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Mutual trust and respect. This is how images are co-created. "I carry residual anger in my body form my time in my early 20s at the beginning of my photography career. A part of this anger is directed at myself; for not listening to my instincts and entering work environments where I was not respected. I did not speak up because I feared a repercussive effect where I’d be labelled difficult to work with. That it might hinder opportunities down for me down the line. I now know that this is untrue. However it was a learning curve to understand the implicit power dynamics between photographer, client, and subject. Between seasoned and emerging. I shared this working text at an International Women's Day Panel during a conversation on how to create safe spaces on set. It was written after consulting two different psychotherapists on what it means to hold someone accountable." Model Bill of Rights (working) I have a right to know how many people will be on set beforehand. I have the right to ask to see reference images before arriving on set. I have the right to have someone I know drop me off and scope the space if I haven’t been there before. I have the right to a private changing area. I have the right to refuse putting on a wardrobe piece if I know I will be uncomfortable wearing it. I have the right to be asked for my consent before being touched (ex adjusting hair and wardrobe). I have the right to take breaks when I feel fatigued. I have the right to state my personal boundaries and to have them respected. I have the right to end the shoot if at any point I feel it is an unsafe environment. For freelance, unsigned models that don’t have the protection of an agent to vet photographers: Receiving basic messages such as ‘Let’s shoot’ or ‘Let’s collab’ don’t give the context for what the shoot is. Is the photographer communicating with you what their vision is? When being approached for a shoot, ask for a moodboard to get a sense of concept, styling, posing to see if it aligns with what you want to do. Before your shoot day, ask to meet for coffee in a public place. Use this time to get to know them and their personality. What is their working style? Do they value your input and ideas? Do you feel comfortable around them? Ask for a call sheet prior which should list important details like the location, the schedule, and who will be on set. Look up the location of the address beforehand to check if its in a studio space or a personal home. If it is just you and the photographer alone, bring a friend to drop you off. Ask your friend for a second opinion to gage someone’s character. Your photographer may come up with new ideas to try during the shoot, but they are merely suggestions. You can always politely decline. Gut instinct and intuition is a powerful tool! Physical and emotional safety is the bare minimum ask. As is mutual trust and respect. This is how images are co-created. PAM LAU PAM LAU is an independent photographer based in Toronto and Montreal. Co-founder of Ecru; a grassroots education initiative for photographers and filmmakers facing cultural, financial, and institutional barriers to entering creative industries. Follow Pam on IG: @pamelaloud 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

Photography often focuses on recognizable images, with an emphasis on capturing something identifiable, or enhancing images that are already there. Frick insisted on creating something new. Joan Frick could easily be mistaken for a photographer. She used a handheld camera, created prints, used film to form her art, and worked extensively with light. However, her creative process differed from that of a traditional photographer, although it did involve drawing with light and employing the use of photographic technology to create unique images. Surveying Frick’s innovative work, it is easy to understand how photographers, or any artist for that matter, would be inspired by her example. Her early work incorporated mediums such as fire, canvas oils, and Plexiglas. Later in her career she utilized photographic techniques to draw and create images. Cameras, prints, and other implements associated with photography entered Frick’s creative process around 1983. Before this, she had extensively used light that was channeled, refracted, reflected, and otherwise manipulated to create installations that were a mixture of sculpture, drawing, and architecture. These “4D Installations” filled studio rooms with various forms of light that immersed viewers. The non-static light in the installations changed with the weather and the Earth’s rotation, creating a “multidimensional” experience. The installations were received with criticism from traditionalists who scoffed at the fact that her shows did not feature “pictures on a wall.” Her later images attracted criticism too; “That’s not possible,” one viewer said after looking at one of Frick’s “2D Light Line Drawings.” The viewer then left the gallery in which Frick was exhibiting. The photographic process may seem like an obvious medium with which to make art using light, however, the practice of simply “taking pictures” did