Each month or so, the Photowalk podcast has been choosing a single term to inspire photographers to consider when making images. The March term was “humanity”, and my submission follows.
Yonge & Gloucester, Toronto, 2025
Text for entry:
The image can be read as speaking to the stature of man, and the forces that rise above him spiritually and physically, while living a life of being downtrodden and isolated. In a well-populated urban capital our subject is left alone with himself, save for weather damaged urban art that gestures to imagined better times and the eyes of his transitory documentarian in front of him.
Matt Burgess at Wired has a good summary article on the current (and always ongoing) debate concerning the availability of strong encryption.
In short, he sees three ‘classes’ of argument which are aimed at preventing individuals from protecting their communications (and their personal information) with robust encryption.
Governments or law enforcement agencies are asking for backdoors to be built into encrypted platforms to gain “lawful access” to content. This is best exemplified by recent efforts by the United Kingdom to prevent residents from using Apple’s Advanced Data Protection.
An increase in proposals related to a technology known as “client-side scanning.” Perhaps the best known effort is an ongoing European proposal to monitor all users’ communications for child sexual abuse material, notwithstanding the broader implications of integrating a configurable detector (and censor) on all individuals’ devices.
In this broader context it’s worth recognizing that alleged Chinese compromises of key American lawful interception systems led the US government to recommend that all Americans use strongly encrypted communications in light of network compromises. If strong encryption is banned then there is a risk that there will be no respite from such network intrusions while, also, likely creating an entirely new domain of cyber threats.
The United States has bilateral CLOUD Act agreements with the United Kingdom and Australia, and Canada continues to also negotiate an agreement with the United States.1 CLOUD agreements are meant to alleviate some of the challenges attributed to the MLAT process, namely that MLATs can be ponderous with the result being that investigators have difficulties obtaining information from communication providers in a manner deemed timely.
Investigators must conform with their domestic legal requirements and, with CLOUD agreements in place, can serve orders directly on bilateral partners’ communications and electronic service providers. Orders cannot target the domestic residents of a targeted country (i.e., the UK government could not target a US resident or person, and vice versa). Demands also cannot interfere with fundamental rights, such as freedom of speech. 2
… 20,142 requests to U.S. service providers under the agreement. Over 99.8 percent of those (20,105) were issued under the Investigatory Powers Act, and were for the most part wiretap orders, and fewer than 0.2 percent were overseas production orders for stored communications data (37).
By way of contrast, the “United States made 63 requests to U.K. providers between Oct. 3, 2022, and Oct. 15, 2024. All but one request was for stored information.” Challenges in getting UK providers to respond to US CLOUD Act requests, and American complaints about this, may cause the UK government to “amend the data protection law to remove any doubt about the legality of honoring CLOUD Act requests.”
It will be interesting to further assess how CLOUD Acts operate, in practice, at a time when there is public analysis of how the USA-Australia agreement has been put into effect.
In Canada, the Canadian Bar Association noted in November 2024 that new enabling legislation may be required, including reforms of privacy legislation to authorize providers’ disclosure of information to American investigators. ↩︎
Reporting by Sophie Charara unpacks the potentials of contemporary workplace monitoring technologies. Of course, concerns about employee privacy and the overzealous surveillance of employees are not new. What is changing are the ways that contemporary technologies can be used, sometimes for potentially positive uses (e.g., making it easier to determine if meeting rooms are actually available for booking or ensuring that highly-trafficked areas of the office receive special cleaning) and sometimes for concerning uses (e.g., monitoring where employees gather in the workplace, tracking them in near-real time through the work environment, or monitoring communications patterns).
Ultimately, Charara’s work can help inform ongoing discussions about what safeguards and protections should be considered in the workplace, so that employees’ privacy is appropriately protected. It can, also, showcase practices that we may want to bar before ever coming into mainstream practice to protect the privacy, dignity, and autonomy of people in the workplace.
For a long time external observers wondered how many vulnerabilities were retained vs disclosed by FVEY SIGINT agencies. Following years of policy advocacy there is some small visibility into this by way of Section 6270 of Public Law 116-92. This law requires the U.S. Director of National Intelligence (DNI) to disclose certain annual data about the vulnerabilities disclosed and retained by US government agencies.
