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“Seeing Through Touch” by Ramon Castillo “ The bond between father and son transcends sight. The father, with a steady and loving hand, guides a young boy who is blind, helping him experience art through touch and trust. The boy’s face radiates curiosity and a quiet joy, revealing the beauty he feels within. ”  Images have a profound impact on our wellbeing. These days, people see hundreds of images daily; consciously and subconsciously influencing our emotions and outlook on life. So how are we, as photographers and editors, affecting people with the images we choose to share?  The above image by Ramon Castillo, received an Honourable Mention in the 2024 Our World is Kind international photo contest, in Ramon’s words, "This image speaks to the heart of compassion—showing us that kindness can open doors to worlds unseen. The father’s patient guidance embodies the idea that true vision is found in connection, in giving others the tools to express their own inner light.” As poignant as these words are, this image itself transcends the need for language, showcasing the power of photography.  Envision Kindness has studied the way that people feel before and after viewing images of kindness, love, and care, to have confirmed again and again that these types of images greatly reduce stress, help people feel more positive about life, and treat others with more kindness. Concrete evidence drives seizing this important opportunity to make positive impact through the images we put out into the world.  “Pet Love” by Mieke Dalle “My son was very happy with the chicks that came as a surprise during the Easter holidays. He hugged the animals with dedication, which with the soft sunlight, created a warm image that fit the kindness theme well…”  Envision Kindness focus' on using images of kindness and care to help people strengthen their connection to their own humanity and that of others. The organisation has crowdsourced images of people and animals loving, helping, and caring for each other from photographers around the world. The goal is to use these diverse perspectives to drive positivity and connection. Molly Ferrill, Director of Photography Collaborations at Envision Kindness says; "We share inspiring and moving images of kindness with people in high-stress environments like hospitals and schools, crafting them into short-form videos that are played in waiting rooms and hallways. We have studied the impact of these videos many times: viewing them decreases stress, irritation, and anxiety in minutes. Behaviour also changes: viewers feel more cared for, and in return they are more likely to be generous and kind to others, such as making a donation to support a needy family. Hospital staff who view the videos also treat each other better. All of this has important consequences for people’s experience of healthcare." Here  is a 2-minute video sample of their media. Building a community of kindness photographerS Envision Kindness  is always looking for new and inspiring images. To do so they have created two photography programs. The Our World Is Kind photo contest, is an international kindness photography competition that is free to enter and offers multiple prizes. Beyond any monetary prize, participating photographers know that their images can help inspire people and make the world a bit better. The current contest closes December 15, 2025, offers multiple prizes of up to $2,000 USD. Their other program, Select Photographers, is an invitation-only group of photographers who see the need for more kindness, peace, and caring in the world. Image makers are invited based on their submissions to the Our World is Kind photo contest. "We welcome more photographers to join us in the mission to spread kindness through sharing images. The more that people participate, the more we can help people feel better about their lives and act with more kindness to those around them" says Molly Ferrill. “Precious Moments” by Felicia Tolbert “After being told that my grandmother's cancer was inoperable, my daughter decides to gift her great-grandmother one of her stuffed animals to comfort her.” “Loving Kiss” by Albert Tay "The love and innocence of two, week-old monkeys taking time off from their playing and jumping around and having a quick kiss. We humans should emulate them and spread our love." “Passing Down a Beloved Book” by Tracey Rice "This is a photo of my son, Michael, who gave one of his beloved childhood books on dinosaurs to his nephew, Andy.  Michael carefully made an inscription inside the cover of the book and presented it to Andy for Christmas. As Michael began reading the book aloud, Andy leaned in to say "thank you" and their foreheads touched in a tender moment." Find out more about Envision Kindness - HERE. 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: Unnamed • Iceland 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: Kathy Dorsey • USA The street photography challenge showcases an exceptional collection of images highlighting diverse perspectives and candid moments captured by photographers from around the globe.  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. TOP PHOTO WINNER:  Julien Serarre • Mexico   Will • USA Michael Shmidt • Israel Americo Paulo Sequeira • Portugal Sanja_ B •  Bosnia and Herzegovina Aivars Boro • Latvia Joshua Christoffersen • USA Lisa Tang • Hong Kong Stephane Pagnier • UK Melanie  Flynn • USA Roy Egloff • Switzerland  Beata S.J. • Poland jpoulat • Mexico Joao Alves • Portugal Maria  Richardson • USA  Joanna Chambers • France Malcolm Baldwin • UK To find out more, and take part in the next challenge, visit www.gurushots.com Also, check out GuruShots’ newest app AI Art Master.

