“LET’S PLAY” is what I always say at the beginning of every photo shoot, even if I am the only one in the room. For me, it’s a reminder. As photographers, we are often bogged down by the seriousness of our industry, the highly competitive, egocentric, solitary reality of running a business. We often forget why we got into the game in the first place. Photography is a perfect marriage of science and art. A medium all on its own, there is really nothing like it. Training your brain to see differently and solve visual challenges, learning the rules so that you can break them, is all part of the experience. As a teenager, there was always a camera hanging around my neck. My high school didn’t have a photography class, but there was a secret darkroom where I learned film development and printmaking. I learned through under- and over-exposed disappointing images. At the time, someone told me that film was the cheapest thing in photography, but it was too expensive for me. I had to get better and make each frame count. I wanted to learn more and pursued photography in my post-secondary education. The science of photography totally blew my mind. I was in love again! I had never been so dedicated or worked so hard at anything in my life. Ideas and inspiration were flowing out of me! I was indestructible. The one thing that I really didn’t learn at college was that I had to know how to run a business. This got me into some uncomfortable situations with my first few jobs in photography and it made me not love it anymore. There was a period of about three or more years that I didn’t even touch my camera. I lost the magic and forgot what it was that made me love it in the first place. I forgot how to play. I spent years working in a completely different industry that paid my bills. I chose to pick up my camera only for enjoyment. A personal, private, secret hobby, with results that never saw the light of day. Then something changed. I began to have ideas again. These ideas were unconventional and against everything I had learned formally. I began by cutting up my prints to create new work. Going back into the archives and reinventing images I had taken years ago. Manipulating light, exploring abstraction, celebrating colour, I was playing. I was excited about what I was doing and began to share my work again. People were responding positively so I continued to create, and enjoyed the process. It was fun again. Maybe I’m getting older and caring less about what other people think or coming to terms with the idea that photography is part of my core. The one thing I know is that it’s play that keeps calling me back to create and experiment with photography. I encourage you to pick up your camera, experiment, try a technique or a lens you’ve never used before. Fight the instincts to make a technically perfect image. You never know where it will take you. Remember fun. This story originally featured in the Let's Do something FUN issue. This print edition is SOLD OUT, but you can still read the full replica on Press Reader - HERE. Enjoyed this free read?! Why not support us for more thoughtful takes on photography?! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions • Make a donation

Photography highlights at TOAF65 The Toronto Outdoor Art Fair (TOAF) returns July 10–12 for its landmark 65th birthday. As Canada's largest and longest-running outdoor art fair, TOAF promises a weekend filled with art, culture, and connection—and this year's edition is its most ambitious yet. Featuring more than 400 artists from across Canada, expanded national representation, major new exhibitions, live music and dance performances, and free admission, TOAF65 is a celebration not to be missed. More than 400 emerging and established artists will participate in this year's Fair, including 75 artists from outside Ontario and 64 artists exhibiting exclusively online at TOAF.ca. Visitors can discover work across painting, craft and design, sculpture and installation, photography, and digital media. This exceptional roster was selected by an esteemed jury of arts professionals: Sandra Brewster, Suzanne Carte, Maria Kanellopoulos, and Jesse King. TOAF also takes pride in an awards program unlike any other in Canada. In honour of its 65th year, the Fair will distribute more than $67,000 in cash and in-kind awards, creating opportunities for artists to advance their careers, receive public recognition, and strengthen their practices. Look forward to winner announcements in the Photography & Digital Media category: Best of Photography & Digital Media Award $2,650, generously supported by Jennifer Longhurst and Lars Bendsen Honourable Mention Photography & Digital Media $650 gift card, generously supported by Total Image Works PhotoED Magazine Award Three recipients will receive a subscription to PhotoEd Magazine. One recipient will receive a Print Feature and artist honorarium. To celebrate photoED Magazine's partnership with TOAF, we're highlighting a selection of photographers participating in this year's Fair. From documentary and portraiture to experimental and conceptual practices, these are a few of the artists we have our eye on at TOAF65… Ranz Bontogon - Atlantic Canada Program Ang Matamis Na Tunog Nang Tawa Ng Barkada / Sweet Sound of Laughing With Friends • Cyanotype Print on Manila Paper, tea-toned with black tea Born in Taguig City, Philippines and now based in Moncton, New Brunswick, Ranz Bontogon’s work explores the complex interfaces of Filipino identity and migration in Canada. Bontogon’s use of traditional darkroom processes contributes to the quiet nostalgia of his work. This sense of memory also emerges through his sensitivity to composition; motion and stillness find balance in each piece, further contributing to the larger narrative of cultural identity and place. Lara Shecter The Finish Line • Canvas on Wood Cradle with resin finish Vancouver-based, first time TOAF artist, Lara Shecter is drawn to the stories embedded in landscapes. Working in acrylic and mixed-media, Shecter’s work is sensitive to perspective and depth, and through this, her compositions reveal the relationship between