The Fiscal Year 2023 VEP Annual Report Unclassified Appendix reveals “the aggregate number of vulnerabilities disclosed to vendors or the public pursuant to the [VEP] was 39. Of those disclosed, 29 of them were initial submissions, and 10 of them were reconsiderations that originated in prior years.”1
There can be many reasons to reassess vulnerability equities. Some include:
Utility of given vulnerabilities decrease either due to changes in the environment or research showing a vulnerability would not (or would no longer) have desired effect(s) or possess desired operational characteristics.
Adversaries have identified the vulnerabilities themselves, or through 4th party collection, and disclosure is a defensive action to protect US or allied assets.
Independent researchers / organizations are pursuing lines of research that would likely result in finding the vulnerabilities.
By disclosing the vulnerabilities the U.S. agencies hope or expect adversaries to develop similar attacks on still-vulnerable systems, with the effect of masking future U.S. actions on similarly vulnerable systems.
Organizations responsible for the affected software (e.g., open source projects) are now perceived as competent / resourced to remediate vulnerabilities.
The effects of vulnerabilities are identified as having greater possible effects than initially perceived which rebalances disclosure equities.
Orders from the President in securing certain systems result in a rebalancing of equities regarding holding the vulnerabilities in question.
Newly discovered vulnerabilities are seen as more effective in mission tasks, thus deprecating the need for the vulnerabilities which were previously retained.
Disclosure of vulnerabilities may enable adversaries to better target one another and thus enable new (deniable) 4th party collection opportunities.
Vulnerabilities were in fact long used by adversaries (and not the U.S. / FVEY) and this disclosure burns some of their infrastructure or operational capacity.
Vulnerabilities are associated with long-terminated programs and the release has no effect of current, recent, or deprecated activities.
This is just a very small subset of possible reasons to disclose previously-withheld vulnerabilities. While we don’t have a strong sense of how many vulnerabilities are retained each year, we do at least have a sense that rebalancing of equities year-over-year(s) is occurring. Though without a sense of scale the disclosed information is of middling value, at best.
Privacy is not something that can be counted, divided, or “traded.” It is not a substance or collection of data points. It’s just a word that we clumsily use to stand in for a wide array of values and practices that influence how we manage our reputations in various context.
— Siva Vaidhyanathan. (2011). The Googlization of Everything (And Why We Should Worry). Page 87
I’ve enjoyed a particularly productive photographic year during which I’ve (mostly) acclimated to the Leica Q2 and used it to shoot almost exclusively in black and white, and usually in the city of Toronto.
Narrowing everything down to 10 images was challenging given that I have gone out weekly throughout 2024 to make images and kept thousands of them. The images in this series hold up on their own while, also, developing a narrative when read beside one another.
Gerrard & Galt, Toronto, 2024
When was this photograph taken? 2024 or 1964?
The use of black and white has the effect of confusing the viewer of the image’s temporality. This is accentuated by the sign in the photograph being from another generation. Adding power to the image are the two figures who are wandering through the early January snow, with the young woman looking down and over to the city’s garbage, and the little boy looking up past the trash to the graffiti on the wall. This speaks to the hopes and ambitions of youth and the practicality of maturity, while they are both literally passing by the abandoned garbage of the day.
This was one of the first images that I made of 2024 and it remained amongst my favourites throughout the year.
Shuter & Yonge, Toronto, 2024
What is this woman so focused upon? How much has she seen during her lifetime and how shadowy are those memories?
Throughout the year I’ve spent time seeking out images that rely on reflections to strengthen the environment around the main subject(s) of photographs. The woman’s white hat and mask made her stand out through the windows, and then play nicely with the shadowy figures reflected in the glass. It’s this juxtaposition that brings the image to life in my eyes.
Crescent & Cluny, Toronto, 2024
What does it mean to be an inhabitant of a major city?
This photograph shows the city from a different perspective than is typical of Toronto street photographers who are making images in the core. Still, the image captures ever present aspects of city life: mass transit, rapid development, and the isolation and anonymity of the residents as they move through their day.
I’ve been coming to this particular subway stop to make this image for 5 years. After years of visiting the same location I finally got the light, subject, and subway where I wanted them at the same time.
