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

An interview with photoED Magazine Seth Macey is an Ontario-based photographer and videographer specializing in creating images and videos of all things related to the outdoors. He is also the co-host of The Photographer Mindset, a podcast for photographers looking for strategies to enhance their approaches to business, creativity, and mindfulness for creators looking to increase their mental resilience. photoED Magazine spoke to Seth about his work. Humpback Whales “Lunge Feeding” on Herring in the Gulf of Alaska • Shot on Sony A7iii with the Tamron 150-500mm F/5-6.7 Di III VC VXD - 1/2500 sec, ISO 1600, f/11 photoED: How did you get started in photography? What keeps you motivated and inspired to keep at it? SETH: In high school, a friend with a camera decided to take on a 365-day challenge. The goal was to capture a creative image every single day for a year. At the time, I wasn’t particularly interested in photography, but I spent most of my summer days off from school hanging out with him and collaborating on ideas. We turned simple, everyday moments into images we thought were the absolute best and this sparked something in me. I became instantly hooked on the idea of creating something interesting out of nothing but ideas. I was fortunate to discover my passion for photography ahead of the pressures of working in social media now. Back then, there wasn’t the same culture of validation over metrics, and practising photography felt very different. It was about creating interesting work without worrying as much about how it might be received by audiences online. As for my motivation, I’ve learned to accept that inspiration comes in waves. There are peaks and valleys. It’s impossible to stay at a 100% motivation level all the time. However, I’ve found that having a curious mind is crucial. It leads to discovering hidden passions. The more things you find yourself drawn to, the more you’ll want to document them as a photographer. And when you do, you naturally strive to capture them in the most creative and meaningful way possible. Long Exposure of Northern Lights, Highland Grove, Ontario, Canada • Shot on Sony A7iii with the Tamron 28-75mm F/2.8 Di III VXD G2 - 10 sec, ISO 500, f/2.8 photoED: What do you love most about creating stories through photography? Seth: Visual storytelling provides me with the opportunity to inspire people and witness their reactions, whether it’s to something they’ve never seen before or something familiar, but presented in a fresh and unique way. I love when my visuals spark that sense of wonder in others. I’m also really passionate about inspiring people to reconnect with the natural world. In our fast-paced society, it’s easy to overlook the beauty and complexity of nature, its fauna, flora, and the ecosystems we’re all a part of. Through my photography and videography, I aim to revitalize that connection. I want my work to remind people that we’re not just observers of nature but also active participants in it. There’s so much we can learn from the natural world, and I revel in the firm belief that this reminder is not only important, but it’s also necessary for us all. photoED: Whose work has influenced yours? Seth: It’s funny, I’m a wildlife and nature photographer, but my favourite photographer of all time is Haris Nukem, who creates incredible, edgy studio portraits. Perhaps it’s unusual, but I think it’s important to look outside your own genre for inspiration. It gives you a fresh perspective. Photographers in other genres can influence you in ways beyond your subject matter, like in how they edit and approach their craft. The influence doesn’t always have to come from the photo itself. That said, when it comes to being influenced, I try to strike a balance. I stay up to date with photographers I admire and enjoy looking at their work, but I purposefully avoid letting them influence me too much. I want my photos to feel uniquely mine and original. Of course, by naturally consuming great images from the community, certain aesthetics or techniques inevitably rub off on you, which I feel is a desirable effect. Even conversations with other photographers about their projects, or how they’re tackling challenges, can be influential in a more indirect way. When I was starting out, following photographers was something I routinely did. I’d find images I loved and try to reverse-engineer edit their aesthetics using my own photos. It was a great way to understand what the pros were doing and how they achieved their final looks. This process really accelerated my learning of the editing process. While I’ve moved away from that approach now, it was an invaluable part of my growth as a photographer. Juvenile Bald Eagle, Alaska, USA • Shot on Sony A7iii with the Tamron 50-400mm F/4.5-6.3 Di III VC VXD - 1/640 sec, ISO 800, f/6.3 photoED: What makes a good photograph? Seth: At its simplest, I think a good photograph is one that makes someone stop and look at it. That said, this could be oversimplifying things. After all, something outrageous or shocking could grab attention without necessarily being “good.” So, perhaps a good photograph is one that makes someone feel something. Whether it’s fear, excitement, wonder, or curiosity, a good image should evoke a response. For iconic locations that have been photographed countless times, I think a great photograph is one that breaks away from the status quo. It takes risks, offers a fresh perspective, and still manages to nail that emotional connection. On the other hand, a great photo doesn’t need to win awards or go viral. If even one person is genuinely enthralled by it, or if you’re proud of it yourself, you could argue that’s enough to call it a good photo. From a technical standpoint, rules like the rule of thirds, leading lines, and other compositional guidelines exist for a reason. They’ve been proven to create strong, visually appealing images. But rules are also meant to be broken. Some of the most memorable photographs disregard these conventions entirely, but the photographers behind them knew how and when to break the rules in a way that served the image. Ultimately, I think creating a good photograph comes down to understanding that you are a servant and messenger to the scene or subject. It’s about capturing it in a way that tells its story in the best possible way. When you approach photography with that mindset, you’re far more likely to create something good. photoED: How has working in photography influenced you personally? Seth: First and foremost, I think curiosity is a feedback loop. You take pictures of things, become interested in them, learn more about them, leading to new interests, and the cycle continues. Photography has also taught me to be more mindful. Even when I don’t have a camera in hand, I find myself stopping to really look at things, noticing how they feel, look, and even smell. It’s made me more present and aware of the world around me, which I think is incredibly important for everyday life. It’s also helped me connect with people. I’ve made so many friends who share a similar passion for photography, and that’s something I’m deeply grateful for. My favourite thing about social media is how easy it makes it to connect with like-minded people from all over the world. Without photography, I’m not sure I would have built such a strong and diverse community of friends. Photography has also made me more explorative. I don’t think I would have been as naturally inclined to discover or travel to new places without the urge to photograph them. My camera has pushed me to venture out, experience new things, and see the world in ways I might not have