A year into The Globe\u2019s Underexposed photojournalism series, 26 stories from across Canada have brought readers into some of this country\u2019s hidden corners.<\/p>\n
The series has also elicited delight from readers and stoked curiosity about photojournalism, how it works and why The Globe embarked on this project.<\/p>\n
Explore all the stories in the Underexposed photo series<\/a><\/p>\n As Underexposed heads into its next year of shedding light on overlooked stories, the team behind it answered reader questions about the series<\/a> and visual journalism writ large in a live Q&A last week. Deputy head of visuals Liz Sullivan, photo editors Theresa Suzuki and Solana Cain, staff photographer Fred Lum and series contributor Roger LeMoyne all had nuggets of wisdom and behind-the-scenes action to share.<\/p>\n These answers have been lightly edited for length and clarity.<\/p>\n The Underexposed series<\/p>\n How does Underexposed fit into The Globe\u2019s coverage of Canada in general? Why is it important to have stories like these?<\/p>\n Liz Sullivan: Underexposed stories are important for many reasons: 1) They invite us into Canadian communities that we likely wouldn\u2019t otherwise know about, allowing us to broaden our understanding of what it means to be Canadian; 2) It\u2019s an opportunity to showcase the talents of Canadian photojournalists across the country \u2013 everyone from the top tier to emerging; 3) And perhaps most importantly, each Underexposed story is joyful, often filled with surprise and delight. And well, that isn\u2019t possible for much of the news of the day, so it\u2019s important to make space for this type of story.<\/p>\n Which story has surprised you the most? Why?<\/p>\n Solana Cain: For me, it was Johnny C.Y. Lam\u2019s story on mushroom enthusiasts<\/a>. I was not expecting the group to be so intergenerational and the way Johnny photographed the variety of mushrooms was such a surprise. He really delved into ecosystem of mushrooms and brought us along with him.<\/p>\n Open this photo in gallery:<\/a><\/p>\n The mosh pit at a Piercing Damage show at Haven Music Hall in Saint John, New Brunswick, which was featured in an Underexposed story by Chris Donovan.Chris Donovan\/The Globe and Mail<\/p>\n Fred Lum: Not sure if I can say it surprised me, but Chris Donovan\u2019s story on the New Brunswick punk scene<\/a> brought me back to my younger days when I photographed concerts like Teenage Head at Toronto Metropolitan University. The visual aesthetic also triggered memories of black and white work (which I love) in jazz in Toronto (Elvin Jones and Freddie Hubbard). One might think that the punk scene is not entirely in The Globe demographic, but it was a great story that curious readers would appreciate.<\/p>\n Theresa Suzuki: The story of one of Canada\u2019s last functioning one-room schoolhouses<\/a> \u2013 with only five students \u2013 on Big Tancook Island, Nova Scotia by Darren Calabrese. It was surprising to see and read that this community still existed today when the average class size can be upwards of 30 students. To grow up in such an idyllic environment where the kids played outdoors, climbing trees, fishing in a dory, searching for crabs and riding in the back of a pick-up truck just seemed like it was plucked out of a storybook.<\/p>\n From a reader in Thunder Bay: \u201cWonderful series, please continue it. The pieces on the astronomers and film projectionists were my favourites. Just curious how each story was approved (was there a reader submission process) and how each photojournalist was assigned?\u201d<\/p>\n Open this photo in gallery:<\/a><\/p>\n Jacob Tutt, owner of the Playhouse Cinema in Hamilton, Ont., breaks down a film reel in the projection booth.Duane Cole\/The Globe and Mail<\/p>\n TS: Yes! We were intrigued by Duane Cole\u2019s pitch on film projectionists, and the people who sit in the dark with strangers to view old movies together. He had already started and gave us a road map on how he planned to finish it. We love showing how people find joy, which brings us to Fred\u2019s lovely star gazers story. Is there anything better than camping under a big prairie sky and the Milky Way, marveling with others who made the trek to view it together? We didn\u2019t think so, so when Fred pitched this story, and drove to Saskatchewan from Toronto with his car full of camping and photography equipment, we were just as excited as him to see the results. <\/p>\n Open this photo in gallery:<\/a><\/p>\n People set up their telescopes for a night of observing the sky at the Saskatchewan Summer Stay Party.Fred Lum\/The Globe and Mail<\/p>\n FL: For my star party story, I