Centre & Edward, Toronto, 2024
What did Toronto look like during its process of being built up in the contemporary era?
We are in a time of building but there are relatively few organic photographs that are deliberately capturing this development. Like images of old this photograph speaks to the relationship of people and the city that is growing (or metastasizing) around them.
Toronto is rapidly building density in its core. I’ve worked throughout the year to incorporate construction into my street images while, also, seeking elevated heights to capture the city’s transformation. The lines across the image draw the eye upwards and the construction worker on the railing serves to underscore the size of the development.
Yonge & Dundas, Toronto, 2024
Well hello, madame – what gave you your sense of style?
The Saint Patrick’s Day parade is a major event in Toronto. I’ve been photographing it for years and regularly march in it to make images of the crowds. I like how the woman in this photograph is almost posing in her winter jacket — it gives her a sense of elegance and self-importance — while, above her, the sign suggests that she is happy and ranked #1. But it’s the man who is looking on at the right-hand side of the frame adds a degree of electricity to the image with his dourness in contrast to the woman’s more positive energy.
College & Clinton, Toronto, 2024
Someday in the future will we be amazed at the low cost of a veal sandwich or beverage?
This is one of those images that works, in part, because the ordering of the image isn’t quite right: the subject is looking away from the rest of the signs, which encourages the reader of the image to go from left to right which isn’t typical in Western culture. I also like his expression and how the contrast in the image draws the eye through the items for sale at the festival.
Dundas & Dufferin, Toronto, 2024
What’s happening here? What do you feel when you’re so close to this slightly obscured woman and her side-eye staring companion?
Like many street photographers, I try to make use of graffiti and other temporary art in the city when making images. I like how this image somewhat conceals the look that the older woman is giving the viewer, at the same time as she is getting a side eye from her companion. The contrast through the image also serves to create an effect foreground, middle, and background.
Great Lakes Waterfront Trail, Toronto, 2024
So this is summer! Children playing in the mist while the city towers above them, and a bird flees the city towards some less inhabited region.
This image captures the idealized life of being in the city, where people come out from their ever-growing towers to relax and play together. It is also one that hides the actual subjects, themselves, and in so doing conceals the participants in this space. Is this a playground of the elite’s children or a communal space used by all inhabitants of the city? For those who live here the answer is apparent but otherwise a degree of mystery may remain concerning the socio-economics of the subjects.
Ontario & Princess, Toronto, 2024
Swings let us throw our hair back and play with our suspended bodies while soaring above the ground; we enjoy a kind of freedom that is in opposition to our normal land based experiences.
Every year I go to the CNE’s Exhibition and get a little more comfortable looking for scenes to make images. This year I spent a bunch of time at this ride, and I think that this image captures the carefree playfulness that’s associated with the summer fair.
Baldwin & Augusta, Toronto, 2024
What is it like to be alone in the city and reflect on what once was, and what could become?
Like the first image in the set, this photograph conveys a sense of solitude in Canada’s largest city while also hearkening to a time past. Because this image is monochromatic it establishes a degree of ambiguity as to when the image was made and thus provides a sense of balance to the collection of images.
All of my images are located by city cross-streets and are are lightly processed using Apple Photos. I post new images daily to Glass.
Artist’s Statement
Christopher Parsons an amateur Toronto-based documentary and street photographer, and has been making images for over a decade. His monochromatic photographs focus on little moments that happen on the streets and which record the ebb and flow of urban life over the course of years and decades.
His work often deliberately plays with the temporality of built environments and photographs themselves, and regularly uses temporal ambiguity to entice viewers into questioning what happened prior to, and following, the pressing of the shutter button.
Contemporary devices collect vast sums of personal and sensitive information, and usually for legitimate purposes. However this means that there are an ever growing number of market participants that need to carefully safeguard the data they are collecting, using, retaining, or disclosing.
The sensitive information was left exposed on an unprotected and misconfigured Amazon cloud storage system for months – the problem has now been patched.
…
In some 466,000 of the 800,000 vehicles involved, location data was extremely precise so that anyone could track the driver’s daily routine. Spiegel reported that the list of owners includes German politicians, entrepreneurs, the entire EV fleet driven by Hamburg police, and even suspected intelligence service employees – so while nothing happened, it seriously could have been a lot worse.
