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At 82 years of age, Geoffrey James is no newcomer to making photographs of the built environment. Whether it has been manicured European gardens, the carefully designed parks of Frederick Law Olmsted, the poured concrete maze of Toronto, or cell interiors during the last days of the Kingston Pen, James has turned a practiced eye on the stories that places tell about themselves. And he has been recognized for his work along the way, being the subject of a major retrospective at the National Gallery of Canada in 2008, receiving the Governor-General’s Medal for Visual and Media Arts in 2012, and being named Toronto’s first Photo-Laureate in 2016. In short, he has been exhibited, published, celebrated and written about—an enviable career for any photographer in the country. I was glad to have the chance to interview Geoffrey James recently about his beautifully produced new book, Canadian Photographs , released in October 2024. The volume benefits from the inclusion of an in-depth conversation with Peter Galassi, former chief curator of photographer at MoMA, and James sees the whole as “very much a book for its time, and one that I hope becomes more interesting over time.” Time is certainly a major visual player across the photographs, many of which appear to have been made in locations that are in transition or are, frankly, rundown. This is not always the perky Canada of the calendars that fill bargain bins in big box stores. Instead, there are often pictures of tired people and tired locations. As the photographer has said, he is trying “to make a portrait of a friend who is not perfect.” So, it is perhaps not surprising that James’ title is an allusion to the Walker Evans’ 1938 MoMA exhibition and catalogue, American Photographs , a study of the Depression-era U.S. through its people and small towns. “I made these photographs as more of a diary in a way,” says James, “while Evans’ book came directly out of commissions and people like Robert Frank had a project with a shooting script. I didn’t have that.” There are some important points of affinity between the two books, however. For example, a quote on the dustcover of Evans’ first edition labels him “a kind of disembodied, burrowing eye, a conspirator against time and its hammers,” an observation that fits Geoffrey James’ own work in Canadian Photographs . The photographs are busier, looser and more peopled than much of his earlier work, and his eye flits from the city to the rural, often by way of a landscape caught half-dressed in a changing room—recent countryside putting on its new suburban clothes. Some of the sense of movement no doubt comes from James trading in his slow view camera for a snappy, digital Leica. And some of it can probably be traced to the origins of the 14-year project: photographs made through the windows of VIA trains. But the most important change in this collection of images is perhaps one of tone or mood. It often seems wistful, a suggestion that James denies: “It’s not wistful, it’s just questioning; photographing things as they are.” Nevertheless, as the photographer explains what he means by “things as they are,” it is hard to escape a sense of loss, or even lament: “I don’t know if I can characterize those emotions that clearly. Some of them are about what we’re doing in Montreal, Ottawa, or Toronto. You live in all these places, especially in the 905 where we are compounding errors of development that continue to this day.” In one location, he remembers, “I came across an entire huge orchard with every tree chopped down. The Europeans now look at us and study what not to do. There, there’s a plan to it; here, there’s sprawl.” Turning from the urban to the rural, James is concerned about the decline of arable land: “about 50% of the best land is visible from the top of the CN Tower and we’re just paving it over.” As the interview draws to a close, James rightfully points out that this is far from being the only theme in his new work: “This is not a book about bad town planning, because there are wonderful things to see too. There is always an element of chance, and I didn’t really choose specific locations. I shot as I wanted.” And perhaps that is characteristic of a real visual diary, or of any honest diary. Some entries we make on good days, and others on not so good days. It’s a long conversation between time and us, and it is all the stuff of life.       Canadian Photographs  — Geoffrey James Hardcover, 2024, 144 pages CDN $45. plus shipping Figure 1 Publishing Also available from online retailers   Did you enjoy this FREE read? Consider supporting us!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions Follow us on Patreon and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

“You don’t take a photograph, you make it” This well-known Ansel Adams (1902–1984) quote would have had a very different audience and intention given the image-making technology of his time. Adams challenged the then mainstream idea that a photograph was a document and confidently stated that the tools he used to record scenes were tools of a fine art craft rather than instruments of factual recording. Issue #73 - MELD - Cover image by Sarah E. Fuller , photo by Margaret Mulligan Photography purists still applaud Adam’s proclamation that photography should be considered an artform; but this quote takes on a bold new meaning now, given the limitless technology options available today to creative practitioners. From historical processes to AI, the “making of photographs” has never been a more diverse and contentious landscape. New combinations and previously unheard voices present us with truly exciting, fresh conversations. Cameras