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STUDIO MAGIC:

WINTER 2018/19

BABY, IT’S COLD OUTSIDE

PhotoED • 1


WWW.FUJIFILM.CA/EDUCATIONPROGRAM


VICKY LAM BEHIND THE SHOT: “This image was created as a personal creative piece exploring typography and offfigure styling. By chance, we found matching sweaters at a thrift store and I was inspired by their designs to come up with a narrative. I used this image in a self-promotional mailer as a fun way to say “hi” to my clients.”

IN THIS DIGITAL ISSUE:

GET THE FULL STORY IN OUR PRINT EDITION!

9   RESOURCES WE LOVE 12  VICKY LAM: EYE CANDY by Briar Chaput 18  NEW KIDS ON THE BLOCK Photo school grads tell us about the transition to the real world. 16  RYAN PARKER’S STUDIO RE-CREATIONS by Nicola Irvin

28   DAVID J. FULDE: SHOOTING WITH FLAIR by Joshua Cameron 32  HOW-TO: ONE LIGHT, THREE WAYS with Margaret Mulligan 24  READERS GALLERY Submissions by our readers 54  EXPOSURE FESTIVAL An Alberta celebration of photography


EDITOR’S NOTE photo by www.margaretmulligan.com

INDOOR INSPIRATION WEATHER CAN DRAMATICALLY AFFECT PHOTOGRAPHIC RESULTS. This is not a

“But out of limitations comes creativity.” —Debbie Allen

PHOTOED E IS 10 0% MAGAZIN ANADA! MADE IN C U FOR THANK YO PORT! P SU YOUR

factor, however, for photographers and artists who thrive in their studios. In this issue, I wanted to find out more about how studio photographers get inspired within the confines of their cosy indoor spaces. Last winter in Canada, the weather was brutal. If this winter goes the same way, hopefully this issue will encourage you to use your cabinfever-crazy creatively. If you’re exploring the great indoors with your photography, I’d love to see what you’ve come up with. Drop me a line.

It’s been a busy few months for Team PhotoED. Our October Photo Inspiration PechaKucha night in Toronto was awesome! If you missed it, fret not friends, we’ll be posting videos of the presentations online for everyone to be inspired. We’re super excited about bringing this event to

Edmonton in February in association with the InFocus Photo Exhibition and the Exposure Photography Festival of Alberta. This spring we’re looking ahead at photographers who look back at some oldschool photo techniques for our amazing analog issue. If you’ve been experimenting with film, instant snaps, found photos, or alternative processes, drop us a line and share your story. Follow us on Instagram, Facebook, and Twitter, and sign up for our e-newsletter to keep up! Your editor,

Rita Godlevskis rita@photoed.ca

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MAGAZINE

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WINTER 2018/19 ISSUE #54 ISSN 1708-282X

@photoedmagazine

PhotoED Magazine is published 3x/year, SPRING, FALL, & WINTER

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This issue was made possible with the assistance of The Government of Canada.

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Rita Godlevskis / rita@photoed.ca Ruth Alves Joshua Cameron Nicola Irvin Margaret Mulligan

Deborah Cooper-Bullock

SOCIAL MEDIA ASSISTANT

Joshua Cameron

Nicola Irvin

DIGITAL CONTENT ASSISTANT COVER IMAGE

David J. Fulde


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This SPRING we’re looking to showcase:

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FURTHER READING:

A STUDIO STATE OF MIND Make the most of the long winter nights by doing some indoor homework. Here are our top suggestions for the best ways to spend the day in your PJs while honing your craft, from theory to hands-on practical advice.

CHROMA: A PHOTOGRAPHER’S GUIDE TO LIGHTING WITH COLOR by Nick Fancher $20. — $32. Print + digital editions. Nick Fancher not only knows what he’s doing, but his instructions are awesome. NOT boring AND really well designed, Nick’s book provides instructions for studio photography you’ll use and actually want to try. From colour theory to using gels as gobos, and colour grading in post, we LOVE this resource. nickfancher.com/photography-books

DANA CLAXTON FRINGING THE CUBE With essays by Grant Arnold, Monika Kin Gagnon, Olivia Michiko Gagnon, Jaleh Mansoor 160 pages, Hardcover, 8.75 x 10.5 inches, $40. Known for her expansive multidisciplinary approach to art-making, Vancouverbased Dana Claxton, who is Hunkpapa Lakota (Sioux), has investigated notions of Indigenous identity, beauty, gender, and the body, as well as broader social and political issues through photography, film, video, and performance.

