“HONOURING EACH INDIVIDUAL’S EXPERIENCE IS THE BASIS OF THIS WORK.” A cardboard sign is a form of communication people experiencing homelessness use with the general public. Often it is the only dialogue between these two demographics. Using art as a vehicle to break down walls of stigma, photographer Kat Fulwider challenges us to look at the human beyond the sign. “What is your story? What is your message?” “Rainy” • “I met Rainy when I was volunteering at Operation Come Home. She is a compassionate young woman with a gift for writing. This photo was taken around the time she found out she was pregnant. Since this picture was taken Rainy has turned her life around. She left a toxic relationship, got off the streets, has an apartment and a job, and has a beautiful baby who she says saved her life. Her story is one of inspiration that there is a light on the other side of the darkness.” Kat asked these questions to but a few of the 800 youth in Ottawa who don’t have a place to call home. Their answers were communicated in the form of visual artwork, words, and poetry: their emotional accounts of loss, survival, and resilience sketched on cardboard. On this simple material, Kat combined their statements with portraits she created through the cyanotype process. “Youth homelessness” refers to the experience of young people between the ages of 13 and 24 who are living independently of parents or caregivers and do not have the means or ability to acquire a stable, safe, or consistent residence. “Hannah” • Many youth have different names. Some know her as “Molly,” many knew her as “Hannah.” I met her only a couple times. She was the very first participant in the project. Life on the streets is often characterized by constant movement and too many times we lose track of people. Kids slip through the cracks and the street becomes a basin to catch them. “Iftin” • “ I try to be really quiet and stay in my own corner because I don’t want to get in trouble and because you have to think about your own safety at the end of the day. You don’t want to get involved with, like, anything that can get you hurt.” Kat shared how her Your Side of the Story project materialized: “I met each of these individuals when I began volunteering at Operation Come Home, a social services centre for at-risk and homeless youth. When I first began, I was looking to help fellow youth in my community through art. I was very naive about the challenges these youth face daily. I was not aware of the housing crisis Ottawa is currently facing or the extent of the opioid epidemic and its effects on our young population. I was oblivious to many things when I began this project, but most of all, I was unprepared for the beautiful and heartbreaking relationships that I would eventually form with these youth. I did not know of the magnitude of the front-line workers’ duties and their unrelenting efforts to create a better life for these young people. As there are many complex factors that lead to youth homelessness, the social workers, support workers, and volunteers of Operation Come Home and similar social service centres have an immeasurable undertaking before them. According to research by the Homeless Hub, some of the greatest factors contributing to youth homelessness are physical, sexual, and emotional abuse; involvement with the child welfare system; homophobia; discrimination; and poverty. Regardless of the events that led to this chapter in the people’s young lives, boundless strength and resilience is held within their pages. “Chicken Little, [Cody] Murray” • Cody says, “I find a lot more street people giving and caring than people who have nine-to- five jobs who make, like, six-figure incomes.” This project is dedicated to Cody. He was one of the kindest people I have ever met and I wish that I had had more time with him. We met on a cold January winter night during the “24 hours of homelessness” campaign through Operation Come Home. When you walk into the Operation Come Home Drop-In Centre, you immediately see memorial canvasses adorning the walls. Printed upon them are the faces of young people surrounded by handwritten notes of love, loss, and wishes for the youth to rest in peace. These are grim reminders of the dangerous realities these youth face every day. I see myself in these faces. I see a fractured reflection of my generation. My hope is that the people who participated in my project found solace in the expressions of their voices. Every situation is unique; some people knew exactly what they wanted to say and I became the conduit through which they shared their stories. Others were uncertain of how, or even if, they wanted to share their stories. Honouring each individual’s experience is the basis of this work.” kfulwider.com/your-side-of-the-story This story featured in our PHOTOGRAPHY + HEALING issue. Did you enjoy this FREE read? Consider supporting us! We'd love your support to continue producing great content for you to enjoy! • JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY Follow us on Patreon, Facebook, and Instagram, and sign up for our e-newsletter to keep up with all our adventures!

An interview with photoED Magazine Anna Wilson is a Canadian photographer, educator, and artist whose eye is drawn to stories that make places meaningful, and to her camera as a tool for being more present in the world. Anna’s approach has evolved from documenting what she sees to using photography as a conduit for deeper observation, connection, and creative expression. She is the founder of Mindful Eye Photography, through which she leads creative experiences for women. Recently, her Alchemy of Light — Mindful Photography Journey (in partnership with National Geographic Journeys by G Adventures) took her and her group through Spain. photoED Magazine spoke to Anna about her latest adventure. Noticing light at the Real Alcázar of Seville • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/5000sec, ISO400, f/2.8 at 35mm photoED: How did you get started in photography? And what keeps you motivated and inspired to keep practising? Anna: I fell in love with photography in high school, when I took my first photography class. I was incredibly lucky to have an inspiring teacher, and we used Freeman Patterson’s Photography and the Art of Seeing as our textbook. Looking back, I think that may have been one of my first nudges toward the mindful approach to photography that has become such an important part of my work. At the same time, I became completely captivated by the darkroom. There was something magical about standing in that dim red light, watching an image slowly appear on photographic paper. It was a meditative way of making something physical, and I think it was probably my first experience of what I would later understand as creative flow. Growing up, my dream was to become a National Geographic photographer. I wanted to travel the world and tell stories through photography. This dream has taken a more winding path than I imagined. I’m still deeply fascinated by travel and storytelling, and I’m incredibly grateful that my work is now published and shared more widely. There’s something especially meaningful for me in that I just finished leading a group journey in partnership with National Geographic Journeys by G Adventures. This kind of leadership has become a big part of what motivates me now. I’m interested in helping people experience the world more deeply through photography, while continuing to grow and evolve my own creative practice along the way. A shop display in Madrid • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/1600sec, ISO400, f/2 at 35mm photoED: What do you love most about creating stories through photography? Anna: Photography