are no longer even needed to create hyper-real images. “Photographs” are “made” every day at a rate beyond anyone’s comprehension with AI. With the volume of images being “made,” my question is “What are they saying?” What are we visually breathing in from beneath this avalanche? Issue #73 celebrates photo-based artists that dare to meld technologies to craft powerful creative statements. Emma Nishimura feature story by Corinna vanGerwin Emma Nishimura ’s multimedia works are a tribute to her family history. Her use of photographic documents in crafting intricate, delicate, beautiful pieces connects the viewer with a very real family immigration story. The images she “makes” blend her story with that of her grandmother’s. All the artists in this edition share practices that are slow, arduous, complicated, and layered. Works presented in this issue offer disruptions and diversions from the high-volume digital life quips that we have gotten used to streaming endlessly on our screens. Prolific outsider artist Martha Davis ’ dioramas and greenscreen projects are vivid, quickly made sketches that demand attention and slam down really hard conversation ignitions about genuinely important topics: community, seniors, children, our environment, social justice, and more. Natalie Hunter ’s work takes a gentler approach, inviting viewers into a physical experience of quiet light and joyful colour. Her work asks us to pause and breathe as we enjoy a rare analog experience. Natalie Hunter feature by Bart Gazzola In the context of mainstream conversations arguing the virtues and warnings of AI, Benjamin Freedman ’s work questions, and mirrors Adam’s quote directly. Benjamin’s fabricated camera-less narratives in the context of contemporary art ask us not to challenge the truth of an image (those days have passed) but present us with a new tool for storytelling our memories, and other narratives that may or may not exist. Duane Isaac ’s work combines the physical craft of mask-making with photography to present viewers with an Indigiqueer perspective that explores identity, culture, and sexuality. ( Read more here ) The PORTFOLIO pages in this edition are especially exciting for us, as the artists we present here have been selected by our curatorial team from our first-ever international open call. Trina O’Hara (Australia / Italy) PORTFOLIO featured artists Trina O’Hara (Australia / Italy) Sarah E. Fuller (Canada) Pavlo Fyshar (Ukraine / Germany) Maryam Firuzi (Iran) Rosemary Horn (New Zealand) Diego Fabro (Brazil / Dublin) Monica Rooney (Canada) Christine Germano (Canada) Zelda Zinn (USA) Ralph Nevins (Canada) AND, Check out the GuruShots Pure Minimalism showcase in print or online HERE. Find our playlist of MELD inspired tunes on SPOTIFY! Consider supporting us!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions

Duane Isaac, Snake Series, 2023. AS I AM AN  Ojibwe and Wasauksing First Nation (Eagle Clan) member, my curatorial interests explore many facets of identity, including discussions of queerness, gender, and the importance of cultural representation in art. I have always focused on rising artists who push boundaries and align with the themes and concepts I research.  Duane Isaac is one of those artists. They are of Mi’gmaq descent from rural Listuguj, Quebec. From studying at Dawson College to exhibiting in various galleries and publications, their practice catalyzes discussions of indigeneity and queerness, woven into themes of masculinity, femininity, and the power of camp.  Duane Isaac, “Bloom,” 2018. Duane states, “My Indigiqueer perspective shapes my artistic practice by exploring the intersectionality of identity, culture, and sexuality.” Duane creates surreal, fantastical masks inspired by ideas around their identity, made of found objects and recycled supplies. Their fabrication process involves forging every mask with a base layer of aluminum foil applied to a mould to create a smooth, seamless form. When pleased with the mould prototype, the mask gains a layer of foam clay, filling any gaps and creating stability. Once the foam clay has congealed, the mask is ready for protruding forms and embellishments. Duane’s masks are fabricated in an organic flow in which mistakes and anomalies  are embraced. These moments push the creative work in new directions throughout the process. The creative process continues through the camera lens and later in post-production. Duane works with models, friends, and strangers to embody archetypes that comment on the ongoing glorification of the ideal body. The photographs are narrowed down to four or five for the editing process. Duane uses Lightroom and Photoshop to layer in otherworldly environments to create an eerie playfulness. Ultimately, mask-making has been the most important part of their photography journey. I first became aware of Duane’s practice in 2018 when I came across "Bloom" (2018). This image specifically spoke to the concepts and themes I research, queerness and gender. Queer identity holds many complex states of fluctuation. The embodiment and notions of masc and fem are never in a fixed state and always waver. Often, our desires, relationships, and interactions are subjected to scrutiny, and expectations are made around sexuality and gender identity to fit a pre-manufactured mould. "Bloom" (2018) presents a traditionally masculine body that evolves past colonial ideologies surrounding sexuality and gender.   