the human and the natural world. Shecter’s use of colour is surprising, yet somehow familiar, producing reimagined landscapes that capture a sense of shifting familiarity. Chris Robison HOTBOX - Becker's PhoneBooth • Photograph on 290g Hahnemühle Natural Bamboo fine art archival paper Chris Robinson specializes in conceptual, lifestyle, and portraiture photography, creating colourful, story-driven works that lean into the experience of memory. Robinson does not shy away from humour in his work, turning towards fuzzy warmth and lightheartedness to create a sense of whimsy that elevates mundane landscapes into cinematic snapshots. Nika Belianina Inner Spirit • photograph Nika Belianina is an award-winning filmmaker and artist based in Toronto whose work is distinctly playful, peculiar, and profoundly human. To develop her unique sense of atmosphere, Belianina brings in elements of magical realism through a cinematic lens, producing work that walks the line between uncanny and entirely relatable. Belianina was the recipient of the Honourable Mention Photography and Digital Media Award at TOAF64. Alicia Syne Stardust 1 • Photography & Digital Media Based in Ontario, Alicia Syne is a multidisciplinary artist working primarily in painting and photography. Syne engages with themes of human connection and atmospheric energy and, in turn, the nature of identity. The blur between background and subject contribute to Syne’s unconventional, cosmic twist on portraiture, asking the viewer to consider their own relationship with the non-human world. Bree Rosberg April 1962: Flounder • Photograph Part of OCAD U Career Launchers Program, Bree Rosenberg is an artist whose practice revolves around themes of memory and self-reflection. In her work, Rosenberg leans into conceptual and intention-based processes where she navigates the relationship between art, text, and dialogue. Rosenberg understands her work to be a process of healing through performance, and this is evident in her monochromatic, movement-focused compositions which depict the body in motion and obscure the face. Jenelle Smith Gia • Photograph First generation Jamaican-Canadian artist, Jenelle Smith creates dreamlike expressions of passing moments. Smith is a recent graduate of OCAD U, and is now based in Toronto, Ontario, working primarily in digital and analog image-based media. Light and shadow, in Smith’s photographs, fall in patterns across landscapes and faces, contributing to the dreamy, playful aesthetic of her work. Carolyn Cheng Fallow Fields (Seasons, Fall) • Archival Pigment Print Carolyn Cheng is a Toronto-based photographer whose work frames sublime environmental landscapes, photographing primarily from an aerial perspective. Cheng is interested in how the cyclical, enduring processes of the natural world react under the pressures of human consumption and the changing climate. Through scale and distance, natural patterns and colours emerge in Cheng’s work, reorienting perspective and asking the viewer to reconsider their relationship with the natural world. Like to support MORE lens-based artists? support us! We'd love your support to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions • Make a donation

TOP PHOTOGRAPHER WINNER: Cécile Rivet • France 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. GURU'S TOP PICK WINNER: Amadey • Tajikistan TOP PHOTO WINNER: Julien Serarre • Mexico The Art of Still Life photography challenge showcases an exceptional collection of images by photographers from around the world. 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. Sanja B • Bosnia and Herzegovina Sharon Master • USA Roberto Basso • Italy Keith Shantz • Canada Peter Buck Buchikas • USA Redmere • USA Nuno D'Almeida • Portugal To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

LIGHT IS THE BASIS FOR PHOTOGRAPHY. As photographers, our craft is about documenting it or manipulating it to shape a narrative. THIERRY Du BOIS • From the Edification of Light series OUR 70TH PRINT EDITION shares contemporary visual depictions of electromagnetic radiation and its unique qualities, opening our eyes to the power of light through a new lens. The LIGHT issue IN PRINT • Cover image by THIERRY Du BOIS • photo by Margaret Mulligan The artists in this issue work with light as the basis of their photography, taking their explorations to new levels. “In the right light, at the right time, everything is extraordinary." — Aaron Rose Ann Piché crafts her images featuring light as her central subject; while Thierry du Bois creates abstract visions from the glow of urban architecture at night; and Vicki DaSilva uses light as a tool to create graffiti only visible with a camera. Ann Piché • fractured Vicki DaSilva • I am Malala • Light graffitti Meanwhile, Adam Swica, Rita Leistner and Don McKellar play with light to create visual narratives for viewers to question. “She Is Tangled In The Light" ©Rita Leistner and Don McKellar, courtesy of Stephen Bulger Gallery and FFOTO.com This issue features: SCARBOROUGH MADE Community Spotlights By Sid Naidu RITA LEISTNER & DON MCKELLAR Searching for light in dark times By Craig D’Arville THIERRY Du BOIS Lit from within By Alan Bulley THE PHOTOGRAPHY OF ANN PICHÉ By Darren Pottie VICKI DA SILVA Running with Light By Rita Godlevskis SOFT-FOCUS AND SERENDIPITY: PINHOLE PHOTOGRAPHY By Peppa Martin ADAM SWICA Rendering Light By Corinna vanGerwen Minna Keene & Violet Keene Perinchief By Mina Markovic Chasing Light is Chasing Life By Rocio Graham This edition also features, our Books + Resource recommendations by Alan Bulley for further light-based photography explorations, and our PORTFOLIO featured artists: Henry VanderSpek Monica Rooney Amy Friend Grant Withers Nikki Baxendale Jennifer Gilbert Felicity Somerset Alan McCord Pablo Villegas A Canadian photo history highlight by the phsc.ca This feature originally appeared in THE LIGHT ISSUE is now SOLD OUT in print, but is available to read as a digital replica on Press Reader. Find our playlist of LIGHT inspiration tunes on SPOTIFY! Follow us on Patreon and Instagram, and sign up for our e-newsletter to keep up with all our adventures!

