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#MermaidsHatePlastic By 2050, there will be more plastics than fish in the sea. It takes 450 years for the average plastic bottle to disintegrate. 10 000 bottles were borrowed from a waste management centre and volunteers worked to create meaningful, shareable images, spreading the word about the volume of plastics in our water now and in the future. BENJAMIN VON WONG is a Canadian self-taught photographer whose work has been seen by millions of people around the world. He has been named a Branded Content Mastermind by Adweek, holds a Guinness World Record, and acts as a creative advisor for the Ocean Plastics Leadership Network and the Sustainable Ocean Alliance. Benjamin takes anywhere from weeks to months to prepare his elaborate shoots working with global teams. He shares much of his behind-the-scenes work online, which provides viewers with insight into his creative process and an appreciation for the monumental scale of the projects he and his community of collaborators take on. I asked him a few hard questions about his work and what keeps him motivated.  Your website unforgettablelabs.com highlights your numerous commercial projects and the consistently impressive marketing reach you’ve achieved for various organizations, from large commercial corporates to charities. You offer an open invitation for organizations to reach out with their promotional projects. Completed projects include work with Nike and Nexus Summit (an organization interested in closing the fast-fashion loop). How do you select which brands you associate with? How do you personally square working with both sides of a coin — Nike being a powerhouse global fast-fashion brand well known for human rights abuses in their production processes, and Nexus a social entrepreneur and philanthropic organization? Since we live in a colonial and extractive world — all large sums of money are tainted. As a result, I always try to start conversations from a place of curiosity, rather than one of judgment. There are three kinds of projects that I create: those that I fund myself, projects that I seek sponsorship for, and projects I get hired to do for a commercial purpose. For projects I seek sponsors for, where the funding comes from doesn’t really matter to me, as the funders have no creative input in my work. I see them as simply putting their dollars to good use. Unless conversations reveal the sponsorship may be used in false marketing or greenwashing claims, I’m generally interested in working with a pretty broad segment of companies. For the projects that I get hired to do for commercial purposes, I do my due diligence. I look at the track record of the brand and where they’re headed.  My general philosophy is to find partners that are committed to progress, but I’m not married to perfection. What matters most to me, is whether or not a brand has been consistent in respecting their commitments and making improvements to society. Is my creativity being used to change an existing system or prop-up a corrupt one? Does the client also want to go above and beyond, or are they just looking to move product off a shelf?  With regards to Nike specifically, the sweatshop scandal came up in 1991. Since then, they’ve worked to increase and improve wages, worker conditions, and labour practices — going so far as to start the Fair Labor Association in 1998. Are they perfect? No, absolutely not — the entire fashion industry is problematic — but I do think they’ve made an effort to be better socially and environmentally. Impact is never easy, and the most important thing is to find the right collaborators. #TurnOffThePlasticTap A giant plastic tap spewing plastics sourced from Kibera, the largest slum in Africa, greeted delegates from 193 different countries coming together at UNEA 5.2 to discuss what is being termed the “Paris Agreement for Plastics.” The installation was created where discussions around a global plastic treaty took place at the UN Headquarters in Nairobi, Kenya. Since, the Tap has travelled to five cities and appeared at the United Nations Ocean Conference in July 2022. An image is worth a thousand words. Your incredible installations about water and plastic issues demonstrate important messages about recycling and the harm plastic waste causes. Consumers need to consider these issues when making their daily purchasing power decisions. But how do you feel seeing seemingly little movement from those responsible for the problem (i.e., plastic bottle manufacturers and large volume retailers)?  I disagree that there is no movement! It’s not moving fast enough, but that doesn’t mean it’s not moving at all! Plastic pollution is one of the few things in the world that everybody hates. Everyone agrees there’s a problem, but few agree on how to solve it. Some organizations are focused on finding a plastics replacement (biodegradable plastics), while others champion recycling, while others think we just need to reduce plastic production. Large plastic manufacturers are investing hundreds of millions of dollars in innovation projects in search of sustainable alternatives to drive change. Whether or not they’re successful is another thing.  The topic is extremely nuanced.  At the Global Plastics Treaty negotiations at the United Nations meeting in Kenya in 2022, large commercial global brands also advocated for the treaty because added restrictions on virgin plastics would increase the value and commercial viability of recycled plastic. But that agreement alone, doesn’t create change. If we think about Extended Producer Responsibility (EPR), for example, which involves demanding that brands put aside a portion of profits to clean up their own waste, things get complicated when we start looking at the details: Who is responsible for which parts of the cleanup? Who manages the funds? How does that work across countries? Municipalities? Industries? These are large complex problems that have no simple solutions.  While the problem of plastic is larger today than it ever has been, the pressure for change in consideration of environmental impact is also higher than it’s ever been. Almost everything we buy touches plastic at some point. Being a responsible consumer is as important as collectively finding ways to pressure the larger system itself to change. I think art can play an important role in change-making. The work that I do can be used and shared by, individuals, nonprofit, for-profit, and governmental organizations alike. It does not prescribe a solution, but rather invites a conversation.  