant les images à travers le temps, vous pouvez voir le changement d’année en année sur ce glacier commercialiser. Un autre de mes projets personnels est de capter tous les lacs dans la région avec “leur manteaux d’hiver.” Prendre des images lors d’une tombée de neige, lorsque la neige est sur les arbres et les lacs ne sont pas encore gelés, crée des images de neige blanche et de lac bleu, ma palette préférée. Un projet que j’ai commencé récemment est ma Vie à 600mm. Ce projet a commencé lorsque j’ai reçu ma lentille Tamron 150-600mm. Cette lentille a ouvert un nouveau monde pour moi, un monde avec plus de détails des montagnes. Je vois les choses vraiment différemment maintenant. C’est contradictoire de ce que vous attendiez des Rocheuses canadiennes, étant une place où les grands espaces sont si étonnants. Pourtant, les scènes prises avec la longue lentille sont nouvelles, fraîches, et changeantes. photoED: Votre projet de rêve consiste en quoi? DANI: J’ai toujours été inspiré par le paysage canadien et je trouve qu’il est souvent ignoré. Tellement de gens voyagent ailleurs avant qu’ils découvrent ce que nous Canadiens avons ici même. Je crois qu’ici nous avons beaucoup de merveilles naturelles similaires à d’autres endroits dans le monde. Cette idée est sans doute due à ma grand-mère. Lorsque je parlais de vouloir voyager à des destinations telles l’Écosse, ma grand-mère qui était fière d’être du Cap Breton, me disait “Vas aux Highlands. C’est la même chose.” Ceci m’a poussé à rechercher des endroits à l’entour du Canada qui sont similaires à d’autres endroits autour du monde. Les montagnes de Tombstone Territorial Park dans le Yukon sont dramatiques et tranchantes, et ont le drama des images des montagnes de la Patagonie. J’aimerais voyager à travers le Canada afin de capter des endroits ressemblants à d’autre situés autour du monde. GEAR UP Quelle caméra et quel équipement utilisez-vous? Pouvez-vous partager votre expérience avec les objectifs Tamron? DANI: La caméra que je préfère est la Canon 5D Mark IV. Étant une photographe paysagiste, j’ai de la difficulté à choisir ma lentille préférée. La lentille zoom Tamron 150-600mm zoom lens est rapidement devenue ma préférée à cause de l’opportunité 600mm. Avec cette lentille je peux utiliser le zoom à une telle profondeur que je peux composer ma photo sans avoir à couper par après. Je peux maintenant capturer des détails dans la nature que j’ai voulu photographier lors de la dernière décennie. Elle a vraiment ouvert un nouveau monde d'opportunités pour moi. Mon expérience avec Tamron est incroyable. Les lentilles 24-70mm f2.8 et 150-600mm f5-6.3 sont fantastiques. Le tirer/pousser de la distance focale est une merveilleuse caractéristique mais ma plus grande obsession avec la lentille zoom 150-600mm est le pied ARC-Swiss intégré qui monte la lentille sur un trépied. Je n’ai pas eu à installer un des miens ce qui rend le tout beaucoup plus stable. La lentille a du poids mais elle peut facilement être manipulée à la main. Cette lentille est aussi une bonne façon d’ouvrir des conversations avec ceux qui aiment les lentilles zoom surtout lorsque le zoom est jusqu’à 600mm. J’ai aussi été très impressionné par le zoom 24-70mm f2.8 zoom. C’était génial de pouvoir photographier à n’importe quelle longueur focale à f2.8. Je suis tombée amoureuse de cette lentille, je fus surprise par toutes les façons que j'ai trouvé à l’utiliser. Pour visionner le travail de Dani Lefrancois. Découvrez la lentille préférée de Dani Lefrancois. www.tamron-americas.com

