A total of 58 community members celebrated Mother’s Day together at the Royal Canadian Legion Branch 394 in Dunchurch.
Legion volunteers, under the guidance of Chef James McMurdo, served a delicious prime rib dinner over two sittings. Chatter and appreciative comments filled the room with a festive spirit.
Louie Palu is a Washington-based photojournalist who has covered multiple conflicts, including Afghanistan and Ukraine.
In 2007, while working as a war photographer in Afghanistan, I faced what you might call a professional ethics test. After a day of heavy fighting in Kandahar, the Afghan and Canadian soldiers I was with needed to evacuate a casualty.
Beatrice Murphy, IED Firenze Master Student
Amidst the cobblestone streets of Chinatown in Prato, Italy, typography has become a bridge between worlds. Beatrice Murphy, a student in the Master’s Course in Graphic Design at Istituto Europeo di Design (IED) Firenze, developed her thesis project by examining and dissecting the bilingual signage of Prato’s Chinatown. Her project aimed to not only reveal numbers and data but also instances of human connection and diversity.
Beatrice Murphy, IED Firenze Master Student
Through a series of booklets and graphic materials, Beatrice transports us into the bustling streets of the neighborhood and its storefronts. Each page of her graphic research offers a glimpse into the soul of her hometown, capturing the daily rhythm of life in photographs and an archive of insights and infographics.
In Prato’s Chinatown, tradition intertwines with innovation and Chinese typography converges with the Italian language in dazzling displays of visual creativity. Beatrice categorized and transcribed more than 90 bilingual store signs, adopting a taxonomic font-based system. Her project is intended to illuminate the intricate dance between these two distinct cultures, celebrating the richness and complexity of Prato’s multicultural identity.
Beatrice Murphy, IED Firenze Master Student
The booklets are bound together by a symbolic red thread—a nod to Prato’s textile heritage—inviting readers to contemplate the interconnectedness of cultures and how diversity enriches our collective experience.
In this graphic exploration of language, signage, and cultural exchange, Beatrice hopes to remind us of the power of human connection and the beauty of diversity in our increasingly interconnected world—a narrative that speaks to the universal longing for understanding and belonging.
Beatrice Murphy, IED Firenze Master Student
Graphic design has transcended its traditional boundaries, becoming a powerful tool to promote inclusivity and diversity. As the media landscape continues to evolve, so does the responsibility of graphic designers to ensure that their work reflects and embraces the richness and complexity of human experiences.
Beatrice Murphy created her work through the Master’s Course in Graphic Design at IED Firenze. Now in its 13th edition, the program works with international students every year to develop unique narratives and study visual languages in a global setting. It hopes to offer a sensitive space for students to communicate their perspectives on important social matters and engage within the current landscape of the graphic design community.
To learn more about the Master’s Course in Graphic Design at IED Firenze, visit ied.edu.
Beatrice Murphy, IED Firenze Master Student
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Credits: Far Out / Contact Photography Festival / Mwangi Gatheca
The Contact Photography Festival in Toronto, Canada, has become the latest in a series of artistic and cultural events around the world to be disrupted by the growing protest movement against Israel’s war on Palestine. The annual event, held throughout the month of May, was advertised as featuring over 250 artists, but that number is now in jeopardy.
Spearheaded by the respective protest groups No Arms in the Arts and Artists Against Artwashing, the festival is the latest in a series of cultural and artistic festivals to be targeted by boycotting due to their ties with Israel. The Toronto festival has been specifically targeted due to its sponsorship by Scotiabank, which has ties to the weapons manufacturer Elbit Systems, which is providing arms to Israel. The protest seems to mirror the recent boycott of The Great Escape music festival across the Atlantic.
Thus far, dozens of artists and exhibitors originally due to appear at Contact have pulled their support from the festival due to the involvement of Scotiabank. One such artist is Umber Majeed, whose exhibition Dil Dil Trans-Pakistan was originally due to appear at the festival. Explaining her decision to boycott Contact, Majeed said, “There’s a war happening and a genocide, and it’s real. I don’t want my work to be associated with that”, per The Art Newspaper.
Scotiabank have been sponsoring the Toronto festival for the past 15 years, making up the majority of Contact’s 28-year history. Reportedly, the bank contributes $500,000 CAD (just under £300,000) per year to the festival, though they have already announced that their sponsorship of Contact will end with the 2024 event.
Darcy Killeen, the festival’s chief executive, revealed that Scotiabank’s move away from funding the festival came as a result of “changing their priorities for what they would fund in 2024″, adding, “They said we had until 31 May 2024, and then that was it”.
It is unclear what the future of Contact Photography Festival will look like without the funding previously provided by Scotiabank. However, the bank’s pull of funding will at least mean that the artists exhibited within the festival will not have to take money from an organisation profiting off of war and conflict.
In addition to Contact Photography Festival, No Arms in the Arts are also calling for a boycott of both the Hot Docs film festival and Giller Prize literary award due to their ties to Scotiabank. The protest group organised a counter-festival to Hot Docs earlier this month, offering an alternative to the original festival without funding from Scotiabank or Elbit.
Every month, members of the Digital Photographer Magazine pro community share essential career advice on being, becoming and improving as a professional photographer.
