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In case you missed our CALGARY 2020 PHOTO INSPIRATION NIGHT event at the CALGARY CENTRAL LIBRARY - check out our video featuring Ali Ledgerwood from NPAC. The News Photographers Association of Canada celebrates and champions quality and ethical photography in journalism, continually raising the bar of industry standards. Ali Ledgerwood shares her passion for Canadian photojournalism + some behind the scenes stories in a live presentation to an audience of over 350+ Calgary photography lovers in Pecha Kucha format. 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. #canadianphotojournalism #documentaryphotography #womeninphotojournalism #Canadianphotographers WANT MORE?! Check out the more videos from our PHOTO INSPIRATION nights HERE. + LEAH HENNEL's presentation HERE. IF you love Canadian documentary photography in PRINT, you'll love our DOCUMENTARY edition - IN PRINT NOW! Our DOCUMENTARY PHOTOGRAPHY issue features: Resources WE LOVE Christine Love Hewitt’s Wanderlust Representing with Dignity. A panel discussion moderated by Laurence Butet-Roch Morgan Sears-Williams' Queer Love and Care Ears, Eyes, Voice: Black Canadian Photo journalists 1970s–1990s by Dr. Julie Crooks Chris Donovan: Complicated Maritime Clouds Paul Seesequasis’ Indigenous Archival Photo Project Patti Gower: From the front lines to leading the next generation JAYU- Photography + community good, by Joshua Cameron Cover by Chris Donovan

In case you missed our CALGARY 2020 PHOTO INSPIRATION NIGHT event at the CALGARY CENTRAL LIBRARY - check out our video featuring award-winning photojournalist - LEAH HENNEL. @leahhennelphoto has traveled the globe to create stunning visuals, but it’s been in her own home province that she has captured her most striking stories. We're hyped to have featured her live presentation to an audience of over 350+ Calgary photography lovers in Pecha Kucha format. 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. #womeninphotojournalism #Canadianphotographers #womeninphotography #portraiture #femalephotographer #makeportraits #portrait_vision #yycphotographer #yycarts #womenphotograph WANT TO SEE MORE?! Check out the more videos from our PHOTO INSPIRATION nights HERE.

In case you missed our CALGARY 2020 PHOTO INSPIRATION NIGHT Pecha Kucha event at the CALGARY CENTRAL LIBRARY - check out our video featuring commercial photographer, designer and art director - Heather Saitz. @heathersaitz is a triple threat! Photographer, designer and art director. She rocks it all + we're hyped to have featured her live presentation to an audience of over 350+ Calgary photography lovers in Pecha Kucha format. 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. #Canadianphotographers #womeninphotography #portraiture #femalephotographer #makeportraits #portrait_vision #bandphoto #bandphotographer #musicphotographer #musicphotography #yycphotographer #yycarts #vintagevibes #womenphotograph WANT TO SEE MORE?! Check out the more videos from our PHOTO INSPIRATION nights HERE.

In case you missed our CALGARY 2020 PHOTO INSPIRATION NIGHT Pecha Kucha event at the CALGARY CENTRAL LIBRARY - check out our video featuring commercial photographer - Julie Vincent. From real estate to real people, Julie Vincent is a real pro all-round shooter who creates images with impact. Julie shares her 'How I got here' story at a live presentation to an audience of over 350+ Calgary photography lovers in Pecha Kucha format. #Canadianphotographers #womeninphotography 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 TO SEE MORE?! Check out the more videos from our PHOTO INSPIRATION nights HERE.

In case you missed our CALGARY 2020 PHOTO INSPIRATION NIGHT Pecha Kucha Event at the CALGARY CENTRAL LIBRARY - check out our video of Marlene Hielema/ ImageMaven.com. Marlene shares her passion for LUMIX, skateboarding, and teaching photography, at 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. Thank you LUMIX for supporting Marlene & this event! WANT TO SEE MORE?! Check out the more videos from our PHOTO INSPIRATION nights HERE.

In case you missed our CALGARY 2020 PHOTO INSPIRATION NIGHT Pecha Kucha Event at the CALGARY CENTRAL LIBRARY - check out our video quick flick of the Vivian Maier exhibition @ Glenbow by Jennah Turpin. The accidental discovery of Vivian Maier’s collection of photographs has become a tale of international intrigue. Find out how this curious nanny’s work has rocked the art world. 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. #womeninphotography Thank you GLENBOW for supporting Jennah & this event! WANT TO SEE MORE?! Check out the more videos from our PHOTO INSPIRATION nights HERE.

In case you missed our CALGARY 2020 PHOTO INSPIRATION NIGHT Pecha Kucha Event at the CALGARY CENTRAL LIBRARY - check out our video of Katherine Calnan in action! Katherine Calnan has mad skills. From her black belt in Shotokan karate, to Business & Economics degrees from @ucalgary to shooting celebrities and high fashion around the world... is there anything she can't do?! #canadianfashionphotographer #womeninphotography #fashionphotographer #broncolor 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. Thank you BRONCOLOR for supporting Katherine & this event! WANT TO SEE MORE?! Check out the more videos from our PHOTO INSPIRATION nights HERE.