gives me a way to express what I find meaningful in the world. It helps me notice things that I might otherwise overlook, and gives me a way to hold on to those experiences. When I photograph something that stops me in my tracks, I’m essentially saying, “I see you. This matters to me.” Later, when I look at the photograph, I’m not just remembering what something looked like, I can also remember how I felt when I was there. photoED: Your work is focused on two areas of photographic exploration: mindfulness and travel. Tell us more about how these ideas come together, and what excites you about these explorations. Anna: Mindfulness has become the foundation of how I approach life and image-making. In practice, it means slowing down enough to actually notice what is in front of me, rather than rushing toward a preconceived idea of what I think I should photograph. When I’m working this way, photography becomes less about taking pictures and more about seeing, about being fully present with light, gesture, atmosphere, and details as they unfold in real time. I have always found travel to be the best means of igniting my creativity. I’ve found that being somewhere unfamiliar naturally heightens my awareness. Mindfulness creates the inner conditions for attention: presence, curiosity, openness. Photography gives that attention a form. The camera becomes a tool for staying with an experience a little longer, for deepening it rather than moving past it. Instead of simply documenting a place, I find myself in a dialogue with it, noticing something, responding to it through the frame, then noticing something new in return. I’m particularly interested in what happens when I move beyond obvious landmarks and allow myself to be guided by attention itself, following small, fleeting, unexpected details that reveal the character of a place. Palace overview at the Real Alcázar of Seville • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/5000sec, ISO400, f/2.8 at 35mm photoED: Why did you launch Mindful Eye Photography? Anna: I had dreamt for years about leading photography experiences, but I wanted to create something that went beyond a traditional photography tour. I wanted to create the kind of creative community I had been looking for myself, a space where women could travel, make photographs, experiment, have meaningful conversations, and simply be curious together. My approach is that photography is not about chasing perfect images, but about slowing down enough to really see. When we remove the pressure to produce a “great” photograph, something shifts and people begin to notice more, trust their instincts, and reconnect with their own way of seeing. I’ve discovered that some of the most meaningful parts of these experiences happen in the spaces between making photographs: in conversations over morning coffee, during the dinners that last longer than planned, or standing together simply observing light. These are the moments when a group starts to feel like a community. There’s also a little bit of rebellion in it. I’ve spent a lot of my life working within other people’s structures, and at some point I realized I wanted to build my own table instead of waiting for someone to give me a seat at theirs. Ultimately, the journeys are about photography, but they’re also about attention, creativity, connection, curiosity, and the experience of being fully alive in a place. Marcado San Miguel in Madrid • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/250sec, ISO1000, f/2.7 at 90mm photoED: Whose work has influenced yours? Anna: Early on, I was drawn to documentary photographers like Sebastião Salgado and Larry Towell. I’ve also always admired Steve McCurry’s use of colour and composition, and I continue to be inspired by it. As my own practice evolved, I became increasingly interested in John Daido Loori’s ideas around Zen photography, and I found myself returning to Freeman Patterson’s teachings after many years. I’ve also spent a lot of time reading about creativity, the creative process, and flow. From Julia Cameron’s The Artist’s Way to Mihaly Csikszentmihalyi’s work on flow, I’m endlessly curious about what allows us to become absorbed in making something and what gets in the way. Ultimately, I think my greatest teacher has been exploring and making. You can read about creativity forever, but at some point you have to put the books down, go outside, and pay attention to what is actually in front of you. Golden Hour at Plaza Mayor in Madrid • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/500sec, ISO100, f/2.8 at 113mm photoED: What makes a good photograph? Anna: For me, a good photograph is one that makes me feel something. It doesn’t necessarily have to be technically perfect or show something spectacular. It has to communicate something about the experience of being there. I want a photograph to carry some of the awe, wonder, beauty, curiosity, or even quietness that I felt in the moment. If I can look at an image years later and be transported back to that experience, then I think the photograph has done its job. I’m interested in images that feel true to an experience. Blue Hour view of the Alhambra in Granada • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/40sec, ISO1600, f/2.8 at 88mm photoED: How has working in photography influenced you personally? Anna: Photography has been the most powerful gratitude practice for me. It has taught me to notice and celebrate the life I’m actually living and to document the things I want to remember. It has also taught me how powerful attention can be. When I’m looking through a camera, I’m not thinking about everything else. I’m noticing light, colour, gesture, texture, relationships between things. This understanding has influenced the way I teach. I’m less interested in teaching people how to operate a camera and more interested in helping them develop the ability to see, explore, and experiment. Photography has become much bigger for me than technique. It’s a creative practice and a way of connecting with the world. Looking out to the Patio de los Leones (Court of the Lions) in the Nasrid Palaces of the Alhambra in Granada • Shot on Nikon Z6II with the Tamron 16-30mm f/2.8 - 1/8000sec, ISO800, f/2.8 at 16mm photoED: As an educator, what’s the one place you see students (of any age) get stuck in their photographic journeys? And what’s your advice? Anna: I think one of the biggest problems is that people rush. They decide they need to “get the shot,” take one or two photographs, and move on. Or they become so focused on the technical settings that they forget to actually look at what they’re photographing. I see a lot of divided attention, too. We’re surrounded by so much stimulation that simply being present with one thing has become surprisingly difficult. Over the years, I’ve moved further and further away from lecture-style teaching and toward creating conditions where people can experiment and experience creative flow for themselves. I want students to make lots of photographs, make mistakes, follow their curiosity, and stay with an observation longer than feels necessary. My advice is simple: stay longer. If something catches your attention, don’t photograph it once and move on. Ask yourself what exactly attracted you. Change your position. Look at the light. Get closer. Step back. Try a detail. Try a different focal length. Wait. The first photograph is often just the beginning of the conversation. photoED: Do you have travel tips for photographers? Anna: My advice is to slow down and connect with a place before you start wildly capturing everything. When I arrive somewhere new, I try to observe first. What is the light doing? What colours keep appearing? What details