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"Of course I remember that birthday!" But the truth is, you can’t. You were a kid. Someone else held the camera. They pointed it at your cake-streaked face, crooked paper hat, and unsupervised fingers digging into frosting like it was a hidden treasure. Now, decades later, you say you remember the whole party. You even believe it. The now faded photo lives on your fridge door, but without the photo, would the memory remain? Memory doesn’t always play fair. It can cheat and borrow. And photography, benevolent, flattering, and, we might as well admit it, a little smug, sits beside it, suggesting ideas. What we remember and see has formed a co-dependent little ecosystem increasingly distorted by screens and scrolls. This story is about photography and memory, how they shake hands, trade secrets, and sometimes sabotage one another. Memory, media, and that subtle slide into fiction In the second half of the twentieth century, thinkers like Baudrillard and Debord began making a racket about images. Debord wrote about the so-called society of the spectacle, where people watched rather than lived, where no human experience remained unmediated by images. Baudrillard proposed that simulations eventually replace the real, first mimicking, then standing in for it, and finally erasing it altogether. You don’t need a lecture to grasp the point; it’s our contemporary world we’re talking about. Look at your vacation photos from five years ago. You remember the moment the shutter clicked. The scent of the ocean. The sun that bit the back of your neck. But look closer. Are you remembering the day? Or: Are you remembering the photograph? The filters we swim through Social media amplifies the above confusion. It does not merely reflect reality – it can more than easily stage it. You pose and perform. You post. And over time, the image does what images do best: it becomes the reference point. You didn’t feel so well that night, but the photo says otherwise. So, which do you believe? One of the main issues with our so-called digital age is the following statement: photographs are no longer developed – they’re accumulated. We document everything now. Screenshots, selfies, snaps, reels: your digital self has no consistent hairstyle. It is always smiling. It exists in layers of JPEGs, each image like sediment compressed into a version of truth. You once had a handful of prints tucked into albums. You turned the pages slowly, with ceremony. Now you simply flick past your face with a thumb. There’s a good chance your child will one day discover a hard drive of 40,000 pictures labeled IMG_3829.jpg and IMG_3830.jpg, with no captions, context, or smell of old paper. Photographs double as cultural artifacts. They document war, revolution, weddings, odd fashion choices… They gather, which is the way walls gather fingerprints. The Vietnam War changed public perception largely because of images. The Civil Rights Movement marched beside photographers. Memory, in these contexts, means more than sentiment. It becomes public record. Today, people preserve entire decades on hard drives, thumb drives, or in the cloud, often digitized. Through Capture, thousands of images can now be summoned in seconds, turning history into something as searchable as it is sometimes forgettable. Digitizing photos ensures long-term access and protection of meaningful visual memories. But here’s a warning: images without context fade fast. Even a powerful photo of a protester loses meaning if no one remembers what they were fighting for. Why’s imagery so seductive? Short answer: because it offers a shortcut. A photograph gives you the illusion of completion. One glance and you feel you’ve revisited a place, a time, a face. But the truth sits outside the frame, off-camera. Photographs promise memory with less labor. This is comforting. And dangerous. Memory, when left alone, evolves. It stumbles, it reshapes. It grows teeth. A photograph can freeze it in amber. Sometimes that’s lovely. Sometimes it’s an anchor. Ever argued with someone about a shared past? They recall one thing. You recall another. And then someone pulls out a photo, and everything shifts. The argument doesn’t resolve. In a way, it fossilizes. Photography, like language or plumbing or email, is a tool. It behaves based on how you use it. If you treat photos as conversation starters rather than verdicts, they can deepen memory rather than trap it. Ask questions of them. Use them as evidence, not a conclusion. Let them stretch your recollection, not shrink it. There’s a practice in some therapy circles: looking at old images not so much to confirm memory but to challenge it. To stir something unspoken. That’s where photography and memory do their best teamwork: the image becomes a key, not a cage. Every now and then, resist the urge to document, let your face remain unfiltered, or let a moment exist without proof. It’s not romantic or rebellious. It’s just... responsible. Photographs keep our ghosts well-dressed. But ghosts they remain. In the age of saturation, we rarely ask how photography and memory interact. We assume the relationship is loyal, factual, maybe even helpful. But loyalty can be lazy. And truth, filtered too often, loses its temperature. We need to be less certain about what we remember. That’s called humility . Photography can offer a kind of clarity, but memory thrives in contradiction. The best recollections are unreliable, full of strange emphasis and blurred details. Let them be messy. Let them breathe. If we’re lucky, a photo will someday take us back to a feeling, not to the exact moment. Not a record, but a doorway cracked open, leading to a room we once knew, furnished by time, softened by forgetting, and, oddly, made whole by the fact that we do not remember it perfectly. Let the image nudge. Let the memory wander. And maybe, just maybe, leave some pictures un-posted. Let them live in silence, in drawers, in private folders. Memory deserves that space. Did you enjoy this FREE read? Consider supporting us! For as little as $2./ month we'd love your support to continue producing great content for you to enjoy!   • JOIN US AS A PATRON  • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS   Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