otherwise. Kenai Fjords National Park, Alaska, USA • Shot on Sony A7iii with the Tamron 16-30mm F/2.8 Di III VXD G2 - 1/200 sec, ISO 100, f/6.3 photoED: How has working in social media influenced you and your photography? Seth: When I first started using social media, I thought having as many followers as possible was the key to “making it” as a photographer. I believed that success was tied to numbers and metrics, and I spent a lot of time chasing that validation. But over time, I began to understand how the attention economy works and how the platforms more recently have leaned towards rewarding formulaic, predictable content. To play the game of social media and acquire growth, you sometimes have to sacrifice creativity for what the algorithm favours and I really don’t like that. That realization made me step back and reflect on why I got into photography and video in the first place. It wasn’t to follow trends or create for algorithms. It was to make the work I wanted, in the way I wanted. I realized that the algorithms don’t reward that kind of authenticity, and I had to decide what mattered more to me. For a while, I focused on quantity over quality, thinking that constant posting was the way to grow. But as I became more aligned with my values, I shifted my approach. I didn’t abandon social media entirely. It’s still important to stay relevant and active, showcase your work to brands and companies, and stay connected with friends and the photography community. I feel my return on investment as a photographer can be maximized by improving my website, reaching out to clients, creating spec work to attract the right opportunities, and ultimately focusing on what I set out to do 15 years ago, which was to turn my creative visions into something I’m proud of. photoED: How do you decide what to post on social media? Seth: If I like it, it goes on my feed. There’s a famous Rick Rubin quote that says, “The audience comes last,” which essentially means that, as artists, our primary purpose is to create work we’re proud of and the rest should take care of itself. I believe that when you’re truly devoted to and proud of your own work, that energy translates into the work itself. Viewers pick up on this, whether consciously or subconsciously. That said, I do understand the importance of audience reception and retention, especially when working for a client or a brand. In those cases, you sometimes have to set aside your personal tastes and focus more on the marketing potential of the work you’re creating. For example, if you’re being paid by a business to produce social media content, the goal shifts. You’re creating content that needs to perform or achieve the desired outcome. It’s a different mindset. On a personal level, though, I don’t care if a photo gets 10 likes as long as it represents my best work, and reflects my current abilities. I think it’s important to strive to create the best images you can, but also not to take yourself too seriously. Social media isn’t the be-all and end-all of being a photographer. In fact, some of the most “successful” photographers I know personally don’t even have social media accounts. “Overwintering” Monarch Butterflies in Pacific Grove Butterfly Sanctuary, Pacific Grove, California, USA • Shot on Sony A7iii with the Tamron 150-500mm F/5-6.7 Di III VC VXD - 1/500 sec, ISO 10,000, f/6.3 GEAR UP: What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using Tamron lenses? SETH: I shoot exclusively with a Sony A7III. It’s not the top-of-the-line Sony model, but it’s a fantastic camera that has served me well in a variety of harsh outdoor conditions. I firmly believe that while high-end gear has its place and justifies its price, you can achieve incredible results with middle-of-the-line equipment, or even a basic starter kit. I always encourage people to advance their gear as their skills grow. If you can learn to take amazing images with a basic kit, upgrading later will only enhance your foundational skills and allow you to flourish with the added features. Personally, I only upgrade when I hit a hard limit with my current gear, when the technical specs can no longer support or severely hinder what I’m trying to achieve. My favourite lens is the Tamron 28-75mm F/2.8 Di III VXD G2. It’s incredibly versatile and never leaves my kit, no matter what I’m shooting or where I’m going. If I’m out in the forest photographing wildlife with my Tamron 150-500mm F/5-6.7 Di III VC VXD (my second-favourite lens), I always keep the 28-75mm F/2.8 G2 in my bag. It’s perfect for capturing something unexpected, like a unique patch of mushrooms on the forest floor or even a portrait of someone who’s joined me on the outing. I also love how well it performs in midday light. I’m not someone who strictly plans around golden hour, I like to shoot when I feel like it, and the 28-75mm F/2.8 G2 is reliable in all conditions. Primarily I use it for landscape images and non-wildlife nature shots. When it comes to wildlife, I exclusively use the Tamron 150–500mm lens. That range is essential for maintaining a safe distance from large, potentially dangerous, or skittish animals. It performs beautifully in both cold and warm conditions, as do all of Tamron’s lenses. I also have to give an honourable mention to the Tamron 50–400mm F/4.5–6.3 Di III VC VXD It’s an incredibly versatile lens that allows me to zoom wide at 50mm for landscapes or lifestyle images and then quickly reach 400mm if wildlife suddenly appears. Tamron lenses have been a huge part of my kit, and I’ve been consistently impressed by their performance, durability, and versatility. They’ve allowed me to adapt to a wide range of shooting scenarios without compromising on quality. Seth Macey See more of Seth Macey’s work here, follow him on instagram @sethmacey and on youtube.com/@sethmacey & The Photographer Mindset Podcast Check out Seth's fave Tamron lens - HERE! www.tamron-americas.com

Seth Macey est un photographe et vidéaste basé en Ontario, spécialisé dans la création d’images et de vidéos liées à tout ce qui touche au plein air. Il est également co-animateur de «The Photographer Mindset», un balado destiné aux photographes qui cherchent des stratégies pour améliorer leur approche des affaires, de la créativité et de la pleine conscience, afin de renforcer leur résilience mentale. photoED Magazine s’est entretenu avec Seth au sujet de son travail. Pose longue d’aurores boréales, Highland Grove, Ontario, Canada • Pris avec un Sony A7III et l’objectif Tamron 28–75 mm f/2,8 Di III VXD G2 — 10 s, ISO 500, f/2,8 photoED: Comment avez-vous commencé en photographie? Et qu’est-ce qui vous motive et vous inspire à continuer? SETH: Au secondaire, un ami qui possédait un appareil photo a décidé de relever un défi de 365 jours. L’objectif était de capturer une image créative chaque jour pendant un an. À l’époque, je n’étais pas particulièrement intéressé par la photographie, mais je passais la majorité de mes journées d’été, en congé de l’école, à traîner avec lui et à collaborer sur des idées. Nous transformions des moments simples du quotidien en images que nous trouvions extraordinaires, et cela a déclenché quelque chose en moi. Je suis devenu instantanément accro à l’idée de créer quelque chose d’intéressant à partir de simples idées. J’ai eu la chance de découvrir ma passion pour la photographie avant les pressions liées aux médias sociaux aujourd’hui. À l’époque, il n’y avait pas la même culture de validation basée sur les statistiques, et pratiquer la photographie était très différent. Il s’agissait de créer des œuvres intéressantes sans trop se soucier de la façon dont elles seraient reçues en ligne. En ce qui concerne ma