Our recommendations for the perfect gift for photographers + photography lovers we LOVE... Alternative Inspiration Plant-based image making inspiration abounds in Malin Fabbri's books and journals. Homemade emulsions from Avocado and Beetroot, to Turmeric and Yerba mate come from contributors around the world and are beautifully presented for all to enjoy. Whether you are a beginner or an experienced anthotypist, these books, calendars, and journals are great resources that will save you time, and present you with fresh inspiration for finding the next plant or pigment to use for printing. Plant based photography printing instructions Alternative Photography: Art and Artists, Edition 2 Edited by Malin Fabbri In celebration of the alternativephotography.com 25th anniversary, 137 contemporary artists share their work in this incredible volume as they push the boundaries of alternative photography with processes like cyanotype, gum, and platinum printing. Sir John Herschel tribute calendar The John Herschel tribute calendar is available with 2026 dates, or to start anytime! JOURNALS As daily planners or for journaling these beautiful books offer both pre-defined pages and blank pages for you to plan and dream. Templates are there to help you focus and find balance between work, home and everything else that happens in life. Lots of great options here. Know a photo-newbie? Get the GUIDE - an easy intro to the basics of photography The photoEd GUIDE to Photography is a 128-page magazine-format learning resource. The GUIDE provides a quick-start to basic photography tools & techniques , from analog film photography to understanding digital image capture + ideas for new explorations. Check out the " Subscribe + Guide " special offer - the GUIDE as a starter + a subscription to keep the creativity flowing all year! More MAGAZINES! Join a Magazine club! The Toronto-based Issues Magazine Shop carries hard-to-find, independently-published magazines from around the world. Visit the shop in Toronto, or order online! Mag Club Quarterly Subscription Box Subscription boxes ship in September, December, March and June. Curated just for you! (or the person you're gifting for) $100.00 Check it out HERE. Add COFFEE to your magazine moment GIFT! www.sparkplug.coffee Pairing REALLY nice coffee with your analog read will spark a little extra warmth into your magazine moment. We love Sparkplug coffee because it's delicious , roasted fresh locally, and run by a cool female-led team. Choose your coffee style, select a grind specific to your maker, subscribe for AUTOPILOT delivery... SO many options. The Sparkplug crew delivers the goods to ensure you're drinking the BEST coffee you've ever made. In fact, they guarantee coffee happiness. + FREE SHIPPING + Friends of photoED - Save $3 on your next order with code: CAMERA + They have a ton of cool coffee gift ideas for any kinda coffee lover - Check them out - HERE . Cool stufF handmade mugs for photo nerds! As a photography explorer AND ceramic artist, Bunny Safari has combined her talents to create these gorgeous handmade, one-of-a-kind mugs with designs for folks who appreciate a "Rock n Rollei" and support "Women who rock film"! Quantities are limited and selections are always changing. Shop the website, here: www.bunnysafaripottery.com A little merch Our Jet Tag Safety Reflector key chains are a great bag tag identifier accessory or functional ket ring with a message every photographer can relate to! A statement piece! ART = WORK Get this tell-it-like-it-is T-shirt for only $20 — HERE. The ART=WORK campaign is run by VANL-CARFAC, Visual Artists of Newfoundland and Labrador + Canadian Artists Representation/Le Front des artistes canadiens, in partnership with the Mary MacDonald Foundation . This joint fundraiser supports visual artists, curators, and art workers living in Newfoundland and Labrador through programs and awards distributed by their respective organizations. Handmade mugs also available! Check them out HERE. For the Film shooters... Reveni Labs Matt Bechberger is a maker, inventor, builder and a film camera nerd who also happens to be an electronics and product designer. Reveni Labs started because he wanted new technical solutions to old film problems for the modern film shooter community. Along with the explosion in interest in analog photography comes a renewed market for film shooters. However, many older analog cameras do not have the built-in tech needed to expose film as needed. Matt has some great solutions for your bespoke techy troubles. If you're not sure what kind of gadget your film lover will love, digital gift cards available for purchase, HERE . www.reveni-labs.com Photo history fun Photographic Memory:  Match & Reveal 25 Iconic Photos By Joshua Kercher Jara Do you remember that memory card game you played as a kid?  