RESILIENCE OF ANALOG #ANALOGPHOTOGRAPHY
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we’re different in PRINT. In case you hadn’t noticed, you’re looking at PhotoED magazine’s FREE digital edition. Here, we’re sharing some different stuff than what’s happening in our print issue. Just FYI.
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STEPHEN BROOKBANK BEHIND THE SHOT: “I am interested in looking at the everyday urban and suburban landscape with a sense of awe and respect, coloured with the mixed-up nighttime lighting situations from available light. This work is intended as a document of our time.”
IN THIS DIGITAL ISSUE: 11 RESOURCES WE LOVE
24 FOUND FILM, FOUND MOMENTS
14 STEPHEN BROOKBANK’S THE MAKING OF A PLACE by Joshua Cameron
by Briar Chaput
18 SK8ER BOI - JAKE BORCHENKO by Nicola Irvin 22 WES BELL’S SNAG
26 CHEMIGRAMS by Laura Walker 28 READERS GALLERY Submissions by our readers
READY FOR YOUR CLOSE UP NAIT’s practical, hands-on learning transforms creativity into stellar careers. Discover what gives our students the edge: nait.ca/photographictechnology
Portrait by Bree-Lynn Mistol NAIT Photographic Technology Student
• Trade show • Portfolio reviews • Workshops • Speakers • 2018 Pictures of the Year Gala
Photojournalism 2019 Conference Vancouver, British Columbia • April 11-14, 2019 VISIT: http://npac.ca/category/conference/
IMAGE COURTESY OF THE CANADIAN PRESS, PHOTOGRAPHED BY DARRYL DYCK
photo by Ryan Parker
SLOW DOWN AND SEE WHAT DEVELOPS SERENDIPITY, SKILL, AND CHEMISTRY ARE THE BASIS BY WHICH PHOTOGRAPHY HAS EVOLVED. As advanced as imaging tech has
“We all start in this medium because of the magic and the challenge is to keep it going.” — John Sexton
become, providing us an infinite number of tools to craft images with, sometimes the best thing to do to keep creativity flowing is to stop and go backwards. Unlike digital photography, analog methods require a methodical approach. More planning and less automation can get you results that you may never anticipate, but that’s the beauty of it. I love that Instagram is loaded with analog photography practitioners sharing their film shoots, darkroom experiments, and instant snaps. It takes research, experimentation, creativity, and passion to hone analog skills and I think finding a traditional process to spend a bit of time with is worth the effort on so many levels. I was so inspired by Edmonton photographer Ryan Parker’s self-portrait project
PHOTOED E IS 10 0% MAGAZIN NADA! CA MADE IN U FO R Y K THAN O PPORT! YOUR SU
where he emulates famous photographers work using himself as the model, I asked him to help me create my own (very loose) interpretation of a re-creation. My editor’s pic is inspired by an analog-based photo hero of mine, if you can figure out who my muse was I will send you a prize! (I’m not just saying that.) This fall we’ll be showcasing documentary work. Whether it’s a story found inside your own home or on an amazing international adventure, documents of daily lives and special events are just one way photographic storytelling connects us and helps us find empathy, compassion, and connection.
Rita Godlevskis firstname.lastname@example.org
@photoedmagazine SPRING/ SUMMER 2019 ISSUE #55 ISSN 1708-282X
PhotoED Magazine is published 3x/year, SPRING, FALL, & WINTER See www.photoed.ca for subscription/advertising information. Publications Mail Agreement No. 40634032 PhotoED Magazine 2100 Bloor St. West, Suite 6218 Toronto ON M6S 5A5
This issue was made possible with the assistance of The Government of Canada and the Ontario Arts Council.
DIGITAL CONTENT ASSISTANT
Rita Godlevskis / email@example.com Ruth Alves Joshua Cameron Briar Chaput Nicola Irvin Cece Scott Deborah Cooper-Bullock Joshua Cameron Nicola Irvin
COVER IMAGE Tintype from the Resilience series
by Kali Spitzer
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Order TODAY to recieve two of our favourite back issues as a bonus! Morgan Sears-Williams, SOFT, 2017
This FALL weâ€™re looking to showcase:
DOCUMENTARY STORIES Canadian photojournalism, reportage, & documents of daily life. GET IT ONLINE:
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AT AN ANALOG PACE If you’re a newbie or have just been away for a while, analog photography can be a truly unique experience for everyone.
