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If you've ever wondered what it takes to produce and distribute a print publication in Canada in 2024, here's the list of who we work with and how it gets done. GREAT PEOPLE. A passionate team of collaborators supported by incredible supporters and contributors has been our number one super power since 2001. Info about our gorgeous team of volunteer Curatorial Advisory Board Members that we work with from across Canada, can be found - HERE. COFFEE. We are fuelled by SPARKPLUG COFFEE. It's delicious AND we love supporting a local women-owned and led business. It gets delivered to our team members across Canada, custom roasted and ground to suit our individual coffee makers, so we never have to think twice about the quality fuel we need to do our best work. Computers + the internet + software... Of course. Once we have a story written by our talented writers and images selected for publication we move the info along to our expert copy editor and art director. Both these women have over 20 years of professional editorial experience - each. They know what they are doing, and take the time we need to craft beautiful, accurate representations of our artists very special works. Plus , all contributors we work with approve the images and text we propose well before we hit the press. It's crucial to us that everyone is pleased with how they are being presented. With around 50+ contributors per issue, this takes us time to get right which is why we work six months to a year in advance on our print editions. Contributors selected for publication in our print editions come from a range of sources, referrals, research, pitches, and artists selected from our Calls for Submissions. We're always looking for unique work from diverse contributors that challenge us to see photography in a brand new light! We LOVE Affinity Photo + Affinity Publisher. Yes, we have run ads about them in our print editions, but it's because we love what they do and what they stand for for the international creative community. Non-subscription + great software + a creative community forward mindset. Once we have a file that is ready to roll to the printer, we hit 'send,' and wait for our proof sheets. We work with a large commercial press in Quebec, Canada. Once proofs are approved and the printing process is in progress, we focus on fine tuning our DIGITAL EXTRA companion edition. These free to access editions feature additional artists works that we could just not accommodate in print (as much as we REALLY want to). Again, we work with artists individually to ensure they are pleased with how their work is presented on our platform, in their own words. We also share our print edition replicas on a few digital platforms so folks around the world can read our incredible content on PRESS READER + FLIPSTER . We get a small kick-backs from Press Reader whenever our magazine is selected by a reader, and library folks can find our mag on Flipster to share with their readers. Also, while we're waiting for printing stuff to happen we're in admin mode to the max. Mailing lists, labels, accounting stuff, contributors payments, and gearing up to share announcements on what we have coming out. Funding from our PATREON PARONS , subscription sales, ad sales, and some small grants helps us cover the cost of printing and postage, a few hours of admin assistance, as well as fees from QuickBooks, MailChimp, Later, Zealous, HeyZine, Google, Apple iCloud, WIX, Virgin Mobile, Meta, RBC, Square, Stripe, courier costs, and probably more that we're forgetting right now. It's a long list... Most people in Canada don't realise that the majority of Art + Literature publications here are actually registered charities. This status provides them with access to a lot of public grant programs, as well as corporate donations from people like big banks. photoED magazine does not hold this status, but is eligible and applies for some federal Department of Culture and Heritage Periodical Funding. We love that we are promotional partners with some incredible brands that we LOVE working with. Check them out HERE. We have no issue and fully recommend these products and services. Postage + circulation. Where does the magazine go? To mailboxes and to better retailers across the country, and around the world! You can pick up copies at cool places like the ones on THIS LIST. We work with retailers directly, as well as the folks at Magazines Canada and BOUTIQUE MAGS. For their services, Magazines Canada charges us a membership fee + takes 55% of cover sales. (That's the cost of doin' business.) Once off the press, our single copies that go out to individual subscribers are packaged in a poly-bag, m ade with 100% pre-consumer recycled content . THIS IS THE PRODUCT we use. It's not printed on the bags, but yes, we actually spend a little more $$$ for eco friendly polybags to come from the US to make sure Canada Post gets you a decently undamaged copy of our fine, fine publication. We use K2 international