Off the Page: Julian Brave NoiseCat

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Julian Brave NoiseCat. Photo: Xidi Ma.

Off the Page is a regular interview series featuring National Magazine Award winners and finalists. We recently spoke with writer Julian Brave NoiseCat, finalist for the NMA 2018 Best New Magazine Writer for his feature “The Tribal Canoe Journey.

A recipient of the 2017 CJF-CBC Indigenous Journalism Fellowship, Julian is a correspondent at Real America with Jorge Ramos, contributing editor for Canadian Geographic and a freelance writer. His work has appeared in The Guardian, The Nation, The Paris Review and many other publications. He is a proud member of the Canim Lake Band Tsq’escen and a descendant of the Lil’Wat Nation of Mount Currie.

Your article on the Tribal Canoe Journey mentions traditional oral histories. You make an interesting comment of how calling these stories legends or fables “infantilizes” them. Do you think this undermines the culture?

The direct answer is I think that it can. Words matter, and the language we use to describe them affects the way we think about them. I’d like to view all sorts of stories, whether they be more traditional origin stories or masterful multi-volume novels, as all part of an interrelated practice of storytelling.

How important do you consider these traditional stories to Indigenous culture, in terms of understanding the culture and continuing it?

I think they’re obviously important, but so are new writers and novels. For example, Tommy Orange’s book There There. They’re all very important.

The story of the first symbolic canoe expo, coming out of a centennial celebration, and your description of it as “Thanksgiving in reverse” was also interesting. Canada recently celebrated its 150th anniversary, and there was much discussion in the Indigenous community about what that meant in their history. Do you think these moments in time, where there is a heightened lens on Indigenous issues,  could be turned around to an advantage, like the examples in your article?

Yes. I think there’s a way of seeing these events as somewhat one-sided, but I think it’s often more complicated than that. If we look back at Canada 150, Canada’s celebration of its 150 years was, in comparison to other centennial celebrations in Canada, quite cautious and tepid. At the same time, Indigenous protests of and counter-narrative to Canada 150 was really powerful.

I do think that is ultimately what can happen, especially when we have such a strong Indigenous movement like we do today.

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Photo: Julian Brave NoiseCat

Your article “The Rhodes scholarship wasn’t designed for my people — that’s why I had to win,” really captured the kind of conversations Indigenous men and women experience all the time. Questions about taxes, land-ownership, and typical family structures tend to take focus when someone finds out you’re Native.

How have you learned to respond to? Your article features some inner monologue about how you would have liked to respond, but didn’t. Have these gotten any closer with experience?

I would say that it’s always sort of a process, knowing that is the climate and structure we are up against, but also becoming increasingly confident and comfortable in our own skin. And believing that despite forces aligned against us, we can come into these spaces and succeed. In the world of journalism, we can show up at newspapers and magazines, and write stuff just as good or maybe even better than our peers. We can go into the halls of power and political situations, into jobs and corporations, and do a kick ass job.

In that one instance, it was quite a challenging experience for me, even when I reflect back on it. But ultimately it also did prepare me for the next interview where that happens, the next situation where my race leads people to challenge me, question me, or undermine me in particular ways.

What was it like interviewing Connie Walker, who’s such a prominent Indigenous journalist, as a young Indigenous journalist yourself?

I think what’s really cool about journalism is that you get to talk to all these awesome people. Connie Walker was an awesome person to talk to, but there’s also been many other cool Native and non-Native people I’ve had the opportunity to talk to. That’s what I find really cool about journalism. That opportunity not only just to write the story, but to talk to people who are experts, who have lived the experience you are trying to relate to your readers.

In your interview, she mentions how she is almost now exclusively reporting on Indigenous issues, where ten years ago there was little to no interest. Do you agree it’s an opportune time for young Indigenous writers to have their voices heard?

Absolutely. [In that interview] we talked a lot about digital technology. There’s a lot more opportunity for entry. There’s more blogs, there’s new publications starting up all the time. There’s a lot of writers who get their start on Facebook and Twitter. For Indigenous writers, a community who has something to say and add to the conversation, that technology shift is a big opportunity to us.

On the flip side though, I worry sometimes that there is going to be, as Harold Cardinal [Cree writer and political leader] wrote about in the 60s and 70s, a “buckskin curtain”. That we will be confined to reservations of not just literal geography, but also of political discourse, of journalism, of career opportunities. That we will be constantly cast as Indigenous people who only talk about Indigenous issues.