not interest Frick. “I used to look down my nose at using photography,” she said. Perhaps she did not immediately see a strong connection between the work she wanted to achieve and the traditional conventions of photography because she placed emphasis on drawing, and specifically, upon creating lines and forms. While line and light figure greatly into photography, she required the challenge and control of drawing her lines herself. She needed to create her own shapes, rather than capture images with photographs in an imagistic fashion. It was a later realization that led her to incorporate photo-technology into her artistic process: “I discovered I could draw with my camera.” Photography often focuses on recognizable images, with an emphasis on capturing something identifiable or enhancing images that are already there. Frick insisted on creating something new. While she often used light from scenic images (most often the night sky) it was paramount that she was able to exercise her creativity and experience what she termed “the physical challenge of drawing.” “I look at a piece and it has to pass as a drawing.” She observed that primarily “a photographer worries about the perfect print,” whereas she focused on the activity of drawing. Many of Frick's two-dimensional light drawings were created using sources such as aircraft light, the planet Jupiter, the moon, or constellations, but none of these images fully retain their original appearances in Frick’s drawings. The resultant images in her final compositions are linear and colourful, and feature contrast between light and dark. Frick noted that it is not just the lines the light creates that are important but the space in which the lines are drawn, as well as the edges that surround it. It is hard to attribute any of Frick’s work to a particular period or genre. While her work is sometimes viewed as futuristic in look and approach, she also used a number of traditional photography techniques to form her images. She appreciated Scala film for its accurate representation of black. This was very important in rendering contrast and was particularly essential in drawings using nightscape sources. Frick disliked digital SLRs, due to the pixilation when prints were enlarged. Her “2D Line Light Drawings,” are clear, virtually free from pixilation or noticeable grain. Frick achieved some of her dark tones using film rated at about 200 ISO. Clarity, sharp colours, and dark accurate blacks afforded by her by preferred films did not come instantly or easily: “I used all kinds of film, always trying to find the better. Trial and error are important. I lost a lot of work.” This process of trial and error is something that extended throughout Frick’s prolific career and allowed her to achieve the mastery of light and line that figure so prominently in her work. Select traditional inclinations and strong aesthetic philosophies extended to her perspective of artistic integrity as well. She eschewed glamorization and encouraged developing a unique perspective. Frick stated that commercialization and imitation are problems existing in art — issues that affect Canadian art and its identity. For Frick, the decision to become an artist was not really a decision at all “There was never any question, I knew since I was a little kid.” She recalled making drawings for friends and family at a young age: “I often say the only money I made was in high school drawing portraits and horses for people… fifteen dollars a horse or a head.” The desire to work with light was present in her youth as well,: “I remember waking up and looking at illuminated floating dust motes and I said, ‘I’m going to work with them some day, just like drawing.’” She said she was always looking for, “the perfectly imperfect line.” To see more of Frick's images visit joanfrick.com www.ccca.ca and follow the links to her work in the Canadian Art Database. NOTE: This article originally appeared in the Spring 2007 issue of photoED magazine. The 'Abstract' issue sold out quickly. We re-post this article as a tribute to the artist that has since passed. If the Frick Estate has any issues with this revised sharing of the work we will gladly oblige any requests. At this stage, we simply lack contact details to achieve full use permissions. 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

Alan Bulley gets the scoop from publishers across Canada in our new series of interviews with publishers, including Maxine Proctor, BLACKFLASH Managing Editor... About BlackFlash... BlackFlash is a non-profit charitable organization and publishing platform dedicated to contemporary visual art. Since 1983, BlackFlash has been providing invaluable opportunities for artists, writers, and arts workers. As a space for exploration and critical examination, BlackFlash aims to bring the public closer to their local and national art communities. BlackFlash was founded by the Saskatoon artist-run centre, The Photographer’s Gallery (TPG) as a means to bring greater visibility and knowledge to the Prairie art community. BlackFlash is currently in their 39th year of publishing, making them one of Canada’s longest running magazines. BlackFlash is