as our mail sorting service. For our larger bulk deliveries to cool customers like Gladstone House , we ship with Freightcom a broker for courier companies, which we're not affiliates of officially, but if you ship a bunch like we do, they can help and we're happy to recommend them via this link. From Holland College in P.E.I to Langara College in Vancouver, and everyone in between we love that our legacy in print is being shared by students, educators, community leaders, independent artists, and general fine art photography lovers far and wide. Special Stuff As our PATRONS can attest, we love making our magazine experience a little extra. When we can partner with like minded companies to fit something special into our mail outs we do that for our VIPs. Here are a few examples... We have worked with lovely people at MOAB paper to get our readers art paper samples, The Camera Store provided some cute lens cleaning cloths, the divine GORGEOUS SPICE Co. shared some delicious spice blends delivered with the FOOD issue, and one of our faves was a collab we did with United Contemporary + Ryan Van Der Hout + Akasha Art Projects to share a limited edition print with the delivery of our Beautiful Botanical edition that was curated by Peppa Martin. Other special stuff Friends of our mag also know we LOVE photo books and giveaways! These are always announced to the folks on our EMAIL newsletter list. Here are a few more past examples... When possible, we love an IRL event. If you've joined us in the past or are new to finding us, we've got our event content posted to our collection of videos - HERE . And that's how we find our original editorial content on personal screens, coffee tables, and on the bookshelves of fine art photography lovers wherever they are, who share our vision of championing lens-based art in a qualitative, accessible, legacy format! Ta da! photo by @liammackenziephoto Like what you see here? Consider supporting us! As an independent editorial publication we'd love your support to continue producing great content featuring lens based artists for you to enjoy! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions •

Lumen printing is an easy way to make an image with the sun. It simply involves setting objects onto a piece of silver gelatin photographic paper and exposing them to the sun. Artist/photographer Bob St Cyr shares his HOW-TO + a few new ideas to take your results in new directions. You'll need: Photographic paper - any size or age A contact printing frame (you can also create a makeshift printing frame using any board and glass, such as an un-used photo frame.) Two trays - for washing and fixing Hypo fixer mixed at 1:9. Tongs STEP 1 - Once you've got your stuff set up, under a safelight or subdued/ low lighting, arrange your subject on the glass frame. Plants and flowers work well, but be creative and think of other 'flat-ish' things (string, lace, paper, etc) that could be used that when compressed will not break the glass, please be careful. STEP 2 - Place the photo paper with the shiny side/matt side facing the items on the glass, i.e., the side that would normally be exposed when making a darkroom print. STEP 3 - Replace the backing into the picture frame and compress the items between the glass and photo paper. STEP 4 - Place the picture frame in direct sunlight for about 60 minutes. This exposure time will vary depending on the strength of the sunlight. STEP 5 - When it feels ready... and the paper has turned brown, carefully remove the photo paper from the frame and give the paper a quick water rise to remove any particles from the organic materials. OPTION: If you like what you see at this stage - allow the paper to dry + pop it in your scanner - or take a digital pic, so you can work with this version of the image digitally. To make the resulting image last, it needs to be chemically fixed. However, fixing will change the contrast and colour, so you might want to digitize the image before fixing, giving you two different versions. STEP 6 - If you want a permanent image, after washing the print, place it into a photographic fixing bath for about 2 minutes. Remember to do this under tungsten light or subdued light. STEP 7 - Thoroughly wash the print for at least 15 - 20 minutes in a tray of running water. Empty and fill the tray several times during the wash. STEP 8 - Hang your print to dry. STEP 9 - If the paper curls when it's dry - you may need to flatten the print by pressing it between heavy books for a few days. STEP 10 - Go DIGITAL - scan/ manipulate away for more options! Here are some of artist BOB ST CYR's results References Brough, D. (2016, June 26). How to make lumen prints. https://www.lomography.com/magazine/321837-how-to-make-lumen-prints Daniel, M. (2004, October). William Henry Fox Talbot (1800–1877) and the invention of photography. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000– https://www.metmuseum.org/toah/hd/tlbt/hd_tlbt.htm If you're up for more amazing ANALOG... Check out our RESILIENCE OF ANALOG edition! We SOLD OUT of our print copies - but its available on PRESS READER Enjoyed this free read?! Consider supporting us! We'd love to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY #analog #fineartphotography #HistoricalProcess #cameraless

