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Books and media we love, to inspire your fashion focused photography THE POWER OF STYLE: HOW FASHION AND BEAUTY ARE BEING USED TO RECLAIM CULTURES  By Christian Allaire  Dedicated to “all the kids who feel like they aren’t seen or heard,” The Power of Style takes seriously how what we wear speaks loudly about our cultures, politics, and economics. This is a kids book that adults need to read. Christian Allaire, a fashion writer for Vogue and an Ojibwe, understands the complex interplay of style, power, and self-expression in our daily lives. He gives young readers a wealth of well-illustrated examples of how diverse groups are using fashion to express themselves and to strengthen their communities.  Softcover, 2021, 96 pages  $15. + shipping  Annick Press  BLACK FUTURES  Edited by Kimberly Drew and Jenna Wortham  What does it mean to be Black and alive right now? That’s the question behind this rich diving board of a book that invites readers to get their feet wet in contemporary Black experience and then to jump into imagining — and creating — Black futures. The book does not claim to be comprehensive, but there is so much content here that the book’s signposts are welcome: a simple set of colour codes and thematic sections with names such as Black Lives Matter, Joy, Power, and Memory. A multilayered resource to consult, rather than read from start to finish.  Hardcover, 2020, 544 pages  $54 + shipping  GREY AREA Written, directed, and produced by Keesha Chung Keesha Chung’s first short film is a glimpse into the life of an aspiring model in the fashion industry. Keesha aims to highlight the work and stories of creatives of colour. Her film premiered in 2021 and draws on the skills of an all-Toronto crew on both sides of the camera and showcases the city itself. 2020; 14 minutes For more information, including up-coming screenings, visit greyareamovie.com THE NEXT BLACK: A FILM ABOUT THE FUTURE OF CLOTHING  Directed by David Dworsky and Victor Kohler  Did you know that textile production is one of the most resource-intensive industries on the planet and that our consumption of textiles is exploding? Resisting the temptation to paint an end-of-the-world scenario, The Next Black highlights industry pioneers working at the intersections of fashion, digital technology, environmental concerns, and biological engineering. From Lady Gaga’s bubble-blowing harness, to a dress grown as bacteria in a vat of liquid, to biotech wearables for athletes, the clothes we wear are becoming more innovative, sustainable, and interactive.  2014; 46 minutes  Find it FREE on YouTube  youtube.com/watch?v=XCsGLWrfE4Y   AFTER PHOTOGRAPHY By Fred Ritchin For many photographers, the choice between digital and analogue can break down to a question of aesthetics. Fred Ritchin, Dean Emeritus of the International Center of Photography, draws readers into a much deeper discussion of the challenges and opportunities of digital media and the way they affect how we perceive and engage with the world around us. A provocative book for those of us who want to reflect on the images we make and the images we consume. Hardcover, 2008, 160 pages $33 + shipping This story featured in our FASHION X FUTURE edition, a special curation by Djenabé! The print edition SOLD OUT - but you can check out the DIGITAL REPLICA - HERE. Enjoyed this free read?!  Consider supporting us! We need your support to continue producing great, original content for you to enjoy! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS

“Pictures remind us where we’ve been and give other people somewhere to go.” – Carol Jerrems photoED magazine's MEMORY issue celebrates photo-based art that reflects on the past and guides us into the future. In this edition, the featured artists draw on their own deeply personal memories and images to present stories that ask us if decisions made in the past were the right ones, and observe how memory is a tricky thing... Issue #73 - MELD - Cover image by Sarah E. Fuller , photo by Marie Moutafchieva Geneviève Thauvette draws on her French-Canadian ancestry to craft surreal vaudevillian collages to illustrate the treatment of women throughout Quebec’s history. Through a combination of found archival and original photographs, Kyler Zeleny creates his own document in the form of a photo book. Bury Me in the Back 40 describes his personal experience of his rural hometown of Mundare, Alberta. His work embraces official and unofficial accounts of the town’s people and history to present viewers with something new. Chris Goodyear ’s detailed memories of a sold family cottage are recreated in her basement studio in the hopes of rekindling magical childhood moments. Shelaugh Howard feature story The Secret Keepers Shelaugh Howard’ s work explores how memory can be manipulated through the dynamics at play in an abusive relationship where victims’ recollections are often contradicted and questioned, and at times those very victims may look to actively forget past events. Craig D’Arville  looks into personal photography archives and estates and the challenge of managing analog collections that hold lifetimes of work. Craig D’Arville asks important questions about photographers estates PORTFOLIO featured artists The PORTFOLIO pages showcase a range of creative expressions around memories made, manipulated, lost, and the places in between. Anthoula Lelekidis (USA) Aline Smithson (USA) Maya Guice (USA) David Ofori Zapparoli (Canada) Rebecca Wood (Canada) Dalia Rahhal (Canada) Yuhan Zheng (Canada) Jaehyun Han (Canada) Elaine Whittaker (Canada) and Michelle Leone Huisman  (Canada) + Much more! photoED magazine is also available as digital replicas for readers worldwide on Press Reader  and Flipster platforms.    This edition could not have been made possible without the support of: Tamron , Nikon , The Photo Historical Society of Canada, Beau Photo, Harcourt House, GuruShots, 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, and Total Image Works. The Memory issue cover features “White Roses #3,” from the Lexicon for Loss series by Sheila Spence, and back cover image, “Such Great Heights,” from The Secret Keepers series by Shelagh Howard. AND, Check out the GuruShots LIGHTING showcase in print or online HERE. Please Consider supporting us!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions

An interview with NIKON Creator Juan D. Rojas Parc National De la Jaques Cartier in northern Quebec • Nikon z6 + Z 14-30mm, 1/2000, f/4, ISO 500. Juan D. Rojas is a Toronto-based photographer and an official Nikon Creator. We spoke to Juan about his work and his adventures. Parc national de la Jacques-Cartier. Quebec • Nikon Z8 + Z 24-70mm f2.8. 1/640 sec, f/2.8, ISO 64. photoED: How did you get started with outdoor photography? Juan : Photography has been part of my life for as long as I can remember. When I was growing up, my father would let me borrow his Nikon camera, which I would take on school trips and down to the park to take photos of everything and anything I found interesting. It was around 2017 that I picked up my very own first camera, the Nikon D5300, and I decided to dive deeper into understanding more advanced settings and compositions. I surrounded myself with people in the industry, many of whom I call friends now. We would go into the city to catch the sunrise and stay up until sunset taking photos. In 2020 I began exploring my local parks and conservation areas on daily walks. I enjoyed the experience so much I knew that this was my photography passion.  My appreciation for the quiet stillness of nature grew. Photography trips have taken me to parks across Canada from Quebec City to Banff, and around the world to various sites in South America and Asia. photoED: What’s involved in working as a Nikon Creator? How has this helped you develop your craft? Juan : As a Nikon Creator, I have the opportunity to showcase Nikon’s products to the photo/video community, including the newest lenses and camera capabilities, while maintaining full creative control over my work. I participate in the community online and in-person through workshops where I share my creative process, insights, and experiences with the hope of inspiring others to explore their own creativity.  I get to meet and connect with many other local photographers and showcase my creative approach and workflow in real time. Events such as these help me develop my craft and grow as an artist. Not only do I get to teach and mentor others about photography techniques, but I myself also get inspired by the creativity of the community. photoED:  What do you love most about sharing stories through photography?   Juan : Images offer a universal language. What I love the most is that I get to showcase how I see the world from my own unique lens and point of view while I process my own thoughts and emotions. Seeing excitement and curiosity from others makes me realize that there are many stories still to be told. Night photography over the landscape in Banff, Alberta • Nikon Z6 + Z 14-30mm, 30 sec, f/4, ISO 3200. photoED: Whose work has influenced yours? Who do you follow? How do you keep learning? Juan : As a photographer, I make it a point to never stop learning, adapting, and finding creative ways to share new stories. Over the years there have been photographers from many different fields that have inspired my work, not only by helping me see things from a different point of view in new compositions, lighting, and gear, but also by shaping how I approach storytelling. I came across Nigel Danson  on YouTube. He covers landscape and outdoor photography with such a unique perspective that I always draw inspiration from him. He has taught me to begin looking into my local landscapes before stepping farther afield. Simon Baxter  is another incredible photographer whose work and philosophy has shaped how I look at my work. He covers a niche subcategory of landscape photography known as woodland photography, and he has taught me to look at things from a different point of view. Others to mention would be Morten Hilmer  and Mark Denney  whose work I follow very closely. Conway Scenic Railroad Train in New Hampshire • Nikon Z6 + Z 24-70mm, 1/1000, f/7.1, ISO 640 photoED: What makes a good photograph? Juan : A great image can tell a story in a single frame. I believe what makes a good photograph is the emotion that the photo is able to convey to the viewer. Sometimes photos require context to be appreciated; but, every now and then, images can instantly evoke a reaction and can speak louder than words. photoED: How has working in photography influenced you personally? Juan : Photography has given me an opportunity to tell my own story and share the stories of those around me. I have gained a greater insight into creating human connections in our fast-moving world and a stronger focus on living in the moment and being present. It teaches me to have patience, to slow down, and to be observant. The photography community has also had a huge impact in diversifying my views and on my learning about different cultures and experiences, which I’m very passionate about. I’m naturally a curious person and I constantly seek answers to my never-ending questions. Photography allows me to keep learning, exploring, and being open to people. Old Quebec City in early fall. • Nikon Z8 + Z 24-70mm f/2.8. 1/4 sec, f/8.0, ISO 64 photoED:  What has been your favourite or most personally impactful photography adventure?   