LEARN FROM JOEY L by Joey L. Online video tutorials, Free — $199.

Claxton critiques representations of Indigenous people that circulate in art, literature, and popular culture in general. This timely catalogue will be the first monograph to examine her work.

Joey L’s video tutorial site for photography, lighting, and Photoshop techniques. Why do we love this? Because the video quality is slick and he makes you want to try new stuff.

Available at Indigo & Chapters stores or online: www.chapters.indigo.ca

learnfromjoeyl.com PhotoED • 9


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 ray.steinke@senecacollege.ca 416.491.5050 ext. 33572

Daniel Castro Graduate, Independent Digital Photography

LEARN MORE & APPLY TODAY senecacollege.ca/photography


celebrating years Promoting Contemporary Visual Arts since 1988

AN OPEN, VIEWER FRIENDLY FORUM FOR THE BEST IN CANADIAN + INTERNATIONAL CONTEMPORARY VISUAL ARTS, ARCHITECTURE, DESIGN + ART EDUCATION

FEBRUARY 1 -28, 2019 WWW.EXPOSUREPHOTOFESTIVAL .COM

Find us: 3rd floor, 10215 - 112 Street, Edmonton, AB, T5K 1M7 T: 780 426 4180 W: harcourthouse.ab.ca


ADAM BORMAN

NEW KIDS ON THE BLOCK

ZENNA WONG

STEP BY STEP THESE EMERGING TALENTS ARE HANGIN’ TOUGH.

12 • PhotoED

We asked five recent photo school graduates from across Canada who loved their studio time at school for their advice and reflections on the transition from school studio to professional studio.


PHILLIPE ST-PIERRE

1. ADAM BORMAN Alberta / NAIT grad adamborman.com / @bormanadam Why do you love studio work?

Being in the studio allows me to create something out of nothing. It’s a great feeling. Studio photography is much more like painting, compared to shooting on location. Everything done in the studio is a construction. The only limit to what can be created is what you can dream up. Tell us about the image you chose to share with us.

This was an image that I saw in my head a long time before shooting it. Incorporating geometric elements into my images is something I have been doing a lot more recently. I love clean lines and good, simple design.

What have you learned about yourself in studio?

I tend to be too picky about small details. Working to a deadline is important for me, even if it is self-imposed. Otherwise, I spend far too long working on one image. What has been the hardest thing about being a fresh grad? What has been the most rewarding?

The best part about being in school was being surrounded by really cool and creative people every day. It has been difficult to keep the same level of momentum and drive without an immediate support network. Of course, you still all meet for coffee once and awhile, but it is not the same. The most rewarding part is doing real work for real clients in the real world. It’s one thing to shoot something cool for school, but it’s a completely different level doing it for a real client.

2. ZENNA WONG Vancouver / Langara College grad zennawong.com @zennawongphotography Why do you love studio work?

It really allows you to focus on your subject without distractions. I love the feeling of being totally absorbed in my work. Tell us about the image you chose to share with us.

Inspired by Native Shoes, I wanted to create images that blended photography with digital art. I love bold colours and I aim to create clean, dynamic images that walk the line between reality and render. What have you learned about yourself in studio?

I’ve learned that I love working in studio! Prior to attending Langara College, I had mostly shot in outdoor environments. As I spent more time in PhotoED • 13


IT’S AN OPPORTUNITY TO EXPLORE AND CREATE A STYLE OF YOUR OWN.

MADELINE MURRAY

the studio at the school, I discovered how great it was to have total control over the set and lighting.

3. PHILIPPE ST-PIERRE Quebec / Photographie du Cégep de Matane grad philippestpierre.wixsite.com/photographe

What has been the hardest thing about being a fresh grad? What has been the most rewarding?

Why do you love studio work?

It’s interesting to transition from being a student with a hectic school schedule to a fresh grad finding my own way. As a freelancer, the reality is that work can be sporadic, but I don’t doubt my career path. The hardest part now is remembering that my value is not defined by dry periods. I’m gradually learning how to invest my time in my own business when I’m not doing work for others. That being said, one of the most rewarding parts of being a fresh grad is the conversations I have with other industry professionals. There is a common understanding about the struggles of beginning your career and luckily just about everyone is willing to pass on some advice to the new kid.