An interview with NIKON Ambassador Sean LeBlanc Calgary, Alberta • Shot with Nikon Z9 Nikkor Z 24-70mm F/2.8 S shot at ISO 200, 1/160s, f/8, 70 mm. Sean LeBlanc’s journey towards becoming an award-winning portrait and wedding photographer is unconventional. After studying engineering and business in university and working in the renewable energy industry for years, he found his true passion photographing people. Sean resigned from engineering to work as a full-time photographer in 2018 and hasn’t looked back. Since then, he’s been documenting weddings all over the world, including in Japan, Europe, Central America, the Caribbean, and of course at home in Canada. We spoke to Sean about his work and adventures as a Nikon Ambassador. Calgary, Alberta • Shot with Nikon D750 Nikkor 24 f1.4G shot at ISO 200, 1/2000s, f/4, 24 mm. photoED: How did you learn photography? Sean: When I was working as an engineer, I often brought my camera to work. During lunch breaks, I would explore the city, taking photos of buildings and landscapes. This helped me learn a lot about exposure and how to photograph in manual mode. I watched numerous YouTube video tutorials on composition, lighting, and capturing natural moments, and videos by Nikon ambassadors focusing on wedding photography. Before a shoot, I’d watch a video and apply what I learned during the session. I made it a point to attend at least two in-person photography learning events per year, and I practised using flash equipment by asking my kids to model for me — all learning through trial and error. photoED: What did those early days feel like for you after you had made this decision to make photography your full-time career? Sean: I have to admit it was nerve-racking, especially with a young family at home. Giving up a well-paying engineering career with a salary, benefits, and an annual bonus wasn’t easy. It took about a year to convince myself I could make a living for my family through photography. Although I enjoyed my engineering work, I knew that photography was my real passion and my true calling. During that year of contemplating leaving the corporate world, all I could think about was growing my photography business, supported by family and friends. I also received industry recognition through awards, which boosted my confidence. Though it was a leap of faith to switch to full-time photography, I can’t imagine doing anything else. 2026, marks my eighth year as a full-time photographer. Edmonton, Alberta • Shot with Nikon D750 Nikkor 35 f1.4G shot at ISO 200, 1/250s, f/4.8, 35 mm. photoED: What do you love most about sharing stories through photography? Sean: As a portrait and wedding photographer, I often capture stories of celebration. Whether it’s a stunning wedding, an anniversary milestone, or a family’s growth, I feel privileged to document these joyful moments. These occasions are significant and memorable, and I believe these photographs will be cherished and passed down through generations. I’m creating something meaningful for my clients. I enjoy blending creativity with storytelling in my work, often layering multiple stories into a single photograph from a unique angle. When it all comes together, it’s truly exciting. photoED: Whose work has influenced yours? Sean: I have been influenced by so many incredible photographers — Joe McNally, Cliff Mautner, Mark Seliger, Erin and Ben Chrisman, Erika and Lanny Mann, Lindsay Adler, and the legendary work of Albert Watson and Irving Penn, just to name a few. At the top of the list, I would have to name Nikon Ambassadors Jerry Ghionis and David Yarrow. Jerry is a master when it comes to portraiture, lighting, posing, education, and business — all things photography. He has great charisma, and I have learned a lot from him. Lately, I’ve been inspired by the fine art work of David Yarrow. He has an incredible eye for composition and interesting ideas for creating fine art. Calgary, Alberta • Shot with Nikon Z9 Nikkor Z 24-120mm F/4 S shot at ISO 200, 1/160s, f/5.6, 54 mm. photoED: What makes a good photograph? Sean: In my mind, there are three elements that make a good photograph: lighting, composition, and moment or emotion. Great lighting can draw a viewer’s eye to a particular part of a photograph, create striking texture, mood, and tone, highlight the eyes, and evoke a certain feeling in the photograph — there is so much that great lighting can add to creating an image. A striking composition guides the viewer’s eye and creates a sense of wonder, but moment (or emotion) in the photograph trumps everything. Authenticity evokes emotion and gives viewers a reason to pause. It is the secret sauce in any good photograph. Of course, the technical elements of a photograph, such as exposure, focus, and clarity, should be considered, but sometimes a technically sound photograph just doesn’t work. Calgary, Alberta • Shot with Nikon D750 Nikkor 35 f1.4G shot at ISO 50, 1/250s, f/2.8, 35 mm. photoED: How has working in photography influenced you personally? Sean: Photography has completely changed my life — for the better. When I was working as an engineer, I liked what I was doing, but I didn’t love it. It was a grind, and I didn’t feel I was really contributing to the world. I was always watching the clock, waiting to go home. My heart wasn’t in it. With photography, I sometimes get so completely absorbed in what I’m doing that hours go by and I don’t even notice. It is also a career with