Well, here’s a version created for photography lovers. Twenty five classic photographs by artists we know and love have been split into halves to challenge your memory. What’s even more to love here is that the deck contains some of our most favourite artists such as Hannah Maynard and Anna Atkins, Cindy Sherman and Vivian Maier. This is the perfect gift for fans of photography. $25. CDN + shipping Laurence King Publishing Gelaskins Gelaskins offers artist-designed skins for laptops, phones, tablets, wireless headphones, e-readers, and MUCH more... You can also upload your own photo , logo, or artwork and create a bespoke skin. And they're made in Toronto! Check out their full product line HERE. Hello GORGEOUS! SO many reasons to LOVE this! Aside from GORGEOUS SPICE Co. being an awesome Canadian product created by a rockstar female entrepreneur, these spice blends are guaranteed to spice up your life. These small batch premium spice blends - pack a punch. All killer, NO fillers. A great gift for foodies that goes easy on the postage $... $6. + up. Can't decide? JOIN THE SPICE CLUB for monthly deliveries of inspiration. Members get specially created recipes, The Gorgeous ‘Zine, playlists, recos to cool gear, and more … everything you need to make food fascinating! Our PATREON PATRONS may recall, our Spring/Summer 2023 edition was shipped with a little sample pack of GORGEOUS SPICES... Flav-O-matic. It's the 'everything bagel' of spice blends! YUM! Such a lovely treat for our PATREON crew! For the artists out there... We LOVE artist/photographer Danny C ustodio 's T's. If you know someone that can laugh in the face of rejection, or the realities of being a starving artist - this is the perfect gift! Available in black with white text, or white with black text, in a range of sizes to suite any size of artist! Check out these T's - HERE . Yes! It is the same Danny Custodio , we featured in our Beautiful Botanical edition. Not sure what your photography lover would like? Let them chose + SUPPORT An independent BUSINESS with GIFT CERTIFICATES... Vancouver - check out the awesomeness of BEAU photo. "Bottom line – we are here to assist you. It doesn’t matter if you are running your own photography business, are a photographic artist, a student getting into photography or someone who found an old film camera and wants to start using it. We are here to help you decide what is best for your needs. No hard sales tactics here." Toronto- we love a visit to Downtown Camera. At Downtown Camera, gift certificates can be used on anything in the store, from film developing and analog accessories, to the latest digital gear & gadgets. Your giftee will fee like a kid in a candy store! From anywhere... Total Image Works From printing to framing, to scanning and retouching TIW is for photographers who value excellence. As founder Edward Burtynsky's exclusive production facility, a gift certificate from TIW would be a welcome gift for any artist serious about how they present their work. To order a gift certificate, email customercare@torontoimageworks.com or call 416-703-1999 The ultimate photography lovers gift!? Of course we recommend our own selves as the BEST GIFT ever! New ways to think about photography GUARANTEED. Subscribers get 3 beautifully printed issues DELIVERED per year. Spring/Summer (delivered in March) + Fall (August) + Winter (November) We also have a neat catalog of BACK ISSUES - if there's a theme your gift-ee is into but missed out on previously - check it out. photoed.ca/shop + Feel the bonus karma points flow your way when you SHARE all these goodies through your social media channels! Behind all of these suggestions are REAL HUMANS working super hard to bring you their best - a 'Like' or a 'follow' on social media is a sweet little boost of the ego we could all use!