14 • PhotoED

I love that I have complete control over the lighting and the mood I am looking for. I like to be prepared and I know what I want. In the studio, I don’t worry about uncertain weather, variations of daylight, or being forced to change my plans at the last minute if things are not as planned. Also, the possibilities for creative projects are endless. You can go a long way with a plain background and the lighting you choose. Tell us about the image you chose to share with us.

This is a self-portrait from a series that is not yet complete. It is all about the body shapes, magnified with contrast and colours. I didn’t originally plan on doing a self-portrait for this project. It was made as a test for an upcoming shoot and I ended up liking it.

What have you learned about yourself in studio?

I am a perfectionist and I realized that I tend to give too much attention and energy to small details. Sometimes this keeps me from fully exploring my creative concepts. It is important to question yourself on the details and the technical aspects, but it’s also important to let things go and push your creativity further. What has been the hardest thing about being a fresh grad? What has been the most rewarding?

At the end of my studies, I got a job in an e-commerce studio, where I work now. It has been an incredible opportunity, but I must admit I was a bit confused for the first few weeks because the working process is so different from what I was used to in college. The most difficult thing for me was to find my place as a photographer on a professional team. Of course, we had teamwork in school, but we were all photography students so the task division was as simple as sharing


TOM WOOD

What has been the hardest thing about being a fresh grad? What has been the most rewarding?

The hardest thing about being a fresh grad is figuring out what to do with yourself. There’s pressure to try to get a job in your field, and to be successful. But those same challenges and pressures can also be exciting because the world is truly your oyster. There are so many avenues to go down and career paths to explore. The possibilities are endless!

5. TOM WOOD Toronto / Algonquin College grad tomwoodphoto.com everything equally. After college, I felt a bit intimidated to be surrounded by professionals who knew exactly what to do and when. Working with an artistic director was new to me and I didn’t really understand the difference between our jobs, since I had to do both in school. I now love working with a team, as everyone benefits from one another’s talents. We are all doing what we are best at, and it brings our work to another level.

4. MADELINE MURRAY Toronto / Sheridan College grad iammad.ca / @__iammad Why do you love studio work?

I love the challenge of figuring out how an inanimate object can be brought to life when combined with the right lighting, styling, and composition. I think it takes a certain kind of person to enjoy working in the studio, in solitude or with a very small team of people. The studio is my place of refuge and serenity. It allows me to become fully immersed in the image I am trying to create.

Tell us about the image you chose to share with us.

Why do you love studio work?

I’m interested in repetition, symmetry, and bold colour.

I love studio work because it’s equally challenging and exciting. It’s an opportunity to explore and create a style of your own.

What have you learned about yourself in studio?

Tell us about the image you chose to share with us.

First, trust your gut. Subconsciously you know what’s going to work and what’s not, so always start with your instinct. I found that the first couple shots really set the tone for the whole shoot. When an idea doesn’t work right away and you’ve exhausted solutions to try and fix it with still no success, your confidence can really drop.

Theo is a model I photographed for a personal project. I had set up a complicated light setup to try to replicate images I love by Albert Watson (in line with his work with Nine Inch Nails). I ended up switching all of that off and only using one light and really liked how the image came out.

Know when to quit. If you aren’t happy with the shot, give it about 30 more frames and then move on. There is no point dwelling on one image if you’re not happy with it. If you become frustrated with a shoot and feel that you’re almost there, take a deep breath, step away from the camera and go for a walk. Separate yourself from the shoot and come back with fresh eyes. Scroll through what you have shot and you might see something from a different perspective.

I’ve learned that I can quickly overthink things, so I really need to get into the habit of slowing down.

What have you learned about yourself in studio?

What has been the hardest thing about being a fresh grad? What has been the most rewarding?

The hardest thing for me was understanding on-set etiquette. The most rewarding thing is that once I got it, this special skill has translated well into helping me get my own clients. PhotoED • 15


STUDIO (RE)CREATIONS Edmonton based photographer, RYAN PARKER’S unique selfportrait project pays homage to some of the most iconic images created of celebrities by some of the top photographers from around the world. BY NICOLA IRVIN

Images from left: Original image by Martin Schoeller of Steve Carrell

Original image by Dan Winter of Arnold Schwartzenegger

Original image by Yousuf Kars of Humphrey Bogart

Original image by Mark Selige of Mikhail Baryshnikov

Original image by Bruce Webe of Matt Damon

Tapping into his background as an actor and his talent as a photographer, we wanted to know more about why and how Ryan Parker decided to take on this personal challenge. What inspired you to take on this personal project?