My aim is to make sure that the problem stays top of mind for the most people possible to accelerate positive change.  Your productions are elaborate. With the artificial intelligence (AI) tools now available to image-makers, why not simply create your visuals digitally? What is it about the production process that drives you?  Theoretically, creating the images I envision entirely digitally might be easier than planning and executing projects with large teams. But making “easy” projects is not the driving force behind why I do what I do.  I love the real-world adventures, interactions, and explorations that come as part of creating in a physical space — and I think that the advent of artificial intelligence actually gives my work more value.  In a world where digital content is becoming increasingly accessible, automated, and ubiquitous, the signal-to-noise ratio is getting higher and higher. The amount of mediocre content we see online is extremely high. It’s just not interesting for me to participate in a creation process that is about quantity over quality.  The end result of my efforts is only one part of the larger story. The more valuable part, arguably, is the creative process itself. Stories are what give meaning and value to art, and I think that AI can only take that so far.  The kind of work that I like to do requires a lot of thought and preparation. I also think about how it could serve larger movements. How and where else could the structures I build or the images I create be used to amplify the topics I’m passionate about towards positive social change?  As digitally created content becomes more ubiquitous, there is also a growing appreciation for content and stories that are anchored in the real world.  #Strawpocalypse Benjamin holds the Guinness World Record for the largest drinking straw sculpture (supported), made from reclaimed plastic, including 168 037 straws. The sculpture was created with Zero Waste Saigon (Vietnam) in Ho Chi Minh City in January 2019. The project was sponsored in part by Starbucks, who installed used straw collection bins at a number of its stores in Vietnam. Follow Benjamin Von Wong’s adventures online:  vonwong.com   This story originally featured in the WATER issue. This print edition is SOLD OUT, but you can still read the digital replica on Press Reader - HERE. Enjoyed this free read?!  Why not support us for more?! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions   • Make a donation

“Chaos was the law of nature; Order was the dream of man." — Henry Adams Photographers work through countless iterations   and variations when crafting an image. In darkrooms, contrast filters can dramatically change the impact of an image, while digital explorations offer endless editing possibilities. Even with small, simple edits, converting a photo to black and white, playing with tonal levels, or cropping, it’s helpful to observe the changes with a side-by-side view to confirm a final creative decision. The same comparison and adjustment process can also apply to ideas.  This year’s photoED Magazine trilogy of publications will explore ideas about contrasts. We begin here with Order vs. Chaos , perhaps as a subconscious reflection of a collective global zeitgeist. This edition features artists who turn to mindfulness and minimalism to create works that calm the soul, alongside artists who embrace visual maximalism created in a state of creative meditative flow to make sense of the crazy world around us. Crafted compositions with Milad Safabakhsh by Sherry Chunqing Liu Comparing and contrasting perspectives doesn’t necessarily result in us landing on a specific “side,” or changing our minds, but the process provides us a way of thinking outside the box to view all sides. I think that’s what we need more of right now.  As you'll see in the print edition, we have taken the opportunity to flip the script on how readers experience our magazine. From the cover, the publication opens as per usual, but somehow concludes in the middle. Flip the print edition on its back to find another beginning, a different entry point, through a second cover, again concluding in the middle.  From our International Call for submissions, Fausta Facciponte Some artists featured in this edition work towards creating images that inspire calm, through mindful minimalist compositions, and in contrast we’re also presenting artists whose work is intentionally packed with content, details, questions, and busyness, energizing, puzzling, and dazzling viewers. The search for order can sometimes seem in opposition to chaotic complex ideas, but I think these ideas can also be celebrated simultaneously to present viewers with fresh perspectives through the contrast. Hopefully, somewhere we all meet in the middle and enjoy the journey together.  A flip through the Order vs Chaos edition One Thing After Another,  An exquisite photography retrospective at the AGO, by Corinna vanGerwen Love + Order: Resilience, a photo book  by Alan Bulley Crafted compositions with Milad Safabakhsh by Sherry Chunqing Liu Geomatic MeditatioN by DW Alexander  Digital Manifestations: The Meditative Practice of Anthony Gebrehiwot, by Craig D’Arville  Wes Bell: Lost for words, by Sherry Chunqing Liu Quincey Spagnoletti  in conversation with Pelle Cass  One Thing After Another,  An exquisite photography retrospective at the AGO, by Corinna vanGerwen   Laura Kay Keeling: Untitled Portals by Rita Godlevskis Daniel Everett:  Systems of (Dis) Organization, by Alan Bulley PORTFOLIO featured artists From our International Call for submissions: Rebecca Tunks (AUS) Julia Zyrina (NL) Paulo de Tarso Souza (BR) Violetta Lorentzou (UK) Fausta Facciponte (CAN) Ava Margueritte (CAN) Henry VanderSpek (CAN) Franciszek Chilinski (POL) Tash Damjanovic (CAN) Shira Gold (CAN) and Jung Ui Lee (KR). This edition also features... Photo book recommendations by Brian St Denis Change Made: Building the next chapter in mentorship by Sid Naidu Jane Hinton: Contained chaos by Cassandra Spires Mindful photography in a Chaotic World by Anna Wilson     MORE! Cover art for issue #76 features; Pelle Cass,“Red Ball Shadows in Driveway — It was a silly fight,” and Fausta Facciponte, “Story Fragment No. 11,” from the Little Tragedies and New Beginnings , series.   Follow us on Instagram , Patreon , and Blue Sky , and sign up for our e-newsletter to keep up with all of our adventures! Order this edition online for delivery , while quantities last. Free shipping within Canada.  Or find the publication through these retailers,  across Canada and, internationally via Newsstand and Boutique Mags .  photoED magazine is also available as digital replicas for readers worldwide on Press Reader  and Flipster platforms.   This issue could not have been made possible without the support of: Tamron , Nikon , The Photo Historical Society of Canada , Beau Photo , Harcourt House,   Think Tank Photo , and Total Image Works.   + A very generous anonymous private donor passionate about supporting Canadian women in photography, our Patreon Patrons , Downtown Camera , B3K Digital, Front Row Insurance,   Professional Photographers of Canada. Consider supporting us to help us bring you more incredible photography stories!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions

moving from one place to another The contrast between old and new settings creates a compelling visual narrative. Photographers can use this approach to transform an experience into more than a passing event—becoming a creative opportunity to record personal change and the evolving their definition of 'home'. Documenting contrasts challenges your perspectives and habits, refreshing the way life appears through your lens. Familiar locations feel comfortable and predictable, whereas unfamiliar spaces spark curiosity and exploration. Photography can reveal moments that might otherwise go unnoticed. The emotional impact of changing environments Emotional ties often shape the way familiar streets, buildings, and views appear. Comfortable locations feel safe and predictable, while new spaces can create a surge of curiosity and attention to detail. Photographs taken in known areas often carry warmth and nostalgia , whereas images from unfamiliar settings display a different energy and discovery. These emotional differences influence composition, lighting choices, and subject focus. Photographers who recognize both sides can create stronger visual stories. Embracing both adds balance, texture, and honesty, making each image a new record of personal experience and perception. photo by Henry VanderSpek Finding beauty in the familiar Photographers often overlook the potential of places they know well. Everyday streets, corners, and buildings can hold surprising visual stories . Besides, changing the time of day or season can reveal details missed before. Shooting from unusual angles refreshes the way these spaces appear. Memories tied to locations often add emotional weight to the images. Strong light and shadow contrasts can enhance this effect. Familiarity helps predict the best conditions for a shot. Documenting these scenes provides a visual record of personal history. Focusing on known locations sharpens observation skills. This approach can enrich your experience by giving familiar surroundings renewed importance. Discovering the unfamiliar – A fresh eye on new surroundings Arriving in a new location offers a flood of fresh sights. Every street, face, and landscape can inspire fresh creative work. Observing how locals interact with their environment adds depth to the story. Trying different routes or visiting unexpected spots can spark new ideas. Paying attention to details often leads to stronger compositions . Lighting conditions in unfamiliar places may challenge your skills. Cultural differences influence the atmosphere of each image. Experiment with framing, colours , and subjects. Explore with intention to build confidence and expand your creative range. Inspiring others through your vision Sharing relocation photography can motivate others to explore their own creative visions. Posting images that reveal personal growth and perspective shifts with captions explaining the story behind each shot engages with audiences. Offering tips on how to feel like a local  adds practical value. Collaborating with local photographers fosters further connections. Visual storytelling helps bridge cultural gaps and extends beyond the image itself. Highlighting contrasts Using the same composition for different scenes highlights environmental changes. Shooting at similar times of day at the same location can produce striking visual comparisons. These techniques can provide structure while still leaving room for creative voice. In consideration of sequence Consider your sequence of images as the emotional path for your viewer. Including everyday moments in the new place creates relatability, while landscape shots provide scale and context. Mixing wide shots with close-ups keeps the sequence dynamic. Challenges and rewards Shifting between familiar and unfamiliar spaces tests a photographer’s adaptability. This process sparks creative growth . New surroundings often feel overwhelming at first, adapting to change requires focus and openness. Similarly, technical adjustments to lighting, composition, and subject matter become necessary. Each challenge builds resilience and sharpens skills, the reward comes in the form of a new perspectives for both the photographer and the viewer. Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions   • Make a donation Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

A playlist by artist Bart Gazzola to complement DISCARDED, his ongoing documentation of abandoned shopping carts. As seen in our TYPOLOGY edition. Find the tunes 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. Follow Bart + the carts on IG:@gazzolabart Enjoyed this read?!  Consider supporting us! 