photo by Margaret Mulligan / @ mulligan.studio “Every avalanche begins with the movement of a single snowflake, and my hope is to move a snowflake." — Thomas Frey For our 75th edition in print, we felt it was only fitting to celebrate the concept of movement and forward-facing momentum. The word “movement” encompasses social change, migration, and all forms of physical motion, and this edition celebrates it all. For many creatives, pushing forward can feel like an arduous journey against an incoming tide of obstacles and challenges. But movement may also manifest as a flow of positive energy. All the work leading up to this milestone edition has frequently aligned with the former. However, the incredible momentum generated by our supporters and contributors propels us forward, allowing us to celebrate in the latter. A flip through the MOVEMENT edition If you’re a print edition subscriber or Patreon supporter and have received your personal copy of this print edition in the mail, you will likely already be enjoying a lovely 3D tactile photographic print we inserted into your magazine. As a special limited edition offering to our print readers, we produced a run of three unique images. A sample print has been randomly inserted into each copy of the publication sent to our supporters. These images come to us exclusively from Japanese photographer Mariko Tagashira, AKA ©Singraphy+. As you’ll read in the feature story “An Inclusive Ode to Joy,” by Corinna vanGerwen, Mariko has been working with the White Hands Chorus NIPPON to produce incredible exhibitions and performances from around the world. A 3D photograph insert in the MOVEMENT edition for PATRONS and subscribers The choir is made up of two parts, a singing group and a gestural team that performs songs using sign language. The 3D print you may be holding now is a copy from a series of tactile photographs created for a special exhibition and performance the choir participated in. In 2024, the choir travelled to Vienna to perform as part of a special anniversary celebration — 200 years since the premiere of Beethoven’s 9th Symphony. The WestLicht Museum for Photography mounted an accompanying exhibition, Visible An die Freude, which included tactile prints as a way of making the exhibition experience more accessible to people with different levels of vision. We’re thrilled to share this 3D printing technology sample with our readers and hope the story inspires more people to consider how their own photography might be experienced in a new way, moving forward. This edition also features the story behind another very different photography exhibition project that took place on a busy downtown Toronto street in a beat-up, graffitied, 1970s RV. We’re excited to feature a far from typical buddies road trip story. In the summer of 2024, Daniel Ennett, a quadruple amputee artist and director, and Frederick Kroetsch, his friend, creative collaborator, and caregiver, embarked on a road trip across North America. Followed by a film crew, the Crip Trip   team share their adventures, highs, and lows, in what is now a TV series. Our writer Gladys Lou spoke to Daniel and Frederick about how making photographs on their trip (developed and printed in the RV) really shares a larger story about making art within and against the constraints of ableist structures. Crip Trip feature story Ruth Kaplan and Isabelle Hayeur BORDER stories feature We also consider migration as movement in this edition. Ruth Kaplan and Isabelle Hayeur share their compassionate images and perspectives on the surreal experience of people desperate to move themselves to a better safer life by crossing international borders. What lines represent, the crossers’ experience with officials, and how these two artists approached this topic from a humanitarian perspective is a lot to take in. Although they work independently and observe the crossing experience from two very different climates, Ruth at Roxham Road in Quebec, and Isabelle documenting along the U.S. border with Mexico, their work shares a sort of kinship. Neither are employed as journalists seeking breaking news shots, but both present viewers with images that aim to inspire bigger questions about human migration, politics, and how we treat people that uproot their lives, in many cases just to stay alive.  