This is a case where no clear harm has been detected. But it speaks more broadly of the continuing need for organizations to know what sensitive information they are collecting, the purposes of the collection, and need to establish adequate controls to protect collected and retained data.
It’s the time of year for people’s best-of roundups. Like last year I wanted to recognize stuff that meant a lot to my photography through 2024. And, this year, I’ve also added a short list of hopes for stuff in 2025!
Photography Stuff I Used
Yonge & Dundas, Toronto, 2024
Best Technology of 2024
The big change this year? I pretty well completely pivoted to my Leica Q2 and with only rare exceptions did I use the Ricoh GR IIIx or my iPhone 14 Pro. When I bought the Q2 it was, in part, to be able to capture images at night where there was little light. I’ve made images under these conditions that I’m happy with and I’ve come to learn how to better use the 28mm focal range. At this point I’ve created well over ten thousand frames over the year.1
I upgraded to the 11” iPad Pro (2024) and definitely appreciate how light the device is, and how vibrant the screen is. I continue to use an iPad Mini for most of my actual reading but write a lot of blog posts on the iPad Pro and do all my photo editing on it.
When I take my photowalks I’m always listening to a podcast or music on my AirPod Pros. However I’ve long had an issue with finding tips that best fit my ears; the ones in the box always slip out. I recently learned about, and bought, the SpinFit CP1025 (S/SS) and they’ve been game changing. I get a perfect fit and the AirPods stay in my ears. Highly recommend them!
Best Services I Paid For
I continue to post images to Glasseach day. I’m still disappointed with their AI search, and especially disappointed that landscape viewing on the iPad has now been broken for about a year.2 Still, it’s a terrific community and a good place to post images regularly.
Apple One is key to my data management strategy. I’m still under the 2TB that is provided as part of the subscription though, with my current data use, I suspect that in 3-5 years I’ll need to expand that 2TB storage limit.
Lastly, while I’ve watched less photography YouTube I continue to appreciate YouTube Premium. It’s still about the most regularly used subscription service that I use on a regular basis.
Best Apps
Have I changed the apps that I rely on regularly since 2023?
Apple Podcasts app: I use this to listen to photography podcasts while on my weekly photowalks.
Apple News: To read photography magazines and websites that otherwise would be paywalled.
Apple Photos: Used to edit and store all my images. I don’t love the iOS version of the application but it is what it is.
Stuff I Made
College & Clinton, Toronto, 2024
Writing
Sharing Photographs, and Photography, with Others and Growing as a Photographer: Despite being pretty used to being in the public eye as a result of my day job it’s different to expose myself when sharing the images that I make. Those images, if read carefully, reveal some elements of myself that I showcase less often, and this is made even revelatory when producing and sharing physical items to people I respect or submitting digital images to competitions. Just talking about that experience was liberating and reaffirmed that I am, slowly, growing as a photographer.
Accidentally Discovered Street Photos: Imagine my surprise when, after opening my used copy of Conversations: With Contemporary Photographers a strip of exposed Kodak 100TX film fell out! I used a free app to enlarge some of the images and while my efforts weren’t spectacular it did result in seeing — and sharing — some images from an earlier time.
10 Tips for Starting to Photograph on the Street: I regularly read and view content that is meant to help new photographers get comfortable on the streets. Much of that content is good but is directed towards a certain kind of concern, and way of behaving, on the streets (e.g., Zone focus! Shoot from the hip! Be invisible!). I think that my 10 tips are for people like me who are interested in making street photos but are shy about even being seeing with a camera. Really, this is a blog written for myself which, if I’d read it 10 years ago, would have given me a clearer sense of what I could do to develop my confidence and skills.
Nuit Blanche, 2024: I’ve been attending Nuit Blanche in Toronto, an annual art festival that runs for a single day from sundown to sunup, for many years. I always make photographs during it but, at the same time, have been challenged by using a smaller APS-C sensor camera. I was both pleased in the art that I experienced this year as well as the ability of the Leica Q2 to capture images more like how I wanted them due to its lens and sensor size.