Quebec’s distinctness surfaces repeatedly in a recently released photobook outlining the history of the now-defunct Agence Stock Photo, a collective of photojournalists working in the province between 1987 and 2017. The group loosely modelled themselves on Magnum, the famous agency founded to give photographers greater control over both the subjects they covered and the use of their photographs. Quebec news outlets published the lion’s share of Stock Photo’s images, with the remainder in other markets across la Francophonie , including France and Haiti. While the text is entirely in French, the photo-to-text ratio is quite high, meaning that those who do not read French well—or at all—can still benefit from the book. If anything, it might have been helpful to have more written on Agence Stock Photo itself, as well as the day-to-day realities and challenges of the photographers, both individually and as a collective. The interviews with the key figures in the collective are interesting and it would have been nice to have more of these documented. Still, for a volume that Le Devoir  called a history of the “golden age of photojournalism in Quebec,” perhaps no book would have been quite long enough. Readers get insights into a recent past that already feels a little distant. It’s not just the number of photographs shot on film, or that cars, clothes, and hairstyles have changed. It’s the reality that newspapers themselves are under threat, the media landscape is in the hands of fewer and fewer players, and there are not as many photographers hired solely to provide news coverage. We’re now used to an environment where ‘citizen journalists’ work for little or no pay, and who often have neither recognized training nor standards. So, step back in time to professional reporting of key events and shifts in the Quebec of not so long ago. Some of the ground covered will be familiar to readers in the rest of Canada, while some will be a glimpse into political and societal terrain that is uniquely Québécois. Bonne lecture !   Agence Stock Photo : Une histoire du photojournalisme au Québec — Sophie Bertrand et Jocelyne Fournel Softcover, 2024, 200 pages, French text CDN $54.95 plus shipping les éditions du passage Available from online retailers Did you enjoy this FREE read? Consider supporting us!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   READ our digital editions  Follow us on Patreon  and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

An interview with photoED Magazine “June 2024, Montreal” • Shot with Tamron 28-75mm F2.8 Rabih Madi  is a Canadian, award-winning, self-taught wedding photographer, who travels extensively to document special moments. He also offers workshops to share his know-how with emerging photographers with a focus on composition, flash techniques, and dynamic lighting. He returns from his international adventures to his family and a big furry dog named Pixel. “May 2025, Mexico” • Shot with Tamron 35-150mm F2-2.8 photoED: How did you get started in photography? And what keeps you motivated and inspired to keep at it? Rabih : I started photography influenced by my dad. He always carried around a Nikon camera, and bought me my first Nikon camera in 2010. Passion for people and storytelling keeps me motivated to keep shooting events. Every time I shoot, there is a connection that I make with people that is extremely fulfilling. In turn, they get the same excitement and emotional connection too. photoED: What do you love most about creating stories through photography? Rabih : It may be cheesy to say, but freezing a moment is what I really enjoy. I often have people telling me they remember a moment when a photo was taken and they start getting emotional.  Photographs possess a timeless quality. When we encounter images from the past, conversations spark and the stories embedded within them resurface. Essentially, histories endure through images. I want to create that conduit for people. photoED:  Whose work has influenced yours?   Rabih : I’m inspired by Joe McNally. I bought his book, The Hot Shoe Diaries,  and have taken a class with him at WPPI Photography Expo . I liked that the class was focused on how to get great shots with minimal gear and lighting, and that you don’t need to invest your life savings to come up with something great. I like that he connects with people through amazing storytelling and that his charisma makes you want to know more about him. “October 2024, France Workshop” • Shot with Tamron 28-75mm F2.8 photoED: What makes a good photograph? Rabih : The story. The story makes a good photograph. Photographers can easily learn how to take a technically good image but having a story connected to it is the challenge. I feel when you get the viewer emotionally connected to the image, you have done a great job. The story part of the image is where people start remembering the photograph. I am constantly working striving to have my images tell a great story. photoED: How has working in photography influenced you personally? Rabih : My professional working background was in finance education and technology. It wasn’t until I picked up a camera that I was truly my natural self! At weddings specifically, working with a broad range of people and cultures I get to learn about traditions that span generations. I have a new appreciation for diversity thanks to photography. "Calm before the storm, 2024" • Shot with Tamron 28-75mm F2.8 photoED:  What has been your favourite or most personally impactful project or adventure?   Rabih : A trip to Abu Dhabi has been the most impactful for my career. I had just got my first full-frame Nikon camera and I photographed the Sheikh Zayed Mosque. It was the first time I really applied what I had learned in classes. Since then, I have been pushing myself to improve at every capture. photoED:  What does your dream project entail? Where do you hope photography will take you in the future? Rabih : I would love to develop a book about people from my travels and to get into more teaching. “May 2024, Montreal” • Shot with Tamron 28-75mm F2.8 photoED:  Do you have any travel tips for photographers? Rabih : Travel light but with intention. It’s not the gear you have, it’s how you use it. If you carry too much gear, you will be very tired by the end of the day, and likely not even use most of what you carried. Understand, when travelling to different countries, that you are a visitor and their traditions differ from yours. Aim to document without interfering or judgement. “October 2024, France Workshop” • Shot with Tamron 35-150mm F2-2.8 GEAR UP What camera and equipment do you use most now? What’s your favourite lens? Tell us about your experience using Tamron lenses. Rabih : I use a Nikon Z8 and Z6III for my everyday photography. My favourite lens is the Tamron 35-150mm F/2-2.8 Di III VXD. It is a versatile lens that allows me to capture wide environmental images as well as close-up portraits, with no need to change lenses and risk dust in the sensor. Tamron has been really amazing to work with. Their lenses for the Z systems are high quality and sharp, and they focus fast. It’s all I need for my highly intensive weddings and events. Rabih Madi See more of Rabih Madi's work - HERE. Check out Rabih Madi's fave Tamron lens - HERE! www.tamron-americas.com