THE MOBILE DARKROOM Calgary-based photo duo, Natalia Barberis and Shane Arsenault have been in collaboration since 2016, travelling across Alberta with their handcrafted ultra large format camera and their darkroom on wheels. They share their constructions and adventures step-by-step online, and it’s a fascinating read. www.themobiledarkroom.ca/the-story
FILM-FOCUSED FLICKS One Hour Photo (2002) The Secret Life of Walter Mitty (2013) Pecker (1998) If you were born into the digital age or are just feeling nostalgic for 35mm film, you’ll love these film-focussed flicks.
PHOTOGRAPHIC HISTORICAL SOCIETY OF CANADA Annual membership $35. Since 1974, the PHSC has worked to advance knowledge and interest in anything historically photo—related in Canada. The society, based in Toronto, offers monthly presentations and hosts photographica fairs, trunk sales, image shows, and auctions of vintage, new, and used analog photography equipment. A collector and gear-head’s delight! If you’re not in Toronto, you can still benefit from a $35 annual membership to receive its quarterly journal by mail. Photographic Canadiana reports on cameras, photographers, manufacturers, old processes, images, restoration techniques, books, and more! phsc.ca
THE PHOTOED GUIDE TO PHOTOGRAPHY by Felix Russo, $21.95 Sometimes it’s actually appropriate to toot your own horn. Our GUIDE to Photography is an affordable Canadian—made resource including photo how-to’s for the beginner. There’s a great section on darkroom basics that schools across Canada have used for years. This magazine format textbook makes getting started easy. photoed.ca/the-guide
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TORONTO MAY 2019
Carrie Mae Weems, Untitled, 2017. Courtesy of the artist and Jack Shainman Gallery, New York, NY.
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THE MAKING OF A PLACE BY JOSHUA CAMERON
INSPIRED BY Irish novelist James Joyce’s short story “Two Gallants,” Stephen Brookbank explores after-dark and beforedawn urban, suburban, and industrial environments. Using a large format camera, he uses long exposures and available light to create images that aim to illustrate the “truth” of a scene. Stephen’s environmental portraits in home, work, and play settings look to document the resilience of people in the midst of a challenging period in human history. “North America is in a phase of deindustrialization,” he says. “I’m interested in creating work that supposes allegories representing flexibility and adaptive strength.” One of Stephen’s key influences is the New Topographic movement of the 1970s, in which photographers worked to identify a critical view of the state of America. “I am interested
in looking at the everyday urban and suburban landscape with a sense of awe and respect, coloured with the mixed-up nighttime lighting situations from available light sources,” says Stephen. “This work is intended as a document of our time.” An inherent analog aficionado, for this project Stephen used Toyo View G, a 4×5 large format studio camera, with Rodenstock Apo-Sironar lenses and Kodak Portra 400 film. “My reasons for shooting analog are purely personal,” he says. “It works for me and what I’m trying to achieve. Shooting with such a large camera forces me to work slowly.” Rather than taking lots of photographs of a scene, Stephen takes time to decide on an ideal composition and takes one shot. “I may only make two negatives. A successful night of shooting may only yield a couple of photographs. The process PhotoED • 15
“The grey warm evening of August had descended upon the city and a mild, warm air, a memory of summer circulated in the streets. Like illuminated pearls the lamps shone from the summits of their tall poles upon the living texture below which, changing shape and hue unceasingly, sent up into the warm grey evening air an unchanging unceasing murmur.” —Excerpt from “Two Gallants “ by James Joyce
and ritual of making a picture on a large format camera appeals to me. The richness of a well-made negative contains such beautiful, smooth clarity and detail,” says Stephen. Stephen follows a few self-imposed rules when photographing. One of these rules includes not adding any light to a scene, including after dark. “I rely on street lights, window light, and low clouds to light scenes for me. One of the challenges this creates is that when I am photographing people in their work, home, or recreational environments, my exposures have to be quite long. It’s not unusual to have people posing for up to a minute.” “I’ve figured out a trick,” he says. “During a long exposure, one of the things that makes a person jittery is an effort to keep from blinking during the exposure time. I’ve found that if a person blinks comfortably they are more relaxed and able to keep still — even little kids. In the photograph their eyes are still clear
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and sharp.” He does very little in terms of posing people, as they are to look relaxed, comfortable, and like themselves. “Another challenge is the skepticism I encounter,” says Stephen. “People are typically proud of their neighbourhood, so after a short conversation I try to demonstrate that I am there out of respect. Then their guard goes down. Of course, the curiosity of my big, old fashioned—looking camera also seems to help diffuse any tension.” Stephen’s laborious process influences not only how his images appear, but also his audiences. When people slow down to understand the technical factors involved in his work, they gain further insight into the narratives he creates and presents as documents.