Stuff I Read
Oxford & Augusta, Toronto, 2024
Best Photography Books and Magazines
Metropolis: I’ve followed Alan’s work for years and appreciate how stark his imagery is and his absolute attention to form. His images carefully consider what is absolutely needed to communicate his vision and no more.
Conversations: With Contemporary Photographers: This was probably the most important book about photography that I read this year. I’m, personally, interested in thinking more deeply about the ontology of photography and what it is and is not. The photographers interviewed in the book provided a range of interpretations of what photography is, and means, for each of them, and I benefitted tremendously from their thoughts on the medium as one which controls time and, also, the role of time in their own creative activities.
Framelines: The team behind Framelines improve the magazine with every issue. From enhancements to the printing, imagery, interviews and just shipping, this is an instant purchase each time they come out with new issues. I particularly appreciate how they celebrate new and emerging photographers from around the world and platform those who, otherwise, I’d be entirely unaware of.
André Kertész: Sixty Years of Photography: This book is a gift to photographers and the image-viewing public more broadly. Published back in 1978 it catalogues Kertéz’s photographic history. It is when we look at images like this that it is apparent how much you can do with black and white images that are focused on the forms across a frame, and also how having decades of images enable a playfulness between pages so that works from different decades can speak to one another and create a perception of continuity across time and space. If you are committed to street images, black and white images, or just seeing how history unfolded over sixty years, then this book is a must see.
The Pleasure of Seeing: Conversations with Joel Meyerowitz on sixty years in the life of photography: Joel is, of course, a (still living) legend and has a number of different monographs under his name. This book is a little different because it explores his thought process across the different phases or eras of his photography. Now, if you’ve actively listened to his talks, interviews, podcasts, and so forth over the past decades many of the messages he communicates will be familiar. But to have them all in one place, along with his images that underscore his creative vision, is a real gift to photographers.
Stuff I Watched
Great Lakes Waterfront Trail, Toronto, 2024
Best Movies
Lee: This was an engrossing and highly cinematic movie. I liked how it conveyed the experiences that female photographers and journalists experienced during the time period and, also, communicated the toughness of Lee Miller and the harmful effects of being a war photographer more generally.
Harry Benson: Shoot First: I thought this was a terrific documentary of Benson who has made a living capturing images of celebrities. The images are profound but, also, you walk away with a sense that he lacks much empathy for his subjects. The inclusion of those who love his work, and those who hate it, helps to communicate what a controversial figure Benson has been throughout his life and career.
Best YouTube Channels
Paulie B: Almost certainly one of the most important American street photography channels, Paulie B has done a masterful job interviewing a range of photographers across the United States to understand what drives and inspires them. His episodes showcase photographers who may not be widely known, unpacks the creative processes of those he interviews, and also lets other street photographers really see how others work the streets. We’ve all heard about how the greats of the 1960s and 1970s worked; Paulie B is showing us how our American contemporaries move, think, and behave.
James Popsys: James is a quiet and almost introspective photographer, which are not necessarily the traits that lend themselves well to YouTube. However, his thoughtful meditations on how and why he makes images, combined with the sheer beauty of his work, results in each video containing a gem that is worth treasuring.
Photographic Eye: Some channels on YouTube focus on gear or technical methods of getting certain kinds of images. The Photographic Eye is not that. Instead, Alex Kilbee explains the intellectual processes of photography and speaks as a kind mentor or peer who is, also, working through his photography. I particularly like how he shares some of his own images so that viewers can appreciate the variety and intentionality behind image making.
The Art of Photography: Ted Forbes has been running his channel for over sixteen years at this point and made videos on just about everything that you’d ever want to know about. I find his historical episodes that break down, and showcase, the great photographers as essential to my own photographic education. And his episodes that showcase viewers’ own projects have led me to finding a range of photographers and purchasing work from them.3
Stuff I Subscribed To
Richmond & Spadina, Toronto, 2024
Best Podcasts
The Photowalk: I’ve been a supporter of the Photowalk for several years and it’s a regular joy and pleasure to hear Neale and his guests talk about the broader experiences of making images. The discussions rarely touch on gear and, instead, are centred around the ‘why’ of image making. Whenever I’m out on a weekly photo walk, I’m listening to Neale and recommend that you do the same.
