What do you love about a great portrait? Is it the ambitious styling or location of the shoot? Perhaps an innovative photographic technique or angle that captures your attention in a way that’s fresh and original. Or is it simply the singular photographic moment–the way the subject or subjects, frozen in time, reveal their innermost selves through the lens–that makes the reader desirous of the story?
The National Magazine Awards jury reviewed a great selection of candidates for Best Portrait Photography, an award generously sponsored by Steven Goetz Storytelling, official photographers of the 40th anniversary National Magazine Awards.
On April 20 we announced the nominees for the 40th anniversary National Magazine Awards, and we are excited to welcome Canada’s best photographers, art directors, stylists, writers, editors, and more to the gala on May 26. [Tickets]
Here’s a close-up look at the nominees for Best Portrait Photography.
Deep Impact The Kit Compact Luis Mora, photographer Jessica Hotson, art director Rani Sheen, editor
Contributors: Veronica Saroli, Jillian Vieira, Julie Cusson, Wendy Rorong
The winner of the National Magazine Award for Best Portrait Photography will be announced on May 26 at the 40th anniversary NMA Gala in Toronto. Tickets are on sale now.
Check out all the nominees for the 40th anniversary National Magazine Awards.
Follow us on Twitter @MagAwards for all the nominations news and an awesome live feed on the night of the gala. #NMA40.
This year, 197 Canadian magazines from coast to coast to coast—English and French, print and digital—entered the best of their editorial and design work to the National Magazine Awards, submitting the work of more than 2000 writers, editors, photographers, illustrators, art directors and other creators.
The NMAF’s 112 volunteerjudges have nominated a total of 202 submissions from 75 different Canadian magazines for awards in 25 written, visual, integrated and special categories.
“We’re thrilled to announce the nominees for the 40th anniversary National Magazine Awards. More than 200 Canadian creators—writers, photographers, illustrators, designers, poets, and more—are up for awards in 25 categories. My thanks to our judges who have done a rigorous job over the past few months evaluating the best work in the country. It’s been a significant year for Canadian storytelling, as the impressive caliber of the nominees attests. We’re looking forward to celebrating the best of Canada’s creative talent together at the Gala on May 26.”
—Nino Di Cara, President, NMAF
Gold, Silver and Honourable Mention awards will be announced at the Arcadian Court in Toronto on May 26, at the 40th anniversary National Magazine Awards gala. Gold Awards in Writing and Visual categories include a cash prize of $1000. Tickets are on sale now. A limited number of tickets for nominated freelancers will be available at the discount rate of $35, thanks to the support of our Table Patrons.
TOP NOMINATED CREATORS
Edmonton freelance writer Omar Mouallem leads all creators with 4 nominations for 4 different stories published in 4 magazines (Avenue, Hazlitt, Sharp, University Affairs).
Writer Richard Kelly Kemick is nominated 3 times—twice in Fiction and once in One of Kind, which he won last year—for stories in 3 magazines (Geist, Maisonneuve, The New Quarterly).
Quebec writer Catherine Perreault-Lessard is also nominated 3 times for 3 stories published in Châtelaine, L’actualité and Ricardo.
Maclean’s writer Nancy Macdonald is also nominated 3 times for 2 different stories.
The Walrus writer/editor Katherine Laidlaw is nominated twice as a writer, and she is also the handling editor on 6 other Walrus stories nominated for National Magazine Awards.
Other writers nominated twice include Bruce Livesey (Report on Business), Jason McBride (Canadian Art, Toronto Life), Mark Pupo (Toronto Life), and Naël Shiab (L’actualité).
Illustrators Byron Eggenschwiler (Vancouver Magazine) and Gérard DuBois (L’actualité) are each nominated twice.
Photographers Peter Ash Lee (Corduroy), Chris Nicholls (FASHION Magazine) and Virginia Macdonald (Air Canada enRoute) are each nominated twice.
The 40th anniversary National Magazine Awards honour the best in Canadian magazine journalism from 2016. Some of the most frequent topics that our judges saw among this year’s entries include:
Among this year’s nominees, some of the top stories include:
“Justice Is Not Blind” (Maclean’s)—a nine-month investigation by Nancy Macdonald and the Maclean’s team looking at the ways in which Canada’s justice system is biased against Indigenous people. Nominated in Longform Feature Writing and Investigative Reporting. .
“Company Province, Provincial Company” (Report on Business)—journalist Bruce Livesey’s investigative profile of the Irving family and the politics of New Brunswick’s energy sector. Nominated in Longform Feature Writing and Investigative Reporting. .