motivation, j’ai appris à accepter que l’inspiration vient par vagues. Il y a des hauts et des bas. Il est impossible d’être motivé à 100 % en permanence. Cependant, j’ai constaté qu’avoir un esprit curieux est essentiel. Cela mène à la découverte de passions cachées. Plus vous vous sentez attiré par différentes choses, plus vous aurez envie de les documenter en tant que photographe. Et lorsque vous le faites, vous cherchez naturellement à les capturer de la manière la plus créative et significative possible. Baleines à bosse en train de pratiquer l’« alimentation par engouffrement » sur des harengs dans le golfe de l’Alaska • Pris avec un Sony A7III et l’objectif Tamron 150–500 mm f/5-6,7 Di III VC VXD — 1/2500 s, ISO 1600, f/11 photoED: Qu’aimez-vous le plus dans le fait de raconter des histoires à travers la photographie? Seth: La narration visuelle me donne l’occasion d’inspirer les gens et d’observer leurs réactions, qu’il s’agisse de quelque chose qu’ils n’ont jamais vu auparavant ou de quelque chose de familier présenté d’une manière nouvelle et unique. J’aime lorsque mes images suscitent ce sentiment d’émerveillement chez les autres. Je suis également très passionné par le fait d’encourager les gens à renouer avec le monde naturel. Dans notre société au rythme effréné, il est facile de négliger la beauté et la complexité de la nature, sa faune, sa flore et les écosystèmes dont nous faisons tous partie. À travers ma photographie et ma vidéographie, je souhaite raviver ce lien. Je veux que mon travail rappelle aux gens que nous ne sommes pas seulement des observateurs de la nature, mais aussi des participants actifs. Il y a tellement à apprendre du monde naturel, et je suis profondément convaincu que ce rappel est non seulement important, mais nécessaire pour nous tous. Arbres couverts de mousse dans Avatar Grove, île de Vancouver, Colombie-Britannique, Canada • Pris avec un Canon R et l’objectif Tamron SP 24–70 mm f/2,8 Di VC USD G2 — 1/200 s, ISO 1000, f/2,8 photoED: Qui vous a influencé dans votre travail? Seth: C’est amusant, je suis photographe de nature et de faune, mais mon photographe préféré de tous les temps est Haris Nukem, qui crée des portraits en studio incroyables et audacieux. C’est peut-être inhabituel, mais je pense qu’il est important de chercher de l’inspiration en dehors de son propre genre. Cela apporte une perspective nouvelle. Les photographes d’autres disciplines peuvent vous influencer au-delà du sujet, par exemple dans leur manière de retoucher ou d’aborder leur art. L’influence ne vient pas toujours directement de l’image elle-même. Cela dit, en matière d’influence, j’essaie de trouver un équilibre. Je me tiens à jour avec les photographes que j’admire et j’aime regarder leur travail, mais j’évite volontairement de me laisser trop influencer. Je veux que mes photos soient uniques et originales. Bien sûr, en consommant naturellement de belles images issues de la communauté, certaines esthétiques ou techniques finissent inévitablement par nous influencer, ce que je considère comme positif. Même les discussions avec d’autres photographes sur leurs projets ou sur la manière dont ils relèvent des défis peuvent être influentes de manière indirecte. Lorsque j’ai commencé, suivre des photographes faisait partie de ma routine. Je trouvais des images que j’aimais et j’essayais d’en recréer l’esthétique à partir de mes propres photos. C’était une excellente façon de comprendre ce que faisaient les professionnels et comment ils obtenaient leurs résultats finaux. Ce processus a grandement accéléré mon apprentissage du montage. Bien que j’aie abandonné cette approche aujourd’hui, elle a été une étape précieuse dans mon développement. Jeune pygargue à tête blanche, Alaska, États-Unis • Pris avec un Sony A7III et l’objectif Tamron 50–400 mm f/4,5–6,3 Di III VC VXD — 1/640 s, ISO 800, f/6,3 photoED: Qu’est-ce qui fait une bonne photographie? Seth: Dans sa forme la plus simple, je dirais qu’une bonne photographie est celle qui pousse quelqu’un à s’arrêter et à la regarder. Cela dit, c’est peut-être une simplification excessive. Après tout, quelque chose de choquant peut attirer l’attention sans nécessairement être «bon». Donc, une bonne photographie est peut-être celle qui fait ressentir quelque chose. Que ce soit de la peur, de l’excitation, de l’émerveillement ou de la curiosité, une bonne image doit susciter une réaction. Pour les lieux emblématiques photographiés à maintes reprises, une excellente photo est celle qui s’éloigne des conventions. Elle prend des risques, propose une perspective nouvelle et réussit à créer un lien émotionnel. À l’inverse, une excellente photo n’a pas besoin de gagner des prix ou de devenir virale. Si une seule personne en est réellement fascinée, ou si vous en êtes fier vous-même, cela peut suffire. Sur le plan technique, des règles comme la règle des tiers, les lignes directrices et autres principes de composition existent pour une raison: elles ont fait leurs preuves. Mais les règles sont aussi faites pour être brisées. Certaines des photos les plus mémorables ignorent complètement ces conventions, mais les photographes savaient quand et comment le faire au service de l’image. En fin de compte, créer une bonne photographie revient à comprendre que vous êtes au service de la scène ou du sujet. Il s’agit de le capturer de manière à raconter son histoire de la meilleure façon possible. Avec cet état d’esprit, vous avez beaucoup plus de chances de créer quelque chose de réussi. photoED: Comment la photographie vous a-t-elle influencé sur le plan personnel? Seth: Avant tout, je pense que la curiosité fonctionne comme une boucle de rétroaction. Vous prenez des photos, vous vous y intéressez, vous en apprenez davantage, ce qui mène à de nouveaux centres d’intérêt, et ainsi de suite. La photographie m’a aussi appris à être plus attentif. Même sans appareil photo, je m’arrête pour observer, ressentir et même sentir ce qui m’entoure. Cela m’a rendu plus présent et conscient du monde, ce qui est essentiel au quotidien. Elle m’a aussi permis de créer des liens. J’ai rencontré de nombreux amis qui partagent la même passion, et j’en suis profondément reconnaissant. Ce que je préfère des médias sociaux, c’est la facilité de connexion avec des gens du monde entier. Sans la photographie, je n’aurais probablement pas construit une communauté aussi forte et diversifiée. La photographie m’a également rendu plus explorateur. Je ne pense pas que j’aurais été aussi enclin à découvrir ou à voyager sans le désir de capturer ces lieux. Mon appareil m’a poussé à sortir, à vivre de nouvelles expériences et à voir le monde autrement. Papillons monarques en «hivernage» au sanctuaire de papillons de Pacific Grove, Pacific Grove, Californie, États-Unis • Pris avec un Sony A7III et l’objectif Tamron 150–500 mm f/5-6,7 Di III VC VXD — 1/500 s, ISO 10 000, f/6,3 photoED: Comment les médias sociaux ont-ils influencé votre travail? Seth: Lorsque j’ai commencé à utiliser les réseaux sociaux, je pensais qu’avoir le plus grand nombre possible d’abonnés était la clé pour «réussir» en tant que photographe. Je croyais que le succès était lié aux chiffres et aux statistiques, et j’ai passé beaucoup de temps à courir après cette validation. Mais avec le temps, j’ai commencé à comprendre le fonctionnement de l’économie de l’attention et la façon dont les plateformes ont, plus récemment, tendance à récompenser un contenu formaté et prévisible. Pour jouer le jeu des réseaux sociaux et obtenir de la croissance, il faut parfois sacrifier la créativité au profit de ce que l’algorithme favorise, et vraiment je n’aime pas ça. Cette prise de conscience m’a amené à prendre du recul et à réfléchir aux raisons pour