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“183 Sunsets Over Georgian Bay (2023.07.21 – 2023.12.21), Ontario” SOLARGRAPHY is an alternative photography process that uses homemade pinhole cameras and light-sensitive black and white photo paper to capture exceptionally long exposures of the Sun’s movement across the sky. The colours are a byproduct of the extremely long exposures and the chemical breakdown of the paper. Over the course of days, weeks, and months, a single image is meticulously constructed, revealing a unique record of space, time, and weather patterns that would otherwise remain unseen. “183 Day Solargraph #1 (2023.07.21 – 2023.12.21), Oakville, Ontario.” The resulting sun tracks present a gradual day-to-day change, attributable to the Earth’s 23.4-degree axial tilt and slightly elliptical orbit. The height of each track is determined by the latitude of the exposure location and the time of year it is recorded. The lowest track is produced on the winter solstice, while the highest track corresponds to the summer solstice. Missing, faint, or broken tracks occur when clouds or other obstructions block the Sun. “Total Eclipse over Port Maitland Lighthouse - 1 Day Solargraph (2024-04-08), Ontario.” The colours depicted in the images are not direct representations of the scene, but rather the result of the paper’s chemical reactions to extreme overexposure, as well as the influence of uncontrollable factors such as moisture, dirt, significant temperature fluctuations, or fungus that may infiltrate the pinhole camera. Furthermore, each brand of photography paper possesses a unique chemical composition, leading to distinct colour schemes. If developed using traditional methods, the photo paper would turn completely black and the use of a photography fixer would diminish much of the colour. Instead, the prolonged exposure times etch the image onto the paper without requiring any additional steps. A high-quality flatbed scan is then performed on the resulting negative (paper) despite its light sensitivity. Light emitted by the scanner degrades or destroys the original image as it traverses the paper. Once scanned, the image is inverted, horizontally flipped and further processed digitally using Lightroom and Photoshop. Bret Culp is a photographer and visual effects supervisor based in Georgian Bay, Ontario. This feature originally appeared in the TIME issue. Get your copy in print: HERE Enjoyed this free read?! Consider supporting us! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions • Make a donation

Capturing a moment, whether a split-second action or an encapsulation of the slow passage of time, is one of the most beautiful and impactful ideas a single image can convey. The artists featured in photoED magazine’s TIME edition have produced time-bending works that, politely, gently, and kindly invite viewers to take an extra moment of consideration from our fast-paced image heavy world. The payoff is not only a visual reward, but also the gift of new ideas when considering one’s own future recordings. The TIME issue IN PRINT • Cover image by Bret Culp • photo by Marie-Louise Moutafchieva #MadeWithAffinity The artists in this issue work with time as the basis of their photography, taking their explorations to new levels. “Photography takes an instant out of time, altering life by holding it still.” — Dorothea Lange Sylvia Galbraith records room-size camera obscura images with such clarity; her work is a time-blending puzzle. Bret Culp uses the same tool, a pinhole camera, to create a single image recording: the passage of time over days, weeks, and months. Sylvia Galbraith • What Time Is This Place? Solargraph by Bret Culp, “183 Day Solargraph #1 (2023.07.21 – 2023.12.21), Oakville, Ontario.” Zinnia Naqvi • “The Wanderers ‑ Niagara Falls, 1988,” from the series Yours to Discover, 2019. Zinnia Naqvi’s art practice embraces 1980s images from her family albums to question colonial influence and (re)present her experience to new audiences — perhaps relating to viewers’ own experiences and influencing recollections of whatever a “Canadian experience” means to them. Craig D’Arville/ FFOTO.com + June Clark and Christina Leslie I’m especially excited to present an interview by Craig D’Arville featuring June Clark and Christina Leslie. These artists’ works are thoughtfully crafted and loaded with immeasurable layers of history, family, love, struggle, and contemplation in every visual they thoughtfully present. I hope you can afford to make the time for these works, ideas, and more. This issue features:        June Clark and Christina Leslie , in conversation with Craig D’Arville Zinnia Naqvi , Time after Time, by Darren Pottie Sylvia Galbraith , What Time Is This Place? Camera Obsura rooms Wade Comer , Layering time in a single frame, by Cece M. Scott Arianne Clement , Aging, beautifully. Documenting centenarians, by Alan Bulley Scarborough Made : Celebrating five years of community storytelling by Sid Naidu This edition also features, our Books + Resource recommendations for further explorations, and our PORTFOLIO featured artists: Daphne Faye Boxill Elsa Hashemi Lucy Lu Farah Al Amin Julianna D’Intino Elizabeth Siegfried Catherine Page Find our playlist of TIME inspired tunes on SPOTIFY! Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures! We need your support to continue producing great content for you to enjoy!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions  • • DONATE•

An interview with NIKON creator Stefan Thurairatnam A Tokyo alley hidden gem •   Shot with: Nikon Z8 Nikkor Z 24-70 mm f/2.8 shot at ISO 640, 1/160s, f/ 4, 70 mm. Stefan Thurairatnam is a self-taught and self-represented travel, lifestyle, and luxury content creator. Born in Germany to a Sri Lankan family, Stefan is based in Toronto but works everywhere and anywhere for numerous international brands. What began as a passion for travel turned into his full-time career when he traded his day job at a financial institution in favour of roaming the world, capturing natural beauty and luxury real estate for his roster of international clients. We spoke to Stefan about his work and adventures as a Nikon Creator. photoED: You had a steady day job that would allow you to take holidays, but you made the dramatic shift to turn travel and photography into a completely different career for yourself. What prompted this transition? What did those early days feel like for you after you had made this decision? Stefan : The decision came from a growing realization that photography and travel were no longer just passions — they were becoming the core of how I wanted to experience life. I was working in finance, which provided stability, but every trip I took left me more inspired than fulfilled by my day-to-day routine. Eventually, I reached a point where I had to ask myself whether comfort was worth ignoring. The early days were equal parts exciting and terrifying. I walked away from predictability into complete uncertainty, without a road map or safety net. There were moments of self-doubt, but there was also an incredible sense of freedom. I was finally betting on myself, and that commitment changed everything. Al Awir Desert, United Arab Emirates •   Shot with: Nikon Z8 Nikkor Z 24-70 mm f/2.8 shot at ISO 800, 1/500s, f/ 5.6, 70 mm. photoED: How did you learn