Juan : One of my most favourite personal adventures to date was a solo trip to Banff to explore the Canadian Rockies. It was originally scheduled to be with a few other photographers but due to challenges in planning and scheduling the trip didn’t work out with the group. So I made the decision to go ahead and travel on my own. I was there for a month and the experience ended up being incredibly fulfilling. Travelling alone gave me lots of time for personal reflection and creative growth. The days were filled with morning sunrise missions, afternoon hikes, and nighttime astro-photography skies. This trip gave me more technical confidence in photography, while challenging me to step out of my comfort zone to be more intentional with my creative process. photoED:  Tell us about your hardest or most challenging day as an outdoor photographer. What keeps you going on a hard day? Juan : Unexpected weather conditions and patterns can always affect outdoor photographers. You can always plan ahead, packing the correct gear, arriving on time, and scouting the location, but nature will always have the final say. I once drove four hours to Killarney Provincial Park to photograph the Milky Way. Conditions were looking great, the sky was clear, the temperature was comfortable, and I had planned to stay up all night photographing the stars. As night got closer, conditions took a turn, the temperature dropped, and clouds began to set in to the point where there was no visibility in the sky. I ended up sleeping in the car. This was not comfortable at all but I wanted to make the best out of the long drive. The next morning I put on my hiking shoes and trekked around the park. The day turned out to be amazing, and the views on the hike were incredible.  Many trips that have had similar outcomes always teach me some great lessons. Learning to adapt, staying patient, and accepting the unpredictable will take you to meaningful adventures and might even lead you to even more incredible images. Muskoka Cottage Country in Ontario • Nikon Z6 + 70-200, 1/320,f/5.6, ISO 100 photoED:  Where do you hope photography will take you in the future? Do you have a dream project or client? Juan : I hope photography continues to open many doors to travel experiences and storytelling opportunities. I’d love to collaborate with more brands and clients who trust my creative vision and are open to experimentation through working on projects that push boundaries. Seeing my photos printed on a large scale would also be a dream! First morning light at Vermillion Lake, Alberta • Nikon Z6 + Z 14-30mm, 1/10, f/11, ISO 100 photoED:  What advice do you have for photographers just getting started?   Juan : Don't get fixated on what gear to use. The best camera will always be the one you have with you.  It’s easy to get caught up in equipment, but the most important aspect of photography is being able to understand compositions, framing, lighting, and telling a story simply by learning how to see.  Also, don’t be afraid to photograph everything and anything you find interesting. This will push your creativity and allow you to be ready when great opportunities arise. When I began in this field, I photographed everything from cars, to streets, to portraits, to products, to events. This practice forced me to quickly adapt and get comfortable with the gear I was using. Each of these subjects require different settings, so the experience helps photographers to understand the functions on the camera. Being curious and open to continuous learning is essential to developing your craft. Dark Skies over Northern Ontario. • Nikon Z8 + Z 14-30mm, 30 sec, f/4, ISO 3200 GEAR UP What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using NIKON products. Juan : My go-to cameras are the Nikon Z 8  and the Z5II .  Although I have primarily worked with still images, I am beginning to explore video with Nikon’s new lineup of hybrid cameras. In terms of lenses, my workhorse is the Z 24–70mm f2.8 , which allows me to cover many situations without going too wide or being too zoomed in. For landscape and travel photography, I’ll always have the Z 14–30mm f4  handy because it can capture a wide-angle perspective, which is ideal. I also use this lens for astro-photography to capture the nighttime scenes, as it’s super sharp, portable, and lightweight for longer hikes.  I also carry a Z 70–200mm f2.8  for when I need that extra reach or want to focus or isolate subjects. These three lenses cover 99 percent of the work I do. I have found them to be a perfect balance of quality, performance, and portability. I have nothing but positive reviews about this gear. This is my optimal workflow when heading out on an adventure. Nikon’s products have given me freedom and confidence to focus entirely on the subject, which at the end of the day is what matters the most. To see more of Juan's work, find him on Instagram: @juanrojaspaez

I spend a lot of time thinking about big data and its effects on our everyday lives. Outside of creating fine art photography, I work with spreadsheets in the field of database marketing. Unrelated to my creative photography work, I stumbled onto an Australian-born mathematician named Matt Parker. Matt is the Public Engagement in Mathematics Fellow at Queen Mary University of London who developed (or at least popularized) a script that converts each RGB pixel of an image into a cell in an Excel spreadsheet. After seeing his technique, I wanted to try it for myself. I was curious as to what the results of this script would look like printed. The idea of bothering to print something that may not be saleable intrigued me because I like to use my art as a vehicle to get more people contemplating the impact (both good and bad) of the constant data collection in our lives. My personal stance is that it is mostly bad for us as individuals; the more people talking and thinking about this issue, the better off everyone will be. When I first started experimenting with this idea, I found that if I had tried to print my initial attempts of working with this script, I would have ended up with an image over 23 metres wide. After several more attempts, I was able to adjust the image to a more reasonable size (1.55 m - 1.27 m) that my printer could handle. I experimented with several images and settled on a photograph I created at the Blue Lagoon in Iceland. The image evokes a sense of place, of being human, and of experiencing a moment in life. Even in these instances, when we are not conscious of it, data is captured about our lives, our physical location, and the people around us. Regardless of how remote Icelandic hot springs are, it has become increasingly difficult to distance ourselves from digital data. Timothy Starchuk is a practicing fine art photographer based in Edmonton, Alberta. He sits on the Board of The Works International Visual Arts Society and