And to me, on a continent that has taken so much from First Nations, everything is in some way an Indigenous issue. And Indigenous people should have a say on all of the issues of the day, whether that be the rights of our community, or questions of economic equality, justice or immigration. We clearly have something to say about all of these things.

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Photo: Julian Brave NoiseCat

Do you think Indigenous people have a certain responsibility to their culture? To learn it, and continue it. In a way that other cultures may not with the same urgency? And how would you suggest going about this? You’re an accomplished writer and activist, but how can anyone become involved?

I think all cultures have a lot to offer. I think culture is just fundamentally cool, and I don’t think that it is exclusively an Indigenous thing. Obviously, we have a particular history of our culture being under attack. So I think that creates a certain imperative to maintain, strengthen and carry forward our culture, but I think those cultures are constantly changing.

Our culture is not exclusively the traditions of our grandparents, or the generations before them. They’re also the things that Native youth are today with in Winnipeg with hip-hop, Native actors and directors are doing today in Vancouver, or any of the things our fantastic writers are doing with the written word. I think that it’s all of those things.

What are some of your next projects, or goals for the near future?

I have conversations constantly with different publications about articles that I’m writing. I recently got back from Paris where I spoke at the Festival America, which is a North American-focused literature festival. I’m writing a couple of pieces about that, about the history of Indigenous travellers in Paris, and Indigenous artists and writers passing through there today. Playing with the question of “What is Indigenous Paris”? And in the longer term, I’d love to write a book. I’ve been getting queries from publishers and agents, and I’m in the early stages of figuring out what that book would be about.


Julian Brave NoiseCat is a correspondent at Real America with Jorge Ramos, contributing editor for Canadian Geographic, and freelance writer whose work has appeared in The Guardian, The Nation, The Paris Review, and many other publications. He was a finalist for a National Magazine Award, Best New Magazine Writer in 2018. A proud member of the Canim Lake Band Tsq’escen and descendant of the Lil’Wat Nation of Mount Currie, he resides in Washington, D.C.

Interview conducted by Tobey VanWeston.

Submissions for the 42nd National Magazine Awards are now being accepted! Magazines and creators are invited to submit their best work of 2018 in 29 categories, including the prestigious Best New Magazine Writer category. The final submissions deadline is January 18, 2019. Click here to begin the submissions process.

Off the Page: Lauren Tamaki

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Off the Page is a regular interview series featuring National Magazine Award winners. In this interview, we catch up with Lauren Tamaki. Lauren is a Canadian illustrator who currently resides in Brooklyn, New York. At the 41st annual NMAs, Lauren won Gold in the category of Illustration, for “Get the Scissors,” published in The Walrus. Read on to learn more about her creative process, use of acrylic ink, and future projects.

tamaki1.pngThe visuals you created for this comedic piece balanced perfectly with a harsh reality for women everywhere. You bridge the gap so seamlessly between the text and visual and you and Scaachi perfectly complement each other to appreciate humour all the while documenting hardship. The story challenges cultural codes and conventions of femininity—did you consider the social undertone a privilege or a responsibility to represent in your work, and what were the most important story arcs in Scaachi’s editorial that shaped your work?

When illustrating an article, I feel responsibility to the author! Because Scaachi’s book (the piece was an excerpt from her book One Day We’ll All Be Dead and None of This Will Matter) is about the experience of a woman of colour and women’s bodies, it’s inherently political. The STRUGGLE was what I wanted to communicate in the illustration; you feel the desperation mount as the story progresses!

The projects featured in your online portfolio experiment with a lot of watercolour. Do you like to be variant with your use of media choice and do you strategically chose particular media for each project you do?

Everything you think is watercolour on my site is actually coloured acrylic ink. I think choice of medium and the application of that medium plays a big part of a final piece—black ink can be swooshy and fun or very precise, for example. I chose to go with frantic pencil vibes for Scaachi’s story because it suited the mood perfectly (tornadoes of scribbled hair, etc).

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On your website, you have completed illustrations under the subject ‘Runway’ in your Fashion and Beauty category. In comparing these two projects from the ‘model’ to dealing with body image and identity, how did you shift gears into “Get The Scissors” to offer a distressing dressing room experience instead of a glamourous one?