16 • PhotoED

A portrait study forum through Peter Hurley’s online learning platform ‘Headshot Crew’ includes studying a new master photographer every month. I wanted to be sure I would invest time into each master, so starting a project based around my study seemed to be the best way to keep myself accountable.

Who’s next on your list to emulate?

And ruin the surprise? Just kidding! Avedon for sure. Platon. Maybe even Laudermilk, who knows? I’m actually working on Platon right now. He is one of my all time favourite photographers. He’s the real deal. What is involved in your process?

I try to immerse myself in the photographers’ work that I’m studying. I buy their books (and not just the ones with pictures). For Dan Winters I spent an entire day photographing any dead insect I could


rs

sh

er

er

Bruce Weber - Matt Damon

find in my studio. Meticulously threading insects onto fishing wire gave a lot of insight into Dan Winters and his work. Once I find an image I want to re-create, I start sourcing props and costumes. I’m also an actor, and having connections to costume designers and prop masters has helped when I needed something a bit more obscure - like a six-foot tall American flag. While the props and wardrobe are coming together, I do a lighting test. As this is a personal project, I’m tight for budget, so if I need a specific light I don’t have, I try and make do. For instance, an oncamera ring flash was recreated by using a small white beauty dish with a deflector and a sock on, positioned directly behind the camera. When I have everything I need, I jump into the studio. My camera is tethered to my computer so I can see how I’m doing, and I’ll have the image I’m trying to emulate at the ready for reference. I keep going until I get something I’m satisfied with. I’m always exhausted when it’s done. Then I share my first edit with a few good photographer friends to get another set of eyes on the results. What are your criteria when you’re choosing an image to recreate?

I need to know I can do it. I’m trying to re-create these portraits as close as I can straight from the camera. If the shots require some specific location or clothing or furniture that makes the image what it is, and I can’t emulate it, I stay away… at least for now.

What is the biggest challenge that you’ve encountered on this project? Any attempts that have not been a success? What has been your biggest personal success?

When I’m shooting, I’m completely alone. Which has been rewarding, but also proves to be a big challenge, especially if both my hands are required in the portrait. I use a Yongnuo RF Wireless Remote Trigger, and when both hands are needed in the portrait, my big toe presses the trigger, occasionally resulting in leg cramps! I’m always a bit nervous someone will burst into my studio and catch me alone ‘in the act’ not sure why… fake blood on my face, tape wrapped around my head, shirt off slapping my own hands in a long exposure… it’s all a bit ridiculous but I love it. The Seliger and Winters recreations especially expanded my knowledge of lighting techniques. Creatively, I feel like this work has helped me immensely with my personal and professional work. It’s been a fascinating project and I’ve found that my style has started to evolve with the things I’ve picked up through this work and studying the greats. To see more of Ryan Parker’s recreations and get more behind the scenes details on how he set up each shot, check out his website. www.parkerphoto.ca PhotoED • 17


18 • PhotoED


DAVID J. FULDE SHOOTING WITH FLAIR David J. Fulde has a particularly unique perspective. His work references the lighting techniques of Nadav Kander, the colours of anime cartoons, and the theatrical spirit of drag queens. These things, combined with David’s charismatic, easygoing East Coast attitude, make this Toronto-based photographer a joy to follow. BY JOSHUA CAMERON