photography and the business of working for luxury brands? Stefan: I am entirely self-taught. Photography began as experimentation — learning through trial and error, and studying light, composition, and storytelling by observing the world and analyzing the work of photographers I admired. Over time, I became more intentional, treating each shoot as both a creative and a technical exercise. The business side came later and was learned through experience. Working with luxury brands requires more than strong visuals; it requires understanding brand identity, consistency, and trust. I learned how to communicate professionally, deliver reliably, and align creative vision with commercial objectives. Every project became a learning opportunity. photoED: What do you love most about sharing stories through photography? Stefan: Photography allows me to communicate without language. A single image can convey emotion, atmosphere, and narrative in a way that words often cannot. I love the idea that someone on the other side of the world can feel inspired, nostalgic, or curious simply by engaging with an image. At its best, photography invites the viewer into a moment they may never physically experience, yet still feel connected to. photoED: Your work is primarily showcased on social media. How do you manage the pressures of the Instagram platform? Stefan: Social media can be both a powerful tool and a source of pressure. I try to remind myself that Instagram is a distribution platform, not a measure of creative worth. Algorithms change, trends come and go, but authenticity and consistency endure. I focus on creating work I am proud of rather than chasing validation. Taking intentional breaks and maintaining perspective are essential for long-term sustainability in this industry. Ras Al Khor Wildlife Sanctuary  in Dubai is a wetland reserve hosting thousands of migratory flamingos • Shot with: Nikon Z8 Nikkor Z 180-600 mm f/5.6-6.3 shot at ISO 125, 1/500s, f/ 6.3, 600 mm. photoED: Whose work has influenced yours? Stefan: I draw inspiration from a wide range of photographers and visual storytellers, particularly those who prioritize mood and narrative over perfection. I am deeply influenced by cinema, architecture, wildlife, and remote destinations, as these elements naturally shape how I approach storytelling through imagery. Often, inspiration comes less from a single individual and more from observing how light, space, and emotion interact in everyday life. That said, one individual who has consistently inspired me is Alex Kydd , a professional ocean and wildlife photographer based in Western Australia and a fellow Nikon Creator on the other side of the world. His ability to capture underwater environments is truly surreal — his use of natural light, composition, and timing creates imagery that feels both powerful and poetic. His work is a strong reminder of how technical mastery and patience can come together to tell meaningful stories in some of the most challenging and unpredictable environments on the planet. photoED: What makes a good photograph? Stefan: A good photograph evokes feelings. Technical excellence matters, but emotion matters more. If an image can make someone pause — even briefly — and feel something, then it has succeeded. Composition, light, and timing are tools, but intention is what brings them together. photoED: How has working in photography influenced you personally? Stefan: Photography has taught me patience, adaptability, and humility. Travel exposes you to different cultures and perspectives, which naturally broadens your understanding of the world and yourself. It has also made me more present — constantly observing details that might otherwise go unnoticed. People of Ulukhaktok, Nunavut photographed on a Northwest passage expedition •   Shot with: Nikon Z8 Nikkor Z 24-70 mm f/2.8 shot at ISO 100, 1/1000s, f/ 5, 70 mm. photoED: What has been your favourite or most personally impactful project or adventure? Stefan: Some of the most personally impactful projects for me have been expedition-based journeys through some of the most remote regions on Earth — destinations such as Antarctica, Greenland, and traversing the Northwest Passage. These environments push you well beyond your comfort zone, both creatively and physically. Working in extreme cold, unpredictable weather, and rapidly changing light conditions forces you to be fully present and technically precise, while also trusting your instincts as a visual storyteller. For a photographer and filmmaker, these destinations are unparalleled. The scale of the landscapes, the rawness of the wildlife, and the remoteness of the human stories create an emotional depth that is difficult to replicate elsewhere. Capturing polar wildlife, isolated communities, and vast, untouched environments allows me to translate a feeling — silence, power, fragility — through my lens in a way that feels honest and immersive. Projects like these also allow me to truly push the limits of my Nikon gear, testing reliability and performance in some of the harshest conditions imaginable. Extreme cold, high winds, and constantly shifting atmospheres demand equipment you can trust without hesitation. Through the success of these expeditions, I will continue my journey this year with upcoming projects including a northern lights expedition in Norway, a full circumnavigation of Svalbard, and an east Greenland expedition. Together, these experiences are shaping me into a more refined expedition photographer and filmmaker, deepening both my technical skill set and my ability to tell meaningful stories in the most challenging environments on the planet. Ilulissat, Iceberg capital of the world in the High Arctic • Shot with: Nikon Z8 Nikkor Z 24-70 mm f/2.8 shot at ISO 100, 1/1000s, f/ 5, 70 mm. photoED: Tell us about your hardest or most challenging day as a photographer. What keeps you going on a hard day? Stefan: There have been days with extreme weather, missed connections, lost light, or technical issues — all while under pressure to deliver. What keeps me going is perspective. Challenges are part of the process, and every difficult day has ultimately contributed to growth. Remembering how far I’ve come helps me push through. photoED: Your work and life involves constant travel. What does a holiday look like for you now? Does the camera always go with you? Stefan: Travel and work are deeply intertwined for me, but I still value intentional downtime. The