An interview with photoED Magazine A farmer in his rice terrace of Belimbing, Bali, Indonesia. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 102mm - 1/1600sec, ISO400, f/2.8 Driven by adventure, Alexandre Rouleau ’s cinematic travel photos and videos connect his biggest personal passions — exploring new places and meeting people from different cultures. Originally from Rimouski, Quebec, Alexandre now splits his time between the mountain town of Revelstoke, British Columbia, and the creative hub of Bali when he’s not travelling elsewhere.   photoED Magazine spoke to Alexandre Rouleau about his work. A local kid in Rammang, Indonesia. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 107mm - 1/400sec, ISO400, f/2.8 photoED: How did you get started in photography? And what keeps you motivated and inspired to keep at it? Alexandre : I was probably 12 years old when I started playing around with cameras, photographing car shows on film, and shooting short films with my friends on mini DV tapes. I began digital photography and filmmaking seriously after leaving home at 19 to travel. For a few years I travelled aboard a converted school bus, documenting my adventures with tons of photos and a few vlog episodes until a road accident ended that journey abruptly. Following that, I took a 10-year break from photography to explore other art forms and passion projects. About three years ago now, I flipped my life upside down one more time when I circled back to realize there was no other way than through photography to best share my visions. Travelling to new places definitely keeps me motivated and inspired but I think more importantly, it’s about constant learning and trying new things. If I feel stuck and uninspired, I’ll reach out and go shoot with another photographer I have not met yet: It’s always interesting to see someone else’s approach, or try some new equipment or lighting techniques, just to get out of my comfort zone. Boats and canals of Khlong Lat Mayom Floating Market, Bangkok, Thailand. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 150mm - 1/1250sec, ISO640, f/3.5 photoED: What do you love most about creating stories through photography? Alexandre : I love being able to capture fractions of time that transmit a genuine emotion on someone’s face. I enjoy sharing the vibe of a room through colour, or how I felt in a moment through the angle I took. There is a lot that can be understood through an image that would be a lot harder for me to do with words. photoED:  There are some beautiful places in the world that are being “loved to death” due to over tourism. How do you balance your goals as a creator, crafting enticing images with being sensitive to the various cultures and landscapes you visit?   Alexandre : I try to avoid tourist areas as much as possible, but if I do visit them I look to photograph the locals and their daily life, which does sometimes get drowned by a sea of tourists who are there for the wrong reasons and show no respect to the people welcoming them on their land. Take Bali for example, a controversial place at the moment in terms of tourism. The government is to blame for letting so many developers destroy beautiful locations, but a lot of what is happening is also due to influencers and the party scene. Bali originally charmed people through stunning landscapes and kind people, but since massive beach clubs and “Instagramable” places are posted online repeatedly, people now come for these reasons. I’m sure 90% of the people visiting Bali these days will not even notice any of it, they will stay in Canggu, complain about traffic, get wasted, and go back home. Through my images, you will not be seeing those beach clubs, you’ll be looking at local life in remote villages, genuine smiles from local people happy to see you and curious about you as much as you are curious about them. If my viewers are attracted to visit Bali through my work, I hope and think they will be able to go for good reasons and with a respectful approach. Roads of East Bali, Indonesia. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 95mm - 1/200sec, ISO100, f/4.5 photoED: Why Revelstoke? Why Bali? Alexandre : I’ve been a snowboarder and mountain biker for most of my life, and the mountains have been my favourite place since I first discovered them at age 18 on a trip to the Rockies. Revelstoke delivers in terms of playground, there is an infinite amount of terrain you can explore, some of the best snow on earth, and the town has a super cool community with lots of opportunities for me. Bali on the other end just randomly came up to me. After visiting for the first time, even though I did fall in love with the place, it was an opportunity that came up that made me decide to set up a base camp there. I love South East Asia and I do spend a lot of time on that side of the planet, which just happens to be far from Canada. photoED: Do you have any tips for travel photographers? Alexandre : Travel slowly. Roam by yourself and get lost, see where that leads you. Connect with the locals, be kind and respectful, make friends, and take time to understand the deeper layers of the place. Balinese dancer in Ubud, Bali, Indonesia. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 150mm - 1/125sec, ISO3200, f/2.8 photoED:  Whose work has influenced yours?   Alexandre : The first person I always think of is Emmett Sparling an extremely talented storyteller based in Vancouver. Next to him would be Ashraful Arefin a huge influence when it comes to my street photography. Michael Sidofsky also played a huge part inspiring me as well as Luke Stackpoole. Butterfly Park in Tabanan, Bali, Indonesia. • Shot on Sony A7IV with the Tamron 150-500mm f/5-6.7 @ 500mm - 1/1600sec, ISO800, f/6.7 photoED:  What makes a good photograph? Alexandre : Light. I think a good photograph delivers a story and makes you feel something. A good photograph doesn’t have to be technically perfect if the story is told and an emotion is transmitted to the viewer. Sunset over Mount Agung from Amed, Bali. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 35mm - 1/60sec, ISO160, f/2.0 photoED: How has working in photography influenced you personally? Alexandre : Photography has pushed me outside of my comfort zone many times, chasing risks and committing to a creative life. It has taught me how to connect on a deeper level; every shoot and every trip is a reason to meet people and hear their stories, and this makes you see your own life from so many different perspectives. photoED: What does your dream project entail? Where do you hope photography will take you in the future? Alexandre : I have been working on small, solo projects for the most part but I am really looking forward to working on larger projects with a crew. I’m talking about 4 to 5 photographer and filmmaker friends going on a trip together to shoot a specific project. Everywhere I go, I try to connect with local creatives and whoever I run into if the timing is right. I love travelling solo, but the occasional group trip with a bunch of talented creatives does sound good! Mostly, I want photography to keep taking me to places I never imagined visiting. photoED: Do you have any tips for emerging photographers? Alexandre : Don’t waste your time chasing the same places and recreating the same photos you’ve seen over and over on the Internet. Find a new angle, pay attention to details around you, and find your own way of telling a story. Learn from as many people as possible and make your own presets, try as many things as possible and see what works and what doesn’t. Don’t wait for perfection to put your work out there; it will never be perfect. But feedback will help you grow.  A local vendor serving street food at the Khlong Lat Mayom Floating Market, Bangkok, Thailand. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 135mm - 1/250sec, ISO400, f/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. Alexandre : I currently shoot with a SONY A7IV for most of my still photographs and I also have an A7S3 for video stuff, which serves me as a second body when needed. Now that I have a Tamron 35–150mm f/2–2.8 though, I rarely need to go with the dual body setup. This lens is just crazy great and it has become a fast favourite. I still use my 24–70mm a lot, but if I have to choose only one lens to go on a trip it will in most cases be the 35–150mm. It’s the perfect focal range for my type of photography. I’ve always loved the Tamron lenses, they really deliver when it comes to making travel-friendly lenses. I also own the 150–500mm, and I don’t know of any other telephoto lens with such a wide focal range that is smaller or lighter than this one. It’s not just that the Tamron lenses are sharp with a creamy bokeh that I love; they are consistently the best bang for the buck compared to other brands. Alexandre Rouleau See more of Alexandre’s work - HERE. Check out Alexandre Rouleau's fave Tamron lens - HERE! www.tamron-americas.com

Animé par l’aventure, les photos et vidéos de voyage cinématographiques, Alexandre relate ses plus grandes passions personnelles — explorer de nouveaux endroits et rencontrer des personnes de différentes cultures. Originaire de Rimouski, au Québec, Alexandre, lorsqu’il ne voyage pas ailleurs, partage désormais son temps entre la ville de Revelstoke en Colombie-Britannique et le centre créatif de Bali. photoED Magazine a rencontré Alexandre Rouleau pour parler de son travail. Parc aux papillons à Tabanan, Bali, Indonésie. • Pris avec Sony A7IV et Tamron 150-500mm f/5-6.7 @ 500mm – 1/1600s, ISO800, f/6.7 Un enfant local à Rammang Rammang, Indonésie. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 107mm – 1/400s, ISO400, f/2.8 photoED: Comment vous êtes-vous lancé dans la photographie? Et qu’est-ce qui vous motive et vous inspire à continuer? Alexandre : J’avais probablement 12 ans lorsque j’ai commencé à jouer avec des appareils photo, photographiant des salons automobiles sur film et réalisant des courts métrages avec mes amis sur des cassettes mini DV. J’ai commencé la photographie numérique et le cinéma de manière sérieuse après avoir quitté la maison à 19 ans pour voyager. Pendant quelques années, j’ai voyagé à bord d’un autobus scolaire converti, documentant mes aventures avec des tonnes de photos et quelques épisodes de vlog jusqu’à ce qu’un accident de la route mette fin brutalement à ce voyage. Après cela, j’ai pris une pause de 10 ans de la photographie pour explorer d’autres formes d’art et projets passionnants. Il y a environ trois ans, j’ai bouleversé ma vie une fois de plus en réalisant qu’il n’y avait pas d’autre voie que la photographie pour mieux partager mes visions. Voyager dans de nouveaux endroits me motive et m’inspire certainement, mais je pense que plus important encore, c’est l’apprentissage constant et l’essai de nouvelles choses. Si je me sens bloqué et sans inspiration, je contacte un autre photographe que je ne connais pas pour aller shooter ensemble: c’est toujours intéressant de voir l’approche de quelqu’un d’autre, ou d’essayer du nouveau matériel ou des techniques d’éclairage, juste pour sortir de ma zone de confort. Un homme local faisant une pause au marché flottant de Khlong Lat Mayom, Bangkok, Thaïlande. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 150mm – 1/2500s, ISO800, f/2.8 photoED: Qu’aimez-vous le plus dans la création d’histoires à travers la photographie? Alexandre : J’aime pouvoir capturer des fractions de temps qui transmettent une émotion authentique sur le visage de quelqu’un. J’apprécie partager l’ambiance d’une pièce à travers la couleur, ou comment je me sentais à un moment donné via l’angle choisi. Beaucoup de choses peuvent être comprises par une image, choses que j’aurais du mal à exprimer avec des mots. photoED: Certains endroits magnifiques dans le monde sont « aimés à mort » en raison du supertourisme. Comment équilibrez-vous vos objectifs en tant que créateur, entre la création d’images attrayantes et la sensibilité envers les diverses cultures et paysages que vous visitez?   Alexandre : J’essaie d’éviter autant que possible les zones touristiques, mais si je les visite, je cherche à photographier les locaux et leur vie quotidienne, ce qui est parfois noyé dans une mer de touristes qui sont là pour de mauvaises raisons et qui ne respectent pas les personnes qui les accueillent sur leur terre. Prenez Bali par exemple, un endroit controversé en ce moment en termes de tourisme. Le gouvernement est en partie responsable d’avoir laissé tant de promoteurs détruire de beaux endroits, mais beaucoup de ce qui se passe est aussi dû aux influenceurs et à la scène festive. Bali a charmé à l’origine les gens par ses paysages époustouflants et sa population gentille, mais depuis que d’immenses clubs de plage et des endroits « instagrammables » sont postés en boucle en ligne, les gens viennent maintenant pour ces raisons. Je suis sûr que 90 % des visiteurs de Bali aujourd’hui ne remarquent même pas tout cela, ils restent à Canggu, se plaignent du trafic, se saoulent et rentrent chez eux. À travers mes images, vous ne verrez pas ces clubs de plage, vous verrez la vie locale dans des villages reculés, des sourires authentiques de gens locaux heureux de vous voir et aussi curieux de vous que vous l’êtes d’eux. Si les spectateurs sont attirés à visiter Bali grâce à mon travail, j’espère et je pense qu’ils pourront le faire pour de bonnes raisons et avec une approche respectueuse. Routes de l’est de Bali, Indonésie. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 95mm – 1/200s, ISO100, f/4.5 photoED: Pourquoi Revelstoke? Pourquoi Bali? Alexandre : Je fais du snowboard et du vélo de montagne depuis la majeure partie de ma vie, et les montagnes ont été mon endroit préféré depuis que je les ai découvertes à 18 ans lors d’un voyage dans les Rocheuses. Revelstoke offre un terrain de jeu incroyable, un terrain infini à explorer, certaines des meilleures neiges au monde, et la ville a une super communauté avec plein d’opportunités pour moi. Bali, quant à elle, est venue de façon un peu aléatoire. Après ma première visite, même si je suis tombé amoureux de l’endroit, une opportunité s’est présentée qui m’a fait décider d’y établir une base. J’adore l’Asie du Sud-Est et j’y passe beaucoup de temps, ce qui se trouve être loin du Canada. photoED: Avez-vous des conseils pour les photographes de voyage? Alexandre : Voyagez lentement. Errez seul et perdez-vous, voir où cela vous mène. Connectez-vous avec les locaux, soyez gentil et respectueux, faites des amis et prenez le temps de comprendre les couches profondes du lieu. Danseur balinais à Ubud, Bali, Indonésie. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 150mm – 1/125s, ISO3200, f/2.8 photoED:  Quel travail a influencé le vôtre?   