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sk8er boi BY NICOLA IRVIN
JAKE BORCHENKO IS A PHOTOGRAPHER ON A MISSION:
TO DOCUMENT THE MINDFUL SIDE OF SKATEBOARDING.
Using his connections to a growing community of Christian skateboarders and the soft quality of film, Jake adds a new perspective to a pre-existing narrative surrounding skateboarders. Skater Boys is a series that trades skate tricks for intimate portraits.
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NI: Why did you decide to shoot this series on film?
JB: When I was working with a digital camera, the instant gratification wasn’t forcing me to be completely present while shooting, but with film I feel more connected to my subjects. This project came about when I first started using film. I skateboard, so I was already at skate-parks. I also loved the interactions – people get curious about the camera and it can help break the ice. Since I began developing and printing my own stuff, I’ve become addicted to the process.
NI: What are you looking to share with viewers through this work?
JB: I’m trying to challenge male stereotypes. Growing up skateboarding, I fell in love with skating for skating, whereas some people will get into it for the stereotypical ‘cool guy’ culture. As I got older, I realized that some of the culture that goes along with skating – smoking, drinking, partying really hard, this kind of FU attitude – I just never identified with. Trying to find a different side of the community was important to me, which is how I stumbled upon the Christian skateboarder thing.
NI: What exactly is the ‘Christian skateboarder thing’?
JB: I met a guy back in high school who was involved in a Christian skateboarder community. Nothing sounded more insane to me. I didn’t grow up religious
“ ” Skaters trust skaters.
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at all and I still don’t identify as religious. I had some preconceived ideas surrounding religion in general, but I started hanging out with these guys. It turned out to just be a bunch of skaters doing their thing and talking about how they could be better people. Fast forward to the present: we run a skate group on Monday nights – it’s not a religious group — just a place to build community and skate. Community is ingrained in Christianity, but also in skateboarding. I meet people from all walks of life on Monday nights. Shooting portraits can be tricky and very personal, yet the people who come out are cool with me taking their picture. Documenting is a major part
of skate culture so when I go in to shoot I don’t have to really explain myself. Skaters trust skaters.
NI: This series is featured in the Digital Edition of PhotoED. How does it feel to have an analog based project consumed digitally?
JB: I think that recent analog resurgence has been a direct result from work being shared online. I think it’s important for the preservation of analog photography to continue sharing online.
jakeborchenko.com IG: @jakeborchenko
snag WES BELL
“Four years ago, I was leaving for the airport after saying goodbye to my mother. She was dying of cancer. On the long drive across the Alberta prairie, I found myself distracted by flapping remnants of plastic bags, caught in the barbed-wire fences that lined the ditches. Whipped violently by the wind, they were left shredded and lacerated, but trapped nontheless in the no man’s land of boundary fences, neither here nor there. Thinking about morality, pain and death in the context of my mother’s terminal illness, these forgotten shreds of plastic took on a deeper significance. Snag. Shooting during the seemingly lifeless seasons between Winter and Spring in 2015 through 2017, I photographed more than sixty-eight sites in Southern Alberta, Canada.”