camera usually comes along, but I try not to force productivity. Some of my favourite images are captured when there is no brief, no expectation — just curiosity. photoED: What advice do you have for photographers just getting started in any genre? Stefan: Be patient and stay consistent. Focus on learning fundamentals before chasing trends. Develop your own visual voice and do not compare your beginning to someone else’s middle. Most importantly, treat photography with professionalism from day one — creatively and commercially. photoED: We simply have to ask … what are your top travel tips or hacks for travelling with photography equipment? Stefan: Pack efficiently and prioritize essentials. Always carry critical gear in your carry-on, use protective cases, and insure your equipment. Planning ahead — especially for climate, power requirements, and local regulations — can prevent major issues on location. photoED: We guess you spend a lot of time in airports. We would love any great airport stories. Best airport experience? Worst airport experience? Stefan: Airports have become second nature to me. The best experiences are often lounges that allow you to reset between long journeys. The worst experience was definitely in Egypt. Our luggage got stuck in Cairo, and we were boarding the Steigenberger Nile Cruise in Aswan the very next day. Everything from clothes to all of our camera gear was in those suitcases. Since we were doing a campaign for Steigenberger, my wife had to go ahead and board the ship so we wouldn’t miss the start of the trip, while I flew back to Cairo early in the morning to get our luggage. I then flew straight back to Aswan the same day. Throughout the entire process, I stayed in contact with our client, Steigenberger Nile Cruise, who connected me directly with the ship’s captain so he could keep me updated on the ship’s location once I landed back in Aswan. Since the boat couldn’t dock at night, they improvised, pulling alongside a port and setting up a plank so I could board the ship with the luggage through a window. Incredibly stressful at the time, but it makes for an unforgettable story now. GEAR UP What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using NIKON products. Stefan : My primary camera for both filmmaking and photography is the Nikon Z8. It has become the backbone of my workflow because of its exceptional image quality, dynamic range, and video capabilities, all within a compact and durable body. The Z8 performs reliably across a wide range of environments — from controlled luxury interiors to extreme expedition conditions — which is essential given the diversity of projects I work on. For lifestyle and everyday content, I often use the Nikon Zf. Its design is unobtrusive and versatile, making it ideal for more intimate, candid moments while still delivering outstanding image quality. In terms of lenses, the NIKKOR Z 24–70mm f/2.8 S II is a constant in my kit. Its sharpness, colour accuracy, and versatility make it suitable for nearly any scenario, whether I’m shooting editorial content, landscapes, or brand-focused storytelling. For wider perspectives, especially when working with luxury hotels or airlines, I rely on the NIKKOR Z 14–24mm f/2.8 S . It’s lightweight and fast, allowing me to capture expansive interiors, architectural lines, and immersive environmental shots without distortion, which is crucial for premium brand work. When it comes to wildlife and expedition photography, I’ve had the opportunity to work with the NIKKOR Z 600mm f/4 TC VR S and the NIKKOR Z 180–600mm f/5.6–6.3 VR. These lenses are exceptional for capturing distant subjects with clarity and precision, even in challenging weather conditions. The 600mm f/4 delivers outstanding sharpness and subject isolation, while the 180–600mm offers incredible flexibility, smooth zoom and focus control for video, effective stabilization, and controlled focus breathing — making it ideal for unpredictable wildlife encounters. Together, this system allows me to move seamlessly between luxury, lifestyle, and expedition storytelling. Nikon’s reliability and optical performance give me the confidence to focus on capturing emotion, atmosphere, and narrative — regardless of how demanding the environment may be. Nikon equipment has consistently delivered performance I can trust, whether I’m photographing luxury resorts, landscapes, or expeditions. The system allows me to focus less on gear and more on storytelling, which is ultimately what matters most. Check out all Stefan's favourite Nikon gear, HERE. Stefan Thurairatnam To see more of Stefan's work, find him on Instagram: @ stefanthurairatnam

An interview with photoED Magazine Banji Abioye ,   a.k.a. Fabolousbanji Studios, is a wedding, event, and portrait photographer based in Toronto. “The Fab,” as he’s fondly called, says “every story deserves to be seen, felt, and remembered.”   photoED Magazine spoke to Banji about his work. S tudio portrait on location in London, UK • Shot on Nikon Z6II with the Tamron 90mm f/2.8 - 1/80sec, ISO63, f/8 photoED: How did you get started in photography? And what keeps you motivated and inspired to keep at it? Banji : I started photography about 10 years ago, fresh out of university. During my time studying quantity surveying and construction cost analysis, I found I had a knack for taking photos. I was not doing it professionally, but I was always the go-to guy in my department when people wanted to take nice photos. As for what keeps me motivated and inspired, I’m deeply inspired by art. At my centre, I really just love to create for the sake of it. photoED: What’s the story behind your company name? Banji : It’s kind-of cheesy, but as a teenager I was obsessed with a certain rapper’s charisma. I added his stage name in front of mine, and it stuck. Most people just call me “Fab” now. Studio portrait, Toronto, Canada. • Shot on Nikon Z6II with the Tamron 90mm f/2.8 - 1/100sec, ISO63, f/3.5 photoED: What do you love most about creating stories through photography? Banji : I love the ability to freeze moments in time and to carefully translate what I saw and experienced in a single, unrepeatable moment. photoED: Whose work has influenced yours? Banji : My artistic influences have shifted with the seasons of my growth. Artists who’ve shaped my perspective in no particular order include Annie Leibovitz, Chris Knight, Lola Melani, Big H, Lindsay Adler, Paulina Duczman, Sue Bryce, Prince Meyson, Oyè Diran, Felix Khunze, Ale Vidal, David Urbanke, Alsu Leyman, AJ Hamilton, and Aykut Aydoğdu. Studio portrait, Toronto, Canada. • Shot on Nikon Z6II with the Tamron 90mm f/2.8 - 1/100sec, ISO320, f/3.2 photoED: What makes a good photograph?  