It’s a joy and a responsibility to depict women of all shapes and sizes. It’s not a hard mental shift for me to go from fashion to something more realistic. The story did not call for a glamourous vibe—it details something SO many of us have gone through, so I wanted it to be grounded. Even though Scaachi is a pretty glamorous woman, she keeps it real, as the kids (used to) say.

In 2017, you sketched the Bill Cosby Trial for The New York Times. In 2009 you graduated in Fashion Design and in 2011, you went on to graduate with a second Bachelor of Arts in Design. What initiated the transition from fashion and design into editorial art?

I always knew I wanted to be an illustrator… my fashion design degree was a way of putting it off, to be perfectly honest. I worked in the fashion industry only eight months before I went back to school for Visual Communications at ACAD, which was the best decision of my life! All I’ve ever wanted to do is draw.

In the future, in what area and for which platform to do you want the focus of your work to be in?

More fashion please! I know I’ve been downplaying the whole fashion thing, but I do really really love it. I was never meant to make clothes, but I sure do love drawing the visions of fabulous designers. I’ve also always wanted to do a series for an opera (COC, looking at you) or a series for a theatre season!

 

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You have worked with an extensive list of clients and your ‘bragging’ section online is an archive of recent awards, including your NMA award. What does your Gold Illustration Award mean to you as an artist?

It was quite a surprise! The Walrus submitted the illustration, which meant I forgot about it, so when I got the email about the nomination, I was like… neat!!! When I walked into the awards show and saw the scale, the time and care that had been put into every aspect, then I started to get nervous! Winning the gold was very unexpected. The Scaachi illustration was simple and the other nominees had really involved, detailed pieces! I was blown away. The fact I made an illustration in a style I care about won something? Incredible.

Which Canadian publication is on your radar to work with next?

I would love to illustrate more books and there is no shortage of incredible publishers in Canada—Tundra, Drawn & Quarterly… In terms of magazines, there are so so many beautiful Canadian publications… and they all should call me! Haha! Also, 48 North just released a stunning magazine called Latitude that I’d love to work on.


In addition to her National Magazine Award, Lauren has been recognized by the Society of Illustrators, Society of News Design, and American Illustration. Her most recent project involved illustrating Caroline Paul’s book, You Are Mighty: A Guide to Changing the World (Bloomsbury, May 2018). You can read more about Lauren’s work here.

Interview conducted by Bethany Browne.

The call for entries for the 2019 National Magazine Awards opens on December 17, 2018. Click here for more information on submissions.

Winners’ Circle: an exclusive event from the National Media Awards Foundation

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On Tuesday, May 29, the NMAF will present Winners’ Circle, a special event that will bring together award-winning and nominated writers, editors, artists, art directors to meet, mingle, pitch and learn about the value of diversity.
All National Magazine Awards winners, and past and current finalists are invited to join us at One King West Hotel in Toronto, from 12pm to 2:30pm for this exciting learning and networking activity. The event is FREE and includes a lunch for attendees.
The Value of Diversity: A Panel Discussion
The two-part event will begin with a panel discussion moderated by the national columnist for StarMetro, Vicky Mochama. A regular columnist for the Toronto Star, Vicky writes about issues at the intersections of race, politics, gender and migration.
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Vicky will be joined by panel members Andree LauEternity MartisHadiya Roderique and Kyle Edwards for a discussion around the theme of diversity in the media.

 
Fast Pitch
After the panel presentation, it’s time to mingle and network with your peers. We’ll be facilitating introductions between writers, artists, editors and art directors. If you’re planning to attend and would like to have a chance to sit down with an award-winning writer/artist or an award-winning magazine editor or art director, let us know: events@magazine-awards.com.
We’re looking forward to welcoming you on May 29 from 12 to 2:30pm at One King West Hotel in downtown Toronto.
All nominees and winners from the National Magazine Awards are invited to attend. Contact us to RSVP or request more information. Please RSVP by May 23. Space is limited and available on a first come basis.

Joyce Byrne to Receive the 2018 Foundation Award for Outstanding Achievement

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The National Media Awards Foundation (NMAF) is proud to present the 2018 Foundation Award for Outstanding Achievement to Joyce Byrne, publisher of Avenue Calgary at RedPoint Media & Marketing Solutions.
If you are passionate about Canadian publishing, you have met or worked with Joyce. Described as a “champion of magazines,” Joyce has an all-in approach to her work that makes her stand out.

