Too Good Magazine

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Too Good Magazine

06 Under Ground Lane

Vancouver V6B ONE

Editorial: 01 234 5678 x910

Advertising: 01 987 6543 x 210

Publisher: Jin Takeda

Cover and Contents Image:

Rosie Foster

Photographers:

Rosie Foster

Latoya Okuneye

Tamara Blake Chapman

Anna Neubauer

Yasin Aribuğa

Arists & Illustrators:

Lauren Martin

Haein Kim

Paul Rhodes

María Medem

Olivia Pedigo

Designer in Spirit:

Jacob Hussey

Designer in Body:

Jennifer Thornton-Hughes

Advertising Manager:

Jun Seba

Contributers:

Ayla Angelos

Lorna Pittaway

Olivia Hingley

Joey Levenson

Roz Jones

Printers: Moniker Press

Vancouver

Published by Cattails Ltd

02 Final View Street

Vancouver V6B TWO

© You shouldn't need reminding, but remember, somebody holds the copyright on everything in here. Specifically Cattails Ltd and our contributors. Be cool. Use your head! If you're photocopying a few pages we won't mind. If you rip off copyright material for commercial gain, we will.

A Letter From the Editor

Welcome to the first issue of Too Good Magazine!

I must admit, writing this editor's letter wasn't something I was looking forward to. Perhaps other magazine editors relish this blank page where they can directly address the reader, a welcome reprieve from the red-pencil realm of editing. But for me, this letter has been a challenge. It demands that one be personal yet general, relevant yet timeless, and specific without giving too much away. Thankfully, there's plenty to discuss for this issue. First off‒Our delicate cover image features Abigaille, photographed by Rosie Foster for her new project, At Home. At Home details young women in their own homes, highlighting their vulnerability and the beauty found in their surroundings. Rosie seeks out subjects who defy traditional feminity and charts their growth and evolution through portraiture. (Page. 16)

Next, we take a look at María Medem's latest publication, Tregua, a mystical short comic that tells the story of a ritualistic offering. María discusses the value of having a genuine connection to the subject matter of commissions and the freedom and joys of self-publishing projects. (Page. 8)

We talk with illustrator Lauren Martin who discusses her journey to discovering her passion for art and how it has evolved over time. She talks about her childhood influences, her education, and her shift from traditional painting to digital art. (Page. 10)

We celebrate black womanhood with photographer Latoya Okuneye, who's work focuses on the elevation of Black women, using visual storytelling to educate and inform audiences. Her latest projects commemorate the sacrifices of Black mothers and explore the reality of Black girlhood in the UK (Page. 20)

In addition, we talk with Tamara Blake Chapman, a former ballet dancer turned photographer whose latest body of work The Layers of Love explores the transgender experience through a compassionate lens. The project is a study of love, support, and self-realization, and Tamara's approach to photography is natural and effortless. (Page. 22)

Lastly, this magazine would not have been possible without the help of our dedicated team, Moniker Press, and our fantastic publisher Jin Takeda at Cattails Ltd.

‒ JETH, Editor. ★

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María Medem’s Dreamy Scenes and Peaceful Characters Are a Soothing Tonic For a Hectic World

alternative approach to structure, Echoes weaves together different stories, realities and scales which thread throughout its pages in a series of intricately interlaced narratives. A series of one-page “silent comics” set the pace of the book, while a single, consistent narrative runs throughout its entirety. “I see it as several vertical stories and one horizontal one that connects the all,” she explains of Echoes’ format. “I also wanted to use this to explore different approaches to reality. Some of the vertical comics alter reality in every way possible, while the horizontal one tries to show reality how it is.”

In commissioned projects, María’s vibrant creations have been brought to life in new, dynamic ways. A particular standout are a set of illustrations for The New York Times’ digital republishing of Kaveh Akbar’s poem, The Palace. Working closely with art director Sebit Min, the article’s playful implementation of parallax scrolling sees the varying layers of María’s compositions glide over one another, shifting and interacting in exciting ways. “It was one of my favourite commissions to work on,” she reflects on the opportunity. “Not only was the poem incredible but the way my drawings were programmed was both surprising and beautiful.”

María Medem’s creations are a soothing tonic for a hectic world. Drenched in resplendent sunset tones, these dreamy scenes and their peaceful characters capture comforting moments of tranquility. With this stunning body of work under her belt, it’s unsurprising that, since we spoke last November, the Sevilla-based illustrator has published even more visual narratives and received commissions

from the likes of Gossamer, The New York Times and most recently, the album artwork for Bombay Bicycle Club’s new record.