«Août 2024, Montréal» • Pris avec un Tamron 28-75mm F2.8 Rabih Madi est un photographe de mariage canadien autodidacte et primé, qui voyage abondamment pour documenter des moments spéciaux. Il propose également des ateliers pour partager son savoir-faire avec les photographes émergents, en mettant l'accent sur la composition, les techniques de flash et l'éclairage dynamique. À son retour de ses aventures internationales, il retrouve sa famille et un grand chien poilu nommé Pixel. photoED Magazine a interviewé Rabih à propos de son travail. «Avril 2025 - ShutterFest» • Pris avec un Tamron 90mm Macro photoED: Comment avez-vous débuté en photographie? Et qu'est-ce qui vous motive et vous inspire à continuer? Rabih : Influencé par mon père, j'ai commencé la photographie. Il portait toujours un appareil Nikon et m'a acheté mon premier appareil Nikon en 2010. Ma passion pour les gens et la narration me motive à continuer de photographier des événements. Chaque fois que je photographie, il y a une connexion que je crée avec les gens qui est extrêmement épanouissante. En retour, ils ressentent la même excitation et connexion émotionnelle. photoED: Qu'aimez-vous le plus dans la création d'histoires à travers la photographie? Rabih : C'est peut-être cliché à dire, mais figer un moment est ce que j'apprécie vraiment. Les gens me disent souvent qu'ils se souviennent d'un moment lorsque la photo a été prise et ils commencent à devenir émotifs. Les photographies possèdent une qualité intemporelle. Lorsque nous rencontrons des images du passé, des conversations s'engagent et les histoires qu'elles contiennent refont surface. Essentiellement, les histoires perdurent à travers les images. Je veux créer cette opportunité pour les gens. photoED:  Le travail de qui a influencé le vôtre?   Rabih : Je suis inspiré par Joe McNally. J'ai acheté son livre, The Hot Shoe Diaries , et j'ai suivi un cours avec lui au WPPI. J'ai aimé que le cours se concentre sur la manière d'obtenir de superbes photos avec un équipement et éclairage minimaux, et que vous n'ayez pas besoin d'investir toutes vos économies pour obtenir quelque chose de génial. J'aime qu'il se connecte avec les gens à travers une narration incroyable et que son charisme vous donne envie d'en savoir plus sur lui. «Octobre 2024, Atelier en France» • Pris avec un Tamron 28-75mm F2.8 photoED: Qu'est-ce qui fait une bonne photographie? Rabih : L'histoire. L'histoire fait une bonne photographie. Les photographes peuvent facilement apprendre à prendre une image techniquement bonne, mais avoir une histoire liée à celle-ci est le défi. Je pense que lorsque vous connectez émotionnellement le spectateur à l'image, vous avez fait un excellent travail. La partie histoire de l'image est celle où les gens commencent à se souvenir de la photographie. Je travaille constamment à ce que mes images racontent une belle histoire. photoED: Comment travailler en photographie vous a-t-il influencé personnellement? Rabih : Mon parcours professionnel était dans l'éducation financière et la technologie. Ce n'est que lorsque j'ai pris un appareil photo que j'ai vraiment été moi-même! Aux mariages en particulier, en travaillant avec une large gamme de personnes et de cultures, j'apprends des traditions qui traversent les générations. J'ai une nouvelle appréciation pour la diversité grâce à la photographie. «Octobre 2024, Atelier en France»• Pris avec un Tamron 35-150mm F2-2.8 photoED:  Quel a été votre projet ou aventure préféré ou le plus marquant personnellement?   Rabih : Un voyage à Abu Dhabi a été le plus marquant de ma carrière. Je venais d'obtenir mon premier appareil Nikon plein format et j'ai photographié la mosquée Sheikh Zayed. C'était la première fois que j'appliquais vraiment ce que j'avais appris en cours. Depuis lors, je me pousse à m'améliorer à chaque prise de vue. photoED:  En quoi consiste votre projet de rêve? Où espérez-vous que la photographie vous mène à l'avenir? Rabih : J'aimerais développer un livre sur les gens de mes voyages et enseigner davantage. «Juin 2024, Montréal» • Pris avec un Tamron 28-75mm F2.8 photoED:  Avez-vous des conseils de voyage pour les photographes? Rabih : Voyagez léger mais avec intention. Ce n'est pas l'équipement que vous avez, c'est comment vous l'utilisez. Si vous portez trop d'équipement, vous serez très fatigué à la fin de la journée, et il est probable que vous n'utilisiez même pas la plupart de ce que vous avez porté. Comprenez que, lorsque vous voyagez dans différents pays, vous êtes un visiteur et que leurs traditions diffèrent des vôtres. Visez à documenter sans interférer ni juger. «Mai 2025, Mexique» • Pris avec un Tamron 35-150mm F2-2.8 ÉQUIPEMENT: Quel appareil et quel équipement utilisez-vous le plus souvent maintenant? Quel est votre objectif préféré? Parlez-nous de votre expérience avec les objectifs Tamron. Rabih : J'utilise un Nikon Z8 et un Z6III pour la photographie quotidienne. Mon objectif préféré est le   35-150mm F2-2.28 de Tamron. C'est un objectif polyvalent qui me permet de capturer de larges images environnementales ainsi que des portraits rapprochés, sans avoir besoin de changer d'objectif et risquer d'introduire de la poussière sur le capteur. Tamron a été vraiment incroyable, j’ai aimé travaillé avec leurs objectifs. Leurs objectifs pour les systèmes Z sont de haute qualité et nets, et ils font la mise au point rapidement. C'est tout ce dont j'ai besoin pour mes mariages et événements très intenses. Rabih Madi Pour en savoir plus sur Rabih Madi et son travail, visitez son site web:   madiphotography.com  ou suivez-le sur Instagram:   @madiphotography . www.tamron-americas.com

Photography highlights at TOAF64 It’s back! The Toronto Outdoor Art Fair (TOAF) returns to Nathan Phillips Square from July 11-13th 2025 for a packed weekend of art, culture and connections. Now in its 64th year, the fair has become a cherished summer ritual in the city for both locals and visitors. Nestled under the classic white tents, visitors will have the opportunity to peruse hundreds of unique artists and original works of art in person and browse online at TOAF.ca. Once again, the fair saw significant interest with 1,027 artist applications. This year’s roster includes over 400 independent artists, including 70 from across the country and 155 joining the fair for the very first time.  It was a long and rigorous selection process by a team of four independent jurors - Ed Pien, Tiana Roebuck, Callum Schuster, and Grace Zeppilli. This team has an impressive track record of art-making, education, curation, and collecting which showed in their careful decision making.  Toronto Outdoor Art Fair’s Awards Program is unprecedented in Canada. The vision behind the awards is to create opportunities for artists to advance their careers, provide them with public recognition, and make financial contributions to their practices. Prizes total over $45,000+ in cash and in-kind awards.  Look forward to winner announcements in the Photography & Digital Media category: Best of Photography & Digital Media Award  $2,000 by Jennifer Longhurst & Lars Bendsen Honourable Mention Photography & Digital Media $500 Gift Card by Toronto Image Works photoED Magazine Award Three recipients will each receive a one-year subscription to photoED Magazine. One of the recipients will also be selected for a print feature in an upcoming edition of the magazine with a $150 artist honorarium. To celebrate photoED magazine's partnership with TOAF, here are a few of the photographers selected by the fair, to keep an eye out for... Clothilde Allen " Holga and Agnes" • Clothilde Allen Montreal based artist Clothilde Allen is interested in the magic of plants, transported by her travels in the Abitibi region, where she fears witches hidden beneath the rocky capes.  