When the weather outside is frightful… fire up the movie watching technology. In searching for movie picks to recommend to you dear readers, we came across the work of director Charles Wilkinson. We found a source that streams his amazing films online, for FREE, across Canada. So you can enjoy fine Canadian film making, without leaving your front door. Oil Sands Karaoke www.knowledge.ca/program/oil-sands-karaoke Fort McMurray is at the centre of a new gold rush. Thousands of men and women have been drawn to the northern boomtown with the promise of high-paying jobs in one of the most controversial industries in the world - the oil sands. They work hard for the money: under arduous physical conditions, for long hours and extended periods, knowing that a lot of people object strenuously to what they do for a living. But when they need to let loose, there’s always karaoke. Vancouver: No Fixed Address https://www.knowledge.ca/program/vancouver-no-fixed-address From Toronto to Sydney and from San Francisco to London, the cost of housing in cities around the world is skyrocketing. Vancouver: No Fixed Address takes an uncompromising look at the drama unfolding in one such city, where multi-ethnic citizens fight to preserve homes as living spaces instead of global financial commodities. It is a story about the very idea of home, what promotes or destroys one’s sense of belonging, and struggling to cope with the strange and often threatening economic and social forces at the start of the 21st century. Haida Gwaii: On the Edge of the World https://www.knowledge.ca/program/haida-gwaii-edge-world The story of Haida Gwaii is one of a place and a people who have experienced the ravages of unsustainable exploitation. They’ve fought back, reclaimed control of their lands, and have begun the process of rebuilding both their natural world and a sustainable modern community; a community free from corporate control, one where whole food is accessible to everyone, a community with no shopping malls. But wouldn’t you know it - all of that is now under the threat of daily fossil-fuel laden super-tanker traffic wanting to pass through their treacherous waters. The film features insights from former Haida Nation president Guujaaw, activist Severn Suzuki, Haida carver Jaalen Edenshaw, International Rediscovery founder Thom ‘Huck’ Henley, Haida Chief Allan Wilson, ex-loggers, business and cultural leaders, troublemakers, biologists, curmudgeons, scientists, and alternative energy experts. #Canadianfilm #MoviestoWatch #Documentary #Vancouver

Mani Singh is a recent graduate from the photography program at Georgian College. PhotoED Magazine asked him some questions about his creative process and how he tackles the issue of confidence when photographing people. How did you get started in photography? I was on an excursion with my classmates and professor while completing my Bachelor’s Degree in Animation and Multimedia. During the trip, my professor handed me a DSLR camera and asked me to take some photos. That was my first time using a DSLR and I immediately fell in love with the process. I loved it. I had finally found a tool through which I was able to express my thoughts and feelings in a concrete way, and I had the power to “capture the moment.” Soon after, I bought my first camera, a Canon 600D, and have been shooting since. Did you study any other photographers work as a way to grow your confidence? I always check social media for new work from other photographers. It helps me to learn new techniques for future shoots and motivates me to get out and create more and more. Are there any photographers that have influenced your art? Joseph Cartwright, Renee Robyn, and Steve Richards. My teachers at Georgian College have also inspired my creativity as a photographer. What do you think is the best way to gain confidence in yourself as an artist/photographer? I believe the best way to gain confidence is to believe in yourself, even from the moment you’re starting out. Don’t be afraid to share your work and ask people to critique it. Listen to the feedback and apply those suggestions to your future work. The most important thing I learned during my two years at Georgian was to get out of my comfort zone. By only doing one small thing everyday, you can definitely create results. How did you gain your confidence? I used to be a very shy person who didn’t talk to many people, but my teachers always encouraged their students to be brave and use creativity as a means of overcoming that shyness. I slowly began engaging with peers and asking them to model for me. I also showed my work to my classmates and asked them to critique it, which helped me see what aspects of my work I needed to concentrate on improving. Did you have any difficult experiences or setbacks? I used to get discouraged when my photo shoots didn’t go well or I didn’t get the results I was looking for, but I never gave up on pursuing my art. Instead, I would rework my plan, such as keeping the same concept but using a different technique, and try again. I also find that if I am having trouble coming up with a creative idea, I give myself a week’s break before revisiting that concept. Do you have any areas you’d like to improve on? There is always room for improvement and to learn new techniques. Right now I’m concentrating on improving the poses for my models, which I think are a vital part of my photography. Do you ever review your old photos and feel like you've grown since that time? How does that process affect how you see yourself? I love to review my old photos. Being able to see my progress helps me gain confidence and encourages me to keep shooting. It’s a great idea to look at your previous work when you feel discouraged, it helps to keep you motivated. How did you create the “Running Girl” image? There were a lot of challenges that I had to overcome to finally get this image right. I planned the shoot two weeks in advance, as it was taken in a parking lot and relied on the weather. I used a three-light setup: two lights with grids and one light with a medium soft box. I also grated sidewalk chalk to make a powder, which I used in the background. Finally, I had two assistants throwing different coloured powders while I took the shot. It was very challenging to get the model into focus while she was running, so I had to take about 200 shots to get the perfect one. What are your aspirations for the future? My hope is to continue developing my skills, learning more techniques, and producing creative and exceptional photographs through which people can become inspired. maniphotography.ca #commercialphotographers #studentphotographer #confidence #OntarioPhotographer #emergingcanadianartists

