The National Media Awards Foundation is calling for nominations for the 2018 Foundation Award for Outstanding Achievement, presented annually to an individual whose creativity and innovation over the course of their career have made a significant impact on the Canadian magazine industry.
Previous winners include Penny Caldwell,Kim Pittaway, Kim Jernigan, Michael Fox, Stephen Trumper, Heather Robertson, Stephen Osborne, Jean Paré, Sally Armstrong, and more.
Nominations are welcome from anyone working in Canadian magazines, and must consist of:
A letter of nomination, including a brief bio of the nominee and a summary of their career achievements;
At least two (2) supporting letters from other individuals in the Canadian magazine industry or colleagues of the nominee.
There is no cost to nominate someone for the Outstanding Achievement Award.
All good things must come to an end, including our early-bird rate on entry fees. Monday, January 15 is the early-bird deadline for submissions to the 41st National Magazine Awards. Enter online by 11:59pm EST to save on entry fees. The final deadline for all submissions is Friday, January 22.
Download our guide for a handy reference to categories, deadlines, guidelines and more.
Ready to submit? Follow these steps : 1. Review the Categories, Rules, FAQ 2. Register online at submissions.magazine-awards.com 3. Enter the details of each submission 4. Upload a PDF of each submission 5. Pay the required entry fees ($100 for most entries) 6. Courier hard copies (if required)
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.
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.
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.
“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.
Submissions are open to Canadian digital publishers and content creators whose work appeared in them during 2017. Eligible publications—including those that support established brands in magazine, newspaper, broadcast, B2B and other journalism, as well as those that serve their audiences exclusively as digital brands—is one with a permanent editorial staff in Canada and published in either English or French or a combination of both.
Following two successful award years, the Digital Publishing Awards continue to expand its program under the guidance of our Advisory Committee—including Jean-Philippe Cipriani, Jude Isabella, Matt Frehner, and Kenny Yum—feedback from participants and judges, and the NMAF Board of Directors. Changes include:
The top overall prize—General Excellence in Digital Publishing—will be presented in three divisions, for small, medium and large publications.
One of the Best News Coverage categories will be exclusively open to small publications.
The awards for Best Service Feature, rewarding excellence in service journalism, have been revised to include the following three categories:
Careers and Personal Finances; and
Family and Health.
The Best Podcast category has been expanded and renamed Best Podcast and Audio Storytelling to include audio stories.
Three new categories have been added to the program:
Best Science and Technology Story; and
Best Photo Storytelling.
Rules & Judging
For a complete guide to eligible publications and content, please see the DPA Rules.
For a complete description of judging procedures, please see the DPA Judging Process.
Submissions & Deadline
Submissions can be made online at digitalpublishingawards.ca.
The entry fee for most awards is $100 at the Early-Bird rate (by January 19).
The final deadline for all entries is February 2, 2018.
The deadline to nominate someone for the Emerging Excellence Award or the Digital Publishing Leadership Award is March 1, 2018.
The Digital Publishing Awards promote and reward the achievements of those who create digital publishing content in Canada—the writers and editors, designers and developers, video and podcast producers, photographers and illustrators, and many others. The DPA program recognizes, celebrates and promotes to a national audience the innovative publishing teams that produce digital content in Canadian media.
The DPAs are produced by the National Media Awards Foundation, a charitable foundation whose mandate is to recognize and promote excellence in content creation of Canadian print and digital publications through annual programs 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.
The NMAF would like to wish you a happy holiday season! We hope you’ve had a great year and enjoyed all of your favourite Canadian magazines. Make sure to pick up the latest copy of NMA-winning publications at any Indigo Superstore across the country as we celebrate Canada’s best magazines. And remember: subscriptions make great gifts!
How did it feel to be the first reporter atPrecedent to win a National Magazine Award for writing?
It was super satisfying! We’d been recognized at the Canadian Business Media awards and the KRWs before but to have a piece of writing given some recognition by the best people in the business was huge. It’s not something that happens to everyone and there’s no guarantee that it will happen again. It wasn’t something that I expected, so it really was just a huge treat.
Can you tell me a bit about how your first got the Bryant story? Sure! I guess that’s going back to the winter of 2015. Sean Robichaud, a criminal lawyer who runs his own law chambers, had mentioned to Melissa Kluger (editor and publisher of Precedent) that she might be interested to know that a high profile person just joined his new chambers—it was Michael Bryant. When she told me, I didn’t immediately know the story was going to have the kind of richness that would be required for a long cover story. But it was interesting enough, even just the fact that he was getting back into the game after people hadn’t seen him in so long would’ve at least justified a short front of book news piece.
Tell me about your reporting process.
