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Edify, May 2025

Edmonton Is Innovating

The feature spread, Augmented Humanity: the man in the red tracksuit on blue, the title set down the black facing page
The feature spread, Augmented Humanity: the man in the red tracksuit on blue, the title set down the black facing page

Ryan Parker photographed Chris Neilson, a research partner with the BLINC Lab, for the cover of Edify’s May 2025 Innovation issue, Edmonton Is Innovating, and for the feature inside, Augmented Humanity.

The story

Augmented Humanity

Augmented Humanity looks at the BLINC Lab, an interdisciplinary lab using machine learning to push bionic limbs further and build better prostheses for the people who need them. Chris Neilson, one of its research partners, tests the lab’s AI-powered prosthetics. The feature ran in Edify’s seventh annual Innovation issue, with Neilson on the cover.

Magazine
Edify
Issue
May 2025
Cover line
Edmonton Is Innovating
Ran as
The cover, the contents page, the Innovation issue’s opening page, and the feature’s opening spread
Words
Caitlin Hart
Art direction
Kim Larson
Photographs
Ryan Parker

As printed

The cover, and the pages.

  1. 01Edify, May 2025

    Edify magazine cover, Edmonton Is Innovating: a man in a red jacket with a bionic arm, against blue
    The contents page: on the cover, the same man in his red tracksuit, looking at a phone held in the prosthetic hand
    Page 27, the issue’s opener: the arm alone, green and blue, blurred through a long exposure
    The feature spread, Augmented Humanity: the man in the red tracksuit on blue, the title set down the black facing page

The frames

The photographs, before the type.

  1. 01The photographs

    The cover frame: leaning back in a red tracksuit, the bionic arm raised, the movement trailing behind him
    Standing on blue, looking down at a phone held in the prosthetic hand
    Standing, the prosthetic forearm held out in front of him
    The same, a step wider, the gripper open
    Full length in the red tracksuit, the blue running dark at the edges
    Further back on the blue, the figure blurred by the length of the exposure
    The arm alone, green, doubled and tripled through a long exposure
    The arm again, the joint repeating up the frame in green and blue
    The gripper in deep blue, moving, almost abstract

How it got made

The brief, the room, the frame.

Kim’s brief was simple: “This is in studio and could be VERY COOL. Focus on the arm.” The red Steve Austin tracksuit was her idea. She bought it and had one sleeve hemmed so the arm would show. Chris came in with Michael Rory Dawson, who helps him put the arm on, and we had him in the studio for under two hours.

The blur is in camera. I mixed strobe with continuous light and dragged the shutter: the strobe freezes Chris and gives him definition, and I moved the camera myself to make the motion, which I’ve found is the best way to get blur in camera unless you’re working with a dancer. The blue is continuous light from behind and to the side, so it streaks as the camera moves.

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