Alexandre : La première personne à laquelle je pense est Emmett Sparling un conteur extrêmement talentueux basé à Vancouver. Ensuite, Ashraful Arefin   une énorme influence pour ma photographie de rue. Michael Sidofsky   m’a aussi beaucoup inspiré, ainsi que Luke Stackpoole. Les yeux uniques d’un chat, Bangkok, Thaïlande. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 143mm – 1/160s, ISO800, f/4.5 photoED:  Qu’est-ce qui fait une bonne photographie? Alexandre : La lumière. Je pense qu’une bonne photo raconte une histoire et vous fait ressentir quelque chose. Une bonne photo n’a pas besoin d’être techniquement parfaite si elle raconte une histoire et transmet une émotion au spectateur. Sunset over Mount Agung from Amed, Bali. • Shot on Sony A7IV with the Tamron 35-150mm f/2-2.8 @ 35mm - 1/60sec, ISO160, f/2.0 photoED: Comment le travail en photographie vous a-t-il influencé personnellement? Alexandre : La photographie m’a poussé hors de ma zone de confort à de nombreuses reprises, à prendre des risques et à m’engager dans une vie créative. Elle m’a appris à me connecter à un niveau plus profond; chaque séance et chaque voyage sont une occasion de rencontrer des gens et d’entendre leurs histoires, ce qui vous fait voir votre propre vie sous de nombreuses perspectives différentes. photoED: En quoi consiste votre projet de rêve ? Où espérez-vous que la photographie vous mènera dans le futur? Alexandre : J’ai principalement travaillé sur de petits projets en solo, mais j’ai vraiment hâte de travailler sur des projets plus grands avec une équipe. Je parle de 4 à 5 amis photographes et cinéastes partant ensemble en voyage pour shooter un projet spécifique. Partout où je vais, j’essaie de me connecter avec des créatifs locaux et ceux que je rencontre si le moment est bon. J’adore voyager seul, mais l’idée d’un voyage en groupe avec un tas de talents créatifs me plaît vraiment! Surtout, je veux que la photographie continue de me faire découvrir des endroits que je n’aurais jamais imaginé visiter. photoED: Avez-vous des conseils pour les photographes débutants? Alexandre : Ne perdez pas votre temps à courir après les mêmes endroits et à recréer les mêmes photos que vous avez vues encore et encore sur Internet. Trouvez un nouvel angle, faites attention aux détails autour de vous, et trouvez votre propre manière de raconter une histoire. Apprenez des gens autour de vous et créez vos propres presets, essayez autant de choses que possible et voyez ce qui fonctionne ou pas. N’attendez pas la perfection pour montrer votre travail ; il ne sera jamais parfait. Mais les retours vous aideront à grandir.   Un vendeur local servant de la nourriture de rue au marché flottant de Khlong Lat Mayom, Bangkok, Thaïlande. • Pris avec Sony A7IV et Tamron 35-150mm f/2-2.8 @ 135mm – 1/250s, ISO400, f/2.8 GEAR UP Quel appareil et matériel utilisez-vous le plus maintenant? Quel est votre objectif préféré? Parlez-nous de votre expérience avec les objectifs Tamron. Alexandre : Je shoote actuellement avec un SONY A7IV pour la plupart de mes photos fixes et j’ai aussi un A7S3 pour la vidéo, qui me sert de deuxième boîtier quand nécessaire. Maintenant que j’ai le Tamron 35–150 mm f/2–2,8, je n’ai presque plus besoin d’avoir les deux boîtiers. Cet objectif est tout simplement incroyable et est rapidement devenu un favori. J’utilise encore beaucoup mon 24–70 mm, mais si je devais choisir un seul objectif pour un voyage, ce serait dans la plupart des cas le 35–150 mm. C’est la plage focale parfaite pour mon type de photographie. J’ai toujours aimé les objectifs Tamron, ils sont vraiment parfaits pour les objectifs faciles à transporter en voyage. Je possède aussi le 150–500 mm, et je ne connais pas d’autre téléobjectif avec une plage focale aussi large qui soit plus petit ou plus léger. Ce n’est pas seulement que les objectifs Tamron sont nets avec un bokeh crémeux que j’adore; ils offrent constamment le meilleur rapport qualité-prix comparé aux autres marques. Alexandre Rouleau Pour voir plus de travaux d’Alexandre - ICI. Découvrez l’objectif Tamron préféré d’Alexandre - ICI. www.tamron-americas.com

Neeko Paluzzi, “Artist as pierrot,” 2024. ARTIST RESIDENCIES are critical opportunities to step outside the pressures of daily ongoing demands and competing expectations to allow for focused attention to a specific project or to percolate on new ideas and experiments.  The SPAO Artist Residency for Photographers and Photo-Based Artists offers a transformative opportunity: an environment that supports experimentation and engagement, and also provides necessary room for deeper reflections. This residency nurtures artistic practice, while allowing for an artist to delve into their own preoccupations with complex personal, collective, and historical narratives. At its core, a residency experience is the gift of time and space: rare commodities for artists whose practices need protection from the encroachment of commercial pressures.  