wanted to feature a group that most people aren\u2019t familiar with. Astronomy is seldom regarded until there\u2019s a huge event like being able to see Mars clearly (my spouse and her amateur astronomers\u2019 club had around 3,000 people peering through their telescopes at Mars). I also wanted to put something science-related into our series, and because I could \u201cspeak\u201d the language and knew astronomers, that helped with those who were wondering why The Globe was there. When there was the huge blackout in Toronto in 2003, the one thing almost everyone commented on was that they could see more stars in the night sky, and they could see the Milky Way. It\u2019s unfortunate this is lost on many, as looking up at the night sky leaves one with so many questions about humanity and our place in the universe. Some of the people I spoke to specifically mentioned this.<\/p>\n Did you change anything about the process or the series in general based on feedback from readers?<\/p>\n SC: Reader feedback is always a highlight. We share comments internally and consider any questions or concerns moving ahead. When this project launched we created a form for readers to submit their story ideas<\/a>, and one of those ideas has already turned into an essay: Shannon VanRaes\u2019 piece on Gimli Beach in Manitoba.<\/a> Please keep commenting and sharing your ideas<\/a>! The discussion is so appreciated.<\/p>\n Open this photo in gallery:<\/a><\/p>\n Millard Barteaux, better known as Bart or grandpa by Gimli residents, restores a mural on the Seawall Gallery documenting the churches of nearby Camp Morton, Man.Shannon VanRaes\/The Globe and Mail<\/p>\n We know that journalism, and photojournalism, isn\u2019t fully representative of Canada and how diverse it is. How did you approach assigning pieces where identity is such a foundational part of each story?<\/p>\n LS: Who is depicted within pictures, and who takes them are both super important considerations. We approached assigning this series carefully, knowing that we wanted to ensure that at least half were stories of communities outside urban areas. For many of the stories, we relied on photographers to pitch the ideas, asking for topics or communities that they were already invested in. And that investment ranged from years of coverage with a deep connection (like Jackie Dives<\/a>), to those with a curiosity and connections that they wanted to explore (Roger LeMoyne<\/a> and Gavin John<\/a>). We made a commitment to ensure that every province and territory was represented at least twice in this series of 26 stories (or else we couldn\u2019t claim to represent Canada), and within those we didn\u2019t want much overlap in themes.<\/p>\n Many of the stories this year have focused on very diverse Inuit and First Nations communities, individuals and traditions. How do you think photojournalism lent itself to those stories in particular?<\/p>\n SC: It was important for us to include stories about as many different communities across the country as we could, especially First Nation and Inuit communities whose stories don\u2019t often make it into daily news. When accepting pitches we asked photographers to detail the work they\u2019ve already put into connecting with these communities.<\/p>\n The intimate nature of photojournalism allows for communicating complex realities quickly and honestly when done responsibly. Photojournalism has become indispensable in shaping public perception and understanding. So, the stories we\u2019ve shared from these communities have hopefully given our readers a new way in to learning about them.<\/p>\n Open this photo in gallery:<\/a><\/p>\n Students from Nunavut Sivuniksavut Secondary School perform traditional Inuit songs and dances in Annie Pootoogook Park in Ottawa.Alexa Mazzarello\/The Globe and Mail<\/p>\n Why is it important for Canadians to get to know each other? How has your view of the series changed since it began?<\/p>\n TS: That\u2019s a great philosophical question. And could be an essay! We are a very large country, sea to sea to sea, and it\u2019s not just important but imperative to get to know each other, in order I think to feel connected, to be invested in each other, to care for one another. And telling stories is one way to bridge that gap. I hope the series keeps going deeper this next year. We have just scratched the surface.<\/p>\n LS: I would also add that it really feels like there\u2019s never been a more divisive moment in Canadian history. And we think it\u2019s important to remind ourselves (as Canadians) of the innumerable ways we\u2019re alike in terms of finding joys and delight within our different communities. There just aren\u2019t enough opportunities to showcase this type of story elsewhere.