From an early age, she created cedar perfumes, plant potions, and insect collections. As a gardener for the city of Montreal, her art and research focus on the representation, cultivation and reclamation of nature in the city. Bahram Rameh  "Insomnia #8: Liberty" • Bahram Rameh Bahram Rameh uses form, space, and the body as tools to express inner psychological landscapes and human fragility. “Insomnia was born from a collision — a literal one that split my life in two: before and after. I lost a close friend in a car accident. I went into a coma. And when I came back, the world was no longer the same — and neither was I. Sleep became unfamiliar. Not just physically, but deeper: my mind no longer knew when or how to switch off. Memories echoed like subcutaneous noise, swallowing the nights. This body of work is made of fragments from that private war. A tired body, a reflection of my own, is sleeping: on a gas pump, beside a cutting machine, on a subway floor. The performer surrenders his body to chaos; and it’s this surrender to disorder that renders each frame watchable. The beauty of these images lies not in taming space, but in allowing its disorder to speak. The performer is a mirror of myself. But I’m in the image too — not physically, but through the lens. This is me watching myself from the outside. The camera is not a neutral observer; it is my co-conspirator in a waking dream. And for the viewer? A pause — an invitation to see the exhaustion usually hidden behind faces. A moment to witness a sleeping body that, even in silence, is still surviving something.” Steve Kean " Windswept (1 of 7)" • Steve Kean For TOAF 2025, Steve returns with a new approach to his award winning work in the Moving Landscapes series. *As featured in the photoED magazine LAND edition. Steve Kean came to photography while in high school where, ironically, he was failing art class. His disability made it difficult for him to draw or paint, but he had a burning need to create art. A camera was the answer for him. “The images reflect on the energy of landscape: from serene to highly kinetic. Taken over the course of multiple transits on Canada’s highways and byways, these images were all created by harnessing his movement through the land on trains and buses. Intended to portray the ethereal feeling of being in-between dream states of not-quite-asleep-not-quite awake, the images blur reality just enough to allow us to contemplate our place within nature. My exhibition posits a question about our place in a fast-paced world and how we experience the land." Alex Hall "The Hong Family, Barkerville" • Alex Hall Alex Hall is a lens-based Chinese Canadian artist working in Toronto, Canada. She specializes in photography and alternative processes. She holds a BFA in photography from the Ontario College of Art and Design University (OCADU) and is a former dancer with the National Ballet of Canada. Ehiko Odeh  "Tess Barbershop 1" • Ehiko Odeh Ehiko Odeh is a multidisciplinary artist and researcher from Lagos, Nigeria. Her practice explores the interconnectedness of traditional knowledge systems, cultural identity, and resilience. Incorporating ethnobotany she highlights the importance of preserving Indigenous practices while promoting sovereignty through herbology. Michael Bedford "Ray of Light" (Limited Edition) • Michael Bedford Trained as a biologist, Michael’s work explores aspects of both the human psyche and the natural world. “As technology advances, we find ourselves less and less in touch with what fundamentally makes us human and connects us – both to the earth and to each other. I think this has some important consequences that are worth thinking about”. Michael uses seasonality, light, and darkness to explore various aspects of the human experience, including awe, reverence, isolation, and disconnection. Zahra Saleki "leaving" • Zahra Saleki Zahra Saleki is an Iranian-Canadian artist and settler based in T'Koronto. Her artistic practice encompasses video, installation art, and photography. She holds a Bachelor of Honors in Fine Art Cultural Studies from York University. Like to support MORE lens based artists? support us! We'd love your support to continue producing great content for you to enjoy! 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Fine art photo book lover Alan Bulley gets the scoop from photo book publishers across Canada in our new series of interviews with book publishers, including Chris Labonté, Publisher + President of Figure 1 Publishing. How do you choose what projects you publish? How far in advance do you work? We want to work with artists and institutions and organizations who are working at the highest levels, and who want to produce a book that is well written, edited, designed, and packaged. Many of our partners are galleries, museums, architectural firms, and restaurants, but we also work directly with individual artists, designers, and photographers. The standard photography book takes about eighteen months to produce. What has been the most commercially successful book you have published? (Why did it do well?) We’ve published numerous cookbooks (each packed with remarkable food and portrait photography) that have become national and regional bestsellers, but a book we published featuring stunning cabins and cottages called Escapology by Colin McAllister and Justin Ryan is probably our biggest commercial success to date. It has sold extraordinarily well in Canada, the U.S., and the United Kingdom. What makes an effective proposal from an artist? A clearly written description of the project, the artist’s objectives, and their professional biography, as well as a large selection of images. It is always wise to include an overview of the artist’s connections with public and private galleries and media. Illustrated book publishers are looking for clarity of vision, quality of work, and the promise of a substantial retail and special sales market. What sort of financial arrangements do you have with artists (dealing with up-front costs, revenues, etc.)? We are what is known as a hybrid publisher, which means artists and organizations hire us to produce their books and sell, market, and distribute them to the wholesale and retail markets throughout North America and abroad. We pay very good royalties on every copy we sell into the wholesale and retail markets. We are unlike most hybrid publishers in that we cover the cost of printing any copies that go into the retail market, which means we share with our partners the risk of bringing their books to market. We prefer the term “partner publishing” over “hybrid publishing.” Our model is highly collaborative. How involved is the artist in book design? Speaking of collaborative: the artist is indeed closely involved with design. We discuss early in the process the artist’s (or curator’s) vision for their book, and then keep them involved every step of the way. We will provide the artist with sample covers for review, then make adjustments until we have a cover that the artist loves and that we feel will sell well in the market. And then we do the same with the interior design. We also have discussions with the artist (or curator) about paper stock, format, binding, and special print features. How do you market and distribute the books you publish? Where do they go? How many copies do you print on average? We have full national and international sales, marketing, and distribution. This means our sales representative groups in Canada, the U.S., and overseas will present our books to wholesalers and retailers such as Indigo, Amazon, Barnes & Noble, independent book retailers, college and university