Duane Isaac, Snake Series, 2023. Celestial Bodies / Corps célestes /Enangog Bemaadzojig , exhibition at daphne Gallery, Montreal, in collaboration with articule, photographed by Guy L'heureux, 2023. Duane and I worked together in 2023 at daphne x articule in Montreal. Celestial Bodies  became a travelling exhibition that stemmed from my residency there. This group exhibition explored the experience of Indigenous Two-Spirit and Indigiqueer identities. Our work presented the audience with the statement: We are celestial bodies, and we transcend. Duane Isaac, Snake Series, 2023. Celestial Bodies / Corps célestes /Enangog Bemaadzojig , exhibition at daphne Gallery, Montreal, in collaboration with articule, photographed by Guy L'heureux, 2023. The Snake Series , consisting of three photographs and three sculptural masks’ were pieces created specifically for Celestial Bodies . This work challenges the traditional way we view photographs as art by allowing the viewer a new dimension to their experience. The handmade masks on display share the artist’s hand and challenge the connection with the subject in the image. In this series, Duane presents concepts of the queer gaze through myth and fable iconography crafting a sense of the forbidden. Apples, pills, and snakes embody temptation, caution, and consequence, cloaked around the ideals of traditional beauty.  Duane Isaac, “Untitled 3,” 2023. Duane’s practice is ever-evolving. A recent outdoor exhibition of their work in Quebec featured large-scale images printed on transparent sheets pressed into blocks of ice. New presentations such as this push their ideas around encapsulating the surreal, while continuing to propel viewers to question beauty and identity through ethereal, strange, and heavenly works. See more work by Duane Isaac: duanedisaac.com This story appeared in issue #73, the MELD edition. This issue showcased photography as a creative blender, presenting artists who work slowly and carefully crafting considered, intentional, layered, and complicated works. Follow curator and artist Jesse King, HERE Did you enjoy this FREE read? Consider supporting us!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   READ our digital editions  Follow us on Patreon and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

Photos by Andrew Rees (@andrew_rees_photography) Ok, let’s do some math: take eight photographers, multiply them by 36 exposures each, add one model and a rack of costume options in a beautiful house near Mont-Tremblant, then divide by just 30 minutes per photographer to make one outstanding image to be judged by a panel of seven. What do you get? A lot of fun and learning, all while raising money for a worthy cause. Photo by Andrew Rees (@andrew_rees_photography) Organized by Toronto photographer Michelle Quance, the Thirty6Xposures project encourages friendly competition and channels support for research on Rett Syndrome , a genetic neurological disorder that is more common in females and has a broad set of impacts on movement, speech and breathing. Those of us who weren’t in on the adventure can follow along thanks to a good- humoured movie that documents the process each photographer went through to make images and select the best one for printing. The film was directed and narrated by Quance, with excellent technical work from Rachel Bower (Cinematographer) and Shawna Eberle (Editor, and one of thie challenge participants). The Thirty6Xposures name hints at one of the challenges participants face: being limited to 36 frames, just like in the old days when shooting a roll of 35mm film was not an esthetic choice. Some of the other challenges include the time constraint, having to photograph indoors at a given time of day, and working with a live model when most participants are not used to giving direction in a fashion session. A tough assignment! Experienced photographers will sympathize—and often laugh along with—their onscreen counterparts and imagine how they might have done it differently. For less experienced viewers, the movie is punctuated with brief but helpful explanations of some of the tech-speak that peppers the dialogue. Clips of the film are being released on YouTube and anyone who wants to stay up to date with where the project is heading next can follow @Thirty6Xposures on Instagram. Additionally, an exhibition of personal work from the eight photographers featured in the 36 Xposures Photography Challenge takes place as part of the CONTACT Festival of Photography until June 28, 2024. Styles range from fine art, wildlife, celebrity, portrait, street and live music photography. Each photographer has chosen one image from their personal portfolio to be featured. @traceybielphoto @alioopphotography @skin_mf @johanna.carlo @fabricefotoartprojects @freddykoops @michaelhurcomb @shawnaeberle Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions

Stephen Brookbank, Roller Rink at the waterfront, Hamilton, Ontario “The grey warm evening of August had descended upon the city and a mild, warm air, a memory of summer circulated in the streets. like illuminated pearls the lamps shone from the summits of their tall poles upon the living texture below which, changing shape and hue unceasingly, sent up into the warm grey evening air an unchanging unceasing murmur.” —excerpt from“Two Gallants “ by James Joyce Inspired by Irish novelist James Joyce’s short story “Two Gallants,” Stephen Brookbank explores after-dark and before-dawn urban, suburban, and industrial environments. Using a large format camera, he uses long exposures and available light to create images that aim to illustrate the “truth” of a scene. Stephen Brookbank, Greenhouse, Gage Park, Hamilton, Ontario Stephen’s environmental portraits in home, work, and play settings look to document the resilience of people in the midst of a challenging period in human history. “North America is in a phase of deindustrialization,” he says. “I’m interested in creating work that supposes allegories representing flexibility