When we last caught up with María, her now-completed book Echoes was well underway. Published by risograph platform Studio Fidele in early January, this serene illustrated story meanders through the day-to-day life of its main protagonist, water. Taking an

Whether visually manifesting a poem or creating trippy nightthemed scenes for Gossamer, when it comes to commissions, having a genuine connection to the subject matter is vital for María. “I have to feel that I can identify with the project otherwise I feel like a phoney or that I’m doing something superficial,” she muses, adding: “Aside from my personal work, I’ve been lucky enough to have been commissioned for some really interesting projects that have taught me new things and helped me to evolve in my interests.”

This summer María attended Colorama Clubhouse, a ten day comic summer camp. Reflecting on her creative struggles before attending, María recalls: “I really wanted to do another comic but I

text : lorna pittaway

images: maría medem

just couldn’t find the time because I was always having to work on something else. With comics I need time; I need to work on them every day – or at least every two days –otherwise I forget the mood of the comic or I start doubting it.” Away from professional commitments and encroaching deadlines, this long period of focus was a perfect catalyst for new personal projects.

Expanding on a piece of work made during the camp, María’s latest publication, Tregua, is a mystical short comic which tells the story of a ritualistic offering. “I started it straight after I came back from Colorama Clubhouse,” she explains of the project’s beginnings. “I had so much fun drawing and making, that I just wanted to create more comics.” Relatively simple in narrative, María’s focus was on creating a certain mood, developing a specific feeling. “I wanted to keep with this magical atmosphere that surrounds rituals and the folklore,” she muses. Transient and ethereal, this atmosphere is one that can’t quite be expressed linguistically. As María explains: “It’s hard for me to put into words the feelings I wanted to convey because they’re a mixture of blurred memories and elusive sensations. I can sometimes connect them with certain smells, certain elements – like the refreshing waft of mint for example.”

The process of making Tregua also came as a reminder of the joys of self-publishing. “It’s really nice working with publishers but I also enjoy – and kind of need – to work on self-published projects,” María reflects. “It is very satisfying to be in charge of all the parts of the process. With self publishing projects I don’t experience the same pressure that I feel when working with publishers.” Ultimately. she concludes: “I know what I’m doing with a self-published comic and I’m navigating within my own rules and with my own judgement.”

I wanted to keep with this magical atmosphere that surrounds rituals and the folklore. ”

Haein Kim and Paul Rhodes’ New Collaborative Book, Mystery Friend “Functions Like an Aldi Catalogue”

“We are going after the careers of Mike Judge and Walt Disney,” says Paul Rhodes with a mix of humour and seriousness. Paul is one half of the creative partnership founded with Haein Kim, and for the past couple of years now, the pair have charged into the industry with their funny and colourful illustrations. So, Pauls statement about coming for Disney isn’t actually too far off.

In 2019, the artistic duo was featured in an It’s Nice That - Ones to Watch, and since then, they have continued to impress their audience with their superbly joyful animations, wacky yet relatable storytelling, and numerous comics and silly jokes highlighted in playful hues. Their hard work has not gone unnoticed, with them both joining the Nexus roster as a directors of animation duo. Besides learning the ropes of pitching for animation projects during this new milestone, they’ve also launched the next release of their book, Mystery Friend

Mystery Friend is a dual-sided art book that was made entirely using Risograph printing, Paul explains how it was a special project made possible with help from their friend Bailey Sharp. Bailey, after moving to Melbourne and getting involved at Riso printers Glom Press, asked if they wanted to make a book. “And we said yes!” The book took a year to make and is a magnanimous display of the artist’s signature talents, as well as their harmonious methods of working. The book features things like bubbly characters going about their daily errands, wearing extra large glasses and colourful garms, and the universal experience (and dizziness) of waking up from a dream. “It’s all about the small moments in life and the vibes,” says Haein. “I’ve always gravitated towards drawing playfully and making this book was like being a full-time kid, which was mad.” Creating this book was a joyous experience for her, as she was able to tap into her playful side and embrace her inner child. The book is more or less split into two, with a cut-out brick page allowing readers to peep through the paper. Oh, and there’s stickers on each side – who doesn’t love stickers.