Justin Gray/Fisher Price IG: @JustinToast PhotoED • 19


DAVID J. FULDE’S apartment/home studio is piled high with cameras, books, lighting equipment, and lenses. A transplant from Halifax, David works in Toronto as a fashion and portrait photographer, an extension of his work in the film industry. Always on the hunt for new ideas, David is constantly consuming media, and much of his inspiration comes from popular culture. He also uses reference books; his collection includes beauty makeup lookbooks, fine art books, a book of famous advertising photography, and a selection of “Art of” books covering topics including anime Spirited Away and video game adventure Zelda, among others. “There’s no one source of inspiration,” David explains. “Creativity is always a mishmash of ideas. Media and culture are full of good concepts. Being a queer man, too, there’s so much culture there to pull from.” A big fan of drag shows, he is inspired by the creativity of drag queens and often photographs them. David uses Pinterest to aggregate ideas for photoshoots. “I constantly update a board of ideas so that if someone approaches me hoping to shoot, I have some references and ideas ready right away,” he says. “Sometimes I have an idea in my head but I can’t find pictures of it,” David adds. “I need to express those ideas visually, especially if I’m working with a team.” He often makes mockups or collages of ideas in Photoshop before a shoot, digitally sketching his ideas. He is also teaching himself to draw concept art for clients. “I’m not very good yet,” he laughs, “but it’ll definitely help.” To develop an idea, David likes to “cook” it. “I usually sit with an idea a little bit and let it gestate before acting on it,” he says. “I set it aside and let it come to fruition on its own. Then I go back to it a few weeks later with fresh eyes and add to it.” “Once I have the idea or the model, I seek out what I’m missing, like a great makeup artist or props. If I have a budget for the shoot, cool, if I don’t have a budget, cool.” David likes to improvise and collaborate during his photoshoots, letting ideas flow by themselves or with the help of his clients and collaborators. “I realized right away that what’s best on paper isn’t always what’s best, period. Sometimes I’ll end up with something totally unlike my original ideas,” he says, “but those can end up being my best shoots.” David uses a wide range of cameras for studio work, from a Fujifilm X-T1 mirrorless camera to a Mamiya RB67 6×7 format to an enormous Fujifilm GW690 medium format camera. His go-to lenses are a vintage Pentax 50mm f1.4, a Vivitar 85mm f2, and a Jupiter 28mm f1.4. He also uses a few Cactus wireless flashes for studio lighting effects. 20 • PhotoED


DAVID J. FULDE’S TIPS FOR PHOTOGRAPHERS NEW TO THE STUDIO 1. Have your gear, lights, props, makeup, and whatever else ready before your client arrives.

“Lighting was something I work really hard on to get right,” he says. As a way to get back at a boss who discouraged creativity outside the workplace, David made 100 self-portraits in 100 days, documenting the progression of his improving skills and learning new techniques along the way. “Photo number one and photo number 100 are exactly the same shot, but the 100th photo uses all of the things I’d learned over the course of the other 99 photographs,” he said.

3. Always have music playing! It lightens the mood.

“I’m extremely inspired by the photographic work of Nick Fancher and Nadav Kander,” says David. “Their mastery of lighting is what sells each photograph, in my opinion. That’s where I learned my lighting techniques.”

5. You’ll mess up sometimes, and that’s okay. Roll with what happens. Maybe it’ll turn into a new idea.

David’s work was recently featured in the 10X10 photography exhibition project at the Gladstone Hotel in Toronto during Pride 2018. Ten queer photographers were each tasked with taking pictures of ten queer subjects. In an effort to bring some faces from Nova Scotia to the project, David made sure all of his 10X10 subjects were from the East Coast.

2. Be nice. Treat people like people.

4. Say your client’s name! A little recognition goes a long way.

6. HAVE FUN!

TOP LEFT: Emerjade IG: @em.er.jade

TOP RIGHT: Mango Sassi IG: @MangoSassi

TOP CENTRE: Lexxicon IG: @officialexxicon

LEFT: Maria Rubio IG: @MariaRubio_ model

Now David is working on a zine that looks at identity in a new photographic way. “I want to explore this idea as far as I can, I’m driven by my own desire to be better,” he says. While he works on this creative endeavour, he will continue shooting projects with advertising agencies, doing more photoshoots with drag queens, and using his home studio as much as possible.

fulde.ca PhotoED • 21


IN STUDIO HOW-TO

1 LIGHT, 3 WAYS

Our expert contributing portrait photographer

MARGARET MULLIGAN

Changing up your standard one-light setup, just by moving a few things around, can get you some very different results.

keeps things simple and effective.

IF YOU’VE EVER BEEN ASKED to whip up a portrait for a friend or a client, and have felt as though you kinda know what you need to do, but have managed to get only one look with that one light you’ve got ... we’re here to help.

These variations basically involve moving your light and reflector (a foamcore board) around to create really different moods.