proudly published, designed, and disseminated in Saskatoon, Saskatchewan, and is an internationally recognized resource and authority on Canadian and international contemporary art. How do you choose what projects you publish? How far in advance do you work? Buffalo Berry Press publishes three issues of BlackFlash per year. Due to our production schedule, we commission articles 4–6 months in advance of publication. Although I guide the magazine’s content from commission to publication, I rely heavily on our Editorial Committee to decide what we commission. The committee is composed of artists and culture workers who are versed in different aspects of Canadian contemporary art. They each bring unique networks and perspectives to the table, which ensures that we have a dynamic roster of projects in each issue. What has been the most commercially successful issue you have published? (Why did it do well?) Our Fall/Winter 2021 issue “Infinities” was guest-edited by Nadia Kurd, an art historian and curator based in Edmonton, Alberta. The issue focused on the impact and influence of Islamic visual culture on contemporary art and featured an incredible group of artists and writers. Perhaps the most extraordinary aspect of the issue was the limited-edition risograph print by Afghan-Canadian artist Shaheer Zazai which was included in each issue of “Infinities.” A large part of Shaheer’s practice uses Microsoft Word to emulate the mesmerizing details and patterns of Afghan carpets. Due to the content and contributors within the issue, it was very well received by our subscribers and the general public. What makes an effective proposal from an artist? We primarily receive pitches from writers, not artists. A good pitch not only brings an extraordinary artist to the fore but examines how that artist’s practice explores the important ideas or urgent issues that surround us today. We work hard to eliminate the barriers that might prevent a writer from pitching their project, such as previous publishing experience or academic background. Although working with emerging writers is more time consuming, we welcome pitches from first-time writers and folks outside the art world. What sort of financial arrangements do you have with artists? We pay all contributors (writers, copyeditors, designers etc.) a fee for their work that reflects industry standards. We follow the CARFAC suggested fee schedule for image reproduction and programming. How do you market and distribute the issues you publish? Where do they go? How many copies do you print on average? We print between 600-1000 copies per issue. BlackFlash is distributed through Magazines Canada and EBSCO but perhaps the most fruitful and meaningful mode of dissemination is our participation in special events like collaborative project launches, exhibition openings, and art book fairs. The pandemic was brutal on our distribution and capacity to engage with our community, but we are thrilled that events are starting to happen again, like the Prairie Art Book Fair in September 2022 in Winnipeg. What is your view of the publishing market in Canada? I think people still love books and the tactility of print publications. A beautifully made or perfectly aged book will always be an object of admiration. But the way we consume information has changed and there are myriad reasons why the print publishing market continues to decline. For BlackFlash, I feel that my expectations for production and dissemination have shifted over the years: what success and engagement with our editorial program looks and feels like has changed. I’m now much more concerned with how we support artists and writers in our community. Providing experiences, tools, and dialogue is valuable and I use that ethos to inform our publishing program. I also feel that there is more conversation and camaraderie within the contemporary art publishing community now. I feel a sense of unification growing—that in order to survive we must support and uphold each other. That drive for autonomy, community, and innovation gives me hope for the future of art publishing in Canada. What one message would you give photographers who want to publish their work? Connect with the curators and art writers in your community whose work you value—invite them for studio visits or exhibition tours. I recognize this can be daunting or uncomfortable but it’s the best way, in my opinion, to share your practice and develop advocates in the community. This is the best way to foster quality writing about your practice, which is incredibly valuable to curators or galleries looking at your work. What's one thing that would surprise our readers about your work behind the scenes? I don’t think this is necessarily surprising, but I think readers and members of the art community forget how underfunded and under-resourced arts organizations are. I’m the only full-time permanent staff member at BlackFlash. We are incredibly grateful to our generous funders but we don’t have an excess of resources to commit to new projects, hire consultants, or bring on support staff. We rely on countless hours of unpaid labour from volunteers and short-term project grants. This makes our future precarious and sometimes overwhelming. I wish I could communicate to the art community just how important it is to us that they subscribe to the magazine. Is there anything else that our readers should know about BLACKFLASH or the work you do? Art writing and publishing is a seemingly small but incredibly important part of the contemporary art ecology. Art publications foster timely engagements with art practices and are valuable records of the conversations happening about contemporary art and the world around us—which is the foundation of art history and will inform future generations of artists. Website: https://blackflash.ca 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