Haein’s contribution sees a series of illustrations and two short comics come to life on the page, and Paul’s work – on the flip side – has been split by way of a long comic and a few illustrations dotted about. This includes a tale about an elevator operator “wolf guy” who tells a story about his friend, Mr William and Willy Worm. “It’s a bit of a TMI moment between strangers,” he shares. “My life is sprinkled with interactions like this all the time. I always end up finding out the most random stuff about my neighbours and anyone in my radius. I think I have a ‘I’m here to listen’ vibe or something.”

There’s no better way of describing it than something that “functions like an Aldi catalogue”, says Haein. And not in the sense that you can go through and pick out the best deals on offer, but more in the way of how it’s divided physically. “You have one half of the book that is 100 per cent Haein,” she explains, “then you flip it, and the other half is 100 per cent Paul. It’s very different to how we work together in animation, which is a lot more brain melding.” By using Riso, the work exudes a wonderful sense of texture – you can imagine peeling back each layer and revealing one of five colours underneath. “I owe Bailey the world,” continues Haein, who explains how she “painstakingly” took her art, scanned it, separated all the elements and experimented with opacity to match the originals. “It was a very labour intensive book,” says Haein, but the result is a beautiful book that showcases the best of both artists’ talents.

text: ayla angelos

images: haein kim & paul rhodes

Lauren Martin Discusses How She Discovered Her Passion For Art and How It Has Evolved Over Time

Dinner parties, comical characters and tasty spreads take centre stage in the New York-based illustrator’s colourful scenes.

text : ayla angelos

images: lauren martin

For some, the journey to discovering their passion is sparked by a specific event or person. For Lauren Martin, an illustrator based in New York, it was when she was in preschool and her older cousin moved in with her family while attending the School of Visual Arts in the city. Lauren would watch her draw,

which in turn sparked an interest in her to do the same. “She saw that I was really creative and passionate about drawing and told my parents that they should enrol me in art classes,” Lauren tells Too Good. This proved to be a turning point for Lauren, who soon found herself at the Art Students League. Lauren's

interest turned into a passion, and she has been drawing ever since.

Lauren decided to pursue the arts and studied portrait painting at the National Academy of Design. Howbeit, her future path in this specific medium wasn’t long-lasting. Unsure if portrait painting was the right part of the industry for her, she took a year out of education to figure out her next steps. Some time away and a new-found hobby in knitting and sewing meant that she later enrolled at the Fashion Institute of Technology. “I really loved it and my work became more illustrative and more influenced by design, rather than painting,” she says. During her university studies, Lauren was able to work alongside designers such as Ellen Van Dusen and Samantha Pleet, only for her to realise this ever-growing interest in design. During this time, she also started playing in an indie rock band called Frankie Cosmos, and started to design and screenprint their merchandise. “So this also caused my art to shift towards becoming less painterly and more graphic."

Lauren’s passion for art was ignited during her childhood years, having grown up close to The Metropolitan Museum of Art. She would often make trips to the gallery and found herself drawn to the Princesse de Broglie painting by Ingres, located in a small room in the back. “I would go and look at it every time I visited the museum,” she says. “I’m definitely very interested in neoclassical art .” Elsewhere, she found cartoons to be of great importance to her artistic development,. She recalls a VHS copy of the Studio Ghibli film, Totoro, that was given to her by her mum’s friend when she was young, “I can definitely see the influence of Miyazaki on what my work looks like now,” she adds. Lauren also cites Dublin-based illustrators Ruan Van Vliet and Fuchsia MacAree as those who have broadened her perspective as to what can be achieved through illustration – particularly when it comes to building a career.

Despite coming from a traditional painting background, Lauren

has shifted her focus solely to digital art. Although this may seem contradictory to her university education, it is not uncommon for artists to rebel against their traditional training. In fact, many artists find that embracing new technologies and techniques can lead to exciting and unexpected results. “Ten years ago,” Lauren adds, “if you told me I’d be drawing on an iPad, I would have cracked up laughing and gone back to mixing my paints!”

Alongside Lauren's picturesque dining scenes, colourful spreads, and comical characters, recent times have seen the artist expand her creative output by creating a series of short animations. One depicts a butter knife poking an “over-easy egg”, causing the yolk to burst. “Before I made the animation, I kept seeing this image over and over. It perfectly expressed how I’ve been feeling in quarantine,” explains Lauren, who regularly uses food as her protagonists. “It’s like my bubble has burst, everything about my life is different but I’m still fine – I guess it has a bit to do with mindfulness and staying aware of the exact moment you’re in.”