MARGARET’S TOP TIPS 1. Foamcore is an ideal reflector. Because of its stiffness and slightly glossy surface it bounces more light than matte cardstock or fabric.



2. The larger the card, the better its spread of reflected light. Tape two pieces of foamcore together with white gaffer tape for a more effective bounce card. It will also be foldable for easy storage.

THE EQUIPMENT

Using a speedlight or professional flash unit, here’s all you need + your camera + a friendly model. Luckily, we have Joshua!



THE TYPICAL SHOT

Pros use this lighting all the time as it’s a solid and beautiful light, but we wanted more.

22 • PhotoED

3. Don’t ignore the floor! A warm-toned wood floor or brightly coloured carpet will reflect light and tint colour onto the subject. Cover the floor with dark fabric or cards to minimize unwanted colour from invading the shot.


THE RESULTS 1. NATURAL-ISH BACKLIGHT

We love the look of a backlit natural

180°

light portrait, but these conditions aren’t available on demand.

LIGHT JOSHUA

Place the stand with the umbrella high,

behind, and to the side of the subject. Aim the light not at — but over the subject’s head, with most of the light spilling onto the white card placed close to the camera on the opposite side. Light will reflect off the card and fill in the subject’s face.

90°

90°

FOAMCORE CAMERA 0°

2. EYE-CATCHING

This side-light setup, when positioned just right, can get you a really nice glow in the eye.

Place the stand with the umbrella

high and at 90 degrees to the subject, positioned between the subject and the camera.

Next, place the foamcore card between

the light and the subject, so that most of the light falling onto the side of the head is blocked. Play with the placement of the card to achieve a soft transition.

FOAMCORE JOSHUA

CAMERA

LIGHT

3. GET DRAMATIC

Give your subject a little extra moodiness with some Rembrandt lighting.

Turn the umbrella to a vertical position (as if

out in the rain) and place the stand 45 degrees to the camera position. Raise or lower the stand to achieve the desired amount of light in the eye socket. To soften the shadow side of the face, place card close to the subject to reflect the light back in.

JOSHUA

Check out the triangle of light on the left side on Joshua’s cheek, and how the back wall has gone dark. To help control the tone of the background, tip the umbrella slightly away from the wall to make it even darker.

LIGHT

CAMERA

PhotoED • 23


THE

GALLERY SUBMISSIONS BY OUR READERS

24 • PhotoED


MICHELLE BRUCE Saint Catharines, ON

www.michellebruce.com IG: @michellebrucedotcom

PhotoED • 25


STEPHEN BROOKBANK Halifax, NS Implements

“A series of everyday objects and materials that have some special significance for the owners, beyond the practical intention of the object.” TOP ROW: “Wrench of Alexandra Cousins, Wrench and Welding Mask used by Johnny Laskowski at Barton Air, Hamilton, ON” 2016 MIDDLE ROW: “Curling Iron and Mixers of Marcia Laskowski” 2016 BOTTOM ROW: “Cameras of Simon Willms, Trevor Hughes and Alexandra Cousins” 2016 www.stephenbrookbank.com IG: @stephen_brookbank

26 • PhotoED


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LEFT: EMILY HUSSEY Petrolia, ON ‘Stoic’

www.gwnphotography.com IG: @gwnphotography

RIGHT: DANNY CUSTODIO

Saint Catharines, ON ‘Tar #1, #2, #5, #11’ “Taken in collaboration with my father, Tar explores themes of blue-collar labour. Tar is a commonly used substance in roofing, the profession my father worked for 45 years. Together we smashed open hardened tar to reveal the shiny insides of this ancient black substance. We discussed and setup compositions of the material he was so familiar with, and I photographed it, immersing myself in the organic forms and textures.”

www.dannycustodio.com 28 PhotoED IG:• @danny.custodio


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LEFT: CHRISTINA GREGOIRE

Toronto, ON ‘Essentia 1’, ‘Essentia 2’

www.christina-gregoire.com IG: @christinagregoire

RIGHT TOP: JENNIFER FRANZIN

Winnipeg, MB ‘Everybody Hurts...Sometimes’

