Search Results

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

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

"I have been privileged to bear witness to many remote wondrous places on earth. Through the art of photography, I strive to capture and share these experiences to raise awareness about the interconnectedness of our world and the commonalities of our humanity. I use my lens to bring forth the inspirational possibilities of a landscape, and the landscape of possibilities in the faces and places of others. In Black and White brings together many of my experiences from faraway places. These moments challenged my realities, moved my heart and informed the footsteps I now take." Join us in celebrating images of humanity, hope, and resilience from around the world by SHERRY PRENEVOST at the exhibition in Toronto. AREEJ ARTS CENTRE 1896 Danforth Ave Toronto, ON M4C 1J4 Opening Reception: Saturday, April 15th 6-9pm Exhibition runs until April 30th, 2023 Gallery hours 11- 6pm daily Cameras for Girls Camera for Girls provides females in under-developed countries with in person and virtual photography and skills-based training to help secure employment. Cameras for Girls was created to support marginalized females living in poverty. Participants can then support their families, communities and dreams. In keeping with the community outreach of Areej Artist Centre; Artists to Artists Foundation and the work of artist Sherry Prenevost as an advisor to the Board of Directors for Cameras for Girls, an image by Annet Numusisi, a Camera for Girls student, will be featured at this exhibition in Toronto. Sherry Prenevost's photography has been internationally exhibited and collected. Her work has been presented to the Queen, The Governor-General of Canada (David Johnson), David Suzuki, and many more. An ardent supporter of social justice, human rights, and the environment, she is the former CEO of an international humanitarian /environmental charity, and now travels to positively influence advocacy, policy development and community empowerment at local, national and international levels.

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

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

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

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