Lauren is currently working with one of her favorite restaurants in Brooklyn as they transition from dine-in services to takehome products. She is assisting them in creating merchandise and packaging designs. Additionally, Lauren has been collaborating with her boyfriend, a recipe and food writer, on a series of cookbook zines over the past few months. The first issue is set to be released this summer, and it promises to be a tasty and enjoyable concoction. Lauren's main goal with her work is to bring laughter and smiles to people's faces. “I like to feel as if I’m a positive force in the universe.”By skillfully creating art that is not only visually stunning but also relatable, joyful, and mouthwatering, Lauren is doing just that.

If you told me I'd be drawing on an iPad, I would have cracked up laughing and gone back to mixing my paints! ”

How Do Our Most Intimate Spaces Reflect Us? Olivia Pedigo’s Dreamy 3D Artworks Investigate

text: olivia hingley

images: olivia pedigo

With plush pink carpets, warm, glowing lamps and vintage Apple computers, Olivia Pedigo’s bedroom scenes have a dreamy, comforting air about them. Taking visual cues from Y2K aesthetics, the children’s books she grew up with and the work of Jiayi Li, the intimate spaces are also intended to induce serious feelings of nostalgia and fond reflection within their audience.

As you may have noticed, all of Olivia’s spaces are devoid of people, which gives her work a slightly surreal, almost eerie edge. Her aim is allows viewers to focus on the various items and objects littered about her scenes.

These objects are carefully selected and placed to tell a story or convey a certain mood, adding depth and meaning to the work. “I like to focus on the relationship between people and the things they own, especially technology,” she outlines. “I think it’s interesting to question whether we give meaning to our possessions or if they give meaning to us.” Olivia learnt how evocative her work could be when posting Things I Can’t Remember online – a piece showing an overflowing bedside table. “I’ve never gotten a more emotional response from people. I think that’s powerful,” she reflects.

Photographer Rosie Foster is Finding the Beauty of Personal Spaces

The series details young women in the space of their own home, centring vulnerability in each subject.

“I was asking the people I photographed to take off their makeup so I could see their freckles, asking them not to bother clearing up the clutter on the table next to their bed,” Rosie says on her approach to the project. “What was surprising to me was how much beauty there was in people’s personal spaces,” she adds. “The pictures and little notes blue tacked to their walls, hand-medowns from their parents, a teddy on their bed which they’d had since they were a baby.”

With Rosie’s project, At Home, she often returns to the same people to photograph, charting their personal growth and evolution through portraiture. “I will usually find them online and immediately know they’re someone I need to photograph,” she says. “There always has to be something about them which defies the expectations of femininity, like body hair, or a hard-unwashed hair cut teamed with a soft face and delicate clothing.” For Rosie, there should always be a present dichotomy of sorts (vulnerability and strength, for example), something she latches on to in all her subjects. “Usually the first shoot will be the first meeting, I like to establish trust by chatting for a while first, asking them about their lives, I’ll always talk about my own life too,” Rosie explains. “If there is nudity, I’m always checking in on boundaries and if they are still comfortable, I’ll ask again and again throughout the shoot and send them the images for approval before I share anywhere.”

When we first spoke to London-based photographer Rosie Foster, she impressed us with her honest candour and frank discussion over motherhood within the creative industry. During that time, she was pivoting away from fashion to looking at individuals and their

stories and working in supporting survivors of domestic abuse and human trafficking. “My priorities changed and I felt uncomfortable portraying false versions of people,” Rosie tells Too Good.

Rosie’s new project, At Home, is a perfect progression in her career.

The best part of the project, for Rosie, is the friends she has made in the process. “I think that most of my best friends are people I have met through this project in some way or another,” she says. Most of all, Rosie was moved by the story of one portrait in particular: Charlie and her relationship with her grandmother. “She told me that her nan was the first person in her family to buy her girls clothes and make up when she was exploring her trans journey at a

text: joey levenson images: rosie foster

In her carefully considerate work, Rosie becomes deeply invested in the lives and well-being of her portrait subjects, and their personal spaces.

young age, and regularly goes to her house to watch day time TV and eat lunch with her,” Rosie recalls. “Charlie is a successful model and shoots huge campaigns, so the fact that she has this beautiful life with her nan just made me want to cry.”