IG: @prettypixels_photo

RIGHT BELOW: KAROLINE CULLEN Delta, BC ‘Alter Ego’

www.cullenphotos.ca IG: @karolinecullen

30 • PhotoED


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32 • PhotoED


JULIA KUZIW Toronto, ON

www.juliakuziw.com IG: @juliakuziw

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LEF NIC

St. Jo

‘Ven

nich IG: @

RIG JUD Salt

www

34 • PhotoED


FT: CHOLAS AIDEN

ohn’s, NL

nus’

holasaiden.ca @nicholasaiden

GHT: DY H. MCPHEE Spring Island, BC

w.mcpheestudiogallery.net

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36 • PhotoED


DAVID POLLARD Ottawa, ON ‘Ageing Beauty’

davidpollard.myportfolio.com

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38 • PhotoED


ALISON MAXWELL

Toronto, ON CLOCKWISE: ‘Duaa’, ‘Abigail’, ‘Keessa’, ‘Wyatt’, ‘Ebony’

www.alisonmaxwell.ca IG: @alsnmxwll

PhotoED • 39


KATE DOCKERAY

Toronto, ON LEFT TO RIGHT: ‘Portrait of Antea’, ‘Portrait of Paul’, ‘Portrait of Pascal’, ‘Portrait of Chaz’

www.katedockeray.com IG: @katedockeray

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TOP LEFT: JOHN STEELE Collingwood, ON ‘Cocktails’

www.studiosteele.com IG: @studiosteelephotography

LEFT: THEODORA MITRAKOS

Toronto, ON “Hot Pink is part of a still life exploration in colour and minimalism using simple and readily available objects.”

theodoramitrakos.com IG: @theodoramitrakos

RIGHT: CHANTAL CHAPDELAINE Montreal, QC

www.chantalchapdelaine.wixsite. com/chantalphotography

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MAYA DESROSIERS

Ottawa, ON LEFT TO RIGHT: ‘Shelina 2’, ‘Shameen 2’, ‘Shelina 1’, ‘Shameen 1’

www.mayadesrosiersphotography.com IG: @mayadesrosiersphotography

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MICHAEL TUCIAP

Toronto, ON ‘Gender Hue’ “Gender Hue is an exploration of the idea that gender is more than what we put on our bodies. I look at with how we express ouselves through fashion. In this series, I wanted to explore womenswear with a male subject to create vibrant visuals that are against the normative of mens fashion.”

IG: @mt.tiff PhotoED • 47


TOP LEFT: JEFF CURRAN Toronto, ON ‘Happy Hour’

www.jeffcurranphotography.com

RIGHT: MALIK DIELEMAN

Toronto, ON ‘Repeat’, ‘Don’t Drop the Roses’, ‘Dream’

www.malikdieleman.format.com IG: @malikdieleman_artist

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LEFT: ALON RUIZ

Toronto ‘Conne ‘Conne

IG: @a

RIGH WARD

Toronto ‘Tea Tim “Ritual setting session sketche shootin we took pastries result.”

rwards

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NDRA Z-HERNANDEZ

o, ON ections V’, ‘Connections IV’, ections VII’

alondraruizh

HT: D SHIPMAN

o, ON me’ is an important aspect of the stage for a photographic n. I have ideas written and ed out well before I begin ng. Half way through this shoot k a break with tea, fruit and s. The break inspired this

shipman.viewbug.com

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TOM BERTHELOT

Montreal, QB LEFT TO RIGHT: From the ‘Ordinaries’ Series, ‘Candles’, ‘Stationary’, ‘Toothbrush’ “This project is minimalism inspired and features a selection of objects from daily life. The exploration of illustrated aesthetics puts an emphasis on play between colours and textures.”

www.tomberthelot.com IG: @_tomberthelot

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EXPOSURE AN ALBERTA CELEBRATION OF PHOTOGRAPHY BY NICOLA IRVIN

54 •54 PhotoED photo ED


THE EXPOSURE PHOTOGRAPHY FESTIVAL returns in February 2019 for its 15th annual month-long celebration of photography at venues across Alberta. The festival provides unique opportunities for photographers of all stages and backgrounds, and engages audiences in new dialogues.

What started out as a small group of regional photographers exhibiting their work has turned into a major event, with participating artists from Alberta, across the country, and around the world.