great time flexibility — I am home when my kids get home from school, and I can take a day off when I need to. Most of all, as a photographer, I have the privilege of creating art that will proudly be displayed in my clients’ homes for years to come and passed down to future generations. I get to be creative both in my art and in my business. I absolutely love it. It is an incredibly fulfilling career and has created abundance for my family. Golden, British Columbia • Shot with Nikon Z8 Nikkor Z 24-70 mm f/2.8 shot at ISO 200, 1/180s, f/4, 70 mm. photoED: What has been your favourite or most personally impactful project, client, or photography session? Sean: During the pandemic, my wife and I saw our two boys grow very close. I documented their relationship throughout that period as well. It gave me the idea that there must be other amazing sibling relationships out there, so after the pandemic, I launched a photographic project celebrating relationships, particularly sibling relationships. In addition to creating beautiful artwork from the sessions for parents, the idea was to create a book of sibling portraiture, sell the book, and donate the proceeds to the Alberta Children’s Hospital. I received a fantastic response from other parents who saw their children grow closer during the pandemic as well. I had the honour of creating many pieces of art from the project and also raised a lot of money for the hospital. Overall, it was a fantastic project I’m really proud of. Calgary, Alberta • Shot with Nikon D750 Nikkor 24 f1.4G shot at ISO 400, 1/250s, f/8, 24 mm. photoED: Tell us about your hardest or most challenging day as a photographer. Sean: I don’t recall a specific day, but rather a period of time. During the pandemic, I started receiving emails and calls from clients wanting to cancel their sessions due to lockdown restrictions. It was a challenging time because I wasn’t sure what steps to take, as photography was my main source of income to support my family. While considering different options, I came up with the idea of creating an online mentorship program for aspiring photographers. I contacted several photographers I thought might be interested in mentorship, and I was amazed at how many accepted my offer to collaborate. Soon, my schedule was booked, and I was able to work from my computer without worrying about clients visiting my studio. Pray, Montana • Shot with Nikon Z9 Nikkor Z 70-200mm F/2.8 VR S shot at ISO 200, 1/5000s, f/2.8, 70 mm. photoED: Where do you hope photography will take you in the future? Sean: My hope is that photography will continue to take me further into the realm of photography education. I truly love sharing my passion and business with other like-minded people. I would love to one day lead multi-day workshops, travelling overseas to explore countries I have never visited and cultures I have never experienced. photoED: What advice do you have for photographers just getting started in any genre? Sean: For photographers just getting started in the industry, I would say don’t get bogged down in a specific genre right away. It takes time to find a genre that resonates with you. In the early days, I photographed everything — newborns, family, corporate, weddings, landscapes, etc. It took me a decade to realize studio portraiture was the genre I wanted to focus on. I also believe it is helpful for photographers to shoot weddings at some point in their careers. Weddings will teach you how to plan, create under intense pressure, and shoot with different lighting, both outdoors and indoors. It is basically every genre wrapped up into one! I learned a lot from photographing weddings. Finally, I would encourage new photographers to learn about the business of photography — this is so important if you want to maintain longevity in this industry. Marketing is the lifeblood of any studio — you need to have a constant stream of inquiries. Invest in a photography business coach. Calgary, Alberta • Shot with Nikon D850 Nikkor 35 f1.4G shot at ISO 200, 1/4000s, f/2.8, 35 mm. photoED: We simply have to ask … what are your top travel tips or hacks for travelling with photography equipment for events? Sean: In my early days of shooting on location or capturing destination weddings, I travelled with an excessive amount of gear — light modifiers, camera bodies, many lenses, and filters. I quickly realized that carrying too much equipment slowed me down and kept me from capturing great shots, especially during weddings when changing lenses took time. As I gained more experience, I learned that travelling light is more effective. Now, I typically bring only two camera bodies, two or three lenses, and one or two lights with a few modifiers — about a third of what I used initially. With fewer lenses and lights, I became more creative and deliberate in my compositions. GEAR UP What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using NIKON products. Sean: I mostly photograph in my studio with two Nikon Z9s and a few different lenses — the 70–200mm, 24–120mm, and the 85mm f/1.2. When I am on location, I like to bring along my 200mm f/2 and 35mm f/1.2. I love the compression and versatility of a 70–200mm. My favourite lens is the new 70–200mm II. I had the privilege of shooting a campaign for Nikon USA with this lens, and I love how it’s lighter, smaller, super sharp, and quick to focus — better than the previous version. The improved optics are awesome, and the Arca-Swiss mount and closer focusing distance are such a nice touch. This is now my go-to portrait lens for both studio and on-location work. My experience with Nikon products has been fantastic. I love the build quality, optics, autofocus, usability, and constant product innovation. Nikon also supports the photography industry through events and educational programs for photographers, and I am very proud to be part of the Nikon family as a Nikon Ambassador. Check out all Sean's favourite Nikon gear, HERE. Sean LeBlanc To see more of Sean's work, check out: seanleblancphotography.com