are catching my attention? What feels distinctive about this place? I think those observations often lead to more personal photographs than simply trying to recreate the postcard images everyone has already seen. I also recommend working in series. On our trip to Spain, for example, we spent a day looking for specific shapes and another focused on a colour. Once you start following one of these small visual obsessions, you begin to see a place differently. A collection of seemingly ordinary observations can tell you something about a destination that a single “hero” photograph can’t. Simplify: one of the greatest powers we have as photographers is deciding what not to include in the frame. Ask yourself what the actual subject of your photograph is, and then remove the distractions. Take the first photograph, then explore what else is there. Experiment. Allow yourself to be surprised. Mindfulness is a wonderful companion to photography because it trains the very thing photography requires first: the ability to notice. Start practising before the trip. Separating the subject against a busy background with shallow depth of field at the Real Alcázar of Seville • Shot on Nikon Z6II with the Tamron 35-150mm f/2-2.8 - 1/1600sec, ISO400, f/2.8 at 150mm GEAR UP: What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using Tamron lenses? Anna: I have been a Nikon shooter from the very beginning, and I recently moved to the Nikon Z6II mirrorless system. I had the opportunity to test the Tamron 35–150mm f/2–2.8 and the16–30mm f/2.8 lenses for the Nikon Z mount. The 35–150mm f/2–2.8 was incredible. It covered such a broad range of situations, allowing me to move quickly from wider environmental angles to intimate details without constantly changing lenses. When I was travelling, that flexibility was ideal. I particularly loved that lens for photographing the participants on our Spain journey. The longer focal lengths allowed me to make intimate portraits of people without interrupting what they were doing. It’s also a fantastic street photography option because you can stay a little farther away and photograph naturally without putting a camera right in someone’s face. The 16–30mm f/2.8 was especially useful inside tight interior places like the Alhambra and Real Alcázar, where I wanted a wider perspective to capture the architecture and sense of space. I also appreciated its focusing distance, which allowed me to move quickly from an architectural overview to small details in close proximity. Both lenses gave me the flexibility to work handheld in lower light, and the wide apertures were particularly useful for isolating subjects, creating beautiful bokeh and that softer, more atmospheric background that I love. For me, the best travel gear is the gear that gets out of the way. I want to spend my energy responding to what I’m seeing rather than constantly thinking about what equipment I need next. These two lenses gave me that. Anna Wilson, photo by Jo Gomes Check out Anna’s work here, follow her on instagram @mindfuleyephotography and learn more about her Mindful Eye adventures, here. Check out Anna's fave Tamron lens - HERE! www.tamron-americas.com

Anna Wilson est une photographe, éducatrice et artiste canadienne. Son regard se pose sur les récits qui donnent une âme aux lieux et sur l’appareil photo comme un moyen d’être pleinement présente au monde. Au fil du temps, sa pratique a évolué: de la simple observation et documentation de ce qui l’entoure, elle est passée à une approche où la photographie devient un espace d’attention, de connexion et d’expression créative. Fondatrice de Mindful Eye Photography, Anna crée et anime des expériences photographiques destinées aux femmes. Récemment, son voyage Alchemy of Light — Mindful Photography Journey, organisé en partenariat avec National Geographic Journeys by G Adventures, l’a menée en Espagne avec un groupe de participantes. Le magazine photoED s’est entretenu avec Anna à propos de cette dernière aventure. Mezquita-Cathédrale de Cordoue • Photographiée avec un Nikon Z6II et l’objectif Tamron 16–30 mm f/2,8 — 1/6 s, ISO 2000, f/13 à 30 mm photoED: Comment avez-vous commencé à vous intéresser à la photographie? Et qu’est-ce qui continue de nourrir votre motivation et votre inspiration? Anna: Je suis tombée amoureuse de la photographie au secondaire, lorsque j’ai suivi mon premier cours. J’ai eu la chance d’avoir un professeur profondément inspirant, et notre manuel était Photography and the Art of Seeing de Freeman Patterson. Avec le recul, je crois que ce fut l’un de mes premiers pas vers cette approche consciente de la photographie qui allait devenir si importante dans mon travail. À la même époque, j’ai été complètement fascinée par la chambre noire. Il y avait quelque chose de magique dans le fait de se tenir sous cette lumière rouge tamisée et de regarder lentement une image apparaître sur le papier photographique. C’était une façon presque méditative de donner une forme concrète à quelque chose, et je pense que c’était probablement ma première expérience de ce que j’allais plus tard reconnaître comme le flow créatif. Quand j’étais enfant, je rêvais de devenir photographe pour National Geographic. Je voulais parcourir le monde et raconter des histoires à travers mes images. Le chemin que ce rêve a emprunté s’est révélé beaucoup plus sinueux que je ne l’avais imaginé. Je suis toujours profondément attirée par le voyage et la narration, et je suis extrêmement reconnaissante que mon travail soit aujourd’hui publié et partagé auprès d’un public plus vaste. Le fait que je vienne tout juste de terminer l’accompagnement d’un groupe dans le cadre d’un voyage en partenariat avec National Geographic Journeys by G Adventures revêt d’ailleurs une signification toute particulière pour moi. Aujourd’hui, ce rôle d’accompagnatrice est devenu une source importante de motivation. J’aime aider les gens à vivre le monde plus intensément grâce à la photographie, tout en continuant, moi aussi, à faire évoluer et à approfondir ma propre pratique créative. Dans les jardins du Real Alcázar de Séville • Photographiée avec un Nikon Z6II et l’objectif Tamron 35–150 mm f/2–2,8 — 1/250 s, ISO 640, f/2,8 à 74 mm photoED: Qu’est-ce que vous aimez le plus dans le fait de raconter des histoires à travers la photographie? Anna: La photographie me permet d’exprimer ce qui, dans le monde, me touche et me semble important. Elle m’apprend à remarquer ce que je pourrais autrement laisser passer et me donne un moyen de conserver ces instants. Quand quelque chose m’arrête dans mon élan et que je le photographie, je dis en quelque sorte: « Je te vois. Tu comptes pour moi. » Et lorsque je retrouve cette image des années plus tard, je ne me souviens pas seulement de ce que je voyais. Je me souviens aussi de ce que je ressentais à cet endroit, à cet instant. photoED: Votre travail s’articule autour de deux grands territoires d’exploration photographique: la pleine conscience et le voyage. Comment ces deux univers se rencontrent-ils, et qu’est-ce qui vous passionne dans cette exploration? Anna: La pleine conscience est devenue le socle de ma façon d’aborder la vie et la création d’images. Concrètement, cela signifie ralentir suffisamment pour voir véritablement ce qui se trouve devant moi, plutôt que de courir après une idée préconçue de ce que je devrais photographier. Lorsque je travaille ainsi, la photographie devient moins une question de prendre des images qu’une question de regarder. D’être pleinement présente à la lumière, aux gestes, à l’atmosphère et aux détails qui apparaissent sous mes yeux. J’ai toujours considéré le voyage comme l’un des meilleurs moyens de réveiller ma créativité. Être dans un environnement inconnu