LEFT PAGE:

ABOVE:

ELIJIAH BARRETT

KENNEDY HAMLYN

‘Tony (Victoria, TX)’

‘Eloquence’

LEFT:

BELOW:

HALEY EYRE

STEFANIE VILLENEUVE

‘Ladies Don’t Sit Like That’

‘Biotic 001’

Exposure 2019 will feature over 40 exhibitions in Banff, Canmore, Longview, Medicine Hat, and Calgary - the festival’s main hub city. This year’s roster of exhibitions is the most diverse yet, featuring a wide range of subject matter, photographic processes, and photographers. This years Festival HQ is based at the historic Pioneer Building, located in Calgary’s downtown core. Featuring three stories of gallery space, the Pioneer Building will house the annual international Open Call exhibition, the Emerging Photographers Showcase, featuring Alberta emerging photographers, and a solo show of work by Elly Heise - the winner of the 2018 Emerging Photographers Showcase. The festival features collaborative projects like The FENCE by Brooklyn-based partners, United Photo Industries. With its Calgary debut in February 2018, the city became the first and only international host for the work. The large-scale 750-foot-long outdoor exhibition will return to Calgary in 2019 with a special new addition, The FENCE Western Regional Edition, featuring work by eight Western Canadian photographers. Another new special addition to the festival’s roster is the Flash Forward Incubator. In partnership with the Magenta Foundation, a charitable arts-publishing house, three Alberta high schools have been participating in a program, to develop students skills as photographers. Images by participating students will be displayed at the Festival HQ and will be available for sale with 100% of the proceeds returned to the schools’ photography programs.

The festival’s mission is to become a leading local, national and international force for advancing photography. A passionate leadership is inspired by exponentially increasing participation year over year. If you’re unable to visit Alberta this winter, the 2019 festival also includes a new digital initiative with Artsy.net. Exposure is the first Canadian festival to partner with this online art marketplace. For more information about the 2019 workshops, events and exhibitions, visit WWW.EXPOSUREPHOTOFESTIVAL.COM

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We’ve Moved! We haven’t gone far, and we still have all of the great equipment and advice to help you achieve your vision!

Visit us at our new location - 1401 W. 8th Ave Beau Photo Supplies

Vancouver, BC 604.734.7771 1.800.994.2328

www.beauphoto.com info@beauphoto.com

Sales • Rentals Advice beauphotostore

Image ©Mike Mander

Beau Photo

@beauphotostore

www.beauphoto.com/blog

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U CONTENT CREATORS

Start with Us!

With outstanding imaging capability, high-speed performance, and stunning 4K video all contained in a compact body, the Sony α7 III gives you the power, precision, and flexibility to create the level of content you conceptualize.

ORDER YOURS IN-STORE OR ONLINE


Serving the Photographic Community of Ontario Who We Are: • formerly the GTCCC, Greater Toronto Council of Camera Clubs • the only non-profit organization uniting camera clubs in Ontario • we host 29 clubs with over 3000 members across southern Ontario and growing Nicholas Tian, Richmond Hill CC

• Our Mandate: “Provide support and resources to member clubs in order to facilitate the advancement of photographic arts to individual members.”

Benefits to you as a Club:

• Expand your exposure to other clubs and potential members • Access to the Speakers Registry and the Judges List

Susan Kronick, Don Mill CC

• Access to the Judges Course and the Judges in Training Program • Software/training for online submissions and judging • Enter the Open Challenge and gain recognition of your club and its membership • Discounted pricing for Capture, Events, Seminars, Retreats • Product & Retail Sponsor Discounts Our Gold Sponsors:

Linda Wiesner, Mississauga CC

For further information or to join, please visit us at www.O3C.ca

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S P R E A D YO U R C R E AT I V I T Y

CAPTURE TOMORROW

Creativity runs through every frame, every angle and every detail in me. The D5600 makes sharing happen automatically and effortlessly using Bluetooth® and the Nikon SnapBridge app. The sharp, high-quality images transfer as you take them to your compatible smart devices*. The optical viewfinder, vari-angle screen and AF with 39 focus points encourage you to keep shooting and sharing. Play around with my enriching filters and jaw-dropping time-lapse movies. The wide selection of NIKKOR lenses will help you elevate your creations even further. Spread your creativity. nikon.ca * This camera’s built-in Bluetooth® capability can only be used with compatible smart devices. The Nikon SnapBridge application must be installed on the device before it can be used with this camera. For compatibility and to download the SnapBridge application, please visit Google Play® and App Store.

Profile for PhotoED Magazine

PhotoED WINTER 2018/ 2019 DIGITAL ISSUE