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“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!

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

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

TOP PHOTOGRAPHER WINNER: Cécile Rivet • France Billed as the world’s greatest photo game, GuruShots is an international competition platform for photographers. Players get feedback from more than three billion monthly voters and try to work their way up through rankings, from Newbie to the ultimate status (and bragging rights) of Guru. GURU'S TOP PICK WINNER: Amadey • Tajikistan TOP PHOTO WINNER: Julien Serarre • Mexico The Art of Still Life photography challenge showcases an exceptional collection of images by photographers from around the world. GuruShots’ challenges are voted on by the platform’s Gurus and the wider community, with a fresh challenge every day. Winners can receive prizes from GuruShots’ sponsors such as Adorama, Kodak, Lowepro, and Lensbaby. Sanja B • Bosnia and Herzegovina Sharon Master • USA Roberto Basso • Italy Keith Shantz • Canada Peter Buck Buchikas • USA Redmere • USA Nuno D'Almeida • Portugal To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

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

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