2
10
102
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Toledo
Date
A point or period of time associated with an event in the lifecycle of the resource
1965
5.0 x 5.0 cm
DP 402 T7 T6
Description
An account of the resource
<p><span style="font-weight: 400;">Related to the earlier tradition of <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3170">lantern slides</a> on glass plates</span><span style="font-weight: 400;">, <a href="https://obsoletemedia.org/135-film-slides/" target="_blank" rel="noopener">slides</a> made from <a href="https://blog.scienceandmediamuseum.org.uk/celluloid-and-photography-part-1-celluloid-as-a-substitute-for-glass/" target="_blank" rel="noopener">celluloid film</a> became a commonplace way of circulating photographic images in the twentieth century. </span><span style="font-weight: 400;">These slides featuring the sites and artworks of Toledo, Spain, could have been used in various ways. Slides were frequently used to circulate art reproductions, much like </span>engraving<span style="font-weight: 400;"> or lithography had been in previous centuries (such as in Baxter's <em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3033">Cabinet of Paintings</a></em>)</span><span style="font-weight: 400;">, and they became a fixture of art history classrooms in the twentieth century. These slides also allude to the tradition of the family slideshow, popularized in the 1950s and 1960s with </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3043">Kodachrome</a> slides<span style="font-weight: 400;">. Much like </span><span style="font-weight: 400;">photographic <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/souvenir-books">souvenir books</a> and <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/souvenir-cards">souvenir cards</a></span><span style="font-weight: 400;">, slides like these could be purchased by a traveller to supplement their snapshots of a trip. </span></p>
Creator
An entity primarily responsible for making the resource
photographer unknown
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photomontages
Creator
An entity primarily responsible for making the resource
John Heartfield (artist)
Date
A point or period of time associated with an event in the lifecycle of the resource
1974 reprints of 1931-34 and 1938 originals
64.0 x 48.0 cm
TR 685 H42 1974 folio
Description
An account of the resource
<p><span style="font-weight: 400;">These reprints of John Heartfield’s </span><a href="https://www.tate.org.uk/art/art-terms/p/photomontage" target="_blank" rel="noopener">photomontages</a> <span style="font-weight: 400;">show one way that photographs circulated political knowledge. Heartfield reused and remixed images printed in the German mainstream media in order to expose and critique Nazi propaganda. One example of this kind of print media can be found in </span><span style="font-weight: 400;">a <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3142">cigarette album</a></span> that celebrates Adolf Hitler’s life. </p>
<p>Some of <a href="https://www.getty.edu/art/exhibitions/heartfield/" target="_blank" rel="noopener"><span style="font-weight: 400;">Heartfield’s </span>photomontages</a><span style="font-weight: 400;"> were published in the left-wing workers’ magazine </span><i><span style="font-weight: 400;">Arbeiter Illustrierte Zeitung </span></i><span style="font-weight: 400;">(Workers Illustrated Newspaper, also known as </span><i><span style="font-weight: 400;">AIZ</span></i><span style="font-weight: 400;">) and some were reprinted and disseminated as posters. We can get a sense of the power that these photomontages may have held for contemporary viewers from Walter Benjamin's comment in his 1934 essay, "<a href="https://www.marxists.org/reference/archive/benjamin/1970/author-producer.htm" target="_blank" rel="noopener">The Author as Producer</a>," that Heartfield's "<span>technique made book jackets into a political instrument."</span><br /><br />The prints housed in Bruce Peel Special Collections were reprinted in 1974 as collectors' items. Today, the photomontages are most often viewed as works of art, and Heartfield is often described as a <a href="https://www.tate.org.uk/art/art-terms/d/dada" target="_blank" rel="noopener">Dada</a> artist. Another artist who took a similar approach by using printed media to critique mainstream culture was <a href="https://www.youtube.com/watch?v=9E1cA3j_xY8" target="_blank" rel="noopener">Hannah Höch</a>. </span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Anatomical Illustrations of the Bee
Creator
An entity primarily responsible for making the resource
Goh Windisch (creator)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1875]
23.4 x 31.6 cm
QL 568 A6 W53 1875
Description
An account of the resource