A playlist by artist Bart Gazzola to complement DISCARDED, his ongoing documentation of abandoned shopping carts. As seen in our TYPOLOGY edition. Find it here - or on SPOTIFY! Desolation Row by Bob Dylan This one might seem obvious, but it’s more so because of lines like ‘at midnight, all the agents and the superhuman crew come out and round up everyone who knows more than they do.’ Many of my shots happen at night, when I’m walking, and the city is quiet and mysterious. Grey by Ani DiFranco This one is specific to one cart I shot, one of the first toppled ones, where I began to see this series as something more than what I’d thought it might be, and for the line of ‘as bad as I am, I am proud of the fact that I am worse than I seem’..... One Great City! + Left and Leaving by the Weakerthans If you’re familiar with my cart images - and how the only rule that I still hold to, with this project, is that they be abandoned, not staged - and the lyrics of these songs from this fine band that can make despair aesthetically seductive, no further explanation is needed. But if that’s not the case : ‘My city's still breathing, but barely, it's true, through buildings gone missing like teeth’ ran through my mind upon seeing St. Catharines again after nearly two decades, where I ‘watch the North End die and sing, “I love this town”’..... Trucker Speed by Fred Eaglesmith “....sometimes I feel like my wheels ain't touchin' the ground…” Maybe my carts are self portraits, or maybe I’m obfuscating, ahem. Can’t trust an art critic talking about their own art work. It is known. I Gotta Get Drunk by George Jones Sometimes I stay out later drinking just so I can capture images of carts on the way home, looking as abandoned and lonely as I feel on the long walk from downtown to where I sleep. My Little Town by Simon & Garfunkel “Nothing but the dead and dying back in my little town” : my cart works may also be a commentary on returning to my ‘hometown’ after several decades, after swearing I would never do any such thing (like getting a tattoo. I now have two of those, ahem). Smells like Teen Spirit by Nirvana I have sometimes captioned carts with the evocative lyrics of "with the lights out / its less dangerous / here we are now / entertain us / I feel stupid / and contagious / here we are now /entertain us"....and as a member of Gen X, this is a theme song, whatever, nevermind. Did I Ever Love You? by Leonard Cohen Many people who enjoy my carts, or send me images, anthropomorphize them, and there is always a romantic element to that. This song, and this album, have been on my playlist continuously since I returned to Niagara in 2015, and began the cart works. I’ve always been Crazy by Waylon Jennings I have no idea why I took that first cart photograph, and at times I still have no idea why they fascinate me, and why so many other people enjoy them and send me their own snaps of abandoned carts. They are very, very different from the art I made for most of my life. Always been crazy, but it’s kept me from going insane - mostly. Reasons to Quit by Willie Nelson and Merle Haggard Many of my images are taken while walking, and not a few while walking home from the downtown after an evening of libations, perhaps a bit inebriated (I mention Tom Waits later, and have been known to claim that the carts have been drinking, not me, not me, whereas Waits blames the piano…..) Damn These Vampires by The Mountain Goats ‘sleep like dead men wake up like dead men and when the sun comes try not to hate the light some day we'll try to walk upright’ I’ve always preferred capturing carts that have tumbled and fallen. Any suggestions re: self portraiture in that respect are acknowledged, slyly. This Year by The Mountain Goats Relocating to Niagara was difficult, the first few years were harsh, but I was ‘going to make it through this year if it killed me.’ Black Sheep by Metric “Hello again, friend of a friend, I knew you when our common goal was waiting for the world to end.” An artist I respect greatly commented in passing a few years ago that I ‘take pictures of what is left when the world ends.’ This Mess We’re In by PJ Harvey “And thank you. I don’t think we will meet again.” There’s an amusing singularity to the pictures I take: shoot them now, for they won’t be there when you pass by that spot again. Throw Me to the Rats + Bleeding Hallelujah by Tom Fun Orchestra One of the last bands I saw in Saskatoon before leaving the prairies was the Tom Fun Orchestra, and I have joked that Throw Me to the Rats should be played at my funeral. Bleeding Hallelujah is a plaintive hymn for that which was but now is not - like a cart that was useful then left. Just like Tom Thumb Blues by Nina Simone (Bob Dylan cover) “I started out on burgundy, but soon hit the harder stuff. Everybody said they'd stand behind me when the game got rough. But the joke was on me, there was nobody even there to bluff. I'm goin' back to New York City, I do believe I've had enough.” Another friend once suggested to me that I felt my move to Niagara was a self imposed act of exile, or simply having had enough….and this song always makes me sad, as so many of my cart images seem to evoke an equal sense of melancholy in people. And add anything from Bone Machine (especially Who Are You?), or Nighthawks at the Diner, by Tom Waits. Follow Bart + the carts on INSTAGRAM : @gazzolabart 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

Whether you are garage sailing, surfing online, or exploring vintage shop shelves, here are five important things to look at to quickly assess SLR and rangefinder cameras so that you don’t go home with a dud you can’t shoot with. 1. Battery Compartment: Open the battery compartment and make sure there are no signs of damage or corrosion. Blue stains on the metal or acid gunk that has leaked and solidified are bad signs. 2. Shutter Curtain: When you open up the film compartment, you will see a thin black piece of fabric. That’s the shutter curtain. Make sure it lays flat, is clean, and is free of tears, rips, or any other damage. You should be able to click the shutter release button and see it open and close smoothly, returning into place. 3. Light Meter: The light meter allows you to determine which shutter speed and f-stop should be used for the best exposure of film, based on which film speed you’re using and what the lighting conditions are like. Some really old cameras won’t even have a light meter, but if you’re looking at an SLR that does, you’ll see a scale to the right or the left of the viewfinder. If the camera doesn’t have working batteries in it when you’re checking it out, you may not be able to verify if it will work. (Quick tip: Throw a couple AAs or a 123 lithium battery in your pocket or bag if you’ve planned a camera hunting mission.) If you do decide to buy a camera without a working light meter (or without one at all), don’t worry! You can still make it work for you. Download a light meter app on your smartphone to get the settings information you need. If the camera does have a light meter, comparing the results between your app and the camera’s light meter is a good way to ensure it’s in working order. 4. Shutter: A broken shutter means that the camera won’t be more than a shelf decoration. Click the shutter button a few times to make sure it works well and doesn’t jam. The timing of the shutter is also important. To test this, set the shutter speed to 2 seconds, and count for yourself 2 seconds while watching to make sure the shutter opens and closes in that time. 5. Lens: This might be common sense, but the glass should be clean and clear of any scratches or nicks. Unless you have the ability to properly clean it yourself (or want to spend the money to have it professionally done), take a close look. You should also take a look around the rim of the lens to look for any dents that may indicate it has been dropped, possibly preventing it from properly focusing. Watch out for fungus! It’s gross, but yes, older lenses can have something that almost looks like spiderwebs inside the lens. That can indicate fungus, and that can be a serious health and safety issue. A quick online image search will show you what that could look like. + Looking at something else that’s looking cool and old school analog? Our top tip on other types of cameras that you may be tempted to buy because they look really cool… find out what kind of film the camera takes. 35mm and 120mm film are available and in production, and can still be reasonably easy to get developed. Other types of film, such as disc film or APS are difficult to find and have to be developed at specialty labs, which can become expensive. Looking for more ANALOG INSPIRATION?! Our Amazing Analog edition is SOLD OUT in print - but check out the digital replica - 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

" Samra Habib stands at the crossroads of queerness and her religion with a camera in her hand" By: Joshua Cameron Growing up queer in the Ahmadiyya Muslim Community in Canada left Samra feeling like an outsider. In early 2014, the writer and activist set out on a search for others like her, Muslim people who are not necessarily accepted by mainstream Islam. Samra began travelling across North America and Europe to find other queer Muslim people with stories of being between the worlds of Islam and the LGBTQ community. The photographs from her trips became her series, Just Me and Allah: A Queer Muslim Photo Project Samra explains, “A lot has been written about queer Muslims in academia, but unfortunately it’s not very accessible.” With work experience in fashion journalism, she knew