A selection of photographs from Thomas Gardiner's Western Canada project.

Bill Jeffries conjures a counter-spell to reverse the effects of Bill C-38 by altering "spirit photographs" of Stephen Harper.

From Biliana Velkova's Silver Centre Series, a found photography project exploring seniors’ leisure activities.

A snapshot in the life of Hiroshi Morita: nuclear bomb survivor, Canadian interment camp inhabitant and prolific photographer of Toronto.

Photographer Ross C. Kelly takes repeated images of cityscapes over a period of time in order to create collages.

The arctic photography of Bogdan Luca.

George Webber visits and photographs the largest independent adult video store in Calgary.

At Au Lutin Qui Bouffe, patrons were photographed pulling the tail of a beribboned piglet that was wheeled on a cart from table to table.

A look at the notable seance photography of Dr. T. Glen Hamilton.

The photographer’s darkroom, with its iconic red light, has long been favoured by makers of thrillers and mystery movies.

Individual photographs of couples are superimposed to merge two partners into one person.

Rituals, prayers and patience—holidays during a pandemic.

Shots of abandoned Olympic sites–decaying sports arenas and decrepit swimming pools.

Libby Simon remembers the old wooden floor radio that brought Papa news of the war announced by the Voice of Doom.

Creative inspiration and the meaning of art can be found anywhere—often by accident.

A photo recently exhibited as a part of George Webber: Portrait at the Art Gallery of Calgary.

One of the first pleasures of taking pictures is finding out what something looks like when it gets into a photograph. This is often what motivates young photographers, who are always surprised (sometimes delighted and sometimes horrified) by what th

The Asian economic crisis of 1997 crippled real estate development in Bangkok, but it also provided unexpected opportunities for some of Thailand’s poorest people—and their elephants.

For centuries the Saharawis have called the desert home, but they don't belong here. At least not on this side of the Wall.

The special responsibility of those who chose to live in suburbia was to be “happy”: happiness was the point of suburbia, and its great moral burden.

These two portraits (of John Jackson of Toronto) were taken by Andrew Danson Danushevsky and are separated by an interval of eighteen years.