has exhibited work at galleries such as Latitude 53, Harcourt House, and Vacancy Hall. As a driving force in communicating his visual messages, he thoroughly enjoys pushing technical limits through experimentation, printing his work on different substrates such as large format printing on Baltic birch; playing with Polaroid prints; and through trying digital data challenges such as converting his images into Excel documents. Tim talks about data + marketing, how we balance modern convenience with how our private data is tracked - everywhere - we - go. Check out his video presentation from our Edmonton - PHOTO INSPIRATION NIGHT VIDEO - HERE . photoED Magazine featured Timothy Starchuk's story in print in our SOLD OUT, but... You can now get this issue DIGITALLY DELIVERED HERE. Like what you see here? Consider supporting us! As an independent editorial publication we need your support to continue producing great content featuring lens-based artists for you to enjoy! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS  •

An interview with photoED Magazine A starry night at Sunwapta Falls, BC. • Shot with SONY and the Tamron 28-75mm. By day, Alan Poelman is a hospital manager based in northwestern Ontario. After hours, he is an award-winning, self-taught wildlife and nature photographer. In 2022, he earned national acclaim when Canadian Geographic named him Photographer of the Year. His large Instagram follower count has encouraged media sources such as Mountain Life Magazine and the CBC to take notice and profile him and his photography. photoED Magazine spoke to Alan Poelman about his work. One of the most famous falls in Iceland, Skogafoss is an icon. I managed to get up early to photograph these falls all to myself, at least for a couple hours. • Shot with SONY and the Tamron 20-40mm. photoED: How did you get started in photography? And what keeps you motivated and inspired to keep at it? Alan : After graduating university, I initially started taking photos with a point-and-shoot camera my parents bought for me. Most of these images were of my golden retriever, Bond. About 10 years ago I picked up a Nikon D750 DSLR camera and started to take things more seriously, actively researching various forms of photography technology and practicing the craft. Perhaps it’s the process of getting outside and keeping active, or visualizing ideas and trying to make them come to life that keeps me motivated. But it’s definitely something I strive to keep pursuing, as it almost seems ingrained in my identity now. photoED: What do you love most about creating stories through photography? Alan : I like the creative process. When I first started taking images I was mostly going out and capturing what I saw, or hoping for the best case scenario where something wonderful would appear in front of me. Now, although I still hope for that, planning for images is a much more methodical process, especially with landscape photography. I really have to analyze a scene to understand what would make a compelling composition, but this can come with an inherent downside of not immersing oneself in the moment, when everything is about the shot. That’s why now, when I travel, I intentionally make time to just enjoy my surroundings and relax, taking in all that a place has to offer. photoED:  Whose work has influenced yours?   Alan : There are so many wonderful photographers I have been following that have influenced me — far too many to name. I can’t select one in particular; rather, just making the time to see more photography and creativity as a culmination has inspired me. When I first started taking images I would browse Instagram analyzing and asking myself what made a particular image stand out for me. Through this process, I would try to replicate a lot of the techniques I saw. This process eventually led me to develop my own style and visuals that have been consistent for many years now. Castle Keiss in Scotland had been on my bucket list for a long time. I look forward to returning to document the local seals as well. • Shot with SONY and the Tamron 28-75mm. photoED: What makes a good photograph? Alan : Although photography is subjective, and something that looks amazing to one person may not look great to another, for me, I like symmetry and strict composition rules. I use them in my images as guidelines —  sometimes to a fault. Although, I’ve always envied people who have the ability to capture spontaneous images or moments that elicit pure emotion. Sometimes there does not have to be a grandiose structure that has to be met in order to create a compelling image. photoED: How has working in photography influenced you personally? Alan : It has expanded who I am as an individual. It has pushed me to go outside and create when I’m not in a great state of mind mentally. It has broadened my self-esteem and knowledge through travel and culture. It has made my affinity for the natural world one of empathy and respect for the land we live in and the creatures that inhabit it.  One of my first wildlife photo encounters was with a family of foxes near Pinawa, MB. These kits were more than happy to prance around with a curious glee during a rainstorm. This particular experience holds significance to me as it kicked off my journey with photography. • Shot with Nikon and the Tamron 150-600mm. photoED:  What does your dream project entail? Where do you hope photography will take you in the future?   