lesquelles je me suis lancé dans la photographie et la vidéo au départ. Ce n’était pas pour suivre des tendances ou créer pour des algorithmes. C’était pour faire le travail que je voulais, de la manière dont je le voulais. J’ai réalisé que les algorithmes ne récompensent pas ce type d’authenticité, et j’ai dû décider ce qui comptait le plus pour moi. Pendant un temps, je me suis concentré sur la quantité plutôt que sur la qualité, en pensant que publier constamment était la façon de grandir. Mais en me rapprochant davantage de mes valeurs, j’ai changé d’approche. Je n’ai pas abandonné les réseaux sociaux pour autant. Il est important de rester visible et actif, de montrer son travail aux marques et aux entreprises, et de rester connecté avec ses amis et la communauté photographique. Je pense que mon retour sur investissement en tant que photographe peut être maximisé en améliorant mon site web, en contactant des clients, en créant des projets personnels pour attirer les bonnes opportunités, et finalement en me concentrant sur ce que j’avais décidé de faire il y a 15 ans: transformer mes visions créatives en quelque chose dont je suis fier. photoED: Comment décidez-vous quoi publier? Seth: Si j’aime une image, elle va sur mes réseaux sociaux. Il y a une célèbre citation de Rick Rubin qui dit : «Le public passe en dernier», ce qui signifie essentiellement qu’en tant qu’artistes, notre objectif principal est de créer des œuvres dont nous sommes fiers, et que le reste devrait suivre naturellement. Je crois que lorsque vous êtes vraiment engagé et fier de votre travail, cette énergie se transmet dans l’œuvre elle-même. Les spectateurs le ressentent, consciemment ou inconsciemment. Cela dit, je comprends l’importance de la réception et de la rétention du public, surtout lorsqu’on travaille pour un client ou une marque. Dans ces cas-là, il faut parfois mettre de côté ses goûts personnels et se concentrer davantage sur le potentiel marketing du travail que l’on crée. Par exemple, si une entreprise vous paie pour produire du contenu pour les réseaux sociaux, l’objectif change. Vous créez du contenu qui doit performer ou atteindre un résultat précis. C’est un état d’esprit différent. Sur le plan personnel, en revanche, peu m’importe qu’une photo obtienne 10 mentions J’aime, tant qu’elle représente mon meilleur travail et reflète mes capacités actuelles. Je pense qu’il est important de chercher à créer les meilleures images possibles, tout en évitant de se prendre trop au sérieux. Les réseaux sociaux ne sont pas une fin en soi pour être photographe. En fait, certains des photographes qui ont le plus «réussis» que je connais personnellement n’ont même pas de comptes sur les réseaux sociaux. Parc national des Kenai Fjords, Alaska, États-Unis • Pris avec un Sony A7III et l’objectif Tamron 16-30 mm f/2.8 Di III VXD G2 — 1/200 s, ISO 100, f/6,3 GEAR UP: What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using Tamron lenses? SETH: Je photographie exclusivement avec un Sony A7III. Ce n’est pas le modèle le plus haut de gamme de Sony, mais c’est un appareil fantastique qui m’a très bien servi dans une variété de conditions extérieures difficiles. Je crois fermement que, même si le matériel haut de gamme a sa place et justifie son prix, on peut obtenir des résultats incroyables avec un équipement de milieu de gamme, voire même avec un kit de base. J’encourage toujours les gens à faire évoluer leur matériel en même temps que leurs compétences. Si vous apprenez à produire des images exceptionnelles avec un kit simple, une mise à niveau par la suite ne fera que renforcer vos bases et vous permettra de vous épanouir grâce aux fonctionnalités supplémentaires. Personnellement, je ne change d’équipement que lorsque j’atteins une vraie limite avec mon matériel actuel, lorsque les spécifications techniques ne suffisent plus ou freinent sérieusement ce que j’essaie de réaliser. Mon objectif préféré est le Tamron 28-75mm F/2.8 Di III VXD G2. Il est extrêmement polyvalent et ne quitte jamais mon sac, peu importe ce que je photographie ou où je vais. Si je suis en forêt pour photographier la faune avec mon Tamron 150-500mm F/5-6.7 Di III VC VXD (mon deuxième objectif préféré), je garde toujours le 28–75 mm avec moi. Il est parfait pour capturer l’imprévu, comme un groupe de champignons original sur le sol de la forêt ou même le portrait de quelqu’un qui m’accompagne. J’apprécie aussi beaucoup ses performances en pleine lumière de midi. Je ne planifie pas strictement mes séances autour de l’heure dorée; j’aime photographier quand j’en ai envie, et le 28–75 mm f/2.8 reste fiable dans toutes les conditions. Je l’utilise principalement pour les paysages et les scènes de nature hors faune. Pour la photographie animalière, j’utilise exclusivement le Tamron 150–500 mm. Cette plage focale est essentielle pour garder une distance sécuritaire avec des animaux potentiellement dangereux, imposants ou craintifs. Il offre d’excellentes performances aussi bien par temps froid que chaud, comme tous les objectifs Tamron. Je dois aussi mentionner le Tamron 50–400mm F/4.5–6.3 Di III VC VXD , qui mérite une mention honorable. C’est un objectif extrêmement polyvalent qui me permet de cadrer large à 50 mm pour des paysages ou des images lifestyle, puis de zoomer rapidement jusqu’à 400 mm si un animal apparaît soudainement. Les objectifs Tamron occupent une place importante dans mon équipement, et j’ai été constamment impressionné par leurs performances, leur durabilité et leur polyvalence. Ils m’ont permis de m’adapter à une grande variété de situations de prise de vue sans compromettre la qualité. Seth Macey Liens réseaux sociaux / site web de Seth: instagram @sethmacey sethmaceyphotography.com & youtube.com/@sethmacey Découvrez l’objectif Tamron préféré d’seth - ICI. www.tamron-americas.com

#MermaidsHatePlastic By 2050, there will be more plastics than fish in the sea. It takes 450 years for the average plastic bottle to disintegrate. 10 000 bottles were borrowed from a waste management centre and volunteers worked to create meaningful, shareable images, spreading the word about the volume of plastics in our water now and in the future. BENJAMIN VON WONG is a Canadian self-taught photographer whose work has been seen by millions of people around the world. He has been named a Branded Content Mastermind by Adweek, holds a Guinness World Record, and acts as a creative advisor for the Ocean Plastics Leadership Network and the Sustainable Ocean Alliance. Benjamin takes anywhere from weeks to months to prepare his elaborate shoots working with global teams. He shares much of his behind-the-scenes work online, which provides viewers with insight into his creative process and an appreciation for the monumental scale of the projects he and his community of collaborators take on. I asked him a few hard questions about his work and what keeps him motivated.  Your website unforgettablelabs.com highlights your numerous commercial projects and the consistently impressive marketing reach you’ve achieved for various organizations, from large commercial corporates to charities. You offer an open invitation for organizations to reach out with their promotional projects. Completed projects include work with Nike and Nexus Summit (an organization interested in closing the fast-fashion loop). How do you select which brands you associate with? How do you personally square working with both sides of a coin — Nike being a powerhouse global fast-fashion brand well known for human rights abuses in their production processes, and Nexus a social entrepreneur and philanthropic organization? Since we live in a colonial and extractive world — all large sums of money are tainted. As a result, I always try to start conversations from a place of curiosity, rather than one of judgment. There are three kinds of projects that I create: those that I fund myself, projects that I seek sponsorship for, and projects I get hired to do for a commercial purpose. For projects I seek sponsors for, where the funding comes from doesn’t really matter to me, as the funders have no creative input in my work. I see them as simply putting their dollars to good use. Unless conversations reveal the sponsorship may be used in false marketing or greenwashing claims, I’m generally interested in working with a pretty broad segment of companies. For the projects that I get hired to do for commercial purposes, I do my due diligence. I look at the track record of the brand and where they’re headed.  