Ultimately, Rosie just hopes “people will feel a little more seen” in her work. “I want to work on this as much as I can to cover as many people as possible,” the photographer says. “I want to carry on revealing a little bit more of the reality of people’s lives as well as covering more grounds around different kinds of families.” Next on her journey is portraying disability, something which hits close to home for her. “I am someone who lives with a disability and I am so aware that this is not something I have really covered as much as I’d like to, but I think that is a personal reflection on my own emotional journey with it.”

RF

The Importance of Celebrating Black Womanhood with Photographer Latoya Okuneye

When we first came across the work of photographer Latoya Okuneye, we were blown away by her ability to centre, uplift and celebrate every subject in the frame. Most common in her portfolio is a steadfast commitment to the elevation of Black women, something that runs deep for Latoya herself. “Photography grants me the space and freedom to present my story and the stories of people like me by having full control over my own narrative,” Latoya explains to Too Good. “I am able to collaborate with other Black women and learn more about womanhood.” Latoya herself regularly studies about the various things which shape Black womanhood, using the knowledge gained to inform her work. “Visual storytelling gives me the space to think outside of the box and find exciting and unique ways to educate and inform an audience,” she says.

Two projects stand out to us as perfect examples of Latoya’s mode of educating through art. A Mother’s Tale is a project that was originally commissioned by creative director Elsie Cullen at GUAP magazine, and quickly took on a life of its own under Latoya’s helm. “At the time I was looking for an opportunity where I could document Black mothers because as I felt I had already created quite a few projects around Black girlhood and young Black women,” Latoya says. “Also, in the art world there isn't a lot of documentation of the generation that came before us.” Thus, the project serves as a “commemoration to the sacrifices of mothers who left their home to make something of themselves here,” displaying each portrait in brilliant light and warmly saturated colours to really hone in on the tribute.

In contrast, Fourteen is a project by Latoya we love for its opposite end on the spectrum. It’s a visual exploration of the reality of Black girlhood in the United Kingdom, specifically the “adultification of working class girls in London, their ability to hold on to their youths and navigate the ever changing and inconstant pressures of the world around them,” explains Latoya. In some ways, Fourteen stands out for its twofold purpose: one where it exists as a memory-like visual diary that pays homage to the innocent days of teenage years, and another where it exists as a detailing of the specific contemporary moment for Black girls. “It’s about enjoying the softness of friendships, connection, self expression and beauty in mundanity,” Latoya says. “And it was also inspired by my own personal desires to connect with my inner child as I discovered that growing up in a working-class family had isolated and aged me.”

Still, Latoya sees her work as far from being over. “My ultimate goal as an artist is to make people that share similar human experience feel seen, validated, loved and worthy,” Latoya summarises on the legacy of her work. “I want to create work that investigates, exposes and visually discusses challenges in society today, but still brings hope and light as I re-imagine what can be possible.” Through her incredible eye and talent for the camera, Latoya is proving herself to be one of the most promising young talents in the country’s photography scene today – and all for good reason. “Ultimately, I hope that when people see my work they are inspired to create healthier spaces for themselves and their own little communities,” she says. “To heal and find true joy.”

text: joey levenson

images: latoya okuneye

It might surprise you to learn that Tamara Blake Chapman’s background is actually in dance – specifically ballet. Then again, given the graciousness with which they approach photography – the concern for dynamic balance and

high regard for narrative – it might not. But grant us this: at first glance, you'd probably never guess that they've only been creating images for three years. This was a heel-turn from their previous vocation after studying Journalism and Design

at The New School.The enviable empathetic character that oozes from their photos may be a carryover from their 15 years studying the art of storytelling as a dancer, and the subsequent years doing the same as a journalist in training.

Consequently, Tamara's latest body of work, The Layers of Love is a clear-eyed but tremendously compassionate study of love, support, and the journey of selfrealization--through the lens of the transgender experience.After starting their transition journey in March of this year, Tamara took to documenting their development to explore “the relationship with myself, my romantic relationship, my chosen family, people who I look up to and how they navigate their transness.” Since hanging up their pointe slippers due to dysphoria, Tamara found that their “life has in a way reset itself,” – the camera has “allowed me to relish in the feeling of openness and anticipate the possibilities that lie ahead as my transition continues.”