Alan : Honestly, it’s really the most simplistic things that have resonated with me the most; whether that’s enjoying a sunset at a nearby lake, or finding a symmetrical stack of local wildflowers. Hopefully there are many adventures ahead, both in familiar places and some places not yet explored. The main projects that I have in mind for the future would include more wildlife adventures. I’d love to see some monkeys in Japan or India, or take a wildlife safari in Africa to see lions and elephants, or head to Wyoming to capture moose in the fall. Ultimately, I’m happy just to see any critter: a good butterfly encounter in my backyard would keep me on cloud nine for days, if not weeks. Arches National Park, UT, offers some of the world's most unique landscapes and photography opportunities. • Shot with Nikon and the Tamron 15-30mm. photoED:  Do you have any tips for emerging photographers? Alan : Make connections. Being a photographer of note is about getting yourself out there through social media and local groups. That is, if you want to use it as an income tool. If not, just enjoy it. I recommend finding a niche that you enjoy and focusing on it. Once you feel confident enough, start expanding to something else —  as long as it speaks to you. Don’t compare yourself to others, as this may strip the joy away from what you do. Focus on yourself and what brings you happiness behind the lens. A curious swan in Hamilton, ON came right up to me. I was not expecting this interaction and the only lens I had on me at the time was a wide angle. In hindsight this was fortunate as it allowed me to get a caricature portrait that always makes me laugh. • Shot with Nikon and the Tamron 15-30mm. GEAR UP What camera and equipment do you use most now? What’s your favourite lens? Tell us about your experience using Tamron lenses. Alan : I’m now using a Sony body (A9ii and A7iv) with a lot of different lenses. Depending on the shot I’m going for, I will use a Tamron 28-75mm or the Tamron 70-180mm. But, I’d have to say the Tamron 35-150mm i s my favourite. This lens’ ability to shoot wide landscapes and then zoom in for close portrait shots is a game changer. Plus, it has the option of setting the aperture to f/2-2.8, creating extremely sharp images, making it uniquely versatile for many shooting styles. A lens with this low aperture ability is very uncommon in tandem with a large zoom range. It’s like having multiple lenses all-in-one, making it a great travel companion. Alan Poelman See more of Alan Poelman's work - HERE. Check out Alan Poelman's fave Tamron lens - HERE! www.tamron-americas.com

L'une des chutes les plus célèbres d'Islande, Skogafoss est un véritable icône. J'ai réussi à me lever tôt pour photographier ces chutes rien que pour moi, du moins pendant quelques heures. • Pris avec un appareil SONY et la lentille Tamron 20-40mm. Le jour, Alan Poelman est gestionnaire d’hôpital dans le nord-ouest de l’Ontario. Une fois ses heures de travail terminées, il devient photographe autodidacte primé, spécialisé dans la faune et la nature. En 2022, il a été reconnu au niveau national lorsque Canadian Geographic  l’a nommé Photographe de l’année. Son grand nombre d’abonnés sur Instagram a attiré l’attention des médias tels que Mountain Life Magazine  et la CBC, qui ont décidé de le reconnaître, lui et son travail photographique. photoED Magazine a interviewé Alan à propos de son travail. Si vous attendez la tombée de la nuit, des structures délabrées comme cette vieille église près de Regina, SK prennent vie et offrent de magnifiques images du ciel nocturne pendant une aurore. • Pris avec un appareil SONY et la lentille Tamron 28-75mm. photoED: Comment avez-vous commencé la photographie? Et qu’est-ce qui vous motive et vous inspire à continuer? Alan : Après l’université, j’ai commencé à prendre des photos avec un appareil compact que mes parents m’avaient offert. La plupart de mes photos étaient de mon golden retriever, Bond. Il y a environ dix ans, j’ai acheté un appareil reflex numérique Nikon D750 et j’ai commencé à prendre la photographie plus au sérieux, en faisant des recherches sur les différentes technologies photo et en pratiquant régulièrement. Peut-être est-ce le fait de sortir, de rester actif, ou encore de visualiser des idées et d’essayer de leur donner vie qui me motive. Mais c’est clairement quelque chose que je veux continuer à poursuivre, car cela semble maintenant faire partie intégrante de mon identité. photoED: Qu’aimez-vous le plus dans le fait de raconter des histoires à travers la photographie? Alan : J’aime le processus créatif. Quand j’ai commencé, je sortais simplement pour capturer ce que je voyais, ou j’espérais qu’un moment magique apparaît devant moi. Aujourd’hui, même si j’espère toujours cela, la planification des photos est devenue un processus bien plus méthodique, notamment pour les paysages. Je dois vraiment analyser une scène pour comprendre ce qui en ferait une composition captivante. Mais cela peut parfois avoir pour inconvénient de ne pas vivre pleinement l’instant, car tout tourne autour de la photo. C’est pourquoi, maintenant, lorsque je voyage, je prends volontairement du temps pour simplement profiter de l’environnement et me détendre, en absorbant tout ce que le lieu a à offrir. photoED:  Le travail de qui a influencé le vôtre?   Alan : Il y a tellement de photographes talentueux que je suis et qui m’ont influencé — beaucoup trop pour tous les nommer. Je ne peux pas en choisir un en particulier; c’est plutôt l’ensemble des œuvres vues au fil du temps qui m’ont inspiré. Quand j’ai commencé, je parcourais Instagram en analysant les images et en me demandant pourquoi certaines me touchaient. Ce processus m’a conduit à essayer de reproduire beaucoup de techniques. Finalement, cela m’a permis de développer mon propre style, que je continue à suivre depuis plusieurs années. Le château de Keiss en Écosse figurait sur ma liste depuis longtemps. J’ai hâte d’y retourner pour documenter également les phoques locaux. • Pris avec un appareil SONY et la lentille Tamron 28-75mm. photoED: Qu'est-ce qui fait une bonne photographie? Alan : Même si la photographie est subjective — ce qui peut paraître magnifique pour une personne ne l’est pas forcément pour une autre —, pour moi, j’aime la symétrie et les règles de composition strictes. Je les utilise comme guides dans mes photos, parfois à l’excès. Cela dit, j’ai toujours admiré les personnes capables de capturer des instants spontanés ou chargés d’émotion pure. Parfois, il n’est pas nécessaire qu’une image réponde à une structure complexe pour être percutante. L'une de mes premières rencontres photographiques avec la faune a été avec une famille de renards près de Pinawa, MB. Ces petits étaient plus qu'heureux de gambader avec une curiosité joyeuse pendant un orage. Cette expérience particulière a beaucoup de sens pour moi, car elle a marqué le début de mon aventure photographique. • Pris avec un appareil Nikon et la lentille Tamron 150-600mm. photoED:  Comment la photographie vous a-t-elle influencé personnellement?   