Stéphane Alexis ,  from the Chains and Crowns  series,  “Rows no.1 “ and “Senegalese Twists no. 1,” 2020. Memory, as a thematic, is inherently tied to the question of identity. At SPAO, photographers such as Stéphane Alexis have developed their practice to explore the complexities of personal and collective memory. Stéphane’s series Chains and Crowns  is rooted in his exploration of community care and diasporic identity, themes deeply tied to memory and the passing on of ways of knowing. His photographs blend portraiture with rich narrative layers, questioning the ways in which memory shapes both the subject and the viewer. Stéphane expands on this engagement with memory, not just as an archive of the past, but as the conduit to a dynamic, shared, and lived experience. Memory operates as an active participant in the photographic process — one that is shaped by both the artist’s gaze and the viewer’s interpretations. Joi Arcand, from the series Here on Future Earth, "Northern Pawn, South Vietnam," 2018. For Joi Arcand, a nehiyaw (Cree) artist whose work confronts the erasure of Indigenous languages and their centrality to shared cultural practices, SPAO offered a pivotal space to interrogate the tensions between historical memory and contemporary experiences. Joi’s work, which integrates Cree language as neon signage, operates as both a reclamation of Indigenous presence and a reimagining of the urban landscape. Her engagement with memory — both individual and cultural — explores how the photographic image can mediate between past and present, between the visible and the invisible. In addition to the space for individual reflection, SPAO fosters an environment of community where artists can share, critique, and build on one another’s practices. This communal exchange becomes essential for photographers whose work navigates themes of memory, particularly as they pertain to collective histories and cultural identity. For Neeko Paluzzi, whose work often grapples with themes of narration, identity, and memory, the residency was an opportunity to refine his practice through dialogue. Neeko’s work explores the shifting meanings of memory, both personal and shared, through works that translate visual and textual elements into new forms. Throughout his practice, the act of telling itself becomes a form of remembering;  memory is never fixed, but always in flux, constantly being reinterpreted and reconstituted through the lens. Victoria Laube , “Roadshow 21,” 2024. The residency experience at SPAO also serves as a critical platform for photographers such as Victoria Laube, whose practice addresses environmental memory and the human impact on the landscape. Victoria’s work, which explores the intersection of ecological preservation and photographic representation, draws heavily on the concept of memory as a record of the shifts in the landscape. Her images — often haunting in their quietude — serve as a form of ecological memory, documenting spaces that are threatened or erased by human activity. Through her time at this residency, Victoria was able to engage more deeply with how the camera can function as both a witness and a recorder of these disappearing landscapes. The program provided her with the space to reflect on how memory is embedded in the natural world, how the land itself remembers the people who inhabit it, and how photography can preserve — or forget — these fragile histories. The act of remembering is, in many ways, an act of reconfiguring the past. Artists in residence at SPAO have engaged with the complexities of historical memory, examining the tensions between collective and individual memory, and between the factual and the constructed. Whether it is Joi confronting the erasure of Indigenous languages, Stéphane exploring nurturing and community care, Neeko translating fragmented memories and confronting narration as storytelling, or Victoria documenting ecological memory, the SPAO Artist Residency functions as a crucial site for grappling with the ways in which memory functions within the photographic image. By creating dedicated time and space for reflection, community, and critical dialogue, SPAO offers emerging and mid-career artists a place to explore the themes that shape their practice and their understanding of the world. Memory, in its complex and fluid nature, has been a fertile landscape for the interrogation of the past, engagement with the present, and the imagining of new futures. Photographers need the freedom to experiment and explore, to contribute to an ongoing dialogue about identity, culture, and history within the broader field of contemporary practice. Find out more about the SPAO Artist Residency for Photographers and Photo-Based Artists at: spao.ca/residency Johanna Mizgala is the Chief Curator of the House of Commons and a leader in the field of museums and material culture. She has an extensive background in arts, heritage, and culture advocacy and has taught and published extensively on architecture, archives, contemporary art, and photography.

“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

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!