“The Fighter” (United Church Observer)—a stirring portrait of Willie Blackwater, a B.C. Indigenous man who survived a residential school and then led the fight for justice, written by journalist Richard Wright. Nominated in Longform Feature Writing and Profiles. .
“Love Your Body” (NOW Magazine)—a series of bold photographs by Tanja-Tiziana accompanying a set of profiles on the issue of body shaming. Nominated in Portrait Photography and Best Words & Pictures. .
“Whatever Happened to Michael Bryant?” (Precedent)—writer Daniel Fish investigates the life and times of the former Ontario Attorney General, whose involvement in the killing of a cyclist led to PTSD, years out of the spotlight, and finally a path to redemption. Nominated in Professional Article and Profiles. .
“Canada’s Best New Restaurants” (Air Canada enRoute)—the annual guide to Canadian culinary innovation by Andrew Braithwaite and the enRoute team is nominated in Service Journalism and Best Editorial Package. .
Magazines nominated for their first National Magazine Award include:
The NMAF gratefully acknowledges the support of the Government of Canada, the Ontario Arts Council, and the Ontario Media Development Corporation. We are also thankful for the support of Access Copyright, Alberta Magazine Publishers Association, Bookmark, Canadian Media Guild, Canadian Writers Group, CNW, ExpertWomen.ca, Goetz Storytelling, Impresa Communications, Rolland Enterprises, Studio Wyse, TC Transcontinental Printing, and Very Good Studios.
For sponsorship enquiries please contact NMAF Managing Director Barbara Gould at firstname.lastname@example.org.
The NMAF will welcome Canada’s top writers, artists, editors, art directors, publishers and other creators to the 40th anniversary National Magazine Awards gala. Gold, Silver and Honourable Mention awards will be announced at the Arcadian Court in Toronto on May 26. Tickets are on sale at magazine-awards.com. A limited number of tickets for nominated freelancers will be available at the discount rate of $35, thanks to the support of our Table Patrons, including Access Copyright, Bookmark, Alberta Magazine Publishers Association, Canadian Media Guild, Canadian Writers Group, CDS Global, and ExploreWomen.ca.
Gold winners in Writing and Visual Awards categories receive a cash prize of $1000. Silver winners receive an awards certificate. All other finalists receive Honourable Mention.
The deadline to make any changes to nominations credit is Friday April 28. Email email@example.com to make any credit changes to your nomination.
Download the complete list of nominations (PDF) to check your nominations credit.
ABOUT THE NMAF
A charitable foundation, the NMAF’s mandate is to recognize and promote excellence in content creation of Canadian print and digital publications through an annual program of awards and national publicity efforts.
The Foundation produces two distinct and bilingual award programs: the National Magazine Awards and the Digital Publishing Awards. Throughout the year, the Foundation undertakes various group marketing initiatives and professional development events.
Off the Page is a regular interview series featuring National Magazine Award winners. Recently we spoke with Adrian Forrow, who won his very first National Magazine Award in 2016, winning the Gold Medal in Illustration for his series of illustrations featured alongside the article “My Prescribed Life” (The Walrus). The story is a memoir about the longstanding link between mental health and prescription dependency, and it also received an Honourable Mention for Best Health & Medicine article.
NMAF:As splashes of colour that break up pages otherwise saturated by text, magazine illustrations give the reader a welcomed break, a moment’s pause before they jump back into reading. What do you think the role of an illustration is for people reading magazine articles?
Adrian: The role of editorial Illustration should be additive. It should help set the mood of the forthcoming text. The image can help evoke visual interest and transport the reader to a place where ideas and understanding intersect.
NMAF:What details do you need before you can properly begin your creative, designing process? Are there certain elements or information that your client or partner needs to relay, in order for you to develop your concept?
Adrian: What I find that works best for me is to receive the brief and the text and really absorb the core idea before putting pen to paper. Once I feel I have a grasp of the idea, I might discuss the tone of the imagery that I feel is best for the article. This is where collaboration can happen with the art director and it’s a great way to help inform your imagery. I try not to think about the imagery at this stage–just the mood, atmosphere and tone of the picture.
The other detail that is critical for my process is the dimensions of the image. It’s really important for me to consider the whole compositional area. The dimension can ignite my conceptual approach and really make the art feel customized to the space available.
NMAF:You won Gold in Illustration at last year’s National Magazine Awards for your pieces featured in a memoir called “My Prescribed Life.” The story, published in The Walrus, discussed the link between the author’s mental illness and related dependence on medication. How did the subject matter of the memoir influence your creative conceptualization for the piece? How did you decide what tone would be most appropriate?