Alan : Elle m’a permis de m’épanouir en tant que personne. Elle m’a poussé à sortir et à créer même lorsque je n’étais pas dans un bon état d’esprit. Elle a renforcé ma confiance en moi et enrichi mes connaissances à travers les voyages et les cultures. Elle a transformé mon lien avec la nature en une relation d’empathie et de respect pour la terre que nous habitons et pour les créatures qui y vivent. photoED:  En quoi consiste votre projet de rêve? Où espérez-vous que la photographie vous mènera à l’avenir? Alan : Honnêtement, ce sont les choses les plus simples qui m’ont le plus marqué; comme profiter d’un coucher de soleil au bord d’un lac ou découvrir un bouquet de fleurs sauvages locales parfaitement symétrique. J’espère qu’il y aura encore de nombreuses aventures, tant dans des lieux familiers que dans des endroits encore inexplorés. Les projets que j’envisage incluent davantage d’excursions axées sur la faune. J’aimerais voir des singes au Japon ou en Inde, faire un safari en Afrique pour observer des lions et des éléphants, ou aller au Wyoming pour photographier des orignaux en automne. Finalement, je suis heureux de voir n’importe quelle créature: une belle rencontre avec un papillon dans mon jardin me rendait euphorique pendant des jours, voire des semaines. Une nuit étoilée aux chutes Sunwapta, en Colombie-Britannique. • Pris avec un appareil SONY et la lentille Tamron 28-75mm. photoED:  Avez-vous des conseils pour les photographes en herbe? Alan : Créez des liens. Se faire connaître comme photographe passe par les réseaux sociaux et les groupes locaux — si l’on souhaite en faire une source de revenus. Sinon, profitez simplement de l’expérience. Je recommande de trouver un domaine que vous aimez et de vous y concentrer. Une fois que vous vous sentez à l’aise, explorez d’autres styles — du moment qu’ils vous parlent. Ne vous comparez pas aux autres, car cela peut vous faire perdre la joie de créer. Concentrez-vous sur vous-même et sur ce qui vous rend heureux derrière l’objectif. Un cygne curieux à Hamilton, ON est venu directement vers moi. Je ne m’attendais pas à cette interaction et l’unique objectif que j’avais sur moi à ce moment-là était un grand angle. Avec le recul, ce fut une chance, car cela m’a permis de capturer un portrait caricatural qui me fait toujours rire. • Pris avec un appareil Nikon et la lentille Tamron 15-30mm. ÉQUIPEMENT: Quel appareil et quel équipement utilisez-vous le plus souvent maintenant? Quel est votre objectif préféré? Parlez-nous de votre expérience avec les objectifs Tamron. Alan : J’utilise désormais un boîtier Sony (A9ii et A7iv) avec une grande variété d’objectifs. Selon le type de photo, j’utilise un Tamron 28-75 mm ou un Tamron 70-180 mm. Mais mon préféré reste le Tamron 35-150 mm. Sa capacité à capturer à la fois de grand paysages et des portraits en gros plan est une véritable révolution. De plus, la possibilité de régler l’ouverture entre f/2 et f/2.8 permet d’obtenir des images extrêmement nettes, ce qui le rend très polyvalent pour de nombreux styles. Un objectif avec une telle ouverture et une plage focale aussi étendue est rare. C’est comme avoir plusieurs objectifs en un seul, ce qui en fait un excellent compagnon de voyage. Alan Poelman Découvrez plus du travail d’ Alan Poelman – ICI. Découvrez l’objectif Tamron préféré d’Alan Poelman – ICI. www.tamron-americas.com

"Of course I remember that birthday!" But the truth is, you can’t. You were a kid. Someone else held the camera. They pointed it at your cake-streaked face, crooked paper hat, and unsupervised fingers digging into frosting like it was a hidden treasure. Now, decades later, you say you remember the whole party. You even believe it. The now faded photo lives on your fridge door, but without the photo, would the memory remain? Memory doesn’t always play fair. It can cheat and borrow. And photography, benevolent, flattering, and, we might as well admit it, a little smug, sits beside it, suggesting ideas. What we remember and see has formed a co-dependent little ecosystem increasingly distorted by screens and scrolls. This story is about photography and memory, how they shake hands, trade secrets, and sometimes sabotage one another. Memory, media, and that subtle slide into fiction In the second half of the twentieth century, thinkers like Baudrillard and Debord began making a racket about images. Debord wrote about the so-called society of the spectacle , where people watched rather than lived, where no human experience remained unmediated by images. Baudrillard proposed that simulations eventually replace the real, first mimicking, then standing in for it, and finally erasing it altogether. You don’t need a lecture to grasp the point; it’s our contemporary world we’re talking about. Look at your vacation photos from five years ago. You remember the moment the shutter clicked. The scent of the ocean. The sun that bit the back of your neck. But look closer. Are you remembering the day? Or: Are you remembering the photograph? The filters we swim through Social media amplifies the above confusion. It does not merely reflect reality – it can more than easily stage it. You pose and perform. You post. And over time, the image does what images do best: it becomes the reference point. You didn’t feel so well that night, but the photo says otherwise. So, which do you believe? One of the main issues with our so-called digital age is the following statement: photographs are no longer developed – they’re accumulated. We document everything now . Screenshots, selfies, snaps, reels: your digital self has no consistent hairstyle. It is always smiling. It exists in layers of JPEGs, each image like sediment compressed into a version of truth. You once had a handful of prints tucked into albums. You turned the pages slowly, with ceremony. Now you simply flick past your face with a thumb. There’s a good