You might think that a degree in history and political science would lead to a career in politics or teaching, but for Ally Gonzalo, it led to a career in photography. While he was a student at the University of the Philippines, Ally attended a field trip with some of his friends. They lent him a camera to capture pictures for the day, and Ally took full advantage and snapped images of everything they saw. At the end of the day, his friends noticed that he had a unique flare for taking pictures and asked if he’d like to be a part of a photography group that they were organizing. He accepted. When he graduated from the university, he asked his grandmother for a camera as a graduation gift. She obliged, and he continued with his new favourite hobby. In June 2016, Ally and his family left the Philippines and immigrated to Winnipeg, Manitoba. Since he was starting from scratch in a new place, he felt he needed to figure out what he wanted to do. He could have sought work in radio or social media, as he had some previous experience in both fields, but he chose to pursue photography, as it made him happy and was an outlet for his creativity. Without hesitation, he enrolled at the PrairieView School of Photography. For a self-directed assignment, Ally chose to challenge himself and take portraits of people. At the time, he was comfortable shooting street photography and landscapes, but he felt intimidated by taking pictures of people. He chose to take portraits so that he could confront his anxiety head on. He initially had a goal of photographing five people but ended up doubling his number of subjects, and graduating at the top of his class. Like most people in a new place, Ally felt a little isolated and wanted to make friends and fit in. He thought that one way to meet new people was to join a photography group. Most of the photographers he encountered were white, cisgender, heterosexual men. He felt out of place, as he was the only brown, queer man and immigrant. After several failed attempts at trying to “fit in,” he decided to distinguish himself from everyone else and photograph people who he didn’t see represented in media. In 2019, he connected with a video producer from the CBC who was putting together a Filipino Heritage Month video and spoke to Ally about his Filipino background. Fascinated by their conversation, the producer suggested Ally submit a proposal to the CBC Creator Network. Not thinking too much about it, Ally sent in a pitch and to his surprise, the project was green lit. CBC Manitoba and CBC Arts shared his story and behind-the-scenes videos featuring Ally working on his series of portraits of gay, trans, non-binary, and bisexual Filipino Winnipeggers. His project was called Bakla! “Bakla” (Tagalog) is a term that means people who possess characteristics that are both male and female: an identity that Ally fully embraces. Although the term is meant to be derogatory, Ally has claimed it with pride. The term includes people who identify as trans, non-binary, or bisexual, and who generally don’t subscribe to hetero-normative and gender-binary worldviews. While most Bakla are attracted to men, collectively referring to them as “gay” would be inaccurate as some self-identify as women. Similar to indigenous Two-Spirited people, Bakla are considered to be capable of seeing the world through both female and male eyes. Ally feels that part of his role as a photographer is to educate people about his community. He looks to use his skills behind the camera to uplift members of the queer community in front of his lens. We’re excited to follow this story as Ally has now secured support from the Winnipeg Arts Council to continue this project. He will be moving at at a slower and steadier pace due to the global pandemic disruption, but we’re confident he will find a way to share more work and stories from his incredible and unique perspective. allygonzalo.com IG: @jhapes This story originally featured in the Black & White issue. Read the full digital replica edition - HERE. Enjoyed this free read?! Consider supporting us! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions •Make a donation