My general philosophy is to find partners that are committed to progress, but I’m not married to perfection. What matters most to me, is whether or not a brand has been consistent in respecting their commitments and making improvements to society. Is my creativity being used to change an existing system or prop-up a corrupt one? Does the client also want to go above and beyond, or are they just looking to move product off a shelf?  With regards to Nike specifically, the sweatshop scandal came up in 1991. Since then, they’ve worked to increase and improve wages, worker conditions, and labour practices — going so far as to start the Fair Labor Association in 1998. Are they perfect? No, absolutely not — the entire fashion industry is problematic — but I do think they’ve made an effort to be better socially and environmentally. Impact is never easy, and the most important thing is to find the right collaborators. #TurnOffThePlasticTap A giant plastic tap spewing plastics sourced from Kibera, the largest slum in Africa, greeted delegates from 193 different countries coming together at UNEA 5.2 to discuss what is being termed the “Paris Agreement for Plastics.” The installation was created where discussions around a global plastic treaty took place at the UN Headquarters in Nairobi, Kenya. Since, the Tap has travelled to five cities and appeared at the United Nations Ocean Conference in July 2022. An image is worth a thousand words. Your incredible installations about water and plastic issues demonstrate important messages about recycling and the harm plastic waste causes. Consumers need to consider these issues when making their daily purchasing power decisions. But how do you feel seeing seemingly little movement from those responsible for the problem (i.e., plastic bottle manufacturers and large volume retailers)?  I disagree that there is no movement! It’s not moving fast enough, but that doesn’t mean it’s not moving at all! Plastic pollution is one of the few things in the world that everybody hates. Everyone agrees there’s a problem, but few agree on how to solve it. Some organizations are focused on finding a plastics replacement (biodegradable plastics), while others champion recycling, while others think we just need to reduce plastic production. Large plastic manufacturers are investing hundreds of millions of dollars in innovation projects in search of sustainable alternatives to drive change. Whether or not they’re successful is another thing.  The topic is extremely nuanced.  At the Global Plastics Treaty negotiations at the United Nations meeting in Kenya in 2022, large commercial global brands also advocated for the treaty because added restrictions on virgin plastics would increase the value and commercial viability of recycled plastic. But that agreement alone, doesn’t create change. If we think about Extended Producer Responsibility (EPR), for example, which involves demanding that brands put aside a portion of profits to clean up their own waste, things get complicated when we start looking at the details: Who is responsible for which parts of the cleanup? Who manages the funds? How does that work across countries? Municipalities? Industries? These are large complex problems that have no simple solutions.  While the problem of plastic is larger today than it ever has been, the pressure for change in consideration of environmental impact is also higher than it’s ever been. Almost everything we buy touches plastic at some point. Being a responsible consumer is as important as collectively finding ways to pressure the larger system itself to change. I think art can play an important role in change-making. The work that I do can be used and shared by, individuals, nonprofit, for-profit, and governmental organizations alike. It does not prescribe a solution, but rather invites a conversation.  My aim is to make sure that the problem stays top of mind for the most people possible to accelerate positive change.  Your productions are elaborate. With the artificial intelligence (AI) tools now available to image-makers, why not simply create your visuals digitally? What is it about the production process that drives you?  Theoretically, creating the images I envision entirely digitally might be easier than planning and executing projects with large teams. But making “easy” projects is not the driving force behind why I do what I do.  I love the real-world adventures, interactions, and explorations that come as part of creating in a physical space — and I think that the advent of artificial intelligence actually gives my work more value.  In a world where digital content is becoming increasingly accessible, automated, and ubiquitous, the signal-to-noise ratio is getting higher and higher. The amount of mediocre content we see online is extremely high. It’s just not interesting for me to participate in a creation process that is about quantity over quality.  The end result of my efforts is only one part of the larger story. The more valuable part, arguably, is the creative process itself. Stories are what give meaning and value to art, and I think that AI can only take that so far.  The kind of work that I like to do requires a lot of thought and preparation. I also think about how it could serve larger movements. How and where else could the structures I build or the images I create be used to amplify the topics I’m passionate about towards positive social change?  As digitally created content becomes more ubiquitous, there is also a growing appreciation for content and stories that are anchored in the real world.  #Strawpocalypse Benjamin holds the Guinness World Record for the largest drinking straw sculpture (supported), made from reclaimed plastic, including 168 037 straws. The sculpture was created with Zero Waste Saigon (Vietnam) in Ho Chi Minh City in January 2019. The project was sponsored in part by Starbucks, who installed used straw collection bins at a number of its stores in Vietnam. Follow Benjamin Von Wong’s adventures online:  vonwong.com   This story originally featured in the WATER issue. This print edition is SOLD OUT, but you can still read the digital replica on Press Reader - HERE. Enjoyed this free read?!  Why not support us for more?! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions   • Make a donation