Frames Photography Podcast: Frames features photographers from across the different photographic genres. Many of the discussions are insightful for understanding what is behind different photographers’ creative processes, what motivates their projects, and how they work to express themselves to the broader world.
Street Photography Magazine: Featuring street photographers from around the world, this podcast exposes how and why different people got into the genre, what they aim to present through their work, and the rationales underlying how they make their images. Many of the photographers who are interviewed talk about their recent, or ongoing, projects which serves to underscore the different ways in which projects are conceptualized and brought into the world.
The Candid Frame: Conversations on Photography: Operating since 2006, The Candid Frame features photographers from all walks of life discussing the how and why of their image making. This is particularly useful, for me, in learning about photographers working in genres entirely different from street photography and learning how their thought processes can apply to my own photographic life.
Street Life Podcast: This is one of the most recent additions to my list of podcasts and I’ve been enjoying every episode this year. It typically features photographers working in and around Australia and, aside from Houman Katoozi, I’m largely unfamiliar with folks working on that continent. The podcast often has a sense of friends talking amongst themselves about street photography and you’re just overhearing them as they joke with one another, talk about the Australian street photography community, and the challenges they’re facing in their own photographic activities.
Best Blogs/RSS Feeds
GR Official: As an owner of a few Ricoh GRs I’m always curious about how others handle and experience the camera. This blog features a range of authors, with a diversity of photographic backgrounds and personal experiences, which means that each blog is a bit of a surprise: is this going to be a more reflective piece, a showcase of just a few images, thoughts on a piece of equipment, or…?
Little Big Traveling Camera: I am always envious of how focused this photoblog is, how thoughtful the author is, and how well put together the images are. LBTC is, to my eye, the definition of what an excellent personal photoblog can be.
Mobiography: I don’t take a large number of mobile phone photographs but I appreciate learning how such images can be made. If nothing else, it showcases just how can be done with phones of today (as well as those of a decade or more ago) in the hands of competent photographers.
The Phoblographer: A regular publication that both showcases contemporary work while also engaging in some opinion and discussion about trends or issues in the photographic world.
Ming Thein: I owe a lot of what I (think I) understand about photography to Ming’s blog. He shuttered it several years ago but has kept it alive / in archival mode. I hope that it never goes away given how helpful and insightful his writing is for new and more experienced photographers alike.
Skinny Latte’s Creative Brain: I loved the photoessays that were published that exhibited gorgeous photography along with explanations and narratives to surround the images themselves. Sadly the photoblog has been left behind but the images and stories remain worth revisiting periodically.
Hopes for the future
Front & Bay, Toronto, 2024
Apple Photos: I just want it to reach parity with its Mac counterpart. We know that Apple has purchased Pixelmator and I’m hopeful that some of that DNA makes its way over to Photos.
iPhone Camera app: I’ll be honest, the new iPhones’ ability to better control and develop custom JPG settings along with the adoption of JPG XL are very exciting and make me look forward to whenever I upgrade from my iPhone 14 Pro. However, I really wish that Apple would bring additional exposure metering to the iPhone and, in particular, highlight metering for my black and white images. While there are ways to get around this on the iPhone it’d be nice if it was something they could do by default.
WordPress: I’ve been using WordPress for over 18 years at this point and it just seems to get more and more bloated. There are basic things that just don’t seem to be well developed, such as media management or the presentation of images, while a huge amount of effort has been put into turning WordPress into an enterprise CMS. I get that the company’s business is derived from its enterprise work but it’d be nice if basic features were also included in the priority product lists.
Leica Q2 Thumb Grip: In a late end-of-year purchase, I’ve ordered the ‘official’ Q2 thumb grip to further improve on the ergonomics of the Q2. Here’s hoping that I end up happy with it!
Though, admittedly, I’ve kept far fewer after doing my regular culling. ↩︎
Yes, I’ve contacted support. No, I never heard anything back. ↩︎
It’s a profoundly weird experience that some blogs — seemingly — only exist as read items in my RSS reader, years after the domains have been released back into the wild and the original CMSes have been turned off.
There are some of these blogs that I return to, and read again, every few years. I wish that others could find the articles like I can, and that the author hadn’t drifted away into the digital ether.
Excited Pixels 