Travel photography and photography in general has opened the world to me. It has become a reason to wake up at dawn and set off to see a misty sunrise behind a Buddhist temple, or to stay out late in the Scottish Highlands to capture a rescue mission in the mountains with a long exposure. The potential to take my favourite photograph tomorrow has, for the last four years, been my driving motivation to experience and document the world around me. All the gear involved with the act of photographing makes being a backpacker at the same time almost an oxymoron. Known notoriously by throngs of other tourists as the ones with the most luggage, photographers are undoubtedly weighed down by gear when out taking photos. In 2011 when I began a five-month journey across China and Southeast Asia, I packed more than most. In an 80-litre backpack I had four lenses, three cameras, and a flash, a laptop, a mini tripod, backup equipment, batteries, chargers, and more memory cards than I could count. My gear took up more space than my clothing and, though I knew the weight was cumbersome, it wasn’t until I received an invitation to explore Northern Thailand’s Mae Hong Son Province on a motorbike that I made the conscious effort to lighten my load. I also had the opportunity to hike the Great Glen Way, a five-day, 114-kilometre footpath from Inverness to Fort William, Scotland. Carrying everything I needed for a single week in October, I traveled using nothing more than a 35-litre backpack with a tripod and tent strapped to its top. The Great Glen Way took me to places that were accessible only by foot or bike, officially off the beaten path. Packing more than I needed wasn’t an option. The benefits of packing light are four-fold: the first advantage being carry-on luggage. If at all possible, I carry my most valuable belongings on my person on long-haul bus rides, air flights, and even car trips. Keeping an eye on your gear during transit is safer than using luggage locks. Placing your camera in a small protective bag before you place it in a day bag or a backpack hides it. Petty theft happens abroad and at home and keeping a low profile by not carrying a great deal of gear around is another way of keeping your equipment safe. Especially when arriving at a new destination, it is great to be carrying only a backpack. You can then explore without first having to stop at a hotel to unload your luggage. Carrying only one or two lens options and a single camera, I can act quickly when I see a scene or moment I’d like to photograph. If I had all of my equipment with me, I would ask myself which camera I should use, which lens would be best, and whether I should use a flash. All of these questions could slow down my response to a potential photograph and might mean that I don’t capture the scene at all. Traveling light is going to mean different things to different photographers. Your lens choices, camera choice, and any other gear you use are going to change the aesthetic of your images. No lens is going to be great for everything and travel photography is as diverse as the world itself. Think ahead: Where are you going? What do you plan on shooting? Landscapes? Portraits? Architecture? Answering questions like these honestly will help narrow down your kit significantly and give you the flexibility and benefits of traveling light. Here is a Packing Sample list, as an example of all I took with me on my two-week hiking trip to Scotland: 1 T-shirt 1 Long-sleeved tight shirt 2 Pairs of hiking socks 1 Pair of sleeping socks 1 Light sweater 1 Heavy sweater 1 Raincoat 1 Pair of rain pants 1 Pair of hiking pants/tights 1 Hat Underwear Running shoes/Hiking shoes Wallet/Passport/Etc. Toiletries 1 Sleeping bag 1 Sleeping pad 1 Flashlight 1 Tent 35L Backpack Cotton sling day bag Soft camera-shaped case that fits into a day bag or backpack 1 DSLR 24mm Lens 85mm Lens 1 Tripod 2 Batteries 1 Charger 1 Power adaptor 5 8GB CF cards 1 Small waterproof case for CF cards This article originally appeared in our Winter Issue in 2013. #TaylorRoades #travelphotography #travel #HowTo #backpacking #womeninphotography #Traveltips #phototips #canadianphotographer Enjoyed this free read?! please support us for more! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions •Make a donation

Travel photography has long provided a view of elusive cultures and landscapes around the world. Though we might not have stood outside the busy gates of Angkor Wat in Cambodia or walked the sandy beaches of Bali, photos allow us to appreciate these sites. However, while the locations may appear desirably exotic and enticing, travel photography comes with a unique and diverse set of challenges. Seeking out awe-inspiring vistas, surreal ruins where even the dark corners whisper of their epic history, or local mouth-watering specialties take time and effort. Besides the anxiety a photographer may face being in a foreign location, language barriers and customs can also prove challenging. Travel photography is in fact a combination of any number of different types of photography: landscape, portrait, food, fashion, etc. It often requires documentation of the site or events leading up to the moment captured, and while a landscape may set the scene, the portraits of the people within the landscape often bring that scene to life. Imagine you’re in the Mekong Delta in Vietnam, where every breath of air smells just a little exotic. Imagine a golden bottle of whiskey. At the bottle’s base, a snake is coiled as though ready to strike, but a bartender is nonchalantly using it to pour you a drink. You lift your camera and take a shot that will later bring your friends and family into that moment, even if they have never traveled to Asia. That’s travel photography. Taylor Roades has made a career out of “exploring the world with a purpose.” She travelled as a child; however, it was while she was volunteering in Uganda that her hobby turned into a passion. Her time there was eye-opening, confirming stories she’d heard about the poverty and health care challenges facing the people of that small African nation, and proving for her that moments experienced first-hand can add depth