An interview with photoED Magazine We spoke to Banff-based landscape photographer Dani Lefrancois about her incredible Rocky Mountain adventures. Dani Lefrancois is a full-time landscape photographer and photography guide. She spends over 200 days a year leading visitors through Banff National Park, helping them bring home amazing photographs through her company, Banff Photo Workshops. Her work is focused on capturing the emotion of the mountain terrain experience and on exploring how light interacts with the landscape. photoED: What is it about creating stories through photography that you love most? DANI: I love the ability to capture moments in time that savour unrepeatable emotions and experiences. Photography allows me to freeze a moment and share it with others to evoke feelings, memories, and connections. photoED: Whose work has influenced yours? DANI: My inspiration and influence comes from nature and the landscapes around me. I let the landscape guide my photography, directing me toward what I capture. In the early stages of my photography journey, I was inspired by Marc Adamus, who chases extreme weather. This mirrored my own passion for capturing vanishing scenes and moments. My creative influences are artists such as Viktoria Haack and Jaclyn Tanemura, whose work demonstrates a consistent commitment to following their hearts and capturing whatever inspires them. It’s truly remarkable to witness how their interests evolve over time, and it’s a testament to the ever-changing and evolving nature of artistic inspiration. photoED: What makes a good photograph? DANI: A good photograph is something I find hard to explain. You can have an image that has all the essential elements that it needs to be “good” but it can also be lacking. A good photograph has a reason for being taken. “Why?” is one of the most frequent questions I ask the photographers I teach. Why did you choose that composition, why are you using that aperture, why is your tripod at that height? Everything we choose to capture an image needs to have a purpose and a reason. In this photograph, I chose to shoot super low to the ground to minimize the clutter of stones so that the mountain and the reflection would be the main subjects of the image. I also chose to shoot with a shallow depth of field so that I could minimize the rocks even more and use their colours as framing elements. photoED: What advice would you give an aspiring Canadian photographer? DANI: Shoot as much as possible! It is really the only way. Experience. By shooting more, you are training your eyes to see. Capture subjects that truly pique your interest. My journey into photography began in my teenage years, shooting bands in small local clubs in Southern Ontario. The experience honed my ability to use my camera fast and confidently. I ventured into wedding photography as I searched for my true calling. This phase taught me not to underestimate the value of my work. Eventually, I became stubborn and committed solely to nature and landscape photography, as it resonated with my soul like nothing else. Nature is where I felt the strongest connection. Without the countless shots I took along the way, I wouldn’t have the confidence and skills to shoot the way I do today. photoED: How has working in photography influenced you personally? DANI: I think being a photographer has allowed me to embrace all of my strengths. As a person with Attention-Deficit / Hyperactivity Disorder (ADHD), I have the benefit of hyper-focus and attention to details that help me significantly in my work. It has allowed me to think outside the box, going to places photographically I hadn’t imagined before. It is a great reminder that diversity, both neurologically and experientially in photography, can be a powerful tool in such a creative and technical field. I’m grateful that photography has given me the opportunity to express my world through such a personal lens. It has helped me to embrace my ADHD as an additional benefit, instead of a weakness. It’s been really empowering. photoED: What has been your favourite or most personally impactful photography adventure? DANI: With landscape photography, every day is an adventure, but there are a few instances that stand out. The biggest one for me was my first trip to Lake O’Hara, British Columbia, in 2010. That trip started me down the path that I am on now. Based in Ontario at the time, I was planning my second-ever trip to the Canadian Rockies. I was visiting to test run the idea of moving west. I was probably on page 100 in Google images just looking at photos of the area and researching locations. On one of those Google images pages, I found a photo of a lake I had not seen before. I had never heard of Lake Oesa so I started researching it and discovered that it was in the Lake O’Hara region. Lake O’Hara is an area that can be accessed only by shuttle bus. I managed to get camping reservations for the area; but, when the time came, there was a grizzly bear warning in the campground. That seemed scary, so I cancelled the reservation without realizing that by doing that I’d also cancelled the bus tickets. When I arrived, I was told my spot on the bus was no longer available, but there was the possibility of standby spots if people didn’t show up. Lucky for me, I was able to get on the bus that day. I had planned to hike to Lake Oesa, the lake that started it all, but the elevation in the Canadian Rockies was significantly different than the Niagara Region in Ontario I was used to. I took so many photos that day that it didn’t even matter that I didn’t make it to Lake Oesa. I remember walking along the lakeshore and seeing all the different trails leading up the mountains and thinking, “I want to be able to do all those trails.” Fast-forward 10 months: I found a job in Lake Louise and I moved West to follow my dream of living in the mountains. Every year for 5 years I was able to get a spot on the bus to Lake O’Hara and I was finally able to see Lake Oesa. I have now climbed all the trails up the mountains that I saw on my first trip to the area. photoED: What photography projects are you now most excited about? DANI: For the last decade I have been revisiting the Columbia Icefields area and taking photos of the fall landscape and the mountains, specifically the Athabasca Glacier. These photos are all traditionally art pieces taken in the same area; but, looking through the images over time, you can see the changes year after year on this commercialized glacier. Another ongoing personal photography project is capturing all the lakes in the area in their “winter jacket.” Photographing lakes during a snowfall where there is snow on the trees and the lakes are still unfrozen creates white snow and blue lake images, my favourite colour palette. A project that I recently started is my Life at 600mm project. This started when I received my Tamron 150-600mm lens. It’s opened a new world of mountain details for me. I am looking at things really differently now. It is contradictory to what you’d expect from the Canadian Rockies, being a place where the grand landscapes are so stunning. However, the long lens scenes are new, fresh, and ever-changing. photoED: What does your dream project entail? DANI: I have always been inspired by the Canadian landscape and I feel like it is often overlooked. So many people travel to other parts of the world before they discover what we Canadians have here. I believe we have many natural wonders here that are similar to the other places in the world. This idea is probably fuelled by my grandmother. Whenever I would talk about wanting to visit places such as Scotland, Grandma who was a proud Cape Bretoner said, “Just go to the Highlands. It’s the same thing.” That prompted me to research places around Canada that have a similar look to other locations around the world. The mountains in Tombstone Territorial Park in the Yukon are dramatic and sharp looking, and have a similar drama to the mountain images I have seen of Patagonia. I would love to travel around Canada to capture these look-a-like locations. GEAR UP What camera and equipment do you most use now? What’s your favourite lens? Can you tell us about your experience using Tamron lenses? DANI: As a landscape shooter, I have a hard time picking a favourite lens. The camera I use most is my Canon 5D Mark IV. The Tamron 150-600mm zoom lens has quickly become my new favourite because of the 600mm opportunity. With this lens, I can finally push in far enough that I can compose my shot without having to crop afterwards. I can now capture details in nature I’ve been wanting to photograph for the last decade. It has really opened a new world of possibilities. My experience with Tamron has been incredible. The 24-70mm f2.8 and 150-600mm f5-6.3 are amazing lenses. The push/pull focal length lock is a wonderful feature but my biggest obsession with the 150-600mm zoom lens is the integrated ARCA-Swiss foot that mounts the lens on a tripod. I didn’t have to install one of my own and it makes it significantly more stable. The lens has some weight to it, but it’s very hand-holdable. It is also a great conversation starter for those with lens envy when zoomed in all the way to 600mm. I was also very impressed with the 24-70mm f2.8 zoom. It was nice to be able to shoot at any focal length at f2.8. I fell in love with this lens and it surprised me how many uses I found for it. See more of Dani Lefrancois' work - HERE. Check out Dani Lefrancois' fave new Tamron lens - HERE! www.tamron-americas.com