chance your child will one day discover a hard drive of 40,000 pictures labeled IMG_3829.jpg and IMG_3830.jpg, with no captions, context, or smell of old paper. Photographs double as cultural artifacts. They document war, revolution, weddings, odd fashion choices… They gather, which is the way walls gather fingerprints. The Vietnam War changed public perception largely because of images. The Civil Rights Movement marched beside photographers. Memory, in these contexts, means more than sentiment. It becomes public record. Today, people preserve entire decades on hard drives, thumb drives, or in the cloud, often digitized. Through Capture , thousands of images can now be summoned in seconds, turning history into something as searchable as it is sometimes forgettable. Digitizing photos ensures long-term access and protection of meaningful visual memories. But here’s a warning: images without context fade fast. Even a powerful photo of a protester loses meaning if no one remembers what they were fighting for. Why’s imagery so seductive? Short answer: because it offers a shortcut. A photograph gives you the illusion of completion. One glance and you feel you’ve revisited a place, a time, a face. But the truth sits outside the frame, off-camera. Photographs promise memory with less labor. This is comforting. And dangerous. Memory, when left alone, evolves. It stumbles, it reshapes. It grows teeth. A photograph can freeze it in amber. Sometimes that’s lovely. Sometimes it’s an anchor. Ever argued with someone about a shared past? They recall one thing. You recall another. And then someone pulls out a photo, and everything shifts. The argument doesn’t resolve. In a way, it fossilizes. Photography, like language or plumbing or email, is a tool. It behaves based on how you use it. If you treat photos as conversation starters rather than verdicts, they can deepen memory rather than trap it. Ask questions of them. Use them as evidence, not a conclusion. Let them stretch your recollection, not shrink it. There’s a practice in some therapy circles: looking at old images not so much to confirm memory but to challenge it. To stir something unspoken. That’s where photography and memory do their best teamwork: the image becomes a key, not a cage. Every now and then, resist the urge to document, let your face remain unfiltered, or let a moment exist without proof. It’s not romantic or rebellious. It’s just... responsible. Photographs keep our ghosts well-dressed. But ghosts they remain. In the age of saturation, we rarely ask how photography and memory interact. We assume the relationship is loyal, factual, maybe even helpful. But loyalty can be lazy. And truth, filtered too often, loses its temperature. We need to be less certain about what we remember. That’s called humility . Photography can offer a kind of clarity, but memory thrives in contradiction. The best recollections are unreliable, full of strange emphasis and blurred details. Let them be messy. Let them breathe. If we’re lucky, a photo will someday take us back to a feeling, not to the exact moment. Not a record, but a doorway cracked open, leading to a room we once knew, furnished by time , softened by forgetting, and, oddly, made whole by the fact that we do not remember it perfectly. Let the image nudge. Let the memory wander. And maybe, just maybe, leave some pictures un-posted. Let them live in silence, in drawers, in private folders. Memory deserves that space. Did you enjoy this FREE read? Consider supporting us! For as little as $2./ month we'd love your support to continue producing great content for you to enjoy!   • JOIN US AS A PATRON  • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS   Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

GURU’S TOP PICK WINNER: So Pyay Lynn  •  Myanmar Billed as the world’s greatest photo game, GuruShots is an international competition platform for photographers . Players get feedback from more than three billion monthly voters and try to work their way up through rankings, from Newbie to the ultimate status (and bragging rights) of Guru. TOP PHOTOGRAPHER WINNER: Erik Ersson • Sweden The Lighting challenge showcases the power of light captured beautifully by photographers internationally. GuruShots’ challenges are voted on by the platform’s Gurus and the wider community, with a fresh challenge every day. Winners can receive prizes from GuruShots’ sponsors such as Adorama, Kodak, Lowepro, and Lensbaby. TOP PHOTO WINNER:  Julien Serarre • Mexico   Daiva Ališauskiene • Lithuania  Margie Troyer • USA Roy Egloff  • Switzerland Bajkó Tamás •  Hungary Americo Paulo Sequeira • Portugal Hyuntae Kim • USA alainsills LE • France Lukasz Szubartowicz • Poland Tiffany Bontrager •  USA Mirek Neradil • Czechia  Mariah  Goodwin • USA Chuck Milledge  • USA Erik Csosza • Switzerland Xan White • Switzerland Luki Siffrin • UK Jamil Badalov •  Azerbaijan To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

Quebec’s distinctness surfaces repeatedly in a recently released photobook outlining the history of the now-defunct Agence Stock Photo, a collective of photojournalists working in the province between 1987 and 2017. The group loosely modelled themselves on Magnum, the famous agency founded to give photographers greater control over both the subjects they covered and the use of their photographs. Quebec news outlets published the lion’s share of Stock Photo’s images, with the remainder in other markets across la Francophonie , including France and Haiti. While the text is entirely in French, the photo-to-text ratio is quite high, meaning that those who do not read French well—or at all—can still benefit from the book. If anything, it might have been helpful to have more written on Agence Stock Photo itself, as well as the day-to-day realities and challenges of the photographers, both individually and as a collective. The interviews with the key figures in the collective are interesting and it would have been nice to have more of these documented. Still, for a volume that Le Devoir  called a history of the “golden age of photojournalism in Quebec,” perhaps no book would have been quite long enough. Readers get insights into a recent past that already feels a little distant. It’s not just the number of photographs shot on film, or that cars, clothes, and hairstyles have changed. It’s the reality that newspapers themselves are under threat, the media landscape is in the hands of fewer and fewer players, and there are not as many photographers hired solely to provide news coverage. We’re now used to an environment where ‘citizen journalists’ work for little or no pay, and who often have neither recognized training nor standards. So, step back in time to professional reporting of key events and shifts in the Quebec of not so long ago. Some of the ground covered will be familiar to readers in the rest of Canada, while some will be a glimpse into political and societal terrain that is uniquely Québécois. Bonne lecture !   