aiguise naturellement mon attention. La pleine conscience crée les conditions intérieures nécessaires pour être attentive: la présence, la curiosité, l’ouverture. La photographie donne ensuite une forme à cette attention. L’appareil devient un outil qui me permet de rester un peu plus longtemps avec une expérience, de l’approfondir plutôt que de la laisser derrière moi. Au lieu de simplement documenter un lieu, je me retrouve dans une sorte de dialogue avec lui. Je remarque quelque chose, j’y réponds à travers mon cadre, puis cette attention fait surgir autre chose. Je suis particulièrement intéressée par ce qui se passe lorsque je vais au-delà des monuments et des points de vue incontournables et que je me laisse guider par mon attention elle-même. Je suis alors les petits détails fugitifs, inattendus, parfois presque invisibles, qui révèlent véritablement la personnalité d’un lieu. L’Alhambra de Grenade baignée par la lumière du coucher de soleil • Photographiée avec un Nikon Z6II et l’objectif Tamron 35–150 mm f/2–2,8 — 1/500 s, ISO 100, f/2,8 à 97 mm photoED: Pourquoi avez-vous créé Mindful Eye Photography? Anna: Je rêvais depuis des années d’animer des expériences photographiques, mais je voulais créer quelque chose qui dépasse le cadre d’un voyage photographique traditionnel. Je souhaitais bâtir le genre de communauté créative que je cherchais moi-même: un espace où des femmes pourraient voyager, photographier, expérimenter, avoir des conversations profondes et, tout simplement, être curieuses ensemble. Pour moi, la photographie ne consiste pas à poursuivre l’image parfaite. Elle consiste à ralentir suffisamment pour vraiment voir. Lorsque nous retirons la pression de devoir produire une « excellente » photographie, quelque chose se transforme. Les gens commencent à remarquer davantage, à faire confiance à leur instinct et à retrouver leur propre façon de voir. J’ai aussi découvert que certains des moments les plus précieux de ces expériences se trouvent entre les photographies: dans les conversations autour d’un café le matin, dans les soupers qui s’éternisent sans que personne ne regarde l’heure, ou simplement lorsque nous nous tenons ensemble quelque part à observer la lumière. C’est dans ces moments-là qu’un groupe commence véritablement à devenir une communauté. Il y a aussi une petite dose de rébellion dans cette démarche. J’ai passé une grande partie de ma vie à évoluer dans les structures créées par d’autres. À un moment donné, j’ai compris que je préférais construire ma propre table plutôt que d’attendre qu’on m’invite à m’asseoir à celle de quelqu’un d’autre. Au fond, ces voyages parlent de photographie, bien sûr. Mais ils parlent aussi d’attention, de créativité, de connexion, de curiosité et de cette sensation d’être pleinement vivante dans un lieu. Vitrine de magasin à Madrid • Photographiée avec un Nikon Z6II et l’objectif Tamron 35–150 mm f/2–2,8 — 1/30 s, ISO 100, f/2,8 à 35 mm photoED: Quels photographes ou artistes ont influencé votre travail? Anna: Au début, j’étais attirée par des photographes documentaires comme Sebastião Salgado et Larry Towell. J’ai également toujours admiré la manière dont Steve McCurry travaille la couleur et la composition, et son approche continue de m’inspirer. À mesure que ma pratique évoluait, je me suis intéressée de plus en plus aux idées de John Daido Loori autour de la photographie zen. Après de nombreuses années, je suis également revenue aux enseignements de Freeman Patterson. J’ai passé beaucoup de temps à lire sur la créativité, le processus créatif et le flow. De The Artist’s Way de Julia Cameron aux travaux de Mihaly Csikszentmihalyi sur le flow, je reste fascinée par ce qui nous permet de nous abandonner complètement à un processus créatif — et par ce qui peut nous en détourner. Mais, au bout du compte, je crois que mon plus grand professeur a été l’exploration elle-même et le fait de créer. On peut lire sans fin sur la créativité, mais arrive un moment où il faut refermer les livres, sortir et porter attention à ce qui se trouve réellement devant soi. Vue d’ensemble du plafond orné du Real Alcázar de Séville • Photographié avec un Nikon Z6II et l’objectif Tamron 16–30 mm f/2,8 — 1/40 s, ISO 800, f/2,8 à 16 mm photoED: Qu’est-ce qui fait, selon vous, une bonne photographie? Anna: Pour moi, une bonne photographie est une image qui me fait ressentir quelque chose. Elle n’a pas besoin d’être techniquement parfaite ni de représenter quelque chose de spectaculaire. Elle doit transmettre quelque chose de l’expérience vécue. Je veux qu’une image porte en elle une part de l’émerveillement, de la beauté, de la curiosité ou même du calme que je ressentais à cet instant. Si, des années plus tard, je peux regarder une photographie et me retrouver instantanément transportée dans cette expérience, alors je pense qu’elle a accompli ce qu’elle devait accomplir. Je suis attirée par les images qui restent fidèles à une expérience. L’enthousiasme de la photographie au Real Alcázar de Séville • Photographié avec un Nikon Z6II et l’objectif Tamron 35–150 mm f/2–2,8 — 1/8000 s, ISO 400, f/2,8 à 60 mm photoED: Comment la photographie vous a-t-elle transformée personnellement? Anna: La photographie est devenue pour moi la pratique de gratitude la plus puissante qui soit. Elle m’a appris à remarquer et à célébrer la vie que je suis réellement en train de vivre, ainsi qu’à garder une trace des choses dont je souhaite me souvenir. Elle m’a également enseigné le pouvoir extraordinaire de l’attention. Lorsque je regarde à travers un appareil photo, je ne pense plus à tout le reste. Je regarde la lumière, les couleurs, les gestes, les textures et les relations entre les choses. Cette compréhension a profondément influencé ma façon d’enseigner. Je m’intéresse moins à apprendre aux gens à manipuler un appareil photo qu’à les aider à développer leur capacité à regarder, à explorer et à expérimenter. Pour moi, la photographie est devenue bien plus qu’une question de technique. C’est une pratique créative et une façon d’entrer en relation avec le monde. Vue du Puente Nuevo à Ronda • Photographiée avec un Nikon Z6II et l’objectif Tamron 16–30 mm f/2,8 — 1/2000 s, ISO 400, f/8 à 30 mm photoED: En tant qu’éducatrice, où voyez-vous les étudiants — quel que soit leur âge — rencontrer le plus souvent des difficultés dans leur parcours photographique? Et quel conseil leur donneriez-vous? Anna: Je pense que l’un des principaux obstacles est la précipitation. Les gens décident qu’ils doivent « avoir la photo », prennent une ou deux images et passent à autre chose. Ou alors ils deviennent tellement absorbés par les réglages techniques qu’ils oublient de regarder véritablement ce qu’ils photographient. Je remarque aussi beaucoup d’attention divisée. Nous sommes entourés de tant de stimulations qu’être simplement présent à une seule chose est devenu étonnamment difficile. Au fil des années, je me suis éloignée de plus en plus de l’enseignement traditionnel basé sur les cours et les explications pour créer plutôt des conditions dans lesquelles les gens peuvent expérimenter et découvrir par eux-mêmes le flow créatif. Je veux que mes étudiants prennent beaucoup de photographies, fassent des erreurs, suivent leur curiosité et restent avec une observation plus longtemps qu’ils ne pensent nécessaire. Mon conseil est simple: restez plus longtemps. Si quelque chose attire votre attention, ne le photographiez pas une seule fois avant de passer à autre chose. Demandez-vous ce qui vous a précisément attiré. Changez de position. Observez la lumière. Approchez-vous. Éloignez-vous. Essayez un détail. Utilisez une autre longueur focale. Attendez. La première photographie n’est souvent que le début de la conversation. photoED: Avez-vous des conseils de voyage pour les photographes? Anna: Mon conseil serait de ralentir et de créer d’abord un lien avec un lieu avant de commencer à tout photographier frénétiquement. Lorsque j’arrive quelque part pour la première fois, j’essaie d’observer avant tout. Que fait la lumière? Quelles couleurs reviennent sans cesse? Quels détails attirent mon regard? Qu’est-ce qui rend cet endroit particulier? Je trouve que ces observations donnent souvent naissance à des photographies plus personnelles que le simple fait d’essayer de reproduire les images de carte postale que tout le monde connaît déjà. Je recommande également de travailler en séries. Lors de notre voyage en Espagne, par exemple, nous avons consacré une journée à rechercher des formes précises et une autre à une couleur particulière. Dès que l’on commence à suivre l’une de ces petites obsessions visuelles, on se met à voir un lieu autrement. Une collection d’observations apparemment ordinaires peut révéler quelque chose d’une destination qu’une seule photographie « emblématique » ne pourrait jamais raconter. Simplifiez. L’un des plus grands pouvoirs dont nous disposons en tant que photographes est de décider de ce que nous n’allons pas inclure dans le cadre. Demandez-vous quel est réellement le sujet de votre photographie, puis éliminez les distractions. Prenez une première photographie, puis cherchez ce qui se trouve au-delà. Expérimentez. Laissez-vous surprendre. La pleine conscience est une merveilleuse compagne de la photographie parce qu’elle développe précisément la qualité dont la photographie a besoin avant toute autre: la capacité de remarquer. Commencez à la pratiquer avant même de partir en voyage. Spectacle de flamenco, Séville • Nikon Z6II avec Tamron 35–150 mm f/2–2,8 — 1/25 s, ISO 1250, f/2,8 à 109 mm ÉQUIPEMENT Quel appareil photo et quel équipement utilisez-vous? Quel est votre objectif préféré? Parlez-nous de votre expérience avec les objectifs Tamron. Anna: Je photographie avec Nikon depuis mes débuts et je suis récemment passée au système hybride Nikon Z6II. J’ai eu l’occasion de tester les objectifs Tamron 35–150mm f/2–2.8 et 16–30mm f/2.8 pour la monture Nikon Z. Le Tamron 35–150mm f/2–2.8 était remarquable. Il couvre une plage de situations extrêmement large, ce qui me permettait de passer rapidement de cadrages environnementaux larges à des détails plus intimes sans devoir constamment changer d’objectif. En voyage, cette polyvalence était idéale. J’ai particulièrement aimé cet objectif pour photographier les participantes de notre voyage en Espagne. Les longues focales me permettaient de réaliser des portraits intimes sans interrompre ce qu’elles étaient en train de faire. C’est également une excellente option pour la photographie de rue, puisqu’on peut rester un peu à distance et photographier naturellement sans placer son appareil directement devant le visage de quelqu’un. Le 116–30mm f/2.8 s’est révélé particulièrement utile dans des espaces intérieurs exigus comme l’Alhambra et le Real Alcázar, où je souhaitais disposer d’une perspective plus large pour saisir l’architecture et la sensation d’espace. J’ai également apprécié sa distance de mise au point, qui me permettait de passer rapidement d’une vue d’ensemble de l’architecture à de petits détails situés à proximité. Les deux objectifs m’ont donné la liberté de travailler à main levée dans des conditions de faible luminosité. Leurs grandes ouvertures étaient également particulièrement utiles pour isoler les sujets, créer un magnifique bokeh et obtenir cet arrière-plan plus doux et atmosphérique que j’aime tant. Pour moi, le meilleur équipement de voyage est celui qui sait se faire oublier. Je veux consacrer mon énergie à répondre à ce que je vois plutôt qu’à réfléchir constamment au matériel dont j’aurai besoin ensuite. Ces deux objectifs m’ont offert cette liberté. Anna Wilson Découvrez le travail d’Anna ici, suivez-la sur Instagram @mindfuleyephotography et apprenez-en davantage sur ses aventures Mindful Eye ici. www.tamron-americas.com

Canadian photography educators Andrew Craig in Brampton, ON and Karen Stentaford in Sackville, NB have taken wild "new" approaches towards engaging their photography students in a mindful, meaningful way with impactful results. In a Western post-covid society most of what we learn and teach now comes through a screen. The volume of information and images we flick past is immeasurable. However, research clearly (and obviously) speaks to issues around information absorption from screens. Attention spans, mental health, cognitive overload, and in many more ways our brains are impacted by "life" online. DYK... there is an organisation called, The Attention Council? People paid to figure out what works for advertisers to effectively push out big brand messages , and it's not always things flashing at you on a screen. The UK's MAGNETIC provides stats around analog information absorption, specifically editorial content, sharing research and data around the efficacy of slowing down via analog experiences and information. Some of the research they share indicates information from printed sources is considered more trustworthy by readers, and 75% of people in one study said they find reading a print magazine "relaxing." If the idea of analog slow experiences/ information works for big brands aiming for a long game, could the same human behavioural research have a similar effect in classrooms as teachers navigate student attention spans? The approaches Andrew and Karen as educators take go against the pervasive digital grain, and mass-marketing / education trends, as they guide their learners towards more impactful alternatives of information sharing. Castlebrooke Secondary Grade 12 teacher Andrew Craig shared this independent assignment he does with his class. He says; There’s not much to it, but I’ve found that it’s been an effective approach to giving my grade 10 students a new entry point into learning about photography. It’s analog by design without digital distractions, which is why I love the print edition of your magazine so much. The Assignment Your Goal: We start each class session with10 minutes of independent reading about photography. You must select a choice from the options that are available in the classroom. We have a collection of magazines and books on photography. No technology use is permitted during this time. You must read a print publication of your choice. What You Will Submit: At the end of each month you will write a two paragraph (10 sentence) handwritten reflection to summarize the single most interesting idea that you have discovered. Your focus questions are: Why do the ideas in my chosen article resonate with me? (include a quote from the article, and a diagram to illustrate the idea.) How could I apply these ideas into my own creative work? Students: Azalfa, Gagan, Geethika, Subiksha & Simarpreet in Mr. Craig’s grade 12 photography class at Castlebrooke S.S. find inspiration with issues of photoEd magazine. Photo by Sharan Karen-Stentaford - Tea making an 8x10 lumen print Mount AlLison University Educator Karen Stentaford created images reflecting her time with her students. Our teatime conversations echoed our course content – awareness of surroundings, being present, and slow photography. The Assignment TEATIME TUESDAY evolved from the desire to make time each week to slow down and have conversations with my students about work in progress, ideas, and checking in with each other. This time was about sharing and listening, free of screens and the usual busyness of class time. The tea was locally sourced and we had a local herbalist/farmer come in to talk about her love of making tea, her process, and her connection to the land. Lumen prints were a document of our time. Once the tea steeped, the ingredients were placed on a piece of photographic paper and left to expose for the duration of our class. Exposures ranged based on location, changing light as we moved to shorter days, and the length of our conversations. The first in the series is blank, as we did not begin making lumen prints until the second week, however it is important to reference the time we shared. Are you an educator looking for a deal on our GUIDE and past printed editions? Check out the GUIDE x10 Class set special HERE & the Back issue Bundle + GUIDE, HERE Enjoyed this free read?! why not support us? JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions •Make a donation