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 mountain tops to ocean views, the Captivating Landscapes 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.

At photoED Magazine, we believe photography should be fun and accessible. We've found this online course to help smart phone users level up with what they already have, and stay inspired to push their creativity in fresh directions! iPhone Photo Academy shows you how to level-up your photography with the only camera that’s always in your pocket. (No, it doesn't have to be an iPhone) Set your own pace Pre-recorded video lessons accessed via a course portal provide a self-paced, learning experience, so there’s no pressure to complete the course within a certain time period. Lifetime access Learners get lifetime access to all course materials. Is the course suitable for experienced DSLR photographers? While DSLRs are technically superior to smartphones, it’s now possible to get an unprecedented level of control with the iPhone camera, allowing for a DSLR-like shooting experience… which is why experienced photographers are starting to leave their DSLRs at home more often... Pre-requisites? Nope. No previous photography experience is required. All technical concepts are described in simple terms, avoiding unnecessary jargon. Money-back guarantee A 30-day money-back guarantee. Sign up, take a few lessons, and then make your final decision. If it's not your jam, you get a full refund. Support If you get stuck, you can always ask questions under each video. Queries are answered by a support team member. AND, you get access to a private Facebook group where learners can ask questions or post photos for feedback from the community. Bonus extras include modules on: Authentic iPhone portraits, Secrets for managing a huge photo library, How to preserve the quality of your photos + Daily photo tips. + Private Community access - connect with photographers around the world. This post contains affiliate links. If you purchase through links on our site, we may earn an affiliate commission. This will help us to keep publishing!

Alan Bulley takes in an exhibition Wetlands. As the name suggests, they’re not water but they’re not completely land, either. In fact, they’re the places you often drive past while you’re on your way somewhere else. A lot of Canadians only ever see wetlands through a car window. Or not at all. Fortunately for us, Ottawa photographer Jon Stuart slowed down long enough on his daily mid-pandemic bike ride to take a closer look at an elm tree growing where it shouldn’t – in the middle of a wet field. And he went back again and again with a large format camera. His exhibition at the Shenkman Arts Centre is the result. Stillwater thoughtfully blends sensitivity to an at-risk environment with the art of landscape photography. Stuart learned that the elm, a local landmark, was sitting in the middle of land that had originally been drained for farmland but is now part of the flood zone around Ottawa’s light rail line. Conservation groups are working with local government agencies to encourage recovery of the wetland which is now showing signs of new plant and animal life. A graduate of the School of the Photographic Arts: Ottawa, Stuart used a 4”x5” view camera – at times paired with a 6x17cm film back for panoramas – to allow for the creation of the large, highly-detailed vinyl and framed prints on display in the gallery. Prints this large have a push- pull effect on viewers: you need to stand back to take them all in, but you’ll want to get up close to appreciate everything that is going on. (Do it. It’s very satisfying.) On display until October 31, Stillwater is a chance to learn more about the delicate ecology of suburban spaces and to take in beautiful landscape photography with a purpose. Stillwater by Jon Stuart LaLande + Doyle exhibition space at the Shenkman Arts Centre 245 Centrum Boulevard Ottawa, ON K1E 0A1 Until October 31, 2023 Artist talk 17 October 2023, 6 pm jonstuartprints.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

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

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.