bookshops, gallery and museum gift shops, library wholesalers, and non-traditional retailers (like those funky shops that sell contemporary furniture and chachkas and the like). We are with two of the finest sales and distribution outfits in the world: in Canada, sales and distribution (and some marketing) is handled by Raincoast Books, and in the U.S. and overseas these are managed by Publishers Group West/Ingram Distribution. What is your view of the publishing market in Canada? Speaking specifically about high quality illustrated non-fiction titles—which is what Figure 1 publishes—the retail market in Canada is vibrant, diversified, and relatively strong. It would be amazing if there was a national retail chain dedicated to selling books on art, architecture, design, and photography—the sort of retailer one still finds in Europe and parts of the U.S. But Indigo, the independent book retailers, Amazon, gallery and museum gift shops, and non-traditional book retailers do a fair job of carrying and selling quality illustrated titles. What one message would you give photographers who want to publish their work? Get creative about financing. Photography books remain, for the most part, a challenging category for retailers. Which means that truly excellent books by remarkable photographers will not find their way to market because traditional publishers do not see a viable financial reason to publish such books. But there are ways to raise the funds necessary to produce and distribute a quality photography book. We have these discussions with potential publishing partners all the time. What's your dream publishing project? Only one dream: working with remarkable, talented people to produce visually arresting books that have a positive impact on readers. What's one thing that would surprise our readers about your work behind the scenes? Ironically, I do far less reading than one might expect in such a job. It’s an occupational hazard, but I’ve come to terms with it. I can always read after work. Is there anything else that our readers should know about your company or the work you do? Our goal is to be the finest partner-publisher in all of North America, producing fine illustrated non-fiction titles for a broad market, especially in the areas of art, architecture, design, food and wine, and photography. A core component of our program is books about Indigenous art and culture, one of the most important of which is Where the Power Is , which we published in partnership with the Museum of Anthropology at UBC. The photography in this work is incredibly moving. The book has been shortlisted for a BC and Yukon book prize. Website : figure1publishing.com Enjoyed this free read?! Consider supporting us! As the ONLY independent editorial photography publication on Canadian newsstands we'd love to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • GET DIGITAL ISSUUS

Following footsteps from the past “They paved paradise, put up a parking lot." – Joni Mitchell A view toward the Athabasca Glacier. R.C. McDonald, 1938, Stn. 40, 31 E,  The Mountain Legacy Project &  Library and Archives Canada / Bibliothèque et Archives Canada.  The Mountain Legacy Project is a collection of some of the most urgent and compelling photographic representations of time. Directed by Eric Higgs and founded by Higgs and Jeanine Rhemtulla, the project’s mandate is to “explore changes in Canada’s mountain landscapes over time through photographic comparisons.” The project is home to a collection of over 120 000 historical mountain photographs from nineteenth- and early twentieth-century systematic surveys, 20 000 of which are available online, as well as over 10 000 new comparative photographs. Participants both care for the archival collection and build on it, revisiting the coordinates of historical images to create new comparison images. While the project’s primary contributors are graduate students, members also include research assistants, external contractors, and volunteers. Katelyn Fryer, the project’s archivist and librarian who assisted with this article, began as a research assistant.  The work has many aims, but a core aim is to document the effects of climate change and to make the findings as widely accessible as possible. The website features a tool called Explorer, which enables users to peruse the collection using an interactive map that spans Alberta, British Columbia, and the Yukon. A map is populated by clickable “stations,” which are the sites of the photographic pairs in the collection. Browsing through the stations, users will find stark visual contrasts between the historical mountain photographs and their contemporary counterparts. A view toward the Athabasca Glacier. Mountain Legacy Project Field Team,  Stn. 40, July 9th, 2024.  Recently, the field team had the opportunity to re-photograph the Athabasca Glacier, located at Station 40. A photograph by R.C. McDonald in 1938, more than 85 years ago, clearly demonstrates the marked change. Ten years ago, Bill Graveland wrote an article titled “Athabasca glacier melting at ‘astonishing’ rate of more than five metres a year,” which posited that the glacier may disappear completely within a generation. This visual comparison provides alarming evidence of the rapid recession. Looking forward, members of the Mountain Legacy Project, currently based at the University of Victoria, are working to rephotograph early twentieth-century images of Jasper National Park and Waterton Lakes National Park through partnership with the Stoney Nakoda First Nation. Mountain Legacy Project also works in close partnership with Library Archives Canada to digitize and care for the collection. The Mountain Legacy Project, founded in 1998, continues to grow and build on its body of work, creating visual comparisons both powerful and alarming that serve as a call to action for the viewer. As seen in our TIME themed edition This feature was produced with the generous support of the Photographic Historical Society of Canada.  www.phsc.ca Did you enjoy this FREE read? Consider supporting us! For as little as $2./ month we'd love your support to continue producing great content for you to enjoy!   • JOIN US AS A PATRON   • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS   Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