“Chaos was the law of nature; Order was the dream of man." — Henry Adams Photographers work through countless iterations   and variations when crafting an image. In darkrooms, contrast filters can dramatically change the impact of an image, while digital explorations offer endless editing possibilities. Even with small, simple edits, converting a photo to black and white, playing with tonal levels, or cropping, it’s helpful to observe the changes with a side-by-side view to confirm a final creative decision. The same comparison and adjustment process can also apply to ideas.  This year’s photoED Magazine trilogy of publications will explore ideas about contrasts. We begin here with Order vs. Chaos , perhaps as a subconscious reflection of a collective global zeitgeist. This edition features artists who turn to mindfulness and minimalism to create works that calm the soul, alongside artists who embrace visual maximalism created in a state of creative meditative flow to make sense of the crazy world around us. Crafted compositions with Milad Safabakhsh by Sherry Chunqing Liu Comparing and contrasting perspectives doesn’t necessarily result in us landing on a specific “side,” or changing our minds, but the process provides us a way of thinking outside the box to view all sides. I think that’s what we need more of right now.  As you'll see in the print edition, we have 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.  From our International Call for submissions, Fausta Facciponte Some artists featured in this edition work towards creating images that inspire calm, through mindful minimalist compositions, and in contrast we’re also presenting artists whose work is intentionally packed with content, details, questions, and busyness, energizing, puzzling, and dazzling viewers. The search for order can sometimes seem in opposition to chaotic complex ideas, but I think these ideas can also be celebrated simultaneously to present viewers with fresh perspectives through the contrast. Hopefully, somewhere we all meet in the middle and enjoy the journey together.  A flip through the Order vs Chaos edition One Thing After Another,  An exquisite photography retrospective at the AGO, by Corinna vanGerwen Love + Order: Resilience, a photo book  by Alan Bulley Crafted compositions with Milad Safabakhsh by Sherry Chunqing Liu Geomatic MeditatioN by DW Alexander  Digital Manifestations: The Meditative Practice of Anthony Gebrehiwot, by Craig D’Arville  Wes Bell: Lost for words, by Sherry Chunqing Liu Quincey Spagnoletti  in conversation with Pelle Cass  One Thing After Another,  An exquisite photography retrospective at the AGO, by Corinna vanGerwen   Laura Kay Keeling: Untitled Portals by Rita Godlevskis Daniel Everett:  Systems of (Dis) Organization, by Alan Bulley PORTFOLIO featured artists From our International Call for submissions: Rebecca Tunks (AUS) Julia Zyrina (NL) Paulo de Tarso Souza (BR) Violetta Lorentzou (UK) Fausta Facciponte (CAN) Ava Margueritte (CAN) Henry VanderSpek (CAN) Franciszek Chilinski (POL) Tash Damjanovic (CAN) Shira Gold (CAN) and Jung Ui Lee (KR). This edition also features... Photo book recommendations by Brian St Denis Change Made: Building the next chapter in mentorship by Sid Naidu Jane Hinton: Contained chaos by Cassandra Spires Mindful photography in a Chaotic World by Anna Wilson     MORE! Cover art for issue #76 features; Pelle Cass,“Red Ball Shadows in Driveway — It was a silly fight,” and Fausta Facciponte, “Story Fragment No. 11,” from the Little Tragedies and New Beginnings , series.   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 , B3K Digital, Front Row Insurance,   Professional Photographers of Canada. 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

moving from one place to another The contrast between old and new settings creates a compelling visual narrative. Photographers can use this approach to transform an experience into more than a passing event—becoming a creative opportunity to record personal change and the evolving their definition of 'home'. Documenting contrasts challenges your perspectives and habits, refreshing the way life appears through your lens. Familiar locations feel comfortable and predictable, whereas unfamiliar spaces spark curiosity and exploration. Photography can reveal moments that might otherwise go unnoticed. The emotional impact of changing environments Emotional ties often shape the way familiar streets, buildings, and views appear. Comfortable locations feel safe and predictable, while new spaces can create a surge of curiosity and attention to detail. Photographs taken in known areas often carry warmth and nostalgia , whereas images from unfamiliar settings display a different energy and discovery. These emotional differences influence composition, lighting choices, and subject focus. Photographers who recognize both sides can create stronger visual stories. Embracing both adds balance, texture, and honesty, making each image a new record of personal experience and perception. photo by Henry VanderSpek Finding beauty in the familiar Photographers often overlook the potential of places they know well. Everyday streets, corners, and buildings can hold surprising visual stories . Besides, changing the time of day or season can reveal details missed before. Shooting from unusual angles refreshes the way these spaces appear. Memories tied to locations often add emotional weight to the images. Strong light and shadow contrasts can enhance this effect. Familiarity helps predict the best conditions for a shot. Documenting these scenes provides a visual record of personal history. Focusing on known locations sharpens observation skills. This approach can enrich your experience by giving familiar surroundings renewed importance. Discovering the unfamiliar – A fresh eye on new surroundings Arriving in a new location offers a flood of fresh sights. Every street, face, and landscape can inspire fresh creative work. Observing how locals interact with their environment adds depth to the story. Trying different routes or visiting unexpected spots can spark new ideas. Paying attention to details often leads to stronger compositions . Lighting conditions in unfamiliar places may challenge your skills. Cultural differences influence the atmosphere of each image. Experiment with framing, colours , and subjects. Explore with intention to build confidence and expand your creative range. Inspiring others through your vision Sharing relocation photography can motivate others to explore their own creative visions. Posting images that reveal personal growth and perspective shifts with captions explaining the story behind each shot engages with audiences. Offering tips on how to feel like a local  adds practical value. Collaborating with local photographers fosters further connections. Visual storytelling helps bridge cultural gaps and extends beyond the image itself. Highlighting contrasts Using the same composition for different scenes highlights environmental changes. Shooting at similar times of day at the same location can produce striking visual comparisons. These techniques can provide structure while still leaving room for creative voice. In consideration of sequence Consider your sequence of images as the emotional path for your viewer. Including everyday moments in the new place creates relatability, while landscape shots provide scale and context. Mixing wide shots with close-ups keeps the sequence dynamic. Challenges and rewards Shifting between familiar and unfamiliar spaces tests a photographer’s adaptability. This process sparks creative growth . New surroundings often feel overwhelming at first, adapting to change requires focus and openness. Similarly, technical adjustments to lighting, composition, and subject matter become necessary. Each challenge builds resilience and sharpens skills, the reward comes in the form of a new perspectives for both the photographer and the viewer. Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions   • Make a donation Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