I got in touch with him fairly quickly but didn’t hear anything for months. In the spring he responded to my initial email and said he’d be happy to chat about what the story might be about. After I met with him for the first time, I had an inkling of what the story might be: the attorney general who ran the justice system is becoming a criminal lawyer and starting to see some of the injustices in the criminal justice system that he was oblivious to when he ran it. That was what sold me and made me think that there might be more to the story. When I took it back to Melissa to talk to her about it I could say that there was something here that’s richer than just “here’s Michael Bryant becoming a criminal lawyer.” There was a kind of poetry to the story that we could pack in and make it a cover story.
Bryant published an autobiographical book called 28 Seconds: A True Story of Addiction, Tragedy, and Hope in 2012, how did it influence your story?
The big blockbuster revelation in his book which I think people knew but he hadn’t spoken publicly about, was the fact that he’d struggled with alcoholism. He also talked about what happened on the day of the accident (1) and going through that experience. I think in that book he was pretty proud of his tenure as attorney general. So we had to think… the accident is old news, we certainly don’t want to re-litigate what happened, the fact that he struggled with alcoholism is also old news and so much had been written about him already. We really had to think what could we add to the story, what we could add to the next chapter in that book. I would also say that it’s a huge advantage to write about someone who has a published autobiography because an enormous amount of the work is done for you. I had not ever done that before, or since, and I wish every one of my sources would provide a full biography.
Did anything stand out to you while reporting?
I remember I interviewed his pastor because a big part of Bryant’s narrative was that after the accident and after he’d fallen away from politics, he started going to a non-denominational Christian charity in downtown Toronto. His pastor revealed to me that Byrant had considered becoming a minister and that he thought that maybe religion was going to fuel meaning in his life. The story only got richer the more that things went on.
How was it to interview him? He’s known to be a bit gregarious.
He was a fun interview. There’s no question that he’s a very seasoned politician. But also as a politician he was sort of a straight shooter. I think journalists enjoyed talking to him because he didn’t necessarily stick to party line talking points. He was happy to sound off on what he thought was wrong with the justice system, he wasn’t mincing words.He had no problem saying that the presumption of innocence was a joke. He was a fairly easy interview subject.
How is this story different from others that you’ve worked on?
I guess we knew how much attention it was going to get from our audience and we knew that it was probably going to get more of a focus from the wider world as well. You know the next piece that I wrote on document review did well in the legal community, but I don’t think that people outside of it really picked it up which is fine, that’s not our goal. But I think we were aware that Michael Bryant is a bit of a lightning rod for controversy. We know that he is a polarizing figure to people both in the legal community and outside and we knew that people really didn’t know what had happened to him. We knew that it was going to make a certain amount of a splash upon publication.
What sort of feedback did you get when the piece came out?
The feedback was fairly positive, which was also gratifying. Overall both readers and people from outside of the legal world seemed to be inspired, which wasn’t necessarily the goal of the piece, but they were inspired nonetheless by him trying to make the most meaningful second half of his career as he could. I think people read it and were pleased to hear someone who once perched atop the justice system speak candidly about its flaws. I think people who are in the trenches (so to speak) of defense law—prosecutors and crowns—they know that the system has its problems and so to hear someone like Michael Bryant give voice to that was somewhat satisfying. And I think people just enjoyed the yarn. We don’t write that many 4500 word single profiles.
Fish recently wrote the cover story for Precedent JD (Precedent’s law student magazine) called Are There Too Many Lawyers? He is working on a project now that is exploring the link between mental health problems and the practice of law. You can follow Precedent on twitter here.
The 2018 National Magazine Awards are open for submissions. Enter your best magazine work for awards in 29 written & visual, editorial and best magazine categories. Writing and Visual Awards include a cash prize of $1000 to the Gold Medal winners. Digital content is eligible in most categories. The early-bird deadline for entries is January 15. Final deadline is January 22.
FREELANCER SUPPORT FUND Last month the NMAF announced a new program for freelancers to save 50% on their first two entries to the National Magazine Awards. Find out more.
SMALL MAGAZINE REBATE Magazines with under $200,000 in annual revenue may be eligible for the Small Magazine Rebate, equal to 1 FREE ENTRY. Find out more.
HOW TO SUBMIT
1. Review the Categories, Rules, FAQ
2. Register online at submissions.magazine-awards.com
3. Enter the details of each submission
4. Upload a PDF of each submission
5. Pay the required entry fees ($100 for most entries)
6. Courier hard copies (if required)
DIGITAL PUBLISHING AWARDS The 2018 Digital Publishing Awards will feature 24 awards recognizing excellence by the creators of Canadian Digital Publications, including online and tablet magazines. Submissions for the 3rd annual Digital Publishing Awards will open on January 2.
DEADLINES January 15: NMA Early Bird Deadline
January 22: NMA Final Deadline
We’ll be announcing the details of the 41st National Magazine Awards gala later this Spring. Stay tuned right here on the NMA blog.