In 1834, William Henry Fox Talbot set a pressed leaf on a piece of sensitized paper, covered it with a sheet of glass, and set it in the sun. Wherever the light struck, the paper darkened; but wherever the plant blocked the light, the paper remained white. The scientist called his new discovery “the art of photogenic drawing.”* Phyllis Schwartz, a long-time devotee and master of lumen printing, describes her artistic process as a “response to the primal elements of nature.” Sensitive to the rugged environment neighbouring her Vancouver Island home, Phyllis respects her chosen materials with the mantra “Do Not Disturb Nature.” This forces her to scavenge for botanicals that are harvested strictly from the grooming or pruning of bushes, trees, and flowers. At a time when digital photography affords artists absolute control over their output, Phyllis conversely “loves the unpredictability” of creating lumen prints, choosing to bypass all but the slightest measure of intellectual intervention over her assemblages. Even a minor change in weather, humidity, and temperature yields surprising results — a scenario she discovered during a snap Saskatchewan spring blizzard. Phyllis composes her pieces with a degree of intention that is “partly random and partly formalist arrangement.” She deliberately strives for texture, tone, and balance, and will move things around to purposely disturb rules of composition. Invariably, she ends up with a beguiling melange of shape, colour, and line that skews a viewer’s familiar references. Each piece is a unique contact print, a limited edition of one. The silver gelatin photo paper used in making lumen prints will fade and darken in very little time, unless chemically fixed, rendering a fugitive print, or as Fox Talbot referred to them, “fairy pictures, creations of a moment, and destined as rapidly to fade away.”* Fixed prints can then be scanned or photographed to preserve the transient moment of completion and further manipulated in post-production to evolve into a more conceptualized artwork. Editions can be struck from this one “plate,” for exhibition or sale. As with traditional lens-based photography, lumen prints capture stories of place and time, of memory and emotion. I asked Phyllis how if feels to create lumen prints, and she said, “I think we don’t realize how forceful nature is. I think most people walking around on sidewalks, driving cars, and shopping in grocery stores just living their lives don’t realize how much we are at the whim of Mother Nature. Lumens are a dance with the life that comes from the earth.” Phyllis Schwartz is a multidisciplinary artist and curator who works in photography, ceramics, and publishing. Born in Brooklyn, raised in Texas, and educated in the mid-west, Phyllis migrated to Western Canada during the 1970s, where she put down roots and grew her artist practice. She is an Emily Carr University of Art + Design graduate with a concentration in photography and the recipient of the Canon Photography Award. Her photography has been installed, exhibited, and published locally, across Canada, and internationally. Her works are in corporate, public, and private collections. IG: @queenofmidnight sassamatt.com This story featured in our BOTANICALS issue. Did you enjoy this FREE read? Consider supporting us! We'd love your support to continue producing great content for you to enjoy! • JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY Follow us on Patreon, Facebook, and Instagram, and sign up for our e-newsletter to keep up with all our adventures!

“I haven't been everywhere, but it's on my list." — Susan Sontag Cover art for issue #77 features; Martine Côté, "Lighthouse # 022, Cape Spear (new), Atlantic Ocean, Newfoundland, Canada, 2026" and Maya Guice's,“King of Cancun" Blurred lines would best describe our first edition of this year, themed Order vs. Chaos. We had anticipated that photographers’ contributions would have a polarity that defined order and chaos separately. It turned out that, behind the scenes, the practice of producing crowded, busy, layered works was actually a way for artists to simplify, dissect, and find order and calm in our increasingly busy world. Meanwhile, some of the simplest compositions were layered with intensity and underlying chaos. Ultimately, there could be no clear line between order and chaos. In this edition, we find ourselves in the same situation. As we anticipated defining Home and Away as separate spaces, the artists featured here challenge these boundaries and investigate an ambiguous middle ground. In this issue, we travel through images and stories from around the world: New Zealand photographers visit Antarctica, an Alaskan analogue photographic artist goes on a 14,000-mile road trip through the American West, and a Canadian with a Holga observes vacation culture around the world in a time of climate crisis through strategic double exposures on film. Joyce Campbell + Stuart Robertson take very different approaches to documenting the frozen continent. Meanwhile, in a world that frequently resembles a tumultuous storm, Martine Côté’s lighthouses provide viewers with a serene kind of guidance towards the concept of Home. While routes of transit frequently cross through the same physical places that characterize Away as a realm of discovery, the idea of Home represents an entirely distinct emotional landscape. We may think of Home as a single physical place, but artists in this issue took a different approach by considering it as a conceptual space, a place of feeling accepted and secure. Camille Turner’s work over decades has been rooted in historical research and personal experience with focus on diasporic identities and the generational repercussions of colonialism. Best known for her “Miss Canadiana” project, her perspective may be personal, but she poses a universal question: When will I feel at home? Driven from their homelands by circumstance, the individuals and families we see in Ruth Kaplan’s book Crossing — a documentary about the journeys of asylum seekers crossing at a Canada / U.S. border point — is dedicated to “those in the land of in-between.” Although their stories are unique, they have all left the familiar to seek Home as a new place of refuge, security, and hope. Other artists in this issue including Pooya Nabei, Elsa Hashemi, and Mehrana Nazari also share deeply personal immigration stories through their work. Crossing other borders, Amina Mohamed works between two places to foster a new generation of women working in photography. While living and fundraising in Canada, she runs programs in Africa that provide training for young women working towards employment as photojournalists. Author Sherry Chunqing Liu with her story, Cameras For Girls, Photojournalism training for women in Africa As you'll see in the print edition, we have again taken the opportunity to flip the script on how readers experience our magazine. From the cover, the publication opens as per usual, but somehow