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FOUND FILM FOUND MOMENTS BY BRIAR CHAPUT
A FEW YEARS AGO, I WALKED INTO A USED BOOKSTORE on Spadina Avenue in Toronto. It was dusty, cramped, and dark, with barely enough light to read anything if you weren’t directly under an overhead lamp. At the back of the store there was a doorway that led to another maze of overflowing shelves, where I found an old wood cabinet of drawers. I just happened to glance down to spot a yellow piece of paper, with the word “pictures” written in black sharpie, taped to a drawer. The drawer was packed with 4x6inch personal photographs. I spent the next hour digging through them carefully in the dim light, then spent about $15 buying my favourites, and I was hooked on a quest to find more.
Having these photos in my hands, I imagined the lives of the people, not only who were featured in them, but who took them. One photo was of the Louvre, dated 1984. The next was of a rickety bridge in the Caribbean. One appears to be a woman sewing her cat. Suddenly, I had access to all these moments that must have been important enough to someone at some point in time that they felt the need to document a person or place. I visited the store once every couple months for about three years, never leaving without a new stack of photographs. I once asked the owner where she got them all from, she said they were often tucked into books, or she would get boxes of books from estate sales with full photo albums mixed in. About a year after my first bookstore visit, I started checking in photo albums in thrift stores. I’ve now collected over 500 personal photographs – the oldest from the 1930s, the latest from the early 2000s. Around the same time as I discovered the bookstore, I also started shooting my own 35mm film. Armed with a Pentax K1000, I wandered the streets of my new home of Toronto, and soon, had to find somewhere to get all that film developed. Quickly, the excitement of dropping off film, and having to wait for resulting images, was something I grew attached, and really looked forward, to. One day, while out at a thrift store, I opened up a camera bag and found two exposed rolls of film. I had an overwhelming urge to know that was on them, and couldn’t wait to drop them off for developing. I got back about 50 photos of a wedding, discoloured, but with an incredible story to tell. In the last year, I’ve found about 25 rolls of film. Only half of them have been developed with successful results. Although it can become an expensive hobby, the anticipation and the results have been worth it for me. Although some people have found this hobby a bit strange, I often feel responsible in a way for saving these things that may have otherwise been destroyed. Especially with undeveloped film, there are no second copies of those photos, of those moments, and once those moments are gone, they’re gone forever. If I can preserve even one photo, one meaningful moment of someone’s life, that’s worth it to me.
NOTE: If you happened recognize anyone in these photos, please contact us and we will try to connect you with the photos. PhotoED • 25
CHEMIGRAMS ARE CREATED BY FORCING A CHEMICAL REACTION BETWEEN PHOTOGRAPHIC PAPER AND PHOTOGRAPHIC CHEMISTRY.
On a sunny Saturday six students from The Mill Arts Centre Trust in Banbury took part in a Chemigram workshop lead by Laura Walker. “In this workshop, we used Ilford Warm Tone Resin Coated Paper, Ilford Pear Resin Coated Paper, Ilford Universal Developer, Ilford Warm Tone Developer and Ilford Rapid Fixer. The beauty of this process is that you don’t need a darkroom to achieve stunning results.
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THE B DON’ STUN
BEAUTY OF THIS PROCESS IS THAT YOU â€™T NEED A DARKROOM TO ACHIEVE NNING RESULTS.
Students started by learning how to make a positive and negative chemigram using a selection of flowers and shrubbery. We used the Ilford Pearl Resin Coated Paper for this initial activity. Students got to choose between the Warm Tone and Universal developers, thinking about which developer would suit their image best. Students dipped their items (flowers & leaves) into either the developer or fix first. These items were then placed onto a sheet of photographic paper where students could then paint attentional chemistry onto the paper if they wanted to. Once the chemicals had started to react with the paper, the items were removed and the paper was placed into either a tray of developer or fix. After students had practiced making a positive and negative chemigram they started to experiment with different resists. Resists are used to stop the development between the paper and chemistry. In this workshop students experimented with Wax, Nail Polish, Syrup, Vegetable Spray Oil, Paint and Olive Spray Oil. As the weather was good, we were also able to expose the images to the sun (lumen printing process) which added really interesting effects to both the Pearl and Warm Tone Papers.â€?