Adrian:This was a great article and so interesting. It was a delicate and somewhat saddening topic. I knew the colours were going to be really important. I didn’t want to do what was expected. I knew I had to take an approach that might have to be more ambiguous and surreal.
I didn’t want to use this illustration to summarize or define the problem. Instead my intent was to ask a question or pose a contemplative composition so the viewer would be left to decipher the visual symbols that I included.
The colours were mostly primary and that helped carry the idea of youth and aging. The colours also helped to create a surreal or even jarring feeling in relation to the content. The goal was for the colours and composition to carry ideas about an altered state of reality.
NMAF:Your Gold win last year was also your first time being recognized by the National Magazine Awards Foundation. How does winning awards for your illustration work help you, on both a personal and professional level?
Adrian:It feels great to know that my work is being received and appreciated within the industry. Personally, it helps to motivate me to keep developing my skills as a visual communicator. Professionally, it helps to open doors and possibilities for new and exciting opportunities.
NMAF:Your work has adorned coffee cups, been part of the creative for major music festivals and has been made larger-than-life by outdoor mural installations. Your work has also appeared in magazines, including The New Yorker, Corporate Knights and The Walrus. As an illustrator, what types of creative collaborations do you like to pursue? Do you try to not limit yourself to any one medium?
Adrian:I feel that in many ways I am just getting started. I have so many ideas and desires to push what I can do. The best thing about my profession is the variety it offers. One day I’m drawing a coffee cup, the next day I’m painting a huge outdoor mural. Variety is the spice of life, so I try to be diverse in the projects I take on.
I also love the collaborative process and making things that fulfill a need or desire. I have always experimented with different approaches and tools for making images. I think it helps my clients see different possibilities and vary their experiences with illustration.
As of now, I have been collaborating with Warby Parker for a new store mural which I am really excited to share with people. I have also been collaborating with Keilhauer to make some artful promotional products.
Adrian Forrow is a National Magazine Award-winning illustrator whose work has been published in The Walrus, Corporate Knights, Canadian Running & Cycling Magazine and The New Yorker. His debut National Magazine Award was the Gold Medal in Best Illustration, for his series of illustrations featured in The Walrus memoir, “My Prescribed Life“.
Submissions to the 40th Anniversary National Magazine Awards The 40th anniversary National Magazine Awards are open for submissions until January 20, including awards for Illustration and for Best New Magazine Illustrator.
Enter at magazine-awards.com.
In alternate years, the NMAF presents distinct awards for Best New Magazine Illustrator and Best New Magazine Photographer. For this year’s 40th anniversary National Magazine Awards, the Best New Visual Creator award will go to an illustrator whose early work in magazines shows the highest degree of craft and promise.
Read more about the Best New Creators Awards here.
Off the Page is a regular interview series featuring National Magazine Award winners. Recently we caught up with photojournalist Marta Iwanek, who in 2016 was named Canada’s Best New Magazine Photographer from the National Magazine Awards Foundation, in addition to winning the Gold Medal for Photojournalism & Photo Essay for her incredible reporting of the 2013-2014 Ukrainian crisis, titled “The Maidan” (Maisonneuve). NMAF: In your award-winning photo essay, “The Maidan,” you take the reader on a journey to a winter in Kyiv, where thousands of Ukrainians gathered to take a courageous stand against their government. You capture the Maidan as a place of fear and uncertainty, but also of community and solidarity. How did you get a sense of the place when you arrived, and what were the human emotions that spoke to you as a photographer? Marta: I first arrived in Kyiv in early November (2013) before any of the protests had started. I remember driving through the centre of the city and thinking what a bustling metropolis it was. Then I went out east to work on a film and returned in late November a little after the pro-European protests had begun. Everything was still calm at that point and there was a sense of hopefulness among the crowd.
The protest was to last nine days, but on the last night everything changed. The remaining protestors were chased out of Independence Square (Maidan) and beaten by police, angering many people. On December 1 a large demonstration occurred in Kyiv where the people re-took the square and the movement that became known as “the Maidan” began. I was supposed to fly back to Toronto shortly after, but realized I couldn’t leave.
The feeling was so powerful and strong among the people. It felt like people had been pushed to an edge and they had nothing more to lose. There were feelings of frustration, abandonment and urgency. At the same time, you could still find the glimpses of hope and community as people unified under one cause–to oust then President Yanukovych. I was always trying to show those emotions in my photos and trying to understand the situation deeper, trying to figure out what made it this way? I changed my flight and ended up staying three months, living among the protestors and spending my days and nights wandering the square, talking to people and trying to make sense of it.