Virtually every minute of our waking hours we are inundated with photographs. Think of all the photographs that you saw in the last 24 hours: on your cellphone, computer, or iPad; in newspapers, magazines, books, advertising on food and other products; and even in your family’s photo albums. Now think of how many of these images depicted workers, at work. Think of all the photographs that you saw in the last 24 hours: on your cellphone, computer, or iPad; in newspapers, magazines, books, advertising on food and other products; and even in your family’s photo albums. Now think of how many of these images depicted workers at work. In all probability, very few, and possibly none. That’s astonishing when you think that most working people spend more time at work than at home or with family or friends. Growing up in a working class family, I was fascinated by the notion of work from an early age. When I became a documentary photographer, I quickly developed an interest in recording workers and their culture. I photographed immigrant workers on construction sites and garment factories, foreign migrant farm workers who come to Canada annually on temporary permits, and child workers. In 1999 I was invited to undertake one of the most important projects in my career. The Canadian Auto Workers union (which has since merged with another union and become Unifor) asked me produce a book on workers across Canada as a way of marking the millennium. I travelled from coast to coast, documenting work life in over 100 locations in the 13 provinces and territories. Working in 35mm with black and white film, I shot some 575 rolls of film. Of these, from self-made contact sheets, I selected about 1500 shots and had a professional lab make them into 8 × 10 inch work prints, which I slowly reduced to the 200 images that make up the book, Canadians at Work. A separate edition, Canadiens au travail, was published simultaneously in French. It was printed in Toronto on heavy gloss stock, in duotone. I oversaw the printing and signed off on each sheet at the printing press. From start to finish, the project took 18 months to complete. The introductory essay is by Sam Gindin. I commissioned a small number of pictures from other photographers: Denyse Gérin-Lajoie and Iva Zimová in Quebec, Schuster Gindin in Ontario, George Webber in Alberta, and Ursula Heller in British Columbia. The book was produced at arm’s length; that is, I made artistic decisions independently of the sponsor. A copy was sent to everyone whose picture appeared in the book, to main libraries across the country, and also to the library of every town represented. This book has been a voyage of photography, an exploration into the hidden landscape of workplaces and workers’ faces that defines Canada as much as anything could. One of the misconceptions that I had about the modern workplace is that workers worked together. Despite great advances in technology, most workers end up working alone, with minimal or no possibility of conversation or interaction with others. The nature of most industrial work is that an individual is merely a cog in an elaborate setup, such as a worker’s role in a football field–sized auto plant where her every move has been predetermined by an efficiency plan or the preset speed of a conveyor belt. In most cases, workers have no time to talk to anyone, for they must concentrate on their specific task, whether it is selecting herring fillets in Marystown, Newfoundland; inspecting freshly blown glass bottles in suburban Toronto; wiring cars in Oshawa, Ontario; or mucking ore at 975 metres below ground in a nickel mine in Vancouver. Workers are usually alone with their machines. Being photographed seemed to validate the workers. They had always seen “the other” in camera images. Now it would be their turn to be witnessed by the camera. Some could not contain the sheer glee they felt in that moment and reacted in curiously bizarre ways. They would self-mockingly make derisive comments, such as “Good luck finding any one of us actually working around here!” or “What makes you think we work here?” Their comments were ironic because moments later they would be back at their conveyor belt, or in their truck, or inside an airplane engine, or another work station, digging, packaging, sorting, cooking, sweeping, washing, welding, painting, sewing, bolting, cutting, loading, driving, boring into bedrock, producing, working … working. The experience of photographing someone in a collaborative way — with the consent of the worker (or other person in front of the camera) — becomes an act of solidarity between two humans. If the conditions are right and there is honest rapport between the person in front of the camera and the person behind the camera, I believe that the picture already exists, as if it were a gift, and the photographer merely has to receive it. The power of a photograph is that the moment it captures outlasts the passage of time. One day, I had focused my camera on James Cave, a welder working in an auto parts factory. He was wearing a bubble mask that completely covered his face and neck. A flexible hose connected the mask to an overhead pipe that carried a supply of oxygen. As a result, he was completely tethered to his workstation, unable to talk to anyone or relate to anything except production. He looked as if he were from outer space. I managed to make eye contact with him through his bubble, and putting his welding gun down and removing his gloves and mask, he revealed a satisfied, youthful face. He understood the nature of the project well. With pride, he said, “You are a worker too. Let me take your picture.” No greater compliment could have been offered me. I handed him my camera, and the tables were turned, with me being the one standing in front of the camera. See more of Vince's long-form documentary photography projects at: vincepietropaolo.com #VincenzoPietropaolo #blackandwhite #analogfilm #canadianphotography #photobook #visualstorytelling #canadianphotography #OntarioPhotographer