Here are some answers to recent questions, asked by readers, and following that we chat to Chantal Macleod-Holdsworth about running two businesses in tandem.
Lorna Jones: I’ve always wanted to become a photographer, however, I simply don’t have the luxury, as my current full-time job pays the bills. I also feel particularly anxious at the thought of being self-employed. What would your advice be?
DP: Unless you have financial security, it is hard to make the jump. Being self-employed and running your own company isn’t for everyone, as there are many difficult aspects to it.
Don’t feel bad that you can’t or don’t want to be self-employed – there’s no point in leaving a steady income if your mental health is going to suffer or there’s a danger you’ll be homeless if you can’t pay the bills! Many photographers work multiple jobs or have multiple revenue streams coming into their business – see our interview with Chantal Macleod-Holdsworth, below, who runs two businesses side by side.
If photography is something you’ve always wanted to do, you will get there in the end but, if you want to succeed, you have to make some space for it. Is there a way you could drop your hours by one day a week to free up some time for your photography? Have you looked at the market to see if there are any employment opportunities in the photography profession? Going self-employed is only one way into the industry.
Peter: I’ve never charged for travel in the past as most of the jobs I’ve been doing have been close to home. However, in the last few months, I’ve had a few bookings further afield so I’m wondering what rates other photographers charge?
DP: In business, there are many hidden costs and travel is one of those, so it’s good to get your policy in order. First, you need to take into account your fuel costs and then your time. In the UK, most big companies will compensate mileage claims at 45p per mile. This is also, as I’m sure you’re aware, the amount you can claim against your taxes. So 45p per mile is a good place to start.
You also need to take into account your time. For example, if you travel 100 miles and it takes you an hour each way, that’s 60 minutes of your time plus 100 miles at 45p. Calculate what 60 minutes of your work time costs you, what 100 miles at 45p is and then balance it out. You don’t want to put your client off by charging a fortune for travel but, equally, don’t undervalue yourself as you need to be making a profit.
Lacey Bain: I want to set up a studio as I’m keen to shoot product shots. I only have a limited budget, so what studio lights would you recommend?
DP: The first that springs to mind is the Godox AD200 Pro 200Ws 2.4G Flash Strobe. This light is relatively lightweight, so it’s easy to move about and has a maximum power output of 200W, which is fine for product photography.
If you’re after something more powerful, the PixaPro Lumi 400 II 400Ws studio flash light is a great option and costs only £155 per light. You can also buy kits from PixaPro that come with lights and accessories and have been designed with the budget studio photographer in mind.
Finally, the Neewer S101-400W Pro Studio Monolight Strobe Flash has also been made for those on a budget, and you can pick up this model for £142.
Good luck with your venture!
We talked to Chantal Macleod-Holdsworth about how she is balancing photography and dog-walking…
Tell us about yourself and how you got to where you are today.
I was born and raised in Germany but moved to Scotland in July 2005, when I was 23. For the first eight years, I worked in hotels, but my health kept declining due to an autoimmune illness. I couldn’t handle the hours and stress of hospitality anymore, and I was really unwell.
I left the hotel scene in around 2012, and a friend offered me a part-time job in her grooming salon. It wasn’t really for me but it just reminded me how much I love dogs and with that, Chantal’s Walkabout, my wee dog-walking business was born. At the same time, I took in my dog Jack, who I credit for the person I am today, and his sister, Kalli, came along in 2013. Sadly we lost her in 2020. She was a rescue dog and taught me more than I could have imagined.
At the start, I just wanted better photos of the dogs, so I dragged the Nikon D60 my dad had gifted me a couple of years before out of the cupboard and a new obsession was born. I used my own dogs as well as my dog-walking clients as practice, and Jack and I especially have a close bond because of it but I never thought it would go any further than that. In 2014, I started taking on paying clients and the rest, as they say, is history. Now I enjoy photographing dogs, horses and sometimes even families!
How do you split your time between your photography and your dog-walking business?
The dog-walking business sort of runs itself now. I’m a solo dog walker, which means, for the most part, I only take one owner’s dog (or dogs) at a time. I’ve been going with that for 11 years and spaces are few and far between. Changes don’t happen often, and I don’t have to advertise and all that jazz, which makes it easier to allocate more time to my photography business, CMH Photo.
Would you like to go full-time with your photography business or are you happy with your setup as it is?
The photography business is where I have loads of room to grow, but I’m doing it at my own pace. It’s so much more work intensive with behind-the-scenes stuff, editing, the website and social media, so I am mostly keeping to one or two shoots per week. In the long run, I hope to phase out the dog walking slowly and eventually just do the photography.
Do you ever find it overwhelming running two businesses?
Loads of people ask whether being self-employed is stressful and, sure, it has its moments! But it’s my stress and I can take on as much or as little work as I like.
What advice would you give to anyone else wanting to work as a part-time photographer alongside their other work?
The best tip I can give anyone who is considering being a part-time photographer is to just go for it! Try not to overstretch yourself though, and don’t compare your progress to anyone else.
If you’re looking at going pro, take a look at the best professional cameras. For glass, the best standard zoom lenses are a good place to start!
