Sarah Palmer is a photographer based in Toronto, Canada. She focuses on the relationship between place, memory and cultures on the cusp of change. She composes multi-frame exposures in camera, with no manipulation in post.
She photographs by building layers of stories on the same piece of film, creating a strong sense of environment while weaving together contrasts and similarities in the subject matter she's photographing. One of her photograph's of Céline Dion was chose for TIME's Top 100 Photos of 2019
Clients include The Washington Post, Fortune Magazine, Vox, The Globe and Mail, Buzzfeed News, Refinery29, The Walrus and Maclean's among others.
Her work has been supported by the Ontario Arts Council, and has been exhibited in galleries and exhibitions internationally including Scotiabank’s Contact Photography Festival.
2019 - TIME Top 100 Photos of 2019
A story on Celine Dion's historic residency changed Las Vegas for the better, coincidences, dreams, and how having impersonators is the ultimate sign that you are an icon. Shot for The Walrus magazine. *All photographs in this portfolio are multi-frame exposures made in-camera, with no manipulation in post.
"Steven Wayne and Céline Dion are the same age, born within a few months of each other in 1968. She may not have been his first choice for a celebrity to embody, but after so many years, his attachment has grown deep. “She’s had a total metamorphosis—caterpillar to butterfly. She came to Vegas and turned into this goddess. I think she’s just breathtaking,” he says.
I ask if he’ll still be performing as Céline when they’re both eighty-five, and Wayne says absolutely, yes, he’s in it for life. “People are like, ‘Are you saving for retirement?’ I’m like, ‘No, I’m saving for a facelift. I’m not going to retire.’” He has a feeling Céline is the same, the kind who lives for her work. He imagines her future: chart-topping albums, world tours, a triumphant return to Vegas someday. He hopes to see her fall in love again. “I mean, she’s young,” Wayne says. “I like to think that I’m young too.”
"When she was starting out, Latouche would overwork the performance, trying too hard to match every step and gesture and note to one of Céline’s. Now that she’s been at it for a few years, she’s reached an equilibrium where she can tell herself: “You sound enough like her, you look enough like her, so just be her but, like, chill about it,” she says. “Only now I feel her even more in me. It just comes naturally. It’s not forced anymore. I feel like I tap into something. And I know that I channel something about her.”
Latouche wants to be clear: she doesn’t mean channel in a formal sense. She isn’t psychic or anything. But she does believe in trusting the universe. She calls vibes “vibrations” and tells me that you can be with a person “vibrationally” even after they’re gone—or even if, like Céline, they’ve never exactly been with you to begin with.”