The Layers of Love is, in Tamara’s words, “a gentle approach to sharing the experience of my life as a transgender, non-binary individual.” You might feel like the work is almost camera-less, completely natural as if you just caught a glimpse of something in conversation. If so, it’s because of Tamara’s approach: “I was simply making the photographs at times where it felt effortless,” they say. The series began four months after their top surgery and about two and a half months in on testosterone as well. This was no doubt a turbulent time full of change, but Tamara says that the “tenderness existing within my support system is something that I’ve been lucky enough to carry with me since before I started transitioning.”

Tamara refers to themselves as a “very new student” to photography, and is still trying to find their voice visually. Despite this, though, they’ve still managed to craft a tender visual language that tells the story of growth, perseverance and support. For Tamara, the image that sticks out to them the most is

text: roz jones

images: tamara blake chapman

Tamara Blake Chapman’s Series is a “Gentle Approach” to Sharing Their Experience of Being Transgender

the arresting photograph of their chest. “It is really all I have ever wanted,” they detail. “I don’t care at all about what my scars look like, but I feel like I got really lucky.” And while sombre shading and inky tones might suggest sadness in another context, Tamara’s subjects are radiant in each image and the project is one of explicit hopefulness. The photographs bring peace, “especially for my surgery,” Tamara concludes, stating how they’ve started to “really invest in my ideas of working towards building a trans archive for myself to look back on in the later years of my life.” This project is a testament to the power of hope.

The tenderness existing within my support system is something that I’ve been lucky enough to carry with me since before I started transitioning. ”

Anna Neubauer Challenges the Underrepresentation of Young People With Disabilities and Visible Differences

text: olivia hingley image: anna neubauer

When Anna Neaubauer began her photography career, her passion for the art was fueled by her love for the fashion industry. Her single biggest dream was “to work on huge campaigns with a massive budget and team,” the kind of productions she explains, “you would see in America’s Next Top Model.” But, after a short stint in the fashion industry, Anna began to feel disillusioned by the ‘narrow concepts of beauty’ and the industry’s emphasis on superficiality, she left, finding herself “hopeless and lost.”

After some introspection, however, realised how dynamic her chosen medium has the potential to be. “Photography is incredibly powerful,” she says, “and it contributes in shaping how we see the world and the people around us.” Paying testament to her childhood – she attests to growing up in a very diverse and openminded family – and beginning to work with the agency Zebedee (which represents models and creatives with disabilities or visible differences) Anna then set herself on using her photography for good. “I now know that by showing raw and honest images and telling stories of people who often don’t get to be heard, I can contribute to a more open, diverse and inclusive society.”

Throughout Anna’s works, while they show such a variety of situations, people and places, she manages to craft a consistently warm, sensitive and peaceful feel throughout her work. When talking us through how she creates such an atmosphere, Anna tells us that lighting is key. “I love working with natural light which I think is generally a bit warmer. In addition, in the editing process, I usually opt for warmer colours as opposed to cold ones.” She’s also keen to always try and get a vintage, old-fashioned feel into her work; “I love the cinematic and retro feel of an image,” she shares. But perhaps her greatest tool is her personability, and learning to read her subjects. “One thing I had to learn is that sometimes what I think are the smallest details can be a big deal for a model and can throw them off. I want people I shoot with to be themselves and feel comfortable and natural in the shoot.” Now focusing heavily on getting to know who she is working with and breaking the ice is a foremost step of the photographer’s. “Finding out what motivates them and what makes them laugh helps us both open up and adds emotion to the photos.”

This approach is one that particularly helped Anna throughout a project with Harper’s Bazaar Brazil, a recent favourite of hers. The young boy featured in the series, Ryan, Anna explains he has Treacher Collins Syndrome, a rare genetic condition. But, in focusing on creating a carefree, and nostalgic look at childhood, Anna tells us

that “I wanted to make sure to show the person, not the condition.” Featuring Ryan alongside two friends, Valeria and Isla, the project primarily depicts their “beautiful friendship.” “I think what I love most about it is that the images reflect some sort of carelessness. The editorial reminds me of my own childhood and how lucky I am to have grown up in such a safe place.” Aiming to get the photos as spontaneous and candid as possible, Anna brought things for the kids to play with, and when she got inventive with her tools – using the translucent lid of a jar of marbles to take photos through – the children were instantly intrigued, wanting to see how it changed the photos. “We all had so much fun,” Anna adds. She sums up: “If everyone sees a human, or in this case a boy like Ryan, they will see someone who’s incredibly loving, kind, funny and smart. With more photos like these, I hope we can start to change representation.”