not otherwise understood from a distance. Taylor found her calling as a photographer in university a short time later. While sitting at her laptop doing research, she came across a picture of a photographer taking a photo of a whale. “It was incredible,” she recalls, “and I remember sitting at my desk thinking about how I was going to tell my mom I wanted to be a photographer.” Since then, she has combined her love of travel with a passion for seeking out that perfect shot. Projects have brought her to remote corners of the planet, some questionable at best, but she’s found that it’s when she’s truly off the beaten track that the most fantastic opportunities arise. In such situations she has often used photography as a way to connect across a language barrier both with locals and with other photographers she has met along the way. Her exhibition, titled "The Culture of Tourism" is an evocative examination of the impact tourism has on communities around the world. Examples are taken from Indonesia, Vietnam, Cambodia, China, the United States, Canada, and the Dominican Republic. The inspiration for the project originated while she was traveling in Thailand near the Myanmar border. There, Taylor learned tourists could pay to see tribal women who have stretched their necks using a series of metal rings. While this was done historically, the practice is no longer part of modern-day customs. However, because of demands driven by tourism in the region, the practice has been reintroduced. Girls are forced from a very young age to wear the rings, thus helping bring money into the community. This practice poses significant risks to the girls themselves, who cannot later remove the rings that now act in place of their vertebrae to support their heads. “It was like a human zoo,” Taylor recalls. “I was stunned. There are both good and bad things that come with tourism, so it is really important to be aware of the ethics of traveling.” This thought planted the seed that grew into The Culture of Tourism. The project focuses on a collection of scenes that demonstrate the impact tourism has had globally. In an image from Bali, vendors sell racks of knock-off Ray-Bans to motorcyclists riding cheap rental bikes; while a photograph from Vietnam shows tourists tossing litter into a concrete crocodile pen in an effort to make the scaly amphibians move. One of the most striking shots is of a man holding a dozen diamond wedding rings strung together on a roll of black cloth. “I came across this man while walking along a beach in the Dominican Republic,” Taylor says. “Every day he goes swimming along the beach with his metal detector, searching for rings tourists have lost. I was blown away when he pulled out his findings. Standing before me was a real-life treasure hunter, his job and his remuneration the direct result of the tourism industry.” Each image in the collection speaks to a different way in which the world has been changed by tourism. The exhibition challenges viewers to be more aware of the impact they have on the communities they visit. For aspiring travel photographers or travel addicts looking for that next perfect shot, Taylor observed that, “having the best gear or a certain lens is not going to make or break your shot.” Instead, she recommends taking the gear you’re familiar with and spending the extra money on traveling longer. She says, “My best experiences involved taking the time to step out of my comfort zone, befriend locals, try new foods, wander into more remote areas, all while leaving my expectations behind.” www.taylorroades.com This article appeared in our Winter Issue in 2013. Enjoyed this free read?! please support us for more! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions •Make a donation #travelphotography #TaylorRoades #canadianphotography #womeninphotography #documentaryphotography #OntarioPhotographer

Dominic Boudreault describes himself as a motion photographer. Despite the fact he has no formal photography education he is considered one of the masters of the timelapse photography genre. His monumental work The City Limits is a testament to his skill and vision as a photographer and he has received due recognition. The work went viral, and hundreds upon hundreds of comments on his Vimeo account thank him for the work. Other impressive media mentions of note include appearances on MSNBC’s Today Show and CBC Radio. Boudreault not only utilizes the availability of new technologies for his self-initiated work, but also uses the forum of social media and social sharing sites to further his photographic career. His work gives new direction to what is possible with photography. Boudreault was born and raised in Quebec City. It was in the Quebec landscapes that he discovered his passion for imagery and photography. He was drawn to time-lapse photography because he felt it was the most accurate way for him to present his vision. His work shifts the nature of photography, as he aims to capture the pace, movement, and relationships of a city, rather than freezing the city in a specific moment. What led you to explore motion photography? With time-lapse photography you often see things that you don’t usually see with the naked eye — for example, the stars moving and the speed in which we live. From the top of buildings, as you see the numerous streets and heavy circulation, it can look a lot like a maze of ants. The first time I realized that, I was completely blown