<p><span style="font-weight: 400;">This album (labelled on the cover "<em>Anatomische Abbildungen der Biene</em>") from 1875 captures some of the reasons why early photography was more effective at </span><i><span style="font-weight: 400;">producing </span></i><span style="font-weight: 400;">knowledge than </span><i><span style="font-weight: 400;">circulating </span></i><span style="font-weight: 400;">knowledge. Here, photographs, drawings, and text mingle together on the page. The album’s compiler was interested in using the most effective combinations to record and convey information, and photography was not always the best choice.<br /><br />Created with </span><a href="https://www.youtube.com/watch?v=hnxT4WQsLLM" target="_blank" rel="noopener">wet plates</a><span style="font-weight: 400;"> and printed on </span><a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener">albumen paper</a><span style="font-weight: 400;">, the photographs are pasted into the album and then combined with additional markings that make each page unique. Consider similarities and differences between this album and Charles </span><span style="font-weight: 400;">Darwin’s </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3145"><i><span style="font-weight: 400;">Expression of the Emotions in Man and Animals</span></i></a><span style="font-weight: 400;">,</span><span style="font-weight: 400;"> which also used photography as a means of producing knowledge. </span></p>
<p><span style="font-weight: 400;">One of the unique features of this album is its </span>photomicrographs<span style="font-weight: 400;">. Even though these photographs may not have circulated widely, the idea of capturing the view through the microscope photographically was considered an important breakthrough and offered advantages over the practice of recording microscopic views by hand, as seen in the example of </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3030"><em>Miscellaneous Objects as Seen With and Without the Microscope</em></a>.</p>
<span style="font-weight: 400;">Some of the earliest </span>photomicrographs<span style="font-weight: 400;"> were made in 1840, using the </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3125">daguerreotype process</a><span style="font-weight: 400;">. The scientists responsible for the images, Alfred Donné and Léon Foucault, published reproductions of their </span>daguerreotypes<span style="font-weight: 400;"> as </span>engravings<span style="font-weight: 400;"> in </span><a href="https://wellcomelibrary.org/item/b30455248#?c=0&m=0&s=0&cv=0&z=-0.2291%2C-0.0874%2C1.4581%2C1.747" target="_blank" rel="noopener"><i><span style="font-weight: 400;">Cours de microscopie complémentaire des études médicales</span></i></a><span style="font-weight: 400;"> in 1844, and in an accompanying atlas in 1845. </span>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The North American Indian
Creator
An entity primarily responsible for making the resource
Edward Curtis (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1907
32.5 x 26 cm (folio plates 57 x 46 cm)
E 77 C97 1907
Description
An account of the resource
<em>The North American Indian </em>is a twenty-volume study of <span style="font-weight: 400;"><span style="font-weight: 400;">Indigenous peoples in North America, published by photographer <a href="https://www.loc.gov/collections/edward-s-curtis/about-this-collection/" target="_blank" rel="noopener">Edward Curtis</a> between 1907 and 1930. Bruce Peel Special Collections houses all twenty volumes, each illustrated with <a href="https://www.nga.gov/research/online-editions/alfred-stieglitz-key-set/practices-and-processes/photogravures.html" target="_blank" rel="noopener">photogravures</a>, as well as accompanying portfolios of the photographic plates. <br /><br />Curtis's photographs offer an example of the Pictorialist aesthetic popular among art photographers at the turn of the century. As explained on the <a href="https://archive.artic.edu/stieglitz/pictorialism/" target="_blank" rel="noopener">Art Institute of Chicago's website</a>, Pictorialists like Curtis "preferred romantic or idealized imagery over the documentation of modern life, welcoming artistic composition and soft focus." These characteristics permeate Curtis's photographs in <em>The North American Indian</em>. <br /></span></span><br />Iroquois artist <a href="https://www.youtube.com/watch?v=iG-Opj3NGC4%20" target="_blank" rel="noopener">Jeff Thomas</a> has said that Curtis's photographs make him "long to hear the subjects' voices." With his project <a href="https://jeff-thomas.ca/2014/04/my-north-american-indian-v21/" target="_blank" rel="noopener"><em>My North American Indian Volume 21</em></a>, Thomas engages Curtis's images in order to—in Thomas's words—"challenge the silences in the archive; to build a new paradigm that connects past and present." <br /><br /><span style="font-weight: 400;">The complete set of Curtis's <em>The North American Indian </em>is one of the highlights of the <span><a href="https://bpsc.library.ualberta.ca/collections/gregory-s-javitch-collection" target="_blank" rel="noopener">Gregory S. Javitch Collection</a> of books about North and South American Indigenous peoples and cultures</span>. </span>For information about additional photographs of Indigenous peoples housed in Bruce Peel Special Collections, see the <a href="https://bpsc.library.ualberta.ca/collections/indigenous-photograph-collection" target="_blank" rel="noopener">Indigenous Photograph Collection</a>.<span style="color: #888888;"></span>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Portraits of British Americans