An interview with NIKON Ambassador Lu Chau Taika Waititi, 2018 • Shot with Nikon D4. 1/160, 2.8, ISO 640. Nikon AF-S Nikkor 24-70 f/2.8G ED As the founder of Photagonist.ca , a visual media agency, Lu Chau has produced visual content for a broad range of celebrities, brands, and festivals. His impressive client list includes Giorgio Armani, Google, the Sundance Film Festival, and personalities including former prime minister Justin Trudeau, astronaut Chris Hadfield, Martha Stewart, Jim Carrey, Natalie Portman, and Keira Knightley. Lu’s career has spanned over 20 years as a photographer, filmmaker, director, mentor, and Nikon Ambassador. We spoke to Lu about his work and his adventures. Jennifer Lopez, 2019 • Shot with Nikon Z7. Settings: 1/125 sec, f/3.5, ISO 400, NIKKOR Z 24-70mm f/2.8 S photoED: Your client list over the years is impressive and extensive, and your work involves collaborating with a lot of different people. Does anything still make you nervous? How do you prepare for working with high-profile people or clients? Lu Chau : Yes, some assignments and projects still keep me on my toes — especially the ones that involve both photo and video or require more resources, since they mean juggling different skills and coordinating closely with my team. Thankfully, I’ve had plenty of hands-on experience that’s helped me fine-tune my workflow. With high-pressure clients, I lean on the system I’ve built over years — which includes referencing past work, having upfront conversations with my clients and my team members about the workload, and flagging any potential challenges early. I’m also always working on staying mentally flexible as the work world keeps shifting. photoED: What do you love most about sharing stories through photography? Lu Chau : Photography is a means of communication for me. Images convey the textures and emotions that lie between lines of text. From the inception of an idea, to the creation in the field, to sharing it with the world — you grow, you change, you are impacted by the place, the creatures, and the humans you meet along the way. Through creation I experience my own story. I am shaped by it and, frankly, I love the human that I’ve become because of it. photoED:  What do you love most about sharing stories through photography?   Lu Chau : I just really enjoy sharing experiences through visuals. Photography lets me meet all kinds of interesting people, connect with different environments, and explore places or parts of life I might not have had access to otherwise. Adam Levine & Keira Knightley, 2013 • Shot with Nikon D600. 1/80, 2.8, ISO 250. Nikon AF-S Nikkor 24-70 f/2.8G ED photoED: Whose work has influenced yours? Whom do you follow? How do you keep learning? Lu Chau : Joe McNally — a fellow Nikon Ambassador — has always been a meaningful source of inspiration for me. His mentoring style and his willingness to share his creative process and stories really resonates with me. Learning is a continuous organic experience — shaped by visuals, sounds, conversations, and the willingness to experiment. I make it a point to attend seminars and workshops to broaden my perspective, and I often find inspiration in visiting galleries, museums, and photo exhibits with friends. Brian Cox, 2022 • Shot with Nikon Z9. 1/200, f/5.6, ISO 800. NIKKOR Z 24-70mm f/2.8 S photoED: What makes a good photograph? Lu Chau : A good photograph captures a moment — or even an entire experience. The photograph doesn’t need to be technically perfect all the time, but it should have intention, emotion, or a strong sense of timing. photoED: How has working in photography influenced you personally? Lu Chau : Photography has given me the chance to connect with people from all over the world and appreciate how uniquely everyone moves through life. It’s also been a privilege to collaborate with peers, clients, and so many different personalities along the way. Lulu Wang, 2023 • Shot with Nikon Z9. 1/500, f/4.5, ISO 250. NIKKOR Z 24-70mm f/2.8 S photoED:  What has been your favourite or most personally impactful project or client?   Lu Chau : Working with the YMCA of Greater Toronto, I’ve seen first-hand how they support diverse communities and individuals — and how those connections help people grow, thrive, and build stronger futures. photoED:  Tell us about your hardest or most challenging day as a photographer. What keeps you going on a hard day? Lu Chau : Film festivals are incredibly demanding — you’re managing long hours that run from shooting to editing, often over several days and at multiple locations. You’re on your feet for hours, staying sharp while juggling team coordination and your own creative responsibilities. It’s both physically and mentally exhausting, but what keeps me going is knowing I’m capturing meaningful moments for my clients. The energy, the connections, and the final result always make it worth it. What drives me is pure determination and a clear understanding of my limits — and how much I can push them, year after year. Barbara Palvin, 2025 • Shot with Nikon Z6III. 1/200, f/5.6, ISO 400. NIKKOR Z 24-70mm f/4 S photoED:  Where do you hope photography will take you in the future? Do you have a dream project or client? Lu Chau : I hope photography continues to open doors to meaningful experiences — allowing me to work on projects that resonate, shift perspectives, and create lasting impact. Whether it's capturing international events, crafting interesting portraits, or collaborating on stories that matter, I want every frame to have purpose. A dream client is one who values authenticity, trusts the creative process, and sees visual storytelling as a core part of their message. Dave Franco, 2025 • Shot with Nikon Z8. 1/200, f/3.5, ISO 800. NIKKOR Z 35mm f/1.4 photoED:  What advice do you have for photographers just getting started?   Lu Chau : Start with an affordable camera — buying second-hand or an older model is a great option if you're on a limited budget. Make shooting a regular habit — consistency leads to growth. Take time to read the camera’s manual and truly understand your camera. Review your work often and keep refining your craft. Priyanka Chopra, 2019 • Nikon D750. 1/200, f3.5, ISO 400. Nikon AF-S Nikkor 24-70 f/2.8G ED GEAR UP What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using NIKON products. Lu Chau : I primarily work with the Nikon Z9, Z8, and Z6III — they’re my go-to bodies for all my assignments. My all-time favourite lens is the Nikon Nikkor Z 400mm f2.8 TC VR S lens; I don’t own it, but when I get to use it from time to time, it produces incredible images. I got my professional start shooting events with the Nikon D80, and over the years, as I’ve evolved into a hybrid shooter, Nikon has remained a constant and foundational part of my career. Nikkor lenses are unmatched for sharpness and reliability, and Nikon’s legacy of innovation — from early autofocus systems to full-frame sensors and rugged, weather-sealed bodies — continues to push the boundaries of what’s possible in visual storytelling. To see more of Lu Chau's work, check out his website,  photagonist.ca . Follow on Instagram: @photagonist Lu Chau Photographed by Yuto Yamada