“Joyce doesn’t look for easy,” notes Penny Caldwell, former editor and publisher of Cottage Life. “Since bursting onto the magazine publishing scene, she has consistently reached beyond her own sphere to help others.”

Just before launching her career in the early 2000s, Joyce took a publishing course with D. B. Scott at Ryerson University. There, she met Anicka Quin, who is now editorial director of Western Living and Vancouver magazines. Quin recalls the meeting: “[Joyce] was there with her wicked sense of humour, and she quickly stood out as one of the only ones there who was really ready to be a part of this industry.”
And ready, she was. During her tenure as publisher of This Magazine, from 2001 to 2005, the publication excelled on the business and editorial side.

This Magazine has only been nominated once in its 52-year history for Magazine of the Year at the National Magazine Awards and it was during Joyce’s time as publisher, a testament to her leadership and the excellent magazine it produced,” notes Lisa Whittington-Hill, Joyce’s successor and current publisher of This.

In 2005, Joyce left This Magazine in the capable hands of Whittington-Hill and moved to Edmonton, joining award-winning Venture Publishing as vice-president and associate publisher. There, she focused her work on Alberta Venture and unlimited magazines. In 2008, unlimited became the first Alberta-based magazine to win a National Magazine Award for Art Direction of an Entire Issue, a remarkable achievement for the team of the newly launched publication. During that time, Joyce also helped launch Eighteen Bridges, a literary magazine with an impressive collection of National Magazine Awards.
In 2014, Joyce moved some 300 kilometers south and became publisher of yet another celebrated magazine: Avenue Calgary. So brilliantly has she led the team of the award-winning lifestyle publication that her role was recently expanded to group publisher.
As a publisher, Joyce favors a collaborative approach.

“While she knows so much about the industry and magazines—from an encyclopedic knowledge of cover concepts published around the world to an up-to-the-minute grasp on the leading ideas about where the industry is going and how to improve sales—she is a great collaborator and listens to ideas and input from all levels of her staff,” affirms Käthe Lemon, editor-in-chief of Avenue Calgary.

“Of all the people I’ve worked for or with, I have rarely if ever had the opportunity to work with anyone more dedicated to the magazine publishing industry or who loves magazines more—indeed, I’m not sure such a person exists,” Lemon adds.
A quick glance at her career illuminates Joyce’s commitment to magazine publishing. Throughout the years, she has worked with magazines ranging in topics from trade, politics and literature to business and city life, and remains as passionate as ever about magazines. In addition to her role as publisher and her various pro bono commitments, Joyce still lends a hand as a proofreader for the semi-annual literary magazine Taddle Creek.

“Volunteering is something we’re all supposed to do, to give something back to our community and our industry,” observes veteran magazine writer David Hayes. “Most of us have the best intentions. Some of us manage one or two commitments around our busy lives. Joyce is a tireless volunteer for countless causes, mostly associated in some way with magazine publishing or writing, in addition to all her paid duties.”

To say that Joyce’s volunteer experience is impressive would be an understatement. She served as a director of Magazines Canada from 2002-2012, where she sat on the public affairs and small magazines committees, curriculum development task forces, and the professional development committee, which she chaired from 2007-2013. In addition, Joyce has served on program development committees for the Ontario Media Development Corporation, on the board of Word on the Street (Toronto)—where she helped develop the successful Canadian Magazines reading tent—and on the board of Edmonton’s Theatre Network. In 2008-2009, Joyce chaired the Advertising Club of Edmonton (ACE) Awards, and from 2010-2014, the Edmonton Cannes Reel Screening fundraiser for National Advertising Benevolent Society (NABS). In 2013, Joyce received the ACE Fellowship Award, and was also named to the NABS Honour Roll the previous year.
Joyce has also served as a director of the National Media Awards Foundation, including a two-year term as president, and still remains involved as a board member. An industry builder, she is currently president of the Alberta Magazine Publishers Association (AMPA) and a director of both the National Advertising Benevolent Society (Western Chapter) and the International Regional Magazine Association (IRMA).
Her efforts are noted and lauded by colleagues.

“I would be hard pressed to find a publishing professional more enthusiastic, engaged and knowledgeable about the magazine media industry than Joyce Byrne. She is a champion of the industry—its people, products and readers,” says Suzanne Trudel, executive director of the Alberta Magazine Publishers Association.