I like to immerse myself in stories as much as possible and I hope this translates in my photos. It was also a story I felt personally connected to because my roots are Ukrainian and I grew up in the Ukrainian diaspora in Toronto. I grew up listening to the stories of Ukraine’s constant struggle for independence and to be free of corruption, so the feelings of the people in the square were not foreign to me. However, this time, it wasn’t just my parents talking about it in Canada, detached from the situation and it’s consequences. It was happening in front of me. When it was finally time to leave, I will always remember that contrast I felt when I first arrived in the capital and when I left–the place, the people and the country had been changed forever.
During my years as the art director of Maisonneuve magazine, I had the opportunity to work with many talented women photographers—each one a unique visual voice. Marta Iwanek stands out for the way she brings her compassion to a body of work that sits on the edge of war and peace, among fire and smoke, between life and death situations, especially with her Ukrainian “Maidan” project.
—Anna Minzhulina, former art director, Maisonneuve
NMAF: Over one hundred people were killed in the government reprisals, and you spent time not only on the front lines but also with those who were wounded and grieving. How did you balance your own safety with your passion for capturing every aspect of the story? And did you learn anything about yourself as a journalist that will assist you in the future? Marta: There were certain days that felt very unsafe on the square, but the majority of my time spent there, things were peaceful. There would be flare-ups between police and protestors and then things would resume back to “normal.” I looked to other, more experienced photojournalists in the square for guidance and advice. I had only been freelancing for three months at that point, fresh out of college and had found myself in the middle of the news cauldron that was Kyiv.
There were many times that I was scared. Even today I think I still would be. The most important thing I learned in those kinds of situations is to trust your gut. There were certain situations I decided to be close-up and others I held back from. Sometimes, I beat myself up for not being in the right place or holding back too much, but you have to be honest with yourself and with what you’re willing to do. It took quite a while to reconcile these feelings, but the experience taught me that I’m not a conflict photographer.
Many photojournalists starting out often have a dream of covering foreign stories and conflicts. I didn’t go to Ukraine searching out a conflict to photograph, I just happened to be there when it all started. And a part of me left feeling like I had failed as a journalist because I hadn’t gotten the most heated moments, and I was actually back in Canada on the day that over a hundred protestors were shot. For me, it was more emotionally heavy to be away from the square during that time than when I was in it. Not knowing about the fate of many friends who were there, as well as feeling the guilt of not being there, took a toll.
We’re taught to want to be this travelling, conflict photographer, but that’s not who all of us are. The whole time on the square, I found myself being much more drawn and interested in the quieter moments and it took me a while to realize those moments are just as important too.
We are all unique and we will all notice different things in similar situations and we will be better at photographing in certain situations over others. Journalism is a communal effort and we need to be honest with ourselves, find out the type of stories you’re best at and are drawn to. Then don’t be afraid to do it.
NMAF: That was over three years ago, and since then Ukraine has experienced war and occupation perhaps beyond the worst fears of those who gathered on the Maidan. How has this story stayed with you since then? Marta: My time on the Maidan has been one of the factors that keeps driving me to keep coming back to this region and exploring the underlying issues more deeply, looking at why things are the way they are now, what’s caused them and what keeps causing them?
It’s also something I’ve always wanted to do because my background is Ukrainian. I’ve always been drawn to Ukraine and Eastern Europe because I’ve grown up with my cultural heritage being so central in my life, from participating in folk activities, being involved in the diaspora community to regular dinner table conversations about Eastern European politics. I actually started primary school barely speaking English because at home we just spoke Ukrainian. It has a huge place in my heart. I’ve started looking at my own family’s history in the area, connecting with relatives and following the story of Ukrainians in Poland who were deported from the South-Eastern territories in 1947 under military Operation Vistula. Deportations are a huge part of Eastern Europe’s history and play a huge factor in why things are the way they are today.
There has definitely been media fatigue with Ukraine as the conflict reaches yet another year. It’s why I think it’s more important than ever to stay with the story and understand what is happening there, to put the past and the future in greater context for the average viewer. NMAF: For the camera nerds, what bodies and lenses do you shoot with? And what was your technical approach to the photography on the Maidan? Marta: Back then, during those three months on the Maidan, I was using a D600 and a 35mm f/2 and a 24-70mm. This is still my favourite set-up although now I have a D810 with a 35mm f/1.4. My technical approach is to go as light on gear as possible, zoom with your feet and build intimacy with the people you are photographing. This will create a much better photo than any lens or camera body can. NMAF: You worked with Anna Minzhulina, then the art director of Maisonneuve, who said she was stunned by the evocative scenes and characters that jumped out from your images. Can you describe the creative process of how the two of you edited your body of work into a story that connected with the magazine reader? Marta: Anna is an extremely talented and passionate editor and I am so grateful for her eye. Editing is an art of its own and a skill many photographers often lack, myself included. It was also a story I had immersed myself in, so it can be very hard to be objective about the photos when editing, which is where Anna came in.