25 Years of AlternativePhotography.com What started as a small online resource has grown into a thriving international community of artists, experimenters, and lovers of alternative photographic processes. Marlene Weinstein, West Meadow Undercurrents #7, mixed-media cyanotype Malin Fabbri AlternativePhotography.com started its journey in the 1990s when founder, Malin Fabbri was living in London and studying at Central St. Martin’s School of Design. She says, “I’ll never forget seeing my first cyanotype. I was captivated by its handmade quality – the brushstrokes of chemicals, the vibrant blue, and the painterly effect of the print. I didn’t know what alternative photographic processes were, and I had never heard of cyanotypes before, but in that moment, I found the topic for my master’s thesis.” Over the next two years, she researched, studied, and fell in love with the versatility and artistic expression of alternative photographic processes. “Back then, finding written material on the subject was not easy. I uncovered a few rare art books in the London Printing Library, including an amazing copy of Anna Atkins’ cyanotype book. While textbooks explained the chemical process, I wanted to explore the artistic potential of these techniques. To do that, I needed to connect with artists.” Kathryn Reichert, Searching for Signals, solarplate intaglio print   Art and Technology Connections In 1999, Malin completed her thesis and wanted to share it, however, as a student with little money, printing and mailing was expensive. Devastated at the thought of her work left to gather dust, and motivated to give back and share with others, Malin launched cyanotypes.com to publish her thesis. The internet was slow and clunky at the time, modems eked and beeped as they dialled up patchy connections to the internet, but artists were enthusiastic to share their work and information. Communication was focused through email lists, and group email conversations. Soon after the site launched, one of the artists she had worked with reached out to ask if she could publish his essay on her website. Other requests soon followed, and the site grew steadily, with more art, essays, and how-to tips being published regularly. Soon, Malin discovered, “there was more to life than cyanotypes,” so the name cyanotypes.com became limiting. In 2000, she registered the domain AlternativePhotography.com , and the platform became a hub for a wider range of alternative photographic processes. By 2002, the site featured over 50 artists and included a wealth of resources like instructional articles, essays, and tips for finding chemicals and supplies. It grew organically through word of mouth as contributors shared it with one another, and teachers introduced it to their students. After years of working with fighting spam in chat forums on the website, we closed them and shifted group sharing to Facebook. In 2009 we started the Facebook group ‘Alternative Photographic Processes’. Malin says, “This group now has over 64,000 members, and I’m so grateful to the volunteer moderators that work tirelessly to keep discussions engaging and free from trolls and spam. Without them, it would not be possible. We were latecomers to the Instagram party, but when COVID struck, we needed new ways to support the community. In the summer of 2020, we launched our account, @alternativephotography_com , and it has been steadily growing with over 13K followers to date!” Peter J. Blackburn, Studio Practice 1, casein dichromate print Love not money It's interesting and important to note that AlternativePhotography.com offers itself as a free resource and platform for artists. Malin says, “We don’t charge for access to learning materials, and we don’t get paid. We do this because we love doing it. Our goal is to keep it hands-on, fun, and inspiring, and to make it easier for photographers to connect with each other. If you appreciate what we offer, we would be grateful for your support. All contributions go towards running the website. ” Publishing Alternative Photography Over the years the team at AlternativePhotography.com have published several projects to showcase work from the creative community. In 2006, the first edition of Alternative Photography: Art and Artists published as a coffee table book with an aim to inspire people to try something new. In 2010, a calendar event was launched. Artists submitted images created with alternative photographic processes, and the community voted to select 12 winners. This annual event ran four years, until they lost their printing partner. Unable to find an affordable replacement, the event was paused for what turned out to be a decade. Inspired by motherhood, Malin's interests shifted towards exploring non-toxic photographic process to work with. These investigations culminated in in the publication of the book, Anthotypes – Explore the Darkroom in Your Garden and Make Photographs Using Plants. In 2022, the calendar project was revived as “A Tribute to Anna Atkins,” with over 100 artists creating images in Anna Atkins’ honour. The 2023 event theme was more experimental: creating composites by combining techniques, processes, and ideas into something entirely new. This pushed artists to stretch the boundaries of creativity – merging processes, reassembling materials, and mixing media. The stunning results inspired the 2024 calendar and journal, and a compilation book, Pure Inspiration, Volume 1 – Composites .   Kate Jordahl, Bellingham: Daisies, lumen print Days Following the lead of World Cyanotype Day, founded by the Shootapalooza collective and led by Judy Sherrod, AlternativePhotography.com launched World Anthotype Day to honour the art of making images with plant-based emulsions and sunlight. Celebrated on the last Saturday in October, this event brings together a global community of artists passionate about plant based image making. Unlike other ‘days’, it has no set theme but a clear mission: to expand the database of plants and pigments that can be used to make anthotypes. Participants worldwide collect local plants, create emulsions, coat paper, and expose prints in the sun. They then share their research notes and results, contributing to a free, growing online emulsion database. To participate and find out more, visit:   AlternativePhotography.com/world-anthotype-day   Maria Trunk, Knife's Edge, cyanotype No rainbows or unicorns Many individuals and groups generously share their knowledge and expertise. However, Malin notes, “running a learning resource is not always rainbows and unicorns. Over the years, we have also faced challenges, including content theft by others claiming to be “curators”, pawning content off as their own and selling it in their courses and books. However, the majority of our community is generous, supportive, and committed to learning and sharing.”   Today and ahead Today, AlternativePhotography.com features over 900 how-to articles, highlights the work of 400 artists, and hosts regular events. Operated entirely by volunteers, it remains a non-profit organisation dedicated to providing free access to educational resources. The platform showcases artists’ works to spark creativity and fosters opportunities for photographers to connect and share knowledge. Its guiding philosophy captures this mission: “As much as possible, for as little as possible, to as many as possible.” This independent learning resource relies on the generosity of its members to keep the lights on.   Celebrating 25 years To mark their 25-year milestone, the team behind the website is launching a new book, Alternative Photography: Art & Artists, Edition 2. This much-anticipated publication showcases the work of 137 artists, working in everything from cyanotypes and bromoil prints to platinum/palladium and wet plate photography. It’s a tribute to the incredible creativity in alternative processes – and a celebration of the artists keeping these techniques alive. Did you enjoy this FREE read? Consider supporting us! For as little as $2./ month we'd love your support to continue producing great content for you to enjoy!   • JOIN US AS A PATRON  • SUBSCRIBE FOR PRINT DELIVERY   • GET DIGITAL ISSUUS   Follow us on Instagram, Patreon , Facebook , and Instagram , and sign up for our e-newsletter to keep up with all our adventures!