photography was the perfect way to document the stories she found in a universally accessible way. Historically, photography hasn’t been allowed in Islam, so there is very little photographic archival evidence of the existence of queer, Islamic people. The need to see herself within a community fuels Samra’s work. The Just Me and Allah project combines photographs of her subjects and written accounts of their stories, in a first-person interview format, on her website. It tells the stories of queer Muslim people that would ordinarily be marginalized in an approachable and beautiful way, something Samra wishes she had access to growing up. “I think everyone has an emotional reaction to photography,” says Samra. “I like that people are drawn in because of imagery and then can go down a rabbit hole of exploration. I do that, too, when I’m intrigued by an image. I want to know the story behind the subject, who photographed them, where they were photographed, everything.” “I’m inspired by the spirit of my subjects, and how they carry themselves,” says Samra about her creative process. “Before photographing, I like to spend some time with them so I can understand some of their life story, their strengths and their vulnerabilities. I like to ask them to take me to spaces they feel comfortable in. This way, before I start photographing them, I have a sense of who they might be. I like to try to capture their essence instead of projecting my idea of who I think they might be.” Samra travels to meet her subjects so she can best capture them in their own element, and as a result her photographs are usually street-style and naturally lit. “I think natural light lends itself well to a photo documentary project where I am trying to represent who the person is in an authentic way,” she says. “I don’t want my photographs to look staged, and studio photography can often look that way.” Samra’s work has been exhibited at the Contact Photography Festival in Toronto, the International Center of Photography in New York, SOMArts in San Francisco, and the Victoria and Albert Museum in London. The Just Me and Allah: A Queer Muslim Project series is part of Canadian Lesbian and Gay Archives’ permanent collection. A book detailing Samra’s stories is slated for publication in 2019. queermuslimproject.tumblr.com Find this story and lots more in our CANADIANS ABROAD - ISSUE #53 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

A PLAYLIST By Martine Marie-Anne Chartrand It’s amazing what music can do! Like visual art it can change your mood in an instant. Both are very therapeutic. Creating a playlist is not such an easy task when you are a person that is like a mood ring. For instance, when I am writing course outlines and teaching collage classes to kids, I really enjoy playing instrumental music like Messer Chups, soundtrack to Hilda and Harmonium. It’s chill and laid back . When I am more invested in my storytelling through image making or my process exploration, I prefer music that reflects me being immersed in my art where I feel that there is no fine line between the two atmosphere’s of art and music. I like feeling teleported in my art by the music I listen to while creating. I appreciate stories in music, like Pink Floyd and mes aieux. Great storytellers. I like discovering and exploring new photo processes and the same goes for music. I am really enjoying an instagram discovery of Beach Head Yeg @beachheadyeg. This music is chill and connected at the same time. I would very much like to do a collaboration of photos and music with this musician. Hint, hint! In the end I am very eclectic, just like a mood ring and I like more haunting sounds like Anna Von Hausswolff and I occasionally like the soundtrack of ambient life… touskifaitoutmartine.ca @touskifaitoutmartine 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

RMB / Rocky Mountain Books Fine art photo book lover Alan Bulley gets the scoop from photo book publishers across Canada in our new series of interviews with book publishers, starting with Don Gorman of Rocky Mountain Books. Publisher: Don Gorman How do you choose what projects you publish? How far in advance do you work? Like all publishers, I try to choose projects that I believe RMB can support and produce in the best ways possible, along with ensuring that we have the infrastructure to sell and promote the book and author successfully. Most of the time things work out very well! There are always challenges that may negatively impact any given project, but these are almost never "life or death" scenarios. At this time, I'm trying to work on projections at least one year in advance of publication, but more often than not it's looking like 1-1/2 to 2 or more years in advance is going to be the new normal. What has been the most commercially successful book you have published? (Why did it do well?) The most commercially successful books that we've published have all been hyper-local titles, which sell extremely well locally, but also garner sales internationally due to the beauty and grandeur of western Canada as shown in many of our guidebooks and works of photography. Successful books sell well because of the stories