Banji : Soul is what allows an image to move you before you even understand why. It’s the photographer’s ability to evoke deep, powerful emotion through the harmony of light, shadow, expression, and pose, all set within a space that complements the story. photoED: How has working in photography influenced you personally? Banji : This journey has transformed how I experience the world visually. Everyday moments, a scene in a movie, a conversation, a quiet walk, are all filtered through my understanding of colour theory, lighting, shadows, and composition. It has awakened a deeper way of seeing, training my eyes to search for meaning, mood, and beauty beneath the surface. A moody studio portrait, Toronto, Canada. • Shot on Nikon Z6II with the Tamron 70-180mm f/2.8 - 1/60sec, ISO100, f/3.2 GEAR UP: What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using Tamron lenses? Banji : My current camera is a Nikon Z 6II. For lenses, I love primes. I have a prime in almost every focal length: 16mm, 35mm, 50mm, 85mm, 90mm, 135mm, and more recently a 200mm. I also have the 90mm macro lens, which is becoming a favourite. My experience using Tamron lenses has been phenomenal. Their lenses are tack sharp. It’s almost like they were built ahead of their time. Their zoom lenses contend with my love for primes. The 28–75mm and the 70–180mm are ranges I never thought I needed, but after trying them out they are always in my camera bag. Banji Abioye See more of Banji’s work - HERE. Check out Banji's fave Tamron lens - HERE! www.tamron-americas.com

Banji Abioye ,   alias Fabolousbanji Studios, est un photographe de mariage, d’événements et de portraits basé à Toronto. «The Fab», comme on l’appelle affectueusement, affirme que «chaque histoire mérite d’être vue, ressentie et mémorisée».   photoED Magazine s’est entretenu avec Banji au sujet de son travail. Portrait en studio, Toronto, Canada. • Pris avec une Nikon Z6II et la lentille Tamron 90mm f/2.8 – 1/100s, ISO 63, f/3,5 photoED: Comment avez-vous débuté en photographie? Et qu’est-ce qui vous motive et vous inspire à continuer? Banji : J’ai commencé la photographie il y a environ dix ans, juste après l’université. Pendant mes études en métrologie et en analyse des coûts de construction, j’ai découvert que j’avais un talent naturel pour la prise de photos. Je ne le faisais pas de manière professionnelle, mais j’étais toujours la personne de référence dans mon département quand quelqu’un voulait de belles photos. En ce qui concerne ma motivation et mon inspiration, l’art est une source profonde pour moi. Au fond, j’aime simplement créer pour le plaisir de créer. photoED: Quelle est l’histoire derrière le nom de votre entreprise? Banji : C’est un peu cliché, mais adolescent, j’étais obsédé par le charisme d’un certain rappeur. J’ai ajouté son nom de scène devant le mien, et c’est resté. Aujourd’hui, la plupart des gens m’appellent simplement «Fab». Portrait en studio, Toronto, Canada. • Pris avec une Nikon Z6II et la lentille Tamron 70-180mm f/2.8 @174 - 1/60sec, ISO100, f/3.2 photoED: Qu’aimez-vous le plus dans le fait de raconter des histoires à travers la photographie? Banji : J’aime la capacité de figer des instants dans le temps et de traduire avec soin ce que j’ai vu et ressenti dans un moment unique et irremplaçable. photoED: Quels artistes ont influencé votre travail? Banji : Mes influences artistiques ont évolué au fil des saisons de ma croissance. Les artistes qui ont façonné ma vision, sans ordre particulier, incluent Annie Leibovitz, Chris Knight, Lola Melani, Big H, Lindsay Adler, Paulina Duczman, Sue Bryce, Prince Meyson, Oyè Diran, Felix Khunze, Ale Vidal, David Urbanke, Alsu Leyman, AJ Hamilton et Aykut Aydoğdu. photoED: Qu’est-ce qui fait une bonne photographie? Banji : L’âme est ce qui permet à une image de vous toucher avant même que vous compreniez pourquoi. C’est la capacité du photographe à susciter une émotion profonde et puissante grâce à l’harmonie entre la lumière, l’ombre, l’expression et la pose, le tout inscrit dans un espace qui soutient l’histoire. Portrait en studio, Toronto, Canada. • Pris avec une Nikon Z6II et la lentille Tamron 70-180mm f/2.8 @174 – 1/60s, ISO 100, f/3,2 photoED:  En quoi le fait de travailler en photographie vous a-t-il influencé personnellement? Banji : Ce parcours a transformé ma manière de percevoir le monde visuellement. Les moments du quotidien, une scène de film, une conversation, une promenade silencieuse, tout est filtré à travers ma compréhension de la théorie de la couleur, de l’éclairage, des ombres et de la composition. Cela a éveillé une façon plus profonde de voir, entraînant mes yeux à rechercher le sens, l’ambiance et la beauté sous la surface. Portrait en studio, Toronto, Canada. • Pris avec une Nikon Z6II et la lentille Tamron 90mm f/2.8 - 1/100sec, ISO320, f/3.2 GEAR UP: Quel appareil photo et quel équipement utilisez-vous le plus actuellement? Quel est votre objectif préféré? Parlez-nous de votre expérience avec les objectifs Tamron. Banji : Mon appareil photo actuel est un Nikon Z 6II. Côté objectifs, j’adore les focales fixes. J’ai une focale fixe pour presque chaque distance : 16 mm, 35 mm, 50 mm, 85 mm, 90 mm, 135 mm et plus récemment un 200 mm. J’ai aussi l’objectif macro 90 mm , qui est en train de devenir l’un de mes préférés. Mon expérience avec les objectifs Tamron a été phénoménale. Leurs objectifs sont d’une netteté incroyable. On dirait presque qu’ils ont été conçus en avance sur leur temps. Leurs zooms rivalisent avec mon amour pour les focales fixes. Les plages 28–75 mm et 70–180 mm sont des focales dont je ne pensais pas avoir besoin, mais après les avoir essayées, elles se retrouvent toujours dans mon sac photo. Banji Abioye Suivez Banji Abioye en ligne à: fabolousbanji.com www.instagram.com/fabolousbanji www.tamron-americas.com