Earlier this year, AMPA recognized Joyce’s publishing expertise by awarding her its Achievement in Publishing Award.
For her dedication and enthusiasm for a stronger and more inclusive Canadian magazine industry, her tireless advocacy for service and volunteerism, and her inspiring leadership in magazine publishing, the National Media Awards Foundation is proud to honour Joyce Byrne, a self-proclaimed “magazine junkie,” with the 2018 Foundation Award for Outstanding Achievement.
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NOMINEES – 41st NATIONAL MAGAZINE AWARDS
Finalists for the 41st National Magazine Awards will be announced tomorrow, May 1, 2018 at 10am ET on www.magazine-awards.comblog.magazine-awards.com and on Twitter at @MagAwards. The 41st National Magazine Awards gala is set for June 1, 2018 at the Arcadian Court.  Join us to Celebrate Canadian Creators. Tickets will be on sale on Tuesday, May 1.
 
ABOUT THE OUTSTANDING ACHIEVEMENT AWARD
The NMAF’s most prestigious individual prize  is the Foundation Award for Outstanding Achievement, an award that recognizes an individual’s innovation and creativity through contributions to the magazine industry. The award is open to circulation experts, editors, marketing, sales and promotion professionals, publishers, creators, designers, production managers – in short, to everyone in the industry. It cannot be given posthumously.
The Judging Committee of the National Media Awards Foundation considers the nominations, along with nominations from members of the Committee itself. The Board of the National Media Awards Foundation selects the winner. For more information and previous winners, visit magazine-awards.com/oa.
Photo of Joyce Byrne by Jared Sych.

Off the Page: Terence Byrnes

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Terence Byrnes (Photo: Patricia Woodburn)

Off the Page is a regular interview series featuring National Magazine Award winners. In this interview, we chat with Montreal-based writer and photographer Terence Byrnes. Last year at the NMAs, Terence was awarded the gold medal in the category of Photography: Photojournalism & Photo Essay for “South of Buck Creek.” Byrnes succinctly captures the premise of the photo essay by way of a subheading: “A Canadian memoir of black and white in America’s unhappiest city.”  Read on for Terence’s thoughts on maintaining sympathetic neutrality towards the residents of Springfield, Ohio; smart phones and the democratization of photography; and his advice for emerging photographers.

First, congratulations on winning gold at the NMAs for “South of Buck Creek,” published in Geist. Your photo essay describes Buck Creek as a “cabinet of wonders.” In your career as a photographer, have you found other subjects, or places, that could be described as such?

I shot for a while in Buffalo when that city was among the rustiest of rust-belt towns. The industrial desolation, abandonment, and sense of fallen empire were awe-inspiring. In a residential area, I saw a man, wearing only dirty white briefs, roasting a wiener in a hubcap where he had built a fire with twigs. This was at the end of a street of McMansions protected with black iron grillwork over every door and window. Is that a wonder? I don’t know.

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The essay portion of your piece notes that you took approximately 10,000 photos of Buck Creek, over a span of 45 years. How do you organize all of your photos?

Ten thousand was a guess. It’s more than that. Many are negatives, with some chromes. I worked from proof sheets to produce scans on a Nikon scanner. I moved to digital capture in 2003. Lightroom keeps track of it for me.

Do you have an absolute favourite from those 10,000 photos?

One day, I was photographing an oddly shaped building—it may even have been a skinny parallelogram—that housed a bar. “Bob City” was painted on one end of it. Railroad tracks, a sidewalk, and several streets converged and diverged behind the building, and dandelions had popped up in a patch of grass in front of it. I spent about 45 minutes finding the right position and height to put these elements into proper relation with each other. When I processed the film (this was probably 30 years ago) air bubbles had stuck to the best frame in the series, rendering it unusable. Wanting to salvage that frame eventually led me to early digital scanning of negatives and moved me out of the darkroom to the screen, where I patched the bubbles. I can’t say if this image was an “absolute favourite,” but it’s got a lot of history stored in it.

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Within the first few pages of the photo essay, we jump from the sixties with “Terria (1966)” to the early 2000s with “South of Buck Creek” (2001), then to the 90s, with “Joy (1999).” What were your intentions behind the non-chronological organization of this photo essay?