they tell, which can be told using words, images, or sometimes both. In RMB's case, the stories being told about outdoor landscapes using words and images seem to attract the most attention. What makes an effective proposal from an artist? First and foremost would be sending along as wide of a range of images and words to be used in any proposed book as possible. Given the access to produce books of photography (paper or digital) using Apple, Google, or even London Drugs, it's vital for visual artists and writers to present work that transcends what others are doing either in print or online. The work has to do something that will stand out in the crowd, as well as tell a story that people will want to engage with, talk about, and share. As well, a good understanding of the artist's market, online presence, and future plans will also go a long way in terms of helping convince a publisher to take on an art or photography project. What sort of financial arrangements do you have with artists (dealing with up-front costs, revenues, etc.)? RMB pays for all editorial, design, proofreading, printing, sales, advertising, and distribution costs (there are no upfront costs charged to the author). Revenues on book sales are split between the publisher and the artists based on a traditional royalty system (artists are paid a portion of the proceeds from all books sold). How involved is the artist in book design? We consult with the artist in all aspects of the book's production: editorial, design, sales, and marketing. That being said, we are also responsible for ensuring that we satisfy the needs and aesthetics of our retail partners and consumers, so there are lots of things to consider when designing a book. The artist's vision and the needs of the publisher are both part of the equation. If an artist is looking to control all aspects of a book's design, the only real option is to self publish, as partnering with a publisher may mean that there needs to be a give and take scenario at play. How do you market and distribute the books you publish? Where do they go? How many copies do you print on average? In Canada, we work with Heritage Group Distribution, which handles Canadian sales and distribution to traditional booksellers (indie bookstores, Indigo, and Amazon.ca), non-traditional book retailers (outdoor retailers, gift shops, museums, grocery stores, seasonal accounts, etc.). For the US and international markets, we work with Publishers Group West / Ingram to fulfill the needs of traditional booksellers and library wholesalers. Our print runs vary wildly depending on the type of book. What is your view of the publishing market in Canada? I think the book publishing market in Canada is changing very quickly, though I'm not entirely sure where it's going. Likely due to the pandemic, many Canadian publishers are looking closely at their publishing strategies as every aspect of the industry has changed dramatically during the past two years. Unprecedented increases in production costs, printer capacity limitatio ns, year-round shipping disruptions, limited book media, and a shifting retail landscape will impact all companies now and for many years to come. This isn't to suggest "trouble on the horizon", but perhaps more of an opportunity to re-imagine how things are done and what our expectations should be. What one message would you give photographers who want to publish their work? The one message I would give photographers would be to ensure that they research the market for similar books being published. If there are too many books of a similar style, content, or aesthetic it will make it difficult to stand out in the crowd. Highlight what makes your work different in order to give potential publishers the information they need in order to see the potential in publishing your work. What's your dream publishing project? My dream publishing project would be one that defies expectations and shows people something new in terms of the story being told, the artist being profiled, and the way in which the book itself is produced and packaged. What's one thing that would surprise our readers about your work behind the scenes? Most of my day revolves around manipulating data in Google Sheets and juggling dozens of schedules in Google Calendar! Is there anything else that our readers should know about your company or the work you do? I think we can all agree that there's no more important time to hear stories from traditionally underrepresented communities. At RMB we are always looking for opportunities to support artists from different backgrounds and underrepresented communities and to help them to tell their story in their own authentic voice, through their own unique lens. We know there are important stories out there from BIPOC artists, LGBTQ artists, and more, and we want to help support those artists. We'd love to see more submissions and portfolios from these communities so if you have a story to tell check out our Submission Guidelines at rmbooks.com. Photography books are such an excellent way to see the world through someone else's eyes and to learn from their stories and experience. photos by by Grace Gorman courtesy RMB Website: rmbooks.com Enjoyed this free read?! Consider supporting us! 