concludes in the middle. Flip the print edition on its back to find another beginning, a different entry point, through a second cover, again concluding in the middle. My hope is that the work featured here offers you an expanded perspective on your own ideas of Home and Away, and that however you’re moving through the world, the work of these artists allows you to make time to consider the ripple effects of your own presence as a traveller or community local. A flip through the Home vs Away edition This issue features: Martine Côté’s LIGHT HOUSES by Alan Bulley Camille Turner: Living History into the Present by Melissa Bennett An Old Reverie, Pooya Nabei for Langara College by Arlo Jukes Cameras For Girls by Sherry Chunqing Liu Wish you were here. Vacation culture in a time of climate change, by Sarah Palmer Antarctica: The Frozen Muse. Two NZ photographers one unique continent. Arrivals and Departures. A photoED patreon patrons feature Western Consumption by J. Jason Lazarus PORTFOLIO featured artists From our International Call for submissions: Diane Holmes (CAN), Sophie Derouin (CAN), Dominique Philippe Bonnet (FR) Jo Panasiuk (CAN), Jordan Potae (NZ), Elizabeth Siegfried (CAN), Mary Beth Doble (USA), Jackie Weik (USA), Elsa Hashemi (CAN), Mehrana Nazari (CAN), Krista Charbonneau (CAN), Olga Bondarenko (CAN), Sungsoo Lee (G), and Avigail Ramirez (USA). This edition also features... Photo book recommendations by Alan Bulley Change Made: A lens on the beautiful game by Sid Naidu E. Haanel Cassidy: Seeking transcendence by Cassandra Spires The POIESIS Collective by Craig D’Arville + MORE! This edition is available by subscription with Sparkplug Coffee! Follow us on Instagram, Patreon, and Blue Sky, and sign up for our e-newsletter to keep up with all of our adventures! Order this edition online for delivery, while quantities last. Free shipping within Canada. Or find the publication through these retailers, across Canada and, internationally via Newsstand and Boutique Mags. photoED magazine is also available as digital replicas for readers worldwide on Press Reader and Flipster platforms. This issue could not have been made possible without the support of: Tamron, Nikon, The Photo Historical Society of Canada, Beau Photo, Harcourt House, Think Tank Photo, and Total Image Works. + A very generous anonymous private donor passionate about supporting Canadian women in photography, our Patreon Patrons, Downtown Camera, and Front Row Insurance. Consider supporting us to help us bring you more incredible photography stories! • JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions

TOP PHOTOGRAPHER WINNER: Martin Filčík • Slovakia Billed as the world’s greatest photo game, GuruShots is an international competition platform for photographers. Players get feedback from more than three billion monthly voters and try to work their way up through rankings, from Newbie to the ultimate status (and bragging rights) of Guru. GURU'S TOP PICK WINNER: Carlton Campbell • UK TOP PHOTO WINNER: Jón Þórðarson • Iceland The Your Magazine Shot challenge showcases an exceptional collection of images by photographers from around the world. GuruShots’ challenges are voted on by the platform’s Gurus and the wider community, with a fresh challenge every day. Winners can receive prizes from GuruShots’ sponsors such as Adorama, Kodak, Lowepro, and Lensbaby. Ivan Miksik • Czech Republic Gregor Kobilica • Slovenia Luca Sharabidze • USA Mario Bugeja • Australia David Brinkman • USA Zsuzsa Balog • Hungary Toni Mesarek • Slovenia To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

An interview with NIKON CREATOR Katie MacDonald Mont Tremblant, Quebec • Shot with: Nikon Z8 Nikkor Z 24-70 mm f/2.8, ISO 800, 1/500s, f/ 5.6, 70 mm. Katie MacDonald is a Canadian adventure seeker and photographer. A photography lover since childhood, her camera has been a constant companion. Following a life-altering pulmonary embolism when she was 22, Katie began hiking to remain active during her recovery. She has since embraced and combined her passions for the outdoors, travel, and photography, working as a full-time content creator. We spoke to Katie about her work and adventures as a Nikon Creator. Yosemite National Park, California • Shot with: Nikon D4 Nikkor Z 24-70mm f/2.8, ISO 500, 1/80s, f/2.8, 24mm. photoED: How did you learn photography? KATIE: When I was around seven years old, a family member handed me a DSLR camera and said I could play with it. After that first encounter, I begged my parents for a camera of my own. I received my first Nikon camera for my eighth birthday, a Nikon Coolpix. I went on to study photography in high school and then in college. I’ve shot weddings, real estate, commercial work, and more, all along the path towards finding my love for outdoors and travel adventures. I now have the privilege of using a camera every day for my work, but still find it a tool for fun and creative explorations. There is always more to learn, to capture, and to be inspired by. photoED: What do you love most about sharing stories through photography? KATIE: Photography is a universal language. There’s a story in every photo and a unique perspective in every image. You can send three people with cameras to the same place and have completely different photographs taken. I love to use my camera to document my travels, and hopefully inspire others to enjoy the outdoors. Whistler, British Columbia • Shot with: Nikon D7100 NIKKOR 18-105mm f/3.5-5.6G, ISO 800, 1/100s, f/ 4.0, 105mm. photoED: Whose work has influenced yours? KATIE: A few of my biggest inspirations are Rob Stimpson for his landscape and wildlife photos, Peter McKinnon for his constantly new takes on well-travelled places, Paige Deas for how she tells a story with her images, and Renee de Ronde for her nature-focused captures. photoED: What makes a good photograph? KATIE: My favourite photographs are ones that evoke emotion in some way, whether it is wonder, awe, joy, sadness, wanderlust, or even confusion. These types of photos are always the ones that stick with me. Sometimes photographs make you notice details you otherwise might not. I love looking at images where I get to think about what the artist was doing to achieve the shot; whether it was a sunrise they woke up at 3:00 a.m. for, a remote location that required a lot of planning, a bridal photo where you can only imagine what went into posing a large group of people, or a dramatic wildlife capture. A good photograph is entirely subjective, but if it makes you feel something, then I think it has done its job. Niagara Falls, Ontario Canada • Shot with: Nikon D4 Nikkor Z 24-70mm f/2.8, ISO 800, 1/60s, f/ 2.8, 24mm. photoED: How has working in photography influenced you personally? KATIE: Every time I set foot in nature, I feel like I am getting lost to find myself. It’s the same when I pick up my camera, I feel like I am translating the way I experience the world for others to see. It’s a constant reminder for me to be intentional, to get creative, and to simply be myself. It combines everything I love and I am able to share it with others. Photography allows me to preserve and translate the feeling of what it was like to be where I was standing. photoED: What has been your favourite or most personally impactful adventure? KATIE: My most impactful destination as a photographer, and as someone who loves to get outside, is Algonquin Park. I have been going to the park since I was a little girl, and seeing my photographs of the same place change over the years has been special to me. The same place can tell a completely different story depending on the season, the conditions, or even the mood I’m in that day. It’s wonderful to get to know one place well