This issue makes time to celebrate the forward momentum of optimism we can find through photography, and seeing beauty and peace around us. Lori Ryerson and Stuart Robertson work in very different ways to share images that take viewers to new places with an aim of calm, introspection, and unity. Stuart’s Peace in 10,000 Hands   project has taken him around the world and is spurred on by his own incredible ambition to do good in the world. Lori’s work takes viewers to new emotional places by presenting the beauty of quiet movement in nature. From roller skaters in London, to equestrian events in Morocco, to shopping cart pinhole experiments in Winnipeg, contributors from our international call for submissions came through with wonderful and diverse contributions to our theme for our PORTFOLIO pages. I hope you enjoy the curation by our editorial advisory jury that showcases how the simple idea of forward motion may be interpreted in so many unique ways. PORTFOLIO featured artists Lorena Zschaber Amy Heller Yasser Alaa Mobarak Roland Ramanan Nika Belianina Xiatong Cai Ed McDonough Peter Dušek Julia Nathanson Jonny Silver Paul Mitchnick Lesley Nakonechny Ashot Harutyunyan János Lakatos Andre Conceicao Paul Bolasco AND this edition also features... Change Made with JAYU by Sid Naidu Mattie Gunterman: Playful Pictures by Cassandra Spires Thinking Outside the Cube: SPAO Photo Walk by Alan Bulley Tilly Nelson: Authentic R r epresentation by Hazel Love        I’m incredibly grateful to everyone photoED Magazine has worked with to showcase photography crafted with intention over the course of our 75 editions, and the momentum we’re now building towards sharing even more inspiring stories ahead of us! The Movement issue front cover features a detail from Xavi Bou’s  “Orinthography #24” Yellow Legged Gulls at sunset in Prat de Llobregat, Catalonia. Xavi Bou is represented by The Cardinal Gallery  in Toronto. IG: @thecardinalgallery Our back cover features, Maya Guice's “Peace and progress” She says; The white flag is not surrender, but an invitation, an offering — a call to something more. Wouldn’t you like to imagine a future worth running toward? Follow us on Instagram and Patreon and sign up for our e-newsletter to keep up with all of our adventures! Your editor, Rita Godlevskis photoED magazine is also available as digital replicas for readers worldwide on Press Reader  and Flipster platforms.    This edition could not have been made possible without the support of: Tamron , Nikon , The Photo Historical Society of Canada, Beau Photo, Harcourt House, GuruShots, The Image Centre, a very generous anonymous private donor passionate about supporting Canadian women in photography, our Patreon Patrons , Downtown Camera, B3K Digital, Front Row Insurance, Professional Photographers of Canada, and Total Image Works. Please 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

An interview with Nikon Ambassador Taku Kumabe Toronto skyline framed by ice-covered trees and rocks • Nikon Z 7 with Z 35mm f/1.8 S at f/11, 1/6sec., ISO200 With a diverse range of interests, Taku Kumabe's portfolio includes explorations in nature, documenting live events, and crafting beautiful lifestyle images for brands and organizations.  As a freelance commercial photographer, his client list includes hotels, tourism agencies, film festivals, and many more. Taku’s passion for the outdoors and nature has him leading photo walks and workshops in his hometown and around the world. Taku’s work has been published in a number of magazines including enRoute , and Canadian Geographic , and his photography has been featured in various media outlets including The Toronto Star , CBC Radio, The Guardian , Huffington Post Canada , Toronto Life , BlogTO , and The Nikka Times . photoED Magazine asked Taku about his work and adventures. Three black-crowned night herons perched in a tree as light faded into darkness. • Nikon Z9 with Z 800mm f/6.3 VR S at f/6.3, 1/160sec., ISO3200 photoED: Your work is so diverse in the various genres you cover, from large busy live events to small quiet moments in nature, yet in each portfolio your style and voice is clear. How did you arrive at the decision to cover so many bases? taku : Photography for me has always been about capturing a moment to share a connection between my images and viewers. My goal is always to illustrate and express what I felt at the instant I snapped the shutter.  