away. Since that first moment when I finished editing a clip, I was hooked. I needed to see more. Do you see motion photography as a relatively new genre? Yes, certainly. It has become a lot more popular in the last few years, first and foremost because of the lower cost of camera and computer equipment. Time lapse has existed for a long time but was not accessible to most hobbyists. But now, everybody with a digital camera and basic computer knowledge can attempt to make a time-lapse sequence. Also, I think that there is masterful work in time-lapse photography that has been done in recent years, like parts of the movie Baraka for example. I think it has inspired a lot of people, myself included. What is the background to City Limits? With The City Limits time-lapse video, I was trying to show the duality between city and nature. Time lapse was the perfect medium for this project. It allowed me to show cities like never before. I originally planned to visit one or two cities in Canada and in the northeast of the USA, but it quickly snowballed and I was finding myself completely obsessed by the project. I spent a lot of time doing research for this project and I think it helped me achieve my vision. I shot a lot at night because I find that cities become more alive, more magical at night. There are also a lot of bridges and water in the video. Bridges connect people to the big cities. Water shows that nature is a part of the big man-made cities. Everything is connected. That’s a part of what I wanted to express with this time-lapse piece, duality of nature and man. Were you astounded by the online response? I was really surprised about the reaction of people. The City Limits quickly went viral and I am very happy that my work touched so many people around the world. I think that people were intrigued because it shows ourselves in a way we don’t see every day. Any particular shots in City Limits that stand out? My favourite shot in The City Limits is at 2:38. It’s the shot of the oil tanker at sunset stumbling below the bridge. I say “stumbling” because you can notice the huge boat drifting from side to side. In real time you cannot see this happening but with time lapse you can observe little fascinating unknown details like this one. It was a very pleasant surprise. Any advice you can share with people starting out in photography? Not to sound cheesy, but the journey is the reward. You learn so much every time you go out and shoot. You also learn a lot in post-production every time you process a clip. I truly consider this an art form and, like every art form, you need to practice a lot to master it. The interest in Boudreault’s style of time-lapse photography is proof that photography is evolving, but there is just as much passion and interest surrounding the medium itself. Photography still has the ability to show us the world in a new way and this is very apparent in The City Limits. There may not be as many traditional photography jobs as there used to be, but Dominic Boudreault is an example of just how successful you can be if you are dedicated and involved in photography because you have something to share with the world. Check out more of Dominic's work at: dominicboudreault.com #cityscape #DominicBoudreault #aerialphotography #timelapse #cityphotography #motion #canadianphotographer #urbanphotography 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

A curation by Rita Godlevskis for FFOTO This special spring/summer 2026 curation for FFOTO emerges with the same sense of joy and hope as witnessing a resilient flower bud finally bloom, breaking through the brown-grey remnants of a long, cold, dark winter. Lori Ryerson • Lilies 2 Tondo The five artists featured here offer viewers works that are curious and magical, yet fully developed and intentional. All five are mothers who deeply understand the world's need for silver linings. All are fierce, independent, resilient spirits who feel and feed a need to share light, colour, and deeper breathing. They all craft unique moments of beauty and intrigue for viewers to dive into, not as works that you pass in haste, but through pieces that insist on pause. Lori Ryerson’s water lilies mesmerize with the reflections of light in water, while her image ‘Sumptuous’ is exactly that. Lori Ryerson • Sumptuous Ann Piché’s images use light to ignite our curiosity, while Tash Damjanovic’s nocturnal city wanderings paint us a fresh view of wonder and waking daydreams. Shira Gold prompts us to reflect on our attachments—the burden of history and the longing to release physical and psychological weights, and Shelagh Howard beautifully explores our connections to each other, and to the natural world. Ann Piché • aperture Ann Piché • foldspace Tash Damjanovic • Pastel Nocturne Tash Damjanovic • Through The Light Shira Gold • “Free Hugs” from the series, ‘The Fine Art of Letting Go.’ Shira Gold • “Same But Different” from the series, ‘The Fine Art of Letting Go.’ Shelagh Howard • “Dahlia ‘Cafe Au Lait" Shelagh Howard • “Dahlia ‘Arabian Night’ It brings me immense joy to present these special pieces by such incredible artists. It is my sincere hope that the works presented here—carefully crafted and imbued with connections and light—will infuse your surroundings with a new and lasting warmth. May they serve as daily sources of pleasure, offering you inspiration with the turn of every season. Shop this special collection until July 8, 2026 at ffoto.com