yet still be completely surprised by it on every visit. Algonquin truly is magic. Stokksnes, Iceland • Shot with: Nikon D4 Nikon AF-S NIKKOR 24-70mm f/2.8, ISO 400, 1/6400s, f/ 2.8, 24mm. photoED: Tell us about your hardest or most challenging day as a photographer. KATIE: My most challenging day as a photographer was when I was shooting a wedding and my second shooter had an emergency, and their backup was very ill. I shot the wedding alone, which was not new to me, but it definitely made for a lot of last-minute plan changes with how the day was to unfold. The bride, groom, and their families and friends were all lovely and accommodating, and everything went well given the circumstances. To this day, they are some of the most wonderful wedding photos I have ever taken! photoED: What advice do you have for photographers just getting started? KATIE: My advice is simple: Keep shooting. You truly never know when you’re going to take your new favourite photo. Sometimes it’s just around the corner from home. I also encourage people to keep playing to find what brings you joy. There will never be too much art in the world. There is space for yours too. Whiteface Mountain, New York • Shot with: Nikon Z6iii NIKKOR Z 28-400mm f/4-8 VR, ISO 400, 1/640s, f/6, 79mm. photoED: What are your top travel tips or hacks for travelling with photography equipment? KATIE: Browse around for a backpack that can strap in a lightweight tripod so you have your tools on you to not miss out on any shots. Too many times have I not brought a tripod and kicked myself for it. If you’re anything like me, buy some extra lens caps and cords for them so you don’t have to worry about losing them. Get a zoom lens for when you travel, just in case of wildlife! A mirrorless camera is great for travel too because it can be quite light. GEAR UP What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using NIKON products. KATIE: I mainly shoot with my Nikon Z 6III. My favourite lens right now to travel with has been the Nikkor Z 28–400mm f/4–8 VR. I’ve used various Nikon cameras over the years, but for picking up my gear to head out on my adventures, these two are my sidekicks! Check out all Katie's favourite Nikon gear, HERE. Katie MacDonald To see more of Katie's work, check out: yourmatiekatie.com

TOP PHOTOGRAPHER WINNER: Daniel Calicchio • Portugal Billed as the world’s greatest photo game, GuruShots is an international competition platform for photographers. Players get feedback from more than three billion monthly voters and try to work their way up through rankings, from Newbie to the ultimate status (and bragging rights) of Guru. GURU'S TOP PICK WINNER: Драган Стојков • Serbia TOP PHOTO WINNER: Martin Filčík • Slovakia The Travel photography challenge showcases an exceptional collection of images by photographers from around the world. GuruShots’ challenges are voted on by the platform’s Gurus and the wider community, with a fresh challenge every day. Winners can receive prizes from GuruShots’ sponsors such as Adorama, Kodak, Lowepro, and Lensbaby. Paolo De Leo • Italy Saurav Dutta • Germany David Brinkman • USA Barbara Miers • USA Zennifer • USA Janelle Freiman • USA Jean Gibson • USA To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

WE INVITED OUR PATREON PATRONS to participate in a creative conversation through images. photoED Magazine commissioned an original poem by Tennille Campbell a Dene/Métis author and photographer from English River First Nation, Saskatchewan. Our contributors responded to Tennille's words with an image of their own. The following is a presentation of where our contributors took this story. HENRY VANDERSPEK, A rainbow in the spray created by our tour boat in Western Brook Pond, Newfoundland. THIS SUMMER,WE TRAVELLED THIS SUMMER, we travelled through prairie fields and under prairie skies th rough the badlands and through the foothills through mountains peaks and valleys th rough an old growth forest and by the charred remains of ancient woods in transition... JOHN HEALEY, “Roots,” 2023. Attachment, support, nourishment. SHELLY PRIEST, This poem rests deep in my heart. I can visualize those that lived here before me. Though lives have changed, the land still beckons us to explore and discover for ourselves. MICHELINE GODBOUT, “Peeking Through Mist,” taken at the Hendrie Valley Sanctuary, on Anishinaabe land. DAVID BRANDY, "When I stood in this location at Salt Spring Island I felt the majesty of the land rising out of the surrounding ocean. But I also felt the irony of the colonial trope of a numbered picnic table and manicured lawn in this exquisite setting." KEN UDLE, "The life source that is Turtle Island. Mountains, valleys, and pathways, a witness to history and an endurance towards our future." TRACEY HALLADAY, "This house in Southern Alberta brought to my mind questions about the people who settled here and what they may have experienced here." PATRICIA PARSONS, "The plaque at this gravesite in Dettah, NWT, simply reads a name, dates, and “Proud Father.” I was touched that a chair had been placed at this site to sit beside a loved one." CB CAMPBELL, "Within minutes the sky went from clear to smoke-cloud-filled. Fire is a harsh reminder that our mistreatment of the Earth has dire consequences for all of us." RAMO/HCKYGRLPHOTO, “and we arrived to the stairs of the cathedral and the pilgrimage suddenly made a higher sense” AS WE DROVE I named out loud the lands who we were guests on who had lived here continued to live here the cree and the dene the metis, dakota and the blackfoot telling stories of friends who lived nearby cousins who had travelled through here before... LORI RYERSON, “Energy Savings.” Out of the acres and acres of available land in the Owens Valley in California, why was it necessary to run a power line THROUGH this Native American burial ground? COLLIN J. ÖRTHNER, "I think of the many eyes that have witnessed the same scene over thousands of years past. How were their thoughts and ideas of these magnificent peaks different than mine?" DAVID J. KENNY "…and how we continue on. Schoolchildren respond to what they learn about shelter and those who came before them." GERALD WOLFE, “Howe Sound Blues.” MANDY KLEIN, "A regional Ontario site that has so far been left in its prairie-like state." CASEY HAUGHLAND, "In Newfoundland, the ocean bursts against the rocky shores. Uninhabited and untouched by human hands." ...DAY TURNED TO NIGHT the names of our lands and our kin continued on the stoney and the tsuutina the shuswap and the tkemlups the squamish to the hesquiath se as of prairies fields turned to chilly mountains tops fading into low valleys of fruit and fishing fa lling into pacific beachside and white tipped waters... MARK WALTON, “Migration,” from the Complicity series. This image was taken along Hwy 16 in Manitoba. MELISSA KRISTENSEN SMITH, "We are nothing without the land. We live on it, we live off of it. Our time can be short upon it. Why do we not make more effort to preserve it for others?" FRANK MYERS, "A cutover forest in Northwestern Ontario speaks of what settler culture and its rampant consumerism has cost the land." LORETTA MEYER, “As above. So below.” ...THIS LAND WAS REMEMBERED spoken out into the wind an acknowledgement of who had been here and how we continue on CHRIS ALIC, "This poem made me think of the land before humans eroded it and built over it." This story featured in the LAND issue. Did you enjoy this FREE read? Consider supporting us We'd love your support to continue producing great content for you to enjoy! • JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY Follow us on Patreon, Facebook, and Instagram, and sign up for our e-newsletter to keep up with all our adventures!