Originally dedicating myself to event and festival photography, I found I wanted to do more with my camera. I have now developed a broad base of photography genres to expand my horizons and learn new styles and techniques. Being out in nature forced me to take myself away from the busyness of live events and festivals — it was literally a breath of fresh air! As a freelance artist, I thrive on challenging myself across various genres. This diversity is key to staying motivated and maintaining balance in my work. In my Toronto Sunrise series, I photograph knowing that each outing creates a unique moment and story. This project has grown to something I would have never imagined. Having done this now for over 11 years, my semi-annual sunrise meetups gather as many as 80 like-minded people who are just as enthusiastic (or crazy) as I am to wake up at 4:00 a.m. to photograph the sun. The silhouette of the CN Tower backed by the solar eclipse of 2021. Taken with a solar filter to expose for the sun. • Nikon Z 7 with 200-500mm f/5.6 at 480mm, f/5.6, 1/80sec., ISO500 photoED: Do you have a favourite story from your adventures you can share with us? taku : In the summer of 2021, the people of Southern Ontario witnessed a solar eclipse. Knowing that the sun was to rise directly behind the CN Tower, it was going to be an extremely popular event for local photographers. I prepared by scouting a location ahead of time to find the exact place I wanted to be for that short intense moment. I knew I had to pre-compose and pre-focus my shot as I wouldn’t be able to see anything until the sun started to creep from behind the tower, and I wanted to photograph the eclipse with a solar filter so that I could properly expose for the sun. With a filter, the sun turns a beautiful orange hue instead of an overexposed white that you would get otherwise. On the day, I set myself up alongside 40 to 50 other photographers, and felt ready for the moment. As the sun crept behind the tower, it showed beautifully in my Nikon Z 7 viewfinder. I started to take a few photos but I realized I had forgotten to switch autofocus off on the lens. This meant the camera hunted for a while before it was able to properly focus and take the photo. My heart skipped a beat, as I feared losing this instant. Fortunately, I had my focus square placed on the edge of the tower, so the camera was able to focus relatively quickly. As soon as I noticed, I quickly switched to manual focus and managed to get the shot I had envisioned weeks beforehand.  Later, I was happy to see that I was one of the only ones who thought to use a solar filter for this event, proving that with enough planning and dedication, you can  photograph what you aim for. A gentle winter’s snowfall creates beautiful textures in the woodlands. • Nikon Z9 with Z 70-200mm f/2.8 VR S at 200mm, f/8, 1/500sec., ISO250 photoED:   What do you love most about sharing stories through photography? taku : As a self-taught photographer, I learned by reading books and perusing through magazines, engulfed in these stories with wide eyes, soaking in stunning images by professional photographers. Their stories and images motivated me to pick up a camera to see what I  could do with it. Fifteen years on, I now have my own stories to share, and I teach photograp hy.  I feel blessed to impart this knowledge, hoping to motivate others to explore new possibilities with their cameras. By sharing, we all learn and inspire one another. photoED:   Whose work has influenced yours? How do you keep learning?   taku : I find inspiration and a breadth of work to admire in the creations of my fellow Nikon ambassadors: Joe McNally, Kristian Bogner, and Michelle Valberg . They are not only great photographers but also great storytellers and human beings. I don’t think we ever stop learning in photography. As Joe would say, “once you feel comfortable with your camera, a new one comes along with new features you have to learn!” My use of colour in photography has been influenced by photographers who use post-processing techniques. Artists like Trey Ratcliff or Elia Locardi taught me how editing can change and enhance the final outcome of a photograph.  With so much technology in our hands, our cameras are more capable than ever. I aim to learn new features even if they’re something that I don’t necessarily need in my workflow. Understanding these features and knowing how to use them has allowed me to apply them in unexpected areas. For example, I was not a bird photographer until the pandemic grounded us. Pre-capture mode on Nikon cameras comes in really useful to be able to capture the fleeting moment of a bird taking off into flight. By focusing in on our subject, textures, shapes, and curves give viewers a different perspective of the everyday swan. • Nikon Z9 with Z 100-400mm f/4.5-5.6 VR S at 330mm, 1/800sec., f/5.6, ISO1250 photoED: What makes a good photograph?    taku : For event and natural landscape photographs, pulling me into the image evoking an emotional response leaves a strong impression on me. Photographs that make me think twice before realizing what I’m looking at, or images that make me seek out what is happening in the frame, I feel are impactful as well. Photography is not only a great way to capture a moment in time, but it’s also an art form for expressing your creativity.  