So often, I would attach a personal memory or story to a photo and Anna was able to single out the photos that could still speak to a viewer who was encountering them without all the backstory. She chose the photos that could speak on their own and spoke together cohesively to tell the story of the square.
It was also exciting to be able to tell a story in a magazine over so much space. The majority of my time I’ve spent working in newspapers where it’s usually one image to tell a story, but here it was a different process of how the photos work together to form a narrative.
Women photographers are still an anomaly in the male-dominated documentary photo world, with its emphasis on traditionally masculine values like the courage and bravery to ‘shoot’ with a camera. We need to encourage more female visual voices like Iwanek’s here in Canada and around the world. Death does not distinguish between genders. It takes all. But I’m interested in how the female eye looking through a photographic lens might see it differently. It’s important that we have different perspectives, that we pay attention to what they might show us that we haven’t considered before. That’s why we need exposure to more work of female war photographers, such as Iwanek.
—Anna Minzhulina, former art director, Maisonneuve
NMAF: The night of the 2016 National Magazine Awards, you didn’t have a ticket to get in, but as the show started you were hanging out in the foyer in case your name was called. And it was—twice! What was that experience like? And when you were on stage accepting your awards, what was your message to the audience? Marta: I was generously given a seat at the sponsor table and so in the end I was able to attend the awards. I had a small cheer crew at the table and we had a lot of fun. I hadn’t prepared a speech, but I just went up there and spoke from my heart. I thanked everyone who helped me and it was great to see Anna in the audience as I spoke. I was also thankful that the recognition of the award would bring more attention to the story, which had greatly fallen off the news cycle. It’s a story close to me and so I’m grateful for any opportunity to talk about it.
NMAF: Can you tell us about some of your latest projects, and what you’re up to next as a journalist? Marta: A project titled “Darling” was actually one of my first projects and still one close to my heart. It is a story about an elderly couple in Trenton, Ontario, where Lex Duncan is the at-home-caregiver for his wife Mary Duncan, who has dementia. I started it as a way to reconnect with a generation I felt I didn’t get a good chance to know after my last grandparent died.
It was a project to deal with the loss and also understanding what my parents, as well as countless others in our country are facing as they care for an ailing loved one. I am so grateful to the Duncan family who opened up their home to me and gave me a chance to get to know them and tell this story.
This year I started photographing in the villages my grandparents came from. They were once Ukrainian villages but after WWII became part of Poland and the majority of the Ukrainians who lived there were deported and dispersed either to Soviet Ukraine or throughout Poland, my grandparents included.
I’ve always been curious about my roots and grew up with a father who has worked as a historian, making films and writing books on eastern European history. So after the Maidan I became interested in exploring Eastern Europe on a deeper level and understanding events in the past that have an effect on the present. Through this project I want to explore how identity changes when a culture is displaced from its ancestral land. It’s been a very personal project, but I’ve also found it to be incredibly universal through the many forced migrations happening throughout the world today.
Marta Iwanek is a National Magazine Award-winning photojournalist whose work has appeared in Maisonneuve, Maclean’s, the Toronto Star, the Globe and Mail, and other publications. In 2016 she was named Canada’s Best New Magazine Photographer by the National Magazine Awards Foundation. Discover more of her work at martaiwanek.com. The 40th anniversary National Magazine Awards are open for submissions until January 20, including three different categories for photography. Enter at magazine-awards.com.
Read more Off the Page interviews with National Magazine Award-winning photographers including Roger LeMoyne and Ian Willms. NMA gala photos by Steven Goetz for the National Magazine Awards Foundation.
Raymond has previously been nominated for 3 National Magazine Awards for work in The Walrus, Alberta Views and Report on Small Business. This year he won 2 nominations: one for a cover illustration in Precedent, which is also nominated for Best Cover at this year’s Kenneth R. Wilson Awards; and the second which appeared in Reader’s Digest.
Min Gyo Chung
Min Gyo is an emerging talent in magazine illustration who is also nominated this year for the award for Best New Illustrator or Photographer for artwork in Corporate Knights. This is his first National Magazine Award nomination.
Who do you think is most worthy of this award? Leave us a comment or tell us on Twitter: @MagAwards | #NMA15.
You can view the complete articles of all National Magazine Awards nominees at magazine-awards.com. Tickets are on sale for the 38th annual National Magazine Awards gala, Friday June 5 at the Arcadian Court in Toronto.