boffinphotography.co.uk IG: @lauraboffin FB: @BoffPhoto
SUBMISSIONS BY OUR READERS
LEFT TO R
‘Grace’ (Nik ‘Muttart Co (Olympus o ‘Rusty dream
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kon fe), onservancy Koi’ om-4), ms’ (Nikon fe)
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KABIR CHAUHAN Toronto, ON “In the beginning there was film. If there is truth to McLuhan’s idea that the medium is the message, then for photography the message is clear: every shot counts. It was certainly with this intent that I pursued my on-going project, SUBURBAN MYTH. This is a series I have been developing for some time and focuses on landscapes of suburbia and the urban jungle. I have often felt trapped in the mundanity of this environment, caught somewhere between the glitz of the city and the quiet of the country. For me, film was the appropriate choice to capture this kind of imagery: the intangible impermanence of suburbia reflected through a tangible medium.”
LEFT: ‘Left Field’ NEXT PAGE TOP, LEFT TO RIGHT: ‘Layers,’ ‘Junction,’ ‘Emergency’
NEXT PAGE BOTTOM, LEFT TO RIGHT: ‘Dreams,’ ‘Gated,’ ‘Dawnlight’ All shot with a Mamiya 7
BRENT GOODEN Toronto, ON
FROM LEFT, TOP TO BOTTOM ‘Hannah’ ‘Gleb’ ‘Emi’
RIGHT: ‘Zoe’ All shot with a Mamiya RB67
brent-gooden.com IG: @brent.gooden
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Toronto, ON Iceland September 2017, shot with an Olympus OM10
IG: @emily.macdonell CENTRE:
ANDA MARCU London, ON ‘Extension’ (Nikon FM)
andamarcu.com IG: @beradiant TOP RIGHT:
Salt Spring Island, BC ‘Plants Have Lives Too - A Japanese Knotweed Red’ (Cyanotype on Watercolour Paper)
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BOB ST. CYR Abbotsford, BC TOP: ‘PowerHouse’ (Toyo 45 AII) BOTTOM: ‘PenStocks’ (Toyo 45 AII)
Peterborough, ON TOP: ‘Hidden’ (iPhone 7 / Vintage Prints)
BOTTOM: ‘Whisper’ (iPhone 7 / Vintage Prints)
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ALEX SAWATZKY Toronto, ON
LEFT TO RIGHT: ‘Life and Death,’ ‘Solitary Silence,’ ‘Streets of Huashan’ Shot with a Ricoh XR-2s
alexsawatzky.com IG: @exposurxd
SVAVA TERGESEN Vancouver, BC
The ‘Body Work,’ series came to fruition after a prolonged period chronic illness. During this time, simple everyday tasks became painful and distressing to perform. My body was unable to keep up with what I wanted—and often needed— to do. These photographs are my attempt to convey that state of dissociation and the anxiety I experienced over losing my personal agency. In taking these photos, a homemade focal plane shutter distorts my body in unexpected ways while I perform in front of it.
TOP, LEFT TO RIGHT: ‘Slunk’, ‘Worl,’ ‘When I Look in the Mirror’
BOTTOM, LEFT TO RIGHT: ‘Flatland (Arms),’ ‘Abrade’ All shot with a Hasselblad 500cm.
cargocollective.com/solarun IG: @solarun
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DANIELLE VAN WERKHOVEN Waterloo, ON
THIS PAGE AND NEXT: ‘Dislocation’ (Pentax Program Plus)
dvanwerkhoven.photography IG: @dvanwerkhoven.photography
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ALEC SKILLINGS Edmonton, AB
LEFT: ‘Untitled’ (Pentax K1000)
, BOTTOM: ‘Some People’ (Pentax ME Super)
RIGHT: ‘Conservatory’ (Pentax K1000)
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KRISTI GIAMBATTISTA Toronto, ON
LEFT: ‘Portrait of Isabella. 2017’ (Canon AE1)
RIGHT: ‘A Self Portrait, 2018’ (Canon AE1)
IG: @kriissg IG: @theselfportrait_
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KAT FULWIDER Ottawa, ON MEMORIA VERITAS - TRUTH AND MEMORY “The truthfulness of memory is an idea I have struggled with for some time, as I have suffered amnesia resultant of a head injury and lived years with undiagnosed chronic Lymes Disease which affects my mental state. I lived for so long in a state somewhere between slumber and the rest of the waking world. The ephemeral nature of this subject matter is reflected in my work. In a way, photographs are the closest thing we have to a “true” representation of a moment in time; a moment that seems to be untainted by the human mind, captured instead by an infallible machine. I challenge such a notion with this body of work, for many of these prints are not reproducible; they are captured moments in time with the evidence of their creator chemically stamped upon them.” I used a large format 8x10 view camera with paper negatives to create my images.
katfulwider.wixsite.com/mysite IG:@sureality IG:@katherinefulwiderart
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GLENDON MCGOWEN Toronto, ON ‘Stationary Golf Carts’ (Mamiya RB67)
CONNOR MCCORMACK Niagara on the Lake, ON ‘Lakeshore Vinyard’ (Crown Graphic 4X5)
connormccormack.ca IG: @connor.mccor
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KRISTIN DUFF ‘Cracked’ (Gelatin silver prints) “This series is an exploration of that which is permanent and that which is fleeting. Using B/W film I shot several images of a collection of crystal animals gifted to me by my mother over a 40 year time frame. Walking past a cell phone repair shop, the glint of broken glass screens piled high in a plexiglass display tower caught my eye. Gingerly, I salvaged a few of the most interesting pieces. Later, in
the darkroom, my negative secured in the carrier and focused, I lay a broken screen on my paper in place. The image of the glass animal is projected through the iPhone screen, and I make my exposure.”
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HENRY VANDERSPEK Toronto, ON
LEFT: ‘Why Work’ ABOVE: ‘Food’ BELOW: ‘The View from St Lawrence Market’
culturesnap.ca IG: @culturesnap
All images shot with a Konica Auto S3.
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BRENT HAYDEN New Westminster, BC
‘Field of Silk’ (shot with a Hasselblad 503CX) During his 10 year international swimming career, including 3 Olympic Games, an Olympic Bronze Medal (2012) and a World Championship Title (2007), Brent Hayden quietly pursued his photography passion. He attributes his success in the pool to the balance that photography brought to his mind and soul. After retiring from swimming with 6 Canadian records, he continues to explore the world through his lens. “There is a moment just before the official blows the whistle, while the crowd is going crazy, I stare down my lane towards the wall at the other end. The noise becomes drowned out by the sound of my own breath and heartbeat. For a moment, my world is still, and this is where I feel the most alive. My goal is to capture this moment in my photography. When you look at my images, I hope you can take a moment to listen to your own heart beating.”
brenthaydenphotography.com IG: @brenthaydenphotography IG: @thebrenthayden
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SARAH CLOTHIER Ottawa, ON
TOP TO BOTTOM: ‘Spending Time With Myself - 6 Hours’ ‘Take Care of Yourself - Colin’ ‘Digitally Manipulated - March 2nd 10:20pm’ Shot on a Toyo 4x5
sarahclothier.com IG: @sarahhclothier
NANCY STIRPE Vaughan, ON ‘Solaris’ Nikon f75
JO-ANN BONHOMME Ottawa, ON ‘Homage to the Sun’ Asahi Pentax KM
WENDY KWAN Vancouver, BC
We Are Small is a collection of photographs I developed using medium format Ilford SFX film and printed on Oriental neutral tone silver gelatin fibre paper finished in selenium and sulphide toners. The work was created with a plastic Holga camera/fisheye lens combination yielding an unusual spherical picture form, analogous to the shape of our own earth. In We Are Small, I examine the rapidly vanishing moments when we permit ourselves the time and space to contemplate, share face to face with others, escape the cacophony, and establish a personal relationship with a larger context. I think of every photograph in We Are Small as a “little world”. Each little world is filled with an abundance of elements, occupied by a human figure or figures that claim their fragment of space and seize the opportunity to reflect and reconnect for a few ephemeral moments. In the pressure of our technologically dictated daily lives, where we accept as well and good the constant distraction and interruption by the mundane and trivial, we place at risk those activities most essential and vital to our well being. We Are Small. But we can resist.
LEFT: ‘we try the other side’ TOP: ‘little spot of comfort’ BOTTOM: ‘So sole’
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THE INSTITUTE OF UNUSUAL STUDIES A WORKSHOP IN FRANCE “Le Salon Noir : Master
Class is designed for intermediate practitioners with an understanding of traditional darkroom processes and techniques and are excited to develop their practice among peers in the comfort of a cozy B&B in Languedoc, France. Using low-fi camera methodologies, analogue silver-based photographic processes, and alternative photographic emulsions including Cyanotype and Anthotypes, participants in the Master Class will draw inspiration from the surrounding region for their artistic creations. Based out of Léran, France in the foothills of the Pyrenees, participants will have the opportunity to explore the amazing history and culture of the Occitanie region. Planned field trips include a visit to Niaux and its 15,000 year old cave drawings, as well as Montségur and other Cathar ruins that dot the region. Time is divided between instructor-led field trips, technical instruction, and independent studio time. Instructors provide technical assistance and artistic guidance in the form of darkroom orientation, mini-workshops and studio visits. Though the instructors are partial to traditional photo practices they will be happy to help you improve your digital photography chops as well. Other highlights include: wonderful local farmer’s markets, south-of-France cuisine, flea markets, spectacular mountains and countryside, village fête and a swimming pool to chill out in!”
INSTITUTEOFUNUSUALSTUDIES.WORDPRESS.COM IG: @INSTITUTEOFUNUSUALSTUDIES
Turn your love of photography into a career. Become a professional photographer in just two years in Seneca’s Photography program. You’ll learn strong lighting and entrepreneurial skills to develop your own unique talent and style. Let our team of working professionals teach you the real-world skills needed to succeed in the industry. CONTACT US Program Co-ordinator firstname.lastname@example.org 416.491.5050 ext. 33572
Daniel Castro Graduate, Independent Digital Photography
LEARN MORE & APPLY TODAY senecacollege.ca/photography
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Project Instant v6.0 An Instant Instant
At Beau Photo, we’ve seen many changes over the years, but our commitment to all things photographic continues.
Cameras • Film • Digital • Rentals • Advice • Community Beau Photo Supplies 1401 W. 8th Ave. Vancouver, BC 604.734.7771 www.beauphoto.com
A P P L I E D
An Exhibition of Instant Images April 2nd - 28th, 2019 Opening April 3rd, 6 - 8PM
Beau Photo beau1520
Science World - Aurizon Atrium
A R T S
M E D I A
HOW APPLIED ARTS GIVES STUDENTS A COMPETITIVE EDGE The ultimate portfolio piece! Judged by award-winning professionals, winning work published in the Student Annual, September 2019, and online within our Winner’s Gallery. Early Bird Deadline: June 7, 2019. Final deadline: June 14, 2019. Enter your Best Work! Visit appliedartsmag.com to enter or for eligibility.
TYPOGRAPHY DESIGN & APPLICATION 01 Posthuman Erin Dinneen, Toronto, ON e: email@example.com w: erindinneen.com Program: York University/Sheridan College Program in Design School: York University/Sheridan College — A custom typeface evoking the contrast and harmonious union of the technological and the biological. With sharp lines transitioning into rounded curves, Posthuman combines the mechanical shapes of a digital clock with the organic form of a skeleton’s bent limbs. Posthuman draws inspiration from the typography used on the covers of many 1970’s science-fiction films and novels, paying homage to these sources while modernizing a retro aesthetic.
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TYPOGRAPHY DESIGN & APPLICATION 02 Auxilium Matthew Haegele, West Chester, PA w: matthewhaegele.com Program: Graphic + Interactive Design School: West Chester University Instructor: Karen Watkins — Witchcraft and herbology kit.
TYPOGRAPHY DESIGN & APPLICATION 03 Buggin’ Out Typeface Alexandra Floresmeyer, Miami, FL t: 954-243-6231 e: firstname.lastname@example.org w: alexandrafloresmeyer.com Program: Art Direction School: Miami Ad School Miami — This typeface was inspired by the early ‘90s and the mainstream media of that time, especially from kids TV shows.
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