Agence Stock Photo : Une histoire du photojournalisme au Québec — Sophie Bertrand et Jocelyne Fournel Softcover, 2024, 200 pages, French text CDN $54.95 plus shipping les éditions du passage Available from online retailers Did you enjoy this FREE read? Consider supporting us!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   READ our digital editions  Follow us on Patreon  and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

An interview with photoED Magazine “June 2024, Montreal” • Shot with Tamron 28-75mm F2.8 Rabih Madi  is a Canadian, award-winning, self-taught wedding photographer, who travels extensively to document special moments. He also offers workshops to share his know-how with emerging photographers with a focus on composition, flash techniques, and dynamic lighting. He returns from his international adventures to his family and a big furry dog named Pixel. “May 2025, Mexico” • Shot with Tamron 35-150mm F2-2.8 photoED: How did you get started in photography? And what keeps you motivated and inspired to keep at it? Rabih : I started photography influenced by my dad. He always carried around a Nikon camera, and bought me my first Nikon camera in 2010. Passion for people and storytelling keeps me motivated to keep shooting events. Every time I shoot, there is a connection that I make with people that is extremely fulfilling. In turn, they get the same excitement and emotional connection too. photoED: What do you love most about creating stories through photography? Rabih : It may be cheesy to say, but freezing a moment is what I really enjoy. I often have people telling me they remember a moment when a photo was taken and they start getting emotional.  Photographs possess a timeless quality. When we encounter images from the past, conversations spark and the stories embedded within them resurface. Essentially, histories endure through images. I want to create that conduit for people. photoED:  Whose work has influenced yours?   Rabih : I’m inspired by Joe McNally. I bought his book, The Hot Shoe Diaries,  and have taken a class with him at WPPI Photography Expo . I liked that the class was focused on how to get great shots with minimal gear and lighting, and that you don’t need to invest your life savings to come up with something great. I like that he connects with people through amazing storytelling and that his charisma makes you want to know more about him. “October 2024, France Workshop” • Shot with Tamron 28-75mm F2.8 photoED: What makes a good photograph? Rabih : The story. The story makes a good photograph. Photographers can easily learn how to take a technically good image but having a story connected to it is the challenge. I feel when you get the viewer emotionally connected to the image, you have done a great job. The story part of the image is where people start remembering the photograph. I am constantly working striving to have my images tell a great story. photoED: How has working in photography influenced you personally? Rabih : My professional working background was in finance education and technology. It wasn’t until I picked up a camera that I was truly my natural self! At weddings specifically, working with a broad range of people and cultures I get to learn about traditions that span generations. I have a new appreciation for diversity thanks to photography. "Calm before the storm, 2024" • Shot with Tamron 28-75mm F2.8 photoED:  What has been your favourite or most personally impactful project or adventure?   Rabih : A trip to Abu Dhabi has been the most impactful for my career. I had just got my first full-frame Nikon camera and I photographed the Sheikh Zayed Mosque. It was the first time I really applied what I had learned in classes. Since then, I have been pushing myself to improve at every capture. photoED:  What does your dream project entail? Where do you hope photography will take you in the future? Rabih : I would love to develop a book about people from my travels and to get into more teaching. “May 2024, Montreal” • Shot with Tamron 28-75mm F2.8 photoED:  Do you have any travel tips for photographers? Rabih : Travel light but with intention. It’s not the gear you have, it’s how you use it. If you carry too much gear, you will be very tired by the end of the day, and likely not even use most of what you carried. Understand, when travelling to different countries, that you are a visitor and their traditions differ from yours. Aim to document without interfering or judgement. “October 2024, France Workshop” • Shot with Tamron 35-150mm F2-2.8 GEAR UP What camera and equipment do you use most now? What’s your favourite lens? Tell us about your experience using Tamron lenses. Rabih : I use a Nikon Z8 and Z6III for my everyday photography. My favourite lens is the Tamron 35-150mm F/2-2.8 Di III VXD. It is a versatile lens that allows me to capture wide environmental images as well as close-up portraits, with no need to change lenses and risk dust in the sensor. Tamron has been really amazing to work with. Their lenses for the Z systems are high quality and sharp, and they focus fast. It’s all I need for my highly intensive weddings and events. Rabih Madi See more of Rabih Madi's work - HERE. Check out Rabih Madi's fave Tamron lens - HERE! www.tamron-americas.com