We invited our patrons to participate in a creative conversation through images. Each photographer participant was sent a single image with no information about it, and asked to respond with the next link in the chain, an image of their own that spoke to what they had received. Here is where our contributors took this story…   Ann Piche, Ottawa, ON “breakfast lunch supper ”  The inspiration for this image is Stephen Leacock’s short story “The New Food.”  A large family is gathered around the Christmas table for dinner. 13 plates of food have been condensed into one pill. While the father is giving thanks, the baby of the family grabs the pill and eats it.   One of the first presentations of a meal in a pill idea was at the Chicago World Fair in 1893. People from different fields were asked what they thought life would be like in 1993. American suffragette Mary Elizabeth Lease predicted that we would be eating synthetic foods in a pill form, so women could get away from the kitchen.       Lori Ryerson, Toronto, ON “Tanks Giving” This image was captured around Thanksgiving, the timing of which gave me the play on words to title the piece. When I see things like these empty BBQ tanks in a dumpsite, I can’t help but consider the our North American waste habits, unnecessary landfill, and how many people do not get a Thanksgiving meal due to food scarcity.   Alan Bulley, Ottawa, ON “Thanksgiving With Bechers”  A play on the seasonal theme, colours and repetition of round shapes.     Mark Walton, Waterloo, ON “Thanksgiving prep at the Walton/O’Connell household” A Graflex SuperGraphic 4x5 shot direct to fibre photo paper, scanned and inverted.     Valerie Lancia, Toronto, ON My initial reaction to the photo I received was to think of something tastier than Brussel sprouts! (I'm not a fan of them at all). My thoughts lead me to consider the process of growing foods, and seeds. I picked milk weed seed heads thinking about how they provide sustenance for monarch butterflies. Many people still pull the plant thinking it's a weed, but it's an edible food for a vital part of our ecosystem.   Ian McKenzie, Calgary, AB Food can range from fine art all the way to crass commercialism. This photo falls firmly at the latter. This five metre statue of a Cheeto, placed in a quiet hamlet in Southern Alberta is a marketing ploy. It seems to have worked, there’s been media coverage beyond Canada’s borders and a steady stream of visitors drive out to get their photo of, or with the sculpture.   Patricia Parsons, Ottawa, ON   Playing on the idea of food sculptures, I photographed a fruit bowl that I made 30 years ago, in grade 10. I still have it and love it even though it's been cracked a couple times from various moves it has gone through.      Gabrielle de Montmollin, Welland, ON “Still Life with Three Pears”  My image also has a ceramic component, a jug and part of a vintage faux fruit plate, in addition to three pears. I was drawn to the similarity of the dark backgrounds which are reminiscent of the style of 17 th  century Dutch still lifes which I love.     David Brandy, Toronto, ON The strong golds and yellow colours in the image I was provided,  reminded me of a photo I took at sunrise of a hay bale. I learned recently through the Ontario Farmland Trust, that we lose 319 acres of farmland a DAY in Ontario. To me this is insane and has to stop. The food cycle begins with farmers. No farmers, no food. Farmers feed cities.   Kenneth Udle, Orleans, ON Hay is integral to sustaining cattle and horses.   John Healey, Ottawa, ON This copy of The Joy of Cooking  was my mother’s go-to resource from the 1970s. Like the presented image of food being dispensed to farm animals this volume dispensed the knowledge to feed herself, husband, and five kids, at the same time studying to become a chartered accountant. I was fortunate to collect this beloved book from her estate and have worked on documenting each page where there is evidence of her hand.     Chris Goodyear, Kanata, ON For me, the real joy in cooking is eating and sharing the comfort foods made by loved ones, like, my Dad's Superbowl Seville Orange Marmalade. This image was inspired by Mary Pratt's work, and my intention is to convey the pleasure found in food made by and for our loved ones.    Conan Stark, Waterloo, ON The mason jars, wood texture and bright warm hues called to mind a field-to-table approach to our relationship with food. My mind went to a photo I took of the activity at the community focused Kitchener Market.   David B. Williams, Toronto, ON Luxury foods appeal to our hedonistic sides but they are also important in the social interactions of those who can afford them. Who doesn’t like to stop in at cafés like to gawk through the windows at the wonderful creations and to share them with friends along with coffee and conversation?   Shelagh Howard, Halifax, NS In the image I received, we appear to be looking at a high end bakery on a busy street, likely in a metropolitan city.  The baker appears detached, her mood unknowable, and the reflections in the window of the people passing by give us a clear view of the outdoor world and the indoor world overlapping, yet, feeling very separate.     My image, taken though the window of a small, rustic restaurant in Yellowknife shows a woman in what appears to be communion with the bread she in kneading. It feels like a very personal and intimate moment. Although also taken through a window with elements of the outside reflected, they barely register and become ambiguous, rather than being equally balanced as was the case in the other image.   CB Campbell, Thunder Bay, ON My first instinct when seeing this photo was to respond in kind. But seeing another artisanal baker preparing loaves through a window wouldn't be much of a conversation.  Instead I chose this image to complement and play off the first. I imagine both pictures could have been taken on the same street.  The coffee shop is locally owned, these windows also reflect trees and the immediate environment, but now the action is playful.   Vitallii Sovhyra, Toronto, ON For me, there is always a spot for sweets with a cup of coffee. I enjoy having nowhere to rush and taking my time savouring treats. Victoria Prevot, Burnaby, BC Photography is the sweet food that feeds my soul. Tracey Halladay, Elk­ford, BC When I saw the photo I was sent, it made me think of the Lady and the Tramp scene when the dogs are eat­ing spa­ghetti in the moon­light. My response was to cre­ate a scene of my own. RAMO/HCKYGRLPHOTO, Toronto, ON After the bed­time story, the mice snuggled to sleep. And now I get to have a late night snack too! The 'Food Chain' project featured in our FOOD issue   Did you enjoy this FREE read? Consider JOINing us!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   Follow us on Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!