and adaptive strength.” One of Stephen’s key influences is the New Topographic movement of the 1970s, in which photographers worked to identify a critical view of the state of America. “I am interested in looking at the everyday urban and suburban landscape with a sense of awe and respect, coloured with the mixed-up night-time lighting situations from available light sources,” says Stephen. “This work is intended as a document of our time.” Stephen Brookbank An inherent analog aficionado, for this project Stephen used Toyo View G, a 4×5 large format studio camera, with Rodenstock Apo-Sironar lenses and Kodak Portra 400 film. “My reasons for shooting analog are purely personal,” he says. “It works for me and what I’m trying to achieve. Shooting with such a large camera forces me to work slowly.” Rather than taking lots of photographs of a scene, Stephen takes time to decide on an ideal composition and takes one shot. “I may only make two negatives. A successful night of shooting may only yield a couple of photographs. The process and ritual of making a picture on a large format camera appeals to me. The richness of a well-made negative contains such beautiful, smooth clarity and detail,” says Stephen. Stephen Brookbank Stephen follows a few self-imposed rules when photographing. One of these rules includes not adding any light to a scene, including after dark. “I rely on street lights, window light, and low clouds to light scenes for me. One of the challenges this creates is that when I am photographing people in their work, home, or recreational environments, my exposures have to be quite long. It’s not unusual to have people posing for up to a minute.” Stephen Brookbank “I’ve figured out a trick,” he says. “During a long exposure, one of the things that makes a person jittery is an effort to keep from blinking during the exposure time. I’ve found that if a person blinks comfortably they are more relaxed and able to keep still — even little kids. In the photograph their eyes are still clear and sharp.” He does very little in terms of posing people, as they are to look relaxed, comfortable, and like themselves. “Another challenge is the skepticism I encounter,” says Stephen. “People are typically proud of their neighbourhood, so after a short conversation I try to demonstrate that I am there out of respect. Then their guard goes down. Of course, the curiosity of my big, old fashioned—looking camera also seems to help diffuse any tension.” Stephen Brookbank, Families at Roosevelt avenue, Hamilton, Ontario Stephen’s laborious process influences not only how his images appear, but also his audiences. When people slow down to understand the technical factors involved in his work, they gain further insight into the narratives he creates and presents as documents. This story originally appeared on the RESILIENCE OF ANALOG #FilmIsNotDead edition. We share this incredible work now as tribute to our late friend STEPHEN BOOKBANK . As per his wishes, please make a donation to QEII Health Sciences Foundation or the Beatrice Hunter Cancer Research Institute. Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital edition S

An excerpt from: Anthotypes – Explore the darkroom in your garden and make photographs using plants . Anthotype made using Beach rose (Rosa Rugosa) • “Gather ye rosehips” by Alison Bell, St. Catharines, ON What is an anthotype? Utilizing nature’s own colouring pigments from flower petals, berries or other plant parts, images are produced by crushing and mixing them with alcohol or water to make a light-sensitive emulsion. Ordinary watercolour paper is coated with the emulsion and a photogram can be created by placing objects on top of the paper. An image can also be printed using a positive transparency (not a negative) in a contact frame. The print is then exposed under the sun. No further developing or fixing of the print is needed. The focus of this book is to show the many different types of emulsions that can be created from an infinite number of plants and pigments. Anthotype made using Lavender (Lavandula), Spinach (Spinacia oleracea), Blue butterfly pea (Clitoria ternatea)and Basil (Ocimum basilicum) • “Lavande” by Émilie Léger, Montréal, QC The benefits of anthotyping An environmentally friendly and sustainable process—very little impact on the environment. A great way to spend time in nature. Wonderful smells when picking petals—most of the time. A fun way to experiment with photography. A great way to get children involved without hazardous chemicals—though take extra care to avoid poisonous plants! No darkroom is needed; can be done at home. You can grow your own plants for creating the emulsion. A de-stressing process of “slow photography”. Anthotype made using Sulphur Cosmos (Cosmos sulphureus) • “Summer Sunshine” by Janice Kamide, Richmond, BC Some things that may be less perfect The image can be somewhat faint or have low contrast. The exposure times are very long—it can take days or even weeks. The prints are monochrome and thus limited to one colour. It is hard to know the final colour of the print; for example, blue petals do not necessarily yield a blue print. Some plants are VERY poisonous; be sure to look this up before using them! Some pigments cause stains on clothes and surfaces. The result can be unexpected—that is not necessarily a bad thing. The image is not permanent. It will fade over time. Anthotype made using Turmeric (Curcuma longa) • “Grandma’s House” by Kirsten Murphy, Yellowknife, NT A brief history Using plants to colour cloth or paint is ancient—with evidence of the use of plants ranging from Neanderthals to Egyptian Pharaohs and Japanese tattoo masters. The discovery and use of plants in photography