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Figure 5, Marcie Kindred, Chapel, 2021 As technology continues to connect the world, it seemed only natural that a digital photographic collective could emerge. Spanning across Canada and the U.S, technology was the bridge that brought us together. Silver Water Collective was not initiated with a hug or a handshake. In fact we had only ever met virtually during online classes via Zoom while pursuing our MFA degrees at the Savannah College of Art and Design. We started off supporting each other through the hurdles of grad school but as time progressed, we found ourselves wanting to be a part of something larger than just being classmates. Presently, the collective is a group of ten female photographers who are connected in fostering a sense of community that is not bound by region, background, or philosophy, and serve as a springboard for ideas that stimulate and encourage one another in our creative endeavours. Figure 3, Christina Leslie, Sugar Coat: Hope and Present, 2022 Our debut exhibition titled Sterling Presence is part of the Toronto, Scotiabank Contact Photography Festival, 2022. The exhibition explores themes of history, memory, identity, time, decolonization, and perception. Each artist represented approaches her work with a distinct process and technique that pushes the boundaries of traditional photography. Even though each artist comes from a different background and mindset, the process of photography allows them to express their collective internal struggles as women in modern society. The work spans a variety of material and photographic processes, but it finds commonality as it cross-references between themes in process-based contemporary art. Figure 4, Emma Creighton Hopson, Total Recall, 2021 Silver Water Collective: Sterling Presence exhibition artists include: Stephanie Bauer Brianna Dowd Emma Hopson Megan Kelly Marcie Kindred Christina Leslie Q Lin Mara Magyarosi-Laytner Cat Simmons Gallery 1313 1313 Queen St West May 11-22, 2022 Opening reception: May 12 6:30-9:30pm

Atia Pokorny, "Silent House", 2021 Atia Pokorny + Janne Reuss CONTACT Festival of photography - 2022 REMOTE Gallery, Toronto May 1 – May 15, 2022. 568 Richmond Street West (between Portland and Bathurst) 11 am – 6 pm, daily. The title of this exhibition comes from the first line in Gaston Bachelard's The Poetics of Space, a book that inspired two artists to explore personal experiences of belonging. Atia Pokorny and Janne Reuss share a similar trajectory. Both are immigrants to this country and both are also daughters of immigrants to their native countries. They met as members of Gallery 44 Centre for Contemporary Photography, and have exhibited together in the past, sharing a love of photography, poetry and philosophy. In WHO WILL COME KNOCKING?, Atia Pokorny revisits the loss of the ancestral house, destroyed during the Greek Civil War. In the destructive fire, all the family possessions, including family photographs, vanished. Her photographs of staged images placed inside an old cabinet, and her video create an intimate narrative which suggests the tension between memory and fiction. Some 30 years after the Greek Civil War ended, when she visited the village together with her father for the first time, she took one photograph of the house's abandoned ruins. Now, many years later, inspired by readings of Gaston Bachelard's book, she has animated this house in her imagination as it was before its destruction: a place of protection, a shelter for daydreams. “I have placed my imaginary house inside an old cabinet. Like in Bachelard’s writings, the enclosed space provides an intimate room for family history and memories. Of course, in my fictive house, the memories are a fiction, a personal mythology of the past. I use the motif of blue - blue as the colour of memory and forgetting. Blue is the face of my Yaya, my paternal grandmother, whose image I never knew. Blue are the family members I had never chance to meet; blue is the house that fell silent.“ Atia Pokorny, "Yaya," 2022 Janne Reuss , "Portal," 2021 Janne Reuss’s inner landscapes are like photographic x-rays that explore a complex map of human existence. Through the metaphor of the tree she inquires how experiences of home and place are stored and imprinted inside of us. She began exploring this concept of home and the idea of the family tree as a portal to a personal cosmos in her art: How do we access our inner memories? How do we try to hold on to, erase or reinvent them? Which events are so profound that they define us for the rest of our lives? “The process of remembering is like traversing through a dense forest in search of insight. Through the overlapping, layering and overpainting of my fragmented images, I’m trying to recreate this intricate experience”. The resulting imaginary landscapes express Reuss’s recurring childhood dream of escaping into a secret garden to find solace. They are intimate and personal meditations of life; a silent retreat outside becomes inside and inside becomes outside. Janne Reuss , "Tree within," 2022