While I know post-processing can bring a lot into an image, I try to inspire others to not rely on editing alone to bring out the story you’re after. Doing as much as you can when you press the shutter will — I believe — create a more impactful photo and emotional story, rather than heavily manipulating images later. photoED:  How has working in photography influenced you personally?   taku : I have always been a technical person from childhood. Studying engineering and print management in university further honed my technical acumen. When I learned photography, the technical side of me took over as I figured out the camera settings. Over years of photographing live events, I’ve met so many photographers from different backgrounds, enriching my style of the art form. I enjoy seeking new compositions and trying different things in an effort to provide my clients with something new . Sometimes it works, and sometimes it doesn’t — but that’s okay as you learn most from the things that didn’t work out. More than ever, I’ve learned to appreciate the creative side of photography. I enjoy the abstract, thinking outside the box, and coming up with something unique in hopes of sparking the creative process for others. A two-photo panorama of the iconic Humber Bay Arch Bridge and the city skyline. • Nikon Z7 with Z 35mm f/1.8 S at 35mm, f/16, 20sec., ISO64 photoED:  What has been your favourite or most personally impactful project? taku : I would consider the Toronto Sunrise  series to be significant for me in terms of creative growth. Without my meetups over the years I would never have met so many people, learned from them, and been inspired by them. I’m always happy to see familiar faces at the meetups, meet new people, and observe new connections and friendships being made along the way.  As we exchange ideas, techniques, and styles, it not only fosters connections but also inspires everyone — including myself — to try something I may not have thought to try.  I encourage everyone to seek out their local photography community to make connections and learn something new. photoED:  What advice do you have for photographers just getting started? taku: The best way to learn is to get out and take photos. Whether you want to learn photography for fun, or start a new career, putting yourself into the situation you want to be in will force you to learn quickly. Learn by figuring out camera settings and seeing what effects they make. Knowing this will help being in the moment as you photograph, and enable you to see and react as things happen in front of you. The more you practise with settings, the more they become second nature. Don’t worry about what others are doing and focus on yourself, where you need to grow, and what you need to do to improve. You will enjoy the art form much more. A Goldeneye launches into flight with a sunrise glow behind him. • Nikon Z9 with Z 800mm f/6.3 VR S at 800mm, f/6.3, 1/1000sec., ISO2800 GEAR UP What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using NIKON products.   Taku: One of the reasons why I use Nikon cameras is that they are tools that I can trust to be there and function properly, rain or shine, and they have never failed me. I pair my Nikon Z9 with my Z8 for my still photography, and add my Z6iii for video productions, including for my YouTube channel. I love how each camera excels in its own way, but using them together is second nature as their interfaces and features are all similar, which makes for a very convenient workflow. One of my favourite lenses is the Z 24–120mm f/4 S. It is versatile and capable of photographing practically anything you put in front of it. From landscapes, to events, to portraits, and even video work, it excels in every way. It has been in my camera bag no matter where I go. It also makes for a fantastic travel lens since it’s so compact and lightweight that it can replace several different lenses. It’s the one lens that I always recommend people consider first with their Z bodies. To see more of Taku’s work, check out his websites,  smaku.com  and takukumabe.com Find him on Instagram, and YouTube Check out his favourite Nikon gear, HERE. Taku Kumabe

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

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

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

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

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