<\/p>\n FL: I believe that Canadians are all on the same page on many issues but there can be times where things are fracturing, so it\u2019s important to remind or let people from across the country understand that at our core, we have common values and beliefs. This project reminds us of this.<\/p>\n Which place from the project would you most like to visit and why?<\/p>\n TS: Recently I drove across Canada (well, from Toronto to Victoria, B.C.) and I found every single kilometre so incredibly beautiful, and every province different from the last. If I had to pick one place from the project, I would say Dawson City, Yukon. I would like to visit for its history, its stunning scenery, and for its uniqueness.<\/p>\n Open this photo in gallery:<\/a><\/p>\n The Goldrush Girls offer up the signature cancan kick at Diamond Tooth Gertie’s in Dawson City, Yukon.Kenya-Jade Pinto\/The Globe and Mail<\/p>\n FL: As a photographer who was raised in Toronto and has worked all over Canada and beyond, I would definitely pick Newfoundland and Labrador or Nunavut. These are places where I have worked before so am familiar with them and working in a different environment, culturally and visually, is a breath of fresh air and can lead one to approach stories differently. This profession affords us the opportunity that many don\u2019t have, to meet a broad cross section of Canadians, across this vast land, and to form a connection with people from coast to coast to coast.<\/p>\n Open this photo in gallery:<\/a><\/p>\n Pte. Chrisopher Berthianme and Cpl. Matthew Jennings raise a Canadian flag on a recently installed radio tower at their observation post overlooking the Northwest Passage on Lady Franklin Point, Nunavut.Gavin John\/The Globe and Mail<\/p>\n LS: Cambridge Bay, Nunavut! Going through the wide-ranging file from Gavin<\/a> was a dream because it meant seeing that incredible landscape. I hope to spend time there myself one day, though, hopefully far away from any military games.<\/p>\n Photojournalism in Canada<\/p>\n Why was it important to choose photojournalism as the medium for Underexposed?<\/p>\n LS: This is such an important question! Photojournalism has never been more important. Anyone with a phone is a photographer. But only photojournalists are committed to the photojournalistic code of ethics. What you see from them is real \u2013 even when it\u2019s beautiful, challenging, etc. And without their work most of us would not know about numerous news events or wonders of the world. But at this moment it is very difficult to make a living as a freelance photojournalist. It is unfortunately very rare for even the best Canadian photojournalists to get calls to tell bigger, deeper stories, which can take days and weeks to do justice. So, we knew that we needed to create a place and space for Canadian photojournalists to do what they do so well.<\/p>\n Open this photo in gallery:<\/a><\/p>\n From left: Photographers Darren Calabrese and Chris Donovan speak at an Underexposed event in Halifax last month with staff photographer Fred Lum and photo editor Theresa Suzuki.Maria Collins\/The Globe and Mail<\/p>\n What\u2019s it like being a photographer in today\u2019s industry?<\/p>\n FL: When I began my journey, it was the early \u201980s \u201cgolden age\u201d where jobs were everywhere and we covered a broad range of stories. Today it can be more challenging to forge a career as a photojournalist. Staff jobs are fewer and making a living as a freelancer can be tough. There will always be a need for strong photography and The Globe has stepped up and devoted the time and resources, and to this end, the Underexposed project is but one example of our commitment, top down. Also, those who are committed to storytelling will find a way: some freelancers have other clients outside of journalism to help stay afloat or fund personal projects, which is really what drives them to continue in this profession.<\/p>\n Roger Lemoyne: The vast majority of photographers I know are struggling to make a real career out of it. Many have other activities and keep photography as a side-hustle. But honestly, it\u2019s always been that way. It\u2019s a challenging undertaking, and the rewards are in the experience as much as in the remuneration. I had no idea the pictures I started taking at the outdoor gym<\/a> were going to turn into anything other than some Instagram posts. When the G&M asked about doing a real story I started digging deeper and that\u2019s when the really interesting aspects of it emerged. I made some new friends and was inspired by people\u2019s generosity.<\/p>\n