An interview with photoED Magazine “When life gives you Italian lemons” - Tuscany, Italy. Shot with Tamron 28-200mm. ISO 400, 1/100 sec, f/5, 39mm Marie-Louise Moutafchieva is a Canadian-Bulgarian photographer with a passion for food and travel. At home or abroad, Marie-Louise crafts beautiful stories that celebrate food, food producers, kitchens, architecture, plants, light, and moments to savour. “The Garden of Italy”• Tuscany, Italy. Val D’Orcia shot with Tamron 28-200mm F/2.8 - 5.6 at ISO 100, 1/500 sec, f/5, 61mm. photoED: How did you get started in photography? And what keeps you motivated and inspired to keep at it? Marie-Louise : I have an old family photo of me holding a camera at age 6 — I couldn’t tell you if it was a real or toy camera, but my curiosity to explore photography definitely started around then. Travelling often with my parents throughout Europe, my mother was the family photographer, but in my early teens I began to take over. I took classes in high school and quickly discovered I wanted to get more serious. Travel is still a creative motivator for me. Observing small, everyday moments — whether it’s a cup of coffee with a slice of something sweet and homemade, documenting a change of seasons, or watching someone working away in a kitchen or food shop — I’m always excited to find a new angle to share. My friends and family have been a constant support. It’s nice to have someone say they enjoy seeing how I view the world, and that I inspire them to pick up a camera again! photoED: What do you love most about creating stories through photography? Marie-Louise : I love how photographs have the power to create memories of a place and time, like little time capsules, if you will. Images share the culture of a place — food, traditions, people, history. Instead of using words, photographs have enough power to tell a larger tale. I create stories with the hope of transporting viewers to experience being there. I want them to almost smell the seasonal fruits at the weekly market, to hear the banter of locals, to feel all the senses through my images. photoED:  Whose work has influenced yours?   Marie-Louise : My style has evolved throughout the years, finding influence from various artists. The work of Renaissance painters and Dutch masters like Johanes Vermeer and Rembrandt influenced my portrait series “ Renaissance Children ,” in 2016–2017. I’m also a big fan of Danish photographer Ditte Isager, who’s a great storyteller. Her diptychs combine food and place, and create a sense of calm. Saul Leiter and Joseph Sudek , whose photographs give elegance to their subjects, are other favourites of mine. “Duomo dog walk” • Siena, Italy • Shot with Tamron 28-200mm. ISO 160, 1/250 sec, f/4.5, 90mm photoED: What makes a good photograph? Marie-Louise : Composition, patience, a good eye, perfect timing to capture a moment, and an ability to translate a new sense of a place. Photography makes you look at the world from another perspective and forces you to pay attention to what surrounds us. Most importantly, a good photograph simply feels right. photoED: How has working in photography influenced you personally? Marie-Louise : I think it’s given me more confidence. I’ve seen my work improve with experience and I appreciate the knowledge I’ve gained. I’ve met some of the most interesting people in the industry. There are many things in life I don’t think I could have done without the growth that’s come from my persistence and constant practice in photography. “Cheeseman”  •  Tuscany, Italy. A cheesemonger at his market stall cutting from a barrel of cheese  •  Shot with Tamron 28-200mm. ISO 125, 1/200 sec, f/5.6, 168mm. photoED:  What’s been your favourite project to work on?   Marie-Louise : Travel abroad always opens up interesting adventures and leaves me inspired, wanting more. Since 2017, I’ve been collaborating with a friend and artisanal baker in Sofia, Bulgaria, when I’m there. Our passion for food and styling tie hand in hand. We’ve done several mini projects together and continue to try new experiments for the love of cooking and art. photoED:  Where do you hope photography will take you in the future? Marie-Louise : There are so many places I’m excited for photography to take me! I’d love to have more of my work published in international travel and leisure magazines, and I’m slowly working towards a photo-based cookbook of my own recipes. I’d love to continue collaborating with professional chefs and bakers in their kitchens, and extend the idea to include artisans around the world. I want to document the stories and workshops of people who work with food, such as cheesemakers, vintners, farmers, and chocolatiers, as well as craftspeople like woodworkers and ceramicists. I also have a goal of exhibiting my work in the courtyard of the the Archeological Museum at the Regional Museum of History in Veliko Tarnovo, Bulgaria. They have a gallery space and lovely porticoes, which I’ve already visualised a display for! I can picture a very interactive show. My mother and father grew up in the old part of the city, so I have a very personal connection there. “Old walls of Siena” • Siena, Italy. • Shot with Tamron 28-200mm. ISO 250, 1/160 sec, f/6.3, 98mm photoED:  Do you have any travel tips for photographers? Marie-Louise : Travel light! Keep extra batteries handy. I don’t like to carry too many lenses, only ones that could be versatile for everything, from portraits to landscape to details. Mirrorless lenses are very light and ideal for travelling. Bring business cards or postcards of your work with you to share. You never know who you may meet along the way. Potential future clients, friends, and other connections are always a possibility! Take your time. For travel photographers, the journey is part of the point! Keep your eyes open and stay curious. “Tuscan pigeon” • Tuscany, Italy • Shot with Tamron 28-200mm. ISO 160, 1/200 sec, f/5.6, 200mm. GEAR UP What camera and equipment do you use most now? What’s your favourite lens? Tell us about your experience using Tamron lenses. Marie-Louise : I shoot with Sony equipment, and am currently using the Sony A7 III. My go-to lens until recently was the Sony Zeiss 24–70mm, although after using Tamron’s 28–200mm F/2.8 Di III RXD All-in-One Zoom , I can easily say it’s my new favourite.  The quick aperture was very useful on cloudier days with lower lighting situations. Starting at F2.8, it adjusts while zooming, to F3.5 at 50mm, F4.5 at 100mm, and so forth. I’m impressed with the range of the Tamron zoom, in addition to its speedy autofocus and super-sharp results. It was an absolute pleasure framing beautiful landscapes with every detail while on my recent travels in Tuscany. I enjoyed taking advantage of the zoom capacity to see all the intricate ornaments on centuries-old architecture. It's a great lens that switches easily between micro detail and landscapes. Marie-Louise  Moutafchieva See more of Marie-Louise Moutafchieva's work - HERE. Check out Marie-Louise Moutafchieva's fave new Tamron lens - HERE! www.tamron-americas.com