“Intuitions” is probably a better word that “intentions.” When you establish an order for a photographic series, some arrangements just look better. I suppose I want the eye to re-orient itself to the formal elements of each image so the photograph is actually seen. Also, ordering by year suggests development of some sort, or it implies a narrative. As it was, the images themselves were my first priority.

Very early on in the photo essay, you state that your role in Buck Creek shifted from spectator to participant. Certainly, that theme—of your enmeshment in the Buck Creek community—runs throughout: there’s the “crazy moment” when you “fantasized about adopting” one of the boys from the Vision for Youth residence; you carried the “Friends (1977)” photo around for years, hoping to eventually deliver it to one of the photo’s subjects, “scary guy.” What challenges came along with crossing that line from spectator to participant?

Great question. I had to maintain sympathetic neutrality toward everyone and to learn—more than once— that folks who looked down-and-out could be as smart, respectful, and as deserving of respect, as anyone else. Honesty and openness were crucially important. A subject might say, “Take my picture, but don’t ever use it,” and my agreement would have to be as good as gold.  People were blown away when I would come back a year later with free photographs. That’s how the street cred developed. Of course, there were rough spots and challenges that were both emotional and physical. I saw families living in misery and stripped of dignity thanks to bad luck, fear of gang activity, and profound physical and emotional disability (with no health care or institutional support). You want to help, but you can’t.

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“Marriage (1998)” features a woman in her bikini, with her two twin daughters. The narrative portion states, “In the later years of this project, women wouldn’t so easily agree to have their pictures taken. They were afraid, as one told me, that their faces would appear atop a nude body on the Internet.” It seems that while the Internet has encouraged people to document their lives—via Facebook, YouTube, Instagram—it’s also made it more difficult for photographers to act as the documentarian. Are there other ways in which the growth of social media and the shift to digital have impacted your career as a photographer?

Camera phones have, in a sense, radically democratized photography and, for many people, have done away with the cachet of the physical print. Academic criticism and identity politics have also had a less than salutary effect on the documentary form. Some months ago, I glanced outside my window here in the Point-Saint-Charles district of Montreal and saw an 11-year-old boy got up in a home-made superhero costume, holding a garbage can lid as a shield. I knew it was pure Arbus, but couldn’t resist. When I asked the boy if I could take a photograph, a teenage girl ran up and began shouting at me. Her assumption—thanks to her familiarity with internet images—was that I was about to do something that was immoral as well as illegal.

Your first camera was an Agfa Ambi Silette loaded with Tri-X film. These days, what’s your camera of choice?

Actually, before the Agfa, there was a Kodak “Pony,” which I had forgotten. You’ve caught me at a crossroads now, though. Should I move up from my Nikon D810 to the new D850 or switch to the mirrorless Sony A7R III? Probably the new Nikon.

In 2008, you published Closer to Home: The Author and the Author Portrait, which you had worked on for 10 years. That means that there was some crossover between the literary portraits and Buck Creek. What similarities were there between these two seemingly very different projects?

Both were closer to the subjects’ homes than to the studio. I tend to shoot on-site and to make it up as I go along. This can produce really banal results, but also great surprises in lighting, posture, expression, and mood.

What was the impact—personally and/or professionally—of winning a National Magazine Award?

I think it makes me an easier sell to editors who don’t know me. And if I pitch an idea, I’m more likely to be listened to.

What advice would you offer to a young photographer?

The advice I give myself is often so disastrous that I should keep my own counsel. That said, I think of current work that catches my eye. I love the work of Tamas Deszo, Sebastián Liste, and Ruth Kaplan. Or Michel Huneault’s photographs of Lac Mégantic after the train disaster. There are some wonderful documentarians out there who do far more than record event. I would have been interested in photographing the refugees/migrants who streamed across the border in Quebec’s Eastern Townships in the belief they would find a home in Canada. Good projects don’t have to be topical, but they do have to be fresh.


Previous to Byrnes’ NMA gold award, he received two NMA honourable mentions. The first was in 2009, for “The Imagined Portrait” published in Queen’s Quarterly. The second was in 2012 for “The Missing Piece,” published in The Walrus. For more information on Byrnes’ photography and writing projects, please visit his website

Interview conducted by Leah Edwards.

The call for entries for the 2018 National Magazine Awards is open now until January 22.