By Peppa Martin Drawing on deeply personal and emotional experiences, Shira Gold’s photographs demonstrate grief, loss, identity, and change. Wellness experts around the world increasingly recognize the indisputable health benefits of spending personal time with art, to the extent of even prescribing museum visits to combat illness. A comprehensive 19-year study published by the World Health Organization (WHO) found that art has positive overall effects for mental and physical health at all stages of life. If interacting with art, even merely as an observer, has therapeutic power, what happens when an artist takes up an active practice with a conscious search for solace, healing, and equilibrium? Vancouver photographer Shira Gold discovered this important intersection of photography, mental health, and well-being during a time of personal crisis. These crucial connections would ultimately guide her healing through loss and grief. Born and raised in Vancouver, Shira spent several teenage years learning photography at Arts Umbrella, a local non-profit centre for youth arts education. It was something of an antidote to an ongoing struggle in high school where she fought hard to meet academic expectations and defy negative and discouraging early childhood messages. With her self-esteem in a fragile state as a result of these messages from teachers who didn’t see her potential, her lack of confidence could have been crippling if not for her camera. Photography offered Shira a sliver of control over something concrete and became a tool to interact with the world and express her point of view in a positive way. That involved acknowledging and purposefully connecting with feelings of discomfort and intentionally deconstructing experiences that felt overwhelming. “It’s the only time in my life when my mind and my heart feel aligned,” she said. Repetitive motion is a widely accepted behavioural therapy technique for lowering ones heart rate and blood pressure and for calming an overactive mind. On the advice of health professionals, Shira tried, among other things, running, knitting, and deep breathing exercises to achieve these goals. Results were less than satisfying and not especially effective in slowing her racing thoughts. Then came an implosion. In 2001, when Shira’s mother Melanie became seriously ill, Shira made the pivotal decision to become her primary caregiver. Mired in grief after losing Melanie in 2003, Shira desperately sought a healing mechanism to relieve the searing pain of mourning. Photography, again, came to her rescue, providing the urgent support needed to navigate this difficult period. Picking up her camera again, she says, “was like finding my breath.” What Shira discovered to be genuinely therapeutic was the simple, repetitive act of making images, regardless of the subject, the time available, or the end result. Through this process she learned to visually diarize what she couldn’t articulate. “It was visual therapy,” she said. Diagnosed with attention deficit hyperactivity disorder (ADHD) at age 35, her camera became a tool for harnessing her distracted thinking and, along with summoning mental focus, making photographs allowed her to slow down and be, as she describes, “fully in the moment.” Shira describes the bewildering period from becoming her ailing mother’s primary caregiver, to experiencing Melanie’s death and being bereaved, to authoring and self-publishing a guidebook (titled Choosing Joy’s Empowerment Index), to becoming a mother: “It was like all the space in life between struggles and triumphs compressed and there wasn’t room to process what I had been through.” Good Grief is a series of landscape images that serve as a visual dissertation of Shira’s movement through loss. This series earned her an Honourable Mention in the Julia Margaret Cameron Awards, a nomination to the Fine Art Photography Awards, a semi-finalist spot in the Bombay Sapphire Artisan Series, and also a finalist position in the LensCulture Art Photography Awards. Shira says, “If sharing my stories makes others feel less alone in their life circumstances, then maybe that’s the most important thing I do. My work has always been driven by my life and all the crazy, wonderful, painful experiences. As one who lives my days with a busy mind, there are few things that create pause and reflection. I think that when we tap into our vulnerability and channel it in our art, we are being authentic. That helps us to better understand ourselves, and to find balance and beauty in life.” www.shiragold.com IG: @shiragoldphotography + If you're in Vancouver, check out Shira's studio/gallery space on Granville Island, at 1249 Cartwright Street, she takes studio visits by appointment. 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A playlist by artist Bart Gazzola to complement DISCARDED, his ongoing documentation of abandoned shopping carts. As seen in our TYPOLOGY edition. Find the tunes here - or on SPOTIFY! Desolation Row by Bob Dylan This one might seem obvious, but it’s more so because of lines like ‘at midnight, all the agents and the superhuman crew come out and round up everyone who knows more than they do.’ Many of my shots happen at night, when I’m walking, and the city is quiet and mysterious. Grey by Ani DiFranco This one is specific to one cart I shot, one of the first toppled ones, where I began to see this series as something more than what I’d thought it might be, and for the line of ‘as bad as I am, I am proud of the fact that I am worse than I seem’.... One Great City! & Left and Leaving by the Weakerthans If you’re familiar with my cart images - and how the only rule that I still hold to, with this project, is that they be abandoned, not staged - and the lyrics of these songs from this fine band that can make despair aesthetically seductive, no further explanation is needed. But if that’s not the case : ‘My city's still breathing, but barely, it's true, through buildings gone missing like teeth’ ran through my mind upon seeing St. Catharines again after nearly two decades, where I ‘watch the North End die and sing, “I love this town”’..... Trucker Speed by Fred Eaglesmith “....sometimes I feel like my wheels ain't touchin' the ground…” Maybe my carts are self portraits, or maybe I’m obfuscating, ahem. Can’t trust an art critic talking about their own art work. It is known. I Gotta Get Drunk by George Jones Sometimes I stay out later drinking just so I can capture images of carts on the way home, looking as abandoned and lonely as I feel on the long walk from downtown to where I sleep. My Little Town by Simon & Garfunkel “Nothing but the dead and dying back in my little town” : my cart works may also be a commentary on returning to my ‘hometown’ after several decades, after swearing I would never do any such thing (like getting a tattoo. I now have two of those, ahem). Smells like Teen Spirit by Nirvana I have sometimes captioned carts with the evocative lyrics of "with the lights out / its less dangerous / here we are now / entertain us / I feel stupid / and contagious / here we are now /entertain us"....and as a member of Gen X, this is a theme song, whatever, nevermind. Did I Ever Love You? by Leonard Cohen Many people who enjoy my carts, or send me images, anthropomorphize them, and there is always a romantic element to that. This song, and this album, have been on my playlist continuously since I returned to Niagara in 2015, and began the cart works. I’ve always been Crazy by Waylon Jennings I have no idea why I took that first cart photograph, and at times I still have no idea why they fascinate me, and why so many other people enjoy them and send me their own snaps of abandoned carts. They are very, very different from the art I made for most of my life. Always been crazy, but it’s kept me from going insane - mostly. Reasons to Quit by Willie Nelson and Merle Haggard Many of my images are taken while walking, and not a few while walking home from the downtown after an evening of libations, perhaps a bit inebriated (I mention Tom Waits later, and have been known to claim that the carts have been drinking, not me, not me, whereas Waits blames the piano…..) Damn These Vampires by The Mountain Goats ‘sleep like dead men wake up like dead men and when the sun comes try not to hate the light some day we'll try to walk upright’ I’ve always preferred capturing carts that have tumbled and fallen. Any suggestions re: self portraiture in that respect are acknowledged, slyly. This Year by The Mountain Goats Relocating to Niagara was difficult, the first few years were harsh, but I was ‘going to make it through this year if it killed me.’ Black Sheep by Metric “Hello again, friend of a friend, I knew you when our common goal was waiting for the world to end.” An artist I respect greatly commented in passing a few years ago that I ‘take pictures of what is left when the world ends.’ This Mess We’re In by PJ Harvey “And thank you. I don’t think we will meet again.” There’s an amusing singularity to the pictures I take: shoot them now, for they won’t be there when you pass by that spot again. Throw Me to the Rats + Bleeding Hallelujah by Tom Fun Orchestra One of the last bands I saw in Saskatoon before leaving the prairies was the Tom Fun Orchestra, and I have joked that Throw Me to the Rats should be played at my funeral. Bleeding Hallelujah is a plaintive hymn for that which was but now is not - like a cart that was useful then left. Just like Tom Thumb Blues by Nina Simone (Bob Dylan cover) “I started out on burgundy, but soon hit the harder stuff. Everybody said they'd stand behind me when the game got rough. But the joke was on me, there was nobody even there to bluff. I'm goin' back to New York City, I do believe I've had enough.” Another friend once suggested to me that I felt my move to Niagara was a self imposed act of exile, or simply having had enough….and this song always makes me sad, as so many of my cart images seem to evoke an equal sense of melancholy in people. Follow Bart + the carts on IG:@gazzolabart Enjoyed this read?!  Consider supporting us! 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“183 Sunsets Over Georgian Bay (2023.07.21 – 2023.12.21), Ontario” SOLARGRAPHY is an alternative photography process that uses homemade pinhole cameras and light-sensitive black and white photo paper to capture exceptionally long exposures of the Sun’s movement across the sky. The colours are a byproduct of the extremely long exposures and the chemical breakdown of the paper. Over the course of days, weeks, and months, a single image is meticulously constructed, revealing a unique record of space, time, and weather patterns that would otherwise remain unseen. “183 Day Solargraph #1 (2023.07.21 – 2023.12.21), Oakville, Ontario.” The resulting sun tracks present a gradual day-to-day change, attributable to the Earth’s 23.4-degree axial tilt and slightly elliptical orbit. The height of each track is determined by the latitude of the exposure location and the time of year it is recorded. The lowest track is produced on the winter solstice, while the highest track corresponds to the summer solstice. Missing, faint, or broken tracks occur when clouds or other obstructions block the Sun. “Total Eclipse over Port Maitland Lighthouse - 1 Day Solargraph (2024-04-08), Ontario.” The colours depicted in the images are not direct representations of the scene, but rather the result of the paper’s chemical reactions to extreme overexposure, as well as the influence of uncontrollable factors such as moisture, dirt, significant temperature fluctuations, or fungus that may infiltrate the pinhole camera. Furthermore, each brand of photography paper possesses a unique chemical composition, leading to distinct colour schemes. If developed using traditional methods, the photo paper would turn completely black and the use of a photography fixer would diminish much of the colour. Instead, the prolonged exposure times etch the image onto the paper without requiring any additional steps. A high-quality flatbed scan is then performed on the resulting negative (paper) despite its light sensitivity. Light emitted by the scanner degrades or destroys the original image as it traverses the paper. Once scanned, the image is inverted, horizontally flipped and further processed digitally using Lightroom and Photoshop. Bret Culp is a photographer and visual effects supervisor based in Georgian Bay, Ontario. This feature originally appeared in the TIME issue. Get your copy in print: HERE Enjoyed this free read?!  Consider supporting us! JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions   • Make a donation

Capturing a moment, whether a split-second action or an encapsulation of the slow passage of time, is one of the most beautiful and impactful ideas a single image can convey. The artists featured in photoED magazine’s TIME edition have produced time-bending works that, politely, gently, and kindly invite viewers to take an extra moment of consideration from our fast-paced image heavy world. The payoff is not only a visual reward, but also the gift of new ideas when considering one’s own future recordings. The TIME issue IN PRINT • Cover image by Bret Culp • photo by Marie-Louise Moutafchieva #MadeWithAffinity The artists in this issue work with time as the basis of their photography, taking their explorations to new levels. “Photography takes an instant out of time, altering life by holding it still.” — Dorothea Lange Sylvia Galbraith records room-size camera obscura images with such clarity; her work is a time-blending puzzle. Bret Culp uses the same tool, a pinhole camera, to create a single image recording: the passage of time over days, weeks, and months. Sylvia Galbraith • What Time Is This Place? Solargraph by Bret Culp, “183 Day Solargraph #1 (2023.07.21 – 2023.12.21), Oakville, Ontario.” Zinnia Naqvi • “The Wanderers ‑ Niagara Falls, 1988,” from the series Yours to Discover, 2019. Zinnia Naqvi’s art practice embraces 1980s images from her family albums to question colonial influence and (re)present her experience to new audiences — perhaps relating to viewers’ own experiences and influencing recollections of whatever a “Canadian experience” means to them. Craig D’Arville/ FFOTO.com + June Clark and Christina Leslie I’m especially excited to present an interview by Craig D’Arville featuring June Clark and Christina Leslie. These artists’ works are thoughtfully crafted and loaded with immeasurable layers of history, family, love, struggle, and contemplation in every visual they thoughtfully present. I hope you can afford to make the time for these works, ideas, and more. This issue features:        June Clark and Christina Leslie , in conversation with Craig D’Arville Zinnia Naqvi , Time after Time, by Darren Pottie Sylvia Galbraith , What Time Is This Place? Camera Obsura rooms Wade Comer , Layering time in a single frame, by Cece M. Scott Arianne Clement , Aging, beautifully. Documenting centenarians, by Alan Bulley Scarborough Made : Celebrating five years of community storytelling by Sid Naidu This edition also features, our Books + Resource recommendations for further explorations, and our PORTFOLIO featured artists: Daphne Faye Boxill Elsa Hashemi Lucy Lu Farah Al Amin Julianna D’Intino Elizabeth Siegfried Catherine Page Find our playlist of TIME inspired tunes on SPOTIFY! Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures! We need your support to continue producing great content for you to enjoy!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • READ our digital editions  • • DONATE•