Creator
An entity primarily responsible for making the resource
Fennings Taylor (author)
William Notman (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1865
21.0 x 14.5 cm
FC 25 T228 1865
Description
An account of the resource
<p><span style="font-weight: 400;"><em>Portraits of British Americans</em> demonstrates some of the challenges of circulating knowledge through photographs in the mid-nineteenth century. Though these </span><a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener"><span style="font-weight: 400;">albumen prints</span></a> <span style="font-weight: 400;">could be mass-produced, each print had to be individually pasted onto the page in order to combine it with text in the form of an illustrated book.</span></p>
<p><span style="font-weight: 400;">This book was published by the photographer </span><a href="https://www.aci-iac.ca/art-books/william-notman/biography/" target="_blank" rel="noopener"><span style="font-weight: 400;">William Notman</span></a><span style="font-weight: 400;">, who ran a successful photographic firm based in Montreal, with branches in several other cities in Eastern Canada and the United States. Notman was an aggressive entrepreneur, and this volume likely functioned as a promotional tool for his portraits, which made up the bulk of his business. Notman’s elegant studio, use of artistic backdrops, and innovative printing techniques drew an elite clientele, who would have been drawn to the idea of joining the ranks of eminent British Americans by having a portrait taken by the “photographer to the Queen,” a title that Notman secured in 1860. The <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3053">portrait of A. C. Rankin and his brother</a> provides an example of a particularly lavish portrait produced by Notman’s studio. </span></p>
<p><span style="font-weight: 400;">Many of the photographs of Western Canada included in this exhibition were taken by Notman’s photographic firm, such as </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3056"><i><span style="font-weight: 400;">CPR</span></i><i><span style="font-weight: 400;"> 1887</span></i></a> <span style="font-weight: 400;">and </span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3148"><span style="font-weight: 400;">Photographs of the Canadian Rockies, Fraser River, Yellowstone Park, etc</span></a></em>, and contributed to<span style="font-weight: 400;"> an <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity">imagined geography</a> of Canada. With these other photographs in mind, consider what this volume and its photographs suggest about the identity of British Americans. <br /><br />A full scan of this book is available through the <a href="https://archive.org/details/portraitsofbriti01tayluoft/page/n4/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.</span></p>
portrait
William Notman
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Animal Locomotion
Creator
An entity primarily responsible for making the resource
Eadweard Muybridge (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1969 facsimile of 1887 original
34.2 x 49.5 cm
QP 301 M992 1969 folio
Description
An account of the resource
<p><span style="font-weight: 400;"><a href="https://www.youtube.com/watch?v=wNU7sXkZmSw" target="_blank" rel="noopener">Eadweard Muybridge</a>’s efforts to capture animal motion with photography provides evidence of the desire to capture photographically what is invisible to the human eye. The resulting photographs had a significant influence on both scientists and artists. </span></p>
<p><span style="font-weight: 400;">The series </span><i><span style="font-weight: 400;">Animal</span></i><span style="font-weight: 400;"> <em>Locomotion</em>, published in 1887 and based on <a href="https://archives.upenn.edu/exhibits/penn-history/muybridge" target="_blank" rel="noopener">Muybridge's studies at the University of Pennsylvania</a>, </span><span style="font-weight: 400;">provides an example of what could be achieved with the shorter exposure times of </span><a href="https://www.youtube.com/watch?v=r0eIH69QWd8" target="_blank" rel="noopener">gelatin dry plates</a> and the photomechanical process of the <a href="https://www.moma.org/collection/terms/collotype" target="_blank" rel="noopener">collotype</a>. But, as scholars such as Marta Braun have pointed out, the photographs required manipulation and editing to render animal motion legible. To begin examining the editorial decisions that are apparent in Muybridge's studies, consider the different actions performed by men and women in the plates featured here. Also consider how many different views of the moving body each