is more carefully mapped. Like many other discoveries, it required a whole ensemble of people to make it happen, starting with Henri August Vogel who, in 1816, discovered that plant juices are sensitive to light. A number of people did extensive research, such as Theodor Freiherr von Grotthuss , and Sir John Herschel who published his discovery in 1842. Rather unfairly, Mrs Mary Somerville was a main player but was not able to publish her research on ‘the action of rays on vegetable juices’, since she was a woman(!!!). There are more names, such as Robert Hunt and Michel Eugene Chèvreul , who extended the research on their own accord. “Anthotypes show us just how much early photography is a kind of natural magic. Malin Fabbri’s book is a real gift – a much-needed manual on this beautiful and almost-forgotten process.” - Dan Estabrook, Artist and educator. Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions  •

Noémie was born blind. She suffers from Leber congenital amaurosis (LCA), a genetic disorder. At a party organized by the Foundation for the Blind of Quebec (FAQ), she dances with her friend Florence. Noémie wears glasses to protect her eyes, as she has no muscle reflex in her eyelids. Montreal photographer OPHELIA CHAUVIN documented the daily lives of people with living with partial or total blindness. This work tells their stories and prompts reflection on the notion of "vision." How to perceive the world differently. This documentary project, whether featuring people who were born blind or those who lost their sight later in life, bears witness to the daily lives and resilience of individuals with partial or total blindness. "This first chapter of my documentary led me to understand the realities and challenges faced by people with visual impairments in Quebec. I focused on various issues related to mobility and cultural, sports, and intellectual accessibility. I aimed to meet and tell the stories of individuals with different life paths and from various generations. It was also important for me to understand how these people cope with their disabilities and perceive their relationship with our modern and visual society. This project aims to bring them out of invisibility and to raise awareness of their resilience, with the goal of challenging some preconceived ideas." Marc-André regularly attends a book club. This activity allows him and other participants to discover new authors through the voices of volunteer readers. Marc-André (50) lost his sight at the age of 46 due to what is believed to have been poisoning from chemical aerosol products while living in Thailand. For him, it wasn't just about "losing his sight but also his entire way of life."   A true man of letters and avid traveler, Marc-André spent over 20 years living throughout Asia — from Japan to Thailand, with stops in Burma. Following his disability, he returned a few years ago to his native Montreal, where a new chapter of his life is now unfolding. Today, Marc-André works as a development officer for the organization Le Bon Pilote and he is actively involved with numerous associations that promote accessibility and social connections for people with disabilities. “What do you want? I'm not going to stay at home staring at the walls. Besides, I can't see them anyway,” he replies with his usual sense of humour when I comment on his busy schedule. Marc-André can count on Hao Yu, his neighbor, friend, and guide, for daily assistance. For Marc-André, having a trusting relationship with his guide is essential. Every Sunday, they go together to do their weekly grocery shopping. Marc-André selects his products by touch. Through habit, he recognizes the layout of the displays in the stores he frequents. Other blind individuals do their shopping online or ask for help from store clerks. Marie (23) was born blind. Originally from Mascouche, she moved to Montreal on her own to pursue her studies. A Political Science student at the University of Montreal (UDEM), Marie aspires to work in diplomacy. For the past two years, Marie has been assisted by her guide dog, Djenga. To obtain her care and support, she spent 6 months at a specialized school in the USA. Since she switched from her white cane to Djenga, Marie feels much freer, more autonomous, and safer. Additionally, she has noticed that people are much more willing to approach her and socialize. Marie will always remember the first time she walked the streets of New York with Djenga: she cried tears of joy! In the face of her disability, Marie is constantly seeking autonomy and freedom. She prefers to use public transport or Uber, even though she is eligible for adapted transport services. Equine riding, dancing, swimming, music, and even DIY projects—Marie is a jack-of-all-trades, with great curiosity, sociability, and a critical mind. She truly feels "disabled" when society imposes accessibility limitations. To study, Marie uses an electronic Braille reader connected directly to her computer. With this device, she can read her course materials, write, use Excel and PowerPoint, and navigate her computer. In Quebec, there are nearly 100,000 people who are blind or visually impaired, with the vast majority living below the poverty line. Many local organizations, such as the Foundation for the Blind of Quebec (FAQ), work daily to combat the poverty and isolation experienced by individuals with visual impairments, and to enhance social and community integration. Each year, the FAQ pushes the boundaries of accessibility by offering a wide range of sports and recreational activities for ages 6-25 (including alpine skiing, tourism, tandem biking, hang gliding, cooking classes, music lessons, etc.). Given that over 80% of the information we receive is visual, these activities are crucial for helping young people develop their social and cognitive skills. Ali has optic nerve dystrophy. As a child, he participated in activities organized by the FAQ. Today, he works for the Foundation as an accountant and recreational activities instructor. See OPHELIA CHAUVIN's full project - HERE. Did you enjoy this read? For as little as $2./ month we'd love your support to continue producing qualitative content for you to enjoy!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

Jessica Thalmann's Philosophy is that a photograph is just a piece of paper to destroy, rip, tear, and cut. The taking of a photograph is only one component of Jessica Thalmann's artistic practice. Jessica is an interdisciplinary artist, curator, and writer who divides her time between Toronto and New York. With a Master of Fine Arts in Advanced Photographic Studies from ICP-Bard College (New York) and a Bachelor of Fine Arts from York University (Toronto), Jessica's knowledge of photography, film, and sculpture influence her work. Using her own images, and archival materials, she prints, cuts, assembles, and folds photographs into a variety of manipulated forms. The inspiration behind her work stems from her integral belief that a photograph does not depict reality, or the "true" story. "There is a romanticism around photography that we need to get over," she says. "We think photos are documents of reality but in fact the camera lies. There is a hand behind the camera that stages and frames. We have lofty goals for our photographs, but they do not depict the world as it really is." Destroying and reinventing images is a painstaking step-by-step process for Jessica, who believes that researching, analyzing, and planning are as much a part of being a photographer as taking a photograph. "Utopos (Henry Hall Building in 1969)", one of Jessica's current projects, stems from a personal family tragedy that happened when she was four years old. "In 1992, there was a shooting at Concordia University: a professor killed several of his colleagues. Mr uncle, Phoivos Ziogas, was one of the professors massacred. Also, in 1969, students took over the ninth floor of the same building where the 1992 shooting happened. They destroyed engineering equipment and threw thousands of IBM computer cards out of the window which littered the street like a blanket of snow It was one of the most violent riots in Canadian history . . . With the Utopos project, there is, for me, an emotional resonance and a desire to understand. This work focuses on returning to that building, to that site of trauma and, as I film and photograph it, on trying to understand what happened there. It is a delicate and cathartic process for me." For the Uptopos project, Jessica scoured the university archives until she found a black and white image that depicted the 1969 riot at the exact moment when the students were throwing IBM cards out of the window. Jessica overlaid colour onto the image and then printed the large 82" x 32" image into eight prints and eight sections. She cut and trimmed each print and folded them into equal lateral triangles. She says, " From these organic shapes, I was able to fold and shape the prints and then pin them directly onto the wall." Jessica manipulates most of her images manually in her studio, adding shadows and strange distortions, with the end goal of finding the hidden beauty in buildings others don't find. She goes through a series of emotions, including frustration, anger, reverence, and wonder, when trying to get at something that a photograph is not actualizing for her. "At a certain point in my practice I was steeped in other's photography, how beautiful and holy their images were. It was only when I gave myself permissions not to create something beautiful, to move from holding a photography as holy, that I could create something beautiful out of something I destroyed." Jessica says, "That is not going to work for everyone; it is a niche I have found for myself." Jessica's advice for aspiring photographers is to read Camera Lucida by Roland Barthes (1980) and On Photography by Susan Sontag (1973). Barthes explores the nature and essence of photography, and Sontag studies the force of photographic images that are inserted between experience and reality. She also photographers not to get into their own heads too much: to step away from their thoughts and start using their hands. "Not making work is not the solution to not making work. That is the best advice I can give to anyone," she says. "Money should not be your primary goal; just make the work you want to make." jessicathalmann.com Find this story and more in our ISSUE #52 - digital replica edition Enjoyed this free read?!  Consider supporting us! We need your support to continue producing great, original content for you to enjoy! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions

"Guided by the notion that North Koreans are residing in a "dream-state," where the truth is not lived but imposed by those in power, Nathalie Daoust's anonymous forms wander through the landscape." By Samantha Small Nathalie Daoust's photographs reflect a love for eclectic places and a wild, inexhaustible sense of curiosity. Exploring, experiencing, and documenting rarely visited landscapes and carefully hidden places, she has spent the last decade producing voyeuristic insights into otherwise veiled existences. Nathalie studied the technical aspects of photography at the Cégep du Vieux Montréal. Since, she has been travelling the globe seeking to translate her experiences into photography-based artworks. She spent two years experimenting and living in the Carlton Arms Hotel in New York, which led her further abroad to explore Tokyo’s red light district, Brazilian brothels, and Swiss naturists in the Alps. Nathalie’s project, Korean Dreams (2016) is a complex series of 25, 50 × 70 cm prints that reflect the mysterious world of North Korea. “I was working on a photo documentary in China about North Korean women living in hiding and working in the sex industry. I wanted to better understand why these women would rather live in such conditions in China than remain in their own country with their friends and family.” Nathalie’s images captured in North Korea reveal a country that seems to exist outside of time, as a carefully choreographed mirage. She has spent much of her career exploring the idea of fantasy: the hidden desires and urges that compel people to dream, to dress up, to move beyond the bounds of convention. With Korean Dreams , she is exploring this escapist impulse not as an individual choice, but as a way of life forced upon an entire nation. Most foreigners associate North Korea, shrouded by fanatical isolationism, only with the hallmarks of its repressive regime – kidnapping, torture, and forced labour camps. Tourist experiences are carefully crafted to countermand these impressions. Accompanied by guides at all times, and adhering to the rigid, pre-approved travel program, visitors get a highly selective view of the country as they are paraded past cultural landmarks such as theatres, schools, and music halls, meant to create the illusion of a perfect society. The difficulty of reconciling systemic violence and repression with this shiny world led Nathalie to focus on the spaces that exist on the edge of the “tourist zone.” By shooting furtively while travelling between destinations, she was able to capture an alternative narrative. Guided by the notion that North Koreans are residing in a “dream-state,” where truth is not lived but imposed by those in power, her anonymous forms wander through the landscape. From civilians bicycling against an urban backdrop, to military personnel marching stridently in line and schoolchildren staring pensively out of the frame, these figures seem to exist suspended in an ambiguous, timeless dimension. Playing with the line between fiction and reality, Nathalie exposes an indeterminate space where “truth” and “lies” are interchangeable. Nathalie’s multi-step development process is integral in this series to the interplay between fiction and reality. In the darkroom she reconstructs a forgotten past and an unknown present. The images were taken on 35mm black and white film and have been obscured in her unique photographic process. She creates a “negative” by cutting out her selected frame from its contact sheet and peeling off the back of the photo paper. The breakdown of the original negative film has produced final images that appear indistinct and somewhat ghostlike. As the layers of distance from the original film are removed, a sense of detachment between the photographer and her subjects is revealed. Nathalie’s darkroom method also mimics the way information is transferred in North Korea: it is stifled until the truth is lost in the process. The resultant images speak to North Korean society, of missing information and truth concealed. daoustnathalie.com Find this story + more in our CANADIANS ABROAD - ISSUE #53 Enjoyed this free read?! Consider supporting us! We would love to continue producing great content for you to enjoy! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY  • READ our digital editions

photoED Magazine a rencontré Marie-Louise pour discuter de son travail. « Marché du jour »  • Une journée de courses au marché hebdomadaire de Sinalunga, Italie • Pris avec un Tamron 28-200mm. ISO 800, 1/180 sec, f/5.6, 57mm. Marie-Louise Moutafchieva est une photographe canado-bulgare passionnée par la nourriture et les voyages. Que ce soit au Canada ou à l'étranger, elle crée de belles histoires qui célèbrent la nourriture, les producteurs, les cuisines, l'architecture, les plantes, la lumière et les moments à savourer. « Pigeon toscan »  • Toscane, Italie • Pris avec un Tamron 28-200mm. ISO 160, 1/200 sec, f/5.6, 200mm. photoED: Comment avez-vous commencé la photographie? Et qu'est-ce qui vous motive et vous inspire à continuer? Marie-Louise : peux pas dire si c'était un vrai appareil ou un jouet, mais ma curiosité pour la photographie a définitivement commencé à ce moment-là. En voyageant souvent avec mes parents à travers l'Europe, ma mère était la photographe de la famille, mais à l'adolescence, j'ai commencé à prendre le relais. J'ai suivi des cours au secondaire et j'ai rapidement découvert que je voulais m'y consacrer sérieusement. Le voyage reste une source de motivation créative pour moi. Observer les petits moments quotidiens — que ce soit une tasse de café avec une part de quelque chose de sucré et fait maison, documenter un changement de saison, ou voir quelqu'un travailler dans une cuisine ou une boutique alimentaire — je suis toujours excitée de trouver un nouvel angle à partager. Mes amis et ma famille m'ont toujours soutenue. C'est agréable d'entendre qu'ils aiment voir comment je perçois le monde et que cela les inspire à reprendre un appareil photo! photoED: Qu'aimez-vous le plus dans la création d'histoires à travers la photographie? Marie-Louise : J'aime la façon dont les photographies ont le pouvoir de créer des souvenirs d'un lieu et d'un moment, comme de petites capsules temporelles. Les images partagent la culture d'un endroit — la nourriture, les traditions, les gens, l'histoire. Au lieu d'utiliser des mots, les photographies ont suffisamment de pouvoir pour raconter une histoire plus large. Je crée des histoires dans l'espoir de transporter les spectateurs et leur faire vivre l'expérience d'être là. Je veux qu'ils sentent presque l'odeur des fruits de saison au marché hebdomadaire, entendent les bavardages des habitants, ressentent tous les sens à travers mes images. photoED:  Quels artistes vous ont influencé?   Marie-Louise : Mon style a évolué au fil des ans, trouvant son influence chez divers artistes. Le travail des peintres de la Renaissance et des maîtres hollandais comme Johannes Vermeer et Rembrandt a influencé ma série de portraits « Renaissance Children », en 2016–2017. Je suis également une grande fan de la photographe danoise   Ditte Isager , qui est une excellente raconteuse. Ses diptyques combinent la nourriture et le lieu, créant un sentiment de calme. Saul Leiter et Joseph Sudek , dont les photographies donnent de l'élégance à leurs sujets, sont d'autres de mes préférés. « Costumes italiens »  • Rome, Italie • Pris avec un Tamron 28-200mm. ISO 125, 1/200 sec, f/7.1, 78mm. photoED: Qu'est-ce qui fait une bonne photographie? Marie-Louise : La composition, la patience, un bon œil, le timing parfait pour capturer un moment, et la capacité de traduire une nouvelle perception d'un lieu. La photographie vous fait regarder le monde sous un autre angle et vous oblige à prêter attention à ce qui nous entoure. Plus important encore, une bonne photographie semble simplement être juste. photoED: Comment le travail en photographie vous a-t-il influencé personnellement? Marie-Louise : l'expérience et j'apprécie les connaissances que j'ai acquises. J'ai rencontré certaines des personnes les plus intéressantes de l'industrie. Il y a beaucoup de choses dans la vie que je ne pense pas avoir pu faire sans la croissance qui est venue de ma persévérance et de ma pratique constante de la photographie. « Coin de Cortona »  • Cortona, Italie • Pris avec un Tamron 28-200mm. ISO 200, 1/200 sec, f/4.5, 81mm. photoED:  Quel a été votre projet préféré?   Marie-Louise : Voyager à l'étranger apporte toujours des aventures intéressantes et me laisse inspirée en voulant plus. Depuis 2017, je collabore avec une amie boulangère artisanale à Sofia, en Bulgarie, lorsque je suis là-bas. Notre passion pour la nourriture et le stylisme vont de pair. Nous avons réalisé plusieurs mini-projets ensemble et continuons à essayer de nouvelles expériences par amour de la cuisine et de l'art. photoED:  Où espérez-vous que la photographie vous mène à l'avenir? Marie-Louise : Il y a tellement d'endroits où je suis excitée de photographier! J'aimerais que mon travail soit davantage publié dans des magazines internationaux de voyage et de loisirs, et je travaille lentement vers un livre de cuisine basé sur des photos de mes propres recettes. J'aimerais continuer à collaborer avec des chefs professionnels et des boulangers dans leurs cuisines, et étendre l'idée pour inclure des artisans du monde entier. Je veux documenter les histoires et les ateliers de personnes qui travaillent avec la nourriture, comme les fromagers, les vignerons, les agriculteurs et les chocolatiers, ainsi que des artisans tels que les menuisiers et les céramistes. J'ai également pour objectif d'exposer mon travail dans la cour du Musée archéologique du Musée régional d'histoire de Veliko Tarnovo, en Bulgarie. Ils ont un espace galerie et de jolis portiques où j'ai déjà vu une exposition! Je peux imaginer un spectacle très interactif. Ma mère et mon père ont grandi dans la vieille ville, donc j'ai une connexion très personnelle là-bas. « Portrait de Sienne »  • Sienne, Italie • Pris avec un Tamron 28-200mm. Le centre historique et les anciens remparts de Sienne. ISO 125, 1/320 sec, f/7.1, 75mm. photoED:  Avez-vous des conseils de voyage pour les photographes? Marie-Louise : Voyagez léger! Gardez des batteries supplémentaires à portée de main. Je n'aime pas transporter trop d'objectifs, seulement ceux qui peuvent être polyvalents pour tout, des portraits aux paysages en passant par les détails. Les objectifs sans miroir sont très légers et idéaux pour les voyages. Apportez des cartes de visite ou des cartes postales de votre travail à partager. Vous ne savez jamais qui vous pourriez rencontrer en chemin. Des clients potentiels, des amis et d'autres connexions sont toujours une possibilité! Prenez votre temps. Pour les photographes de voyage, le voyage fait partie du but! Gardez les yeux ouverts et restez curieux. « Salumi & Fromaggi tipici »  • Toscane, Italie • Pris avec un Tamron 28-200mm. ISO 200, 1/200 sec, f/5, 30mm ÉQUIPEMENT What camera and equipment do you use most now? What’s your favourite lens? Tell us about your experience using Tamron lenses. Marie-Louise : J’utilise du matériel Sony et, en ce moment, je travaille avec le Sony A7 III. Mon objectif de prédilection, jusqu’à récemment, était le Sony Zeiss 24–70mm, mais après avoir utilisé le Tamron 28–200mm F/2.8 Di III RXD, je peux franchement dire que c’est devenu mon nouveau préféré. L’ouverture rapide s’est révélée très utile lors des jours nuageux ou dans des conditions de faible luminosité. L’objectif commence à f/2.8, puis s’ajuste en fonction du zoom: f/3.5 à 50mm, f/4.5 à 100mm, etc. Je suis impressionnée par l’amplitude du zoom Tamron, en plus de son autofocus rapide et de la netteté exceptionnelle des images. Ce fut un vrai plaisir de composer des paysages magnifiques avec tous leurs détails lors de mon récent voyage en Toscane. J’ai adoré profiter de la capacité de zoom pour observer de près les ornements complexes de l’architecture séculaire. C’est un excellent objectif, qui passe facilement des micro-détails aux paysages. Marie-Louise  Moutafchieva See more of Marie-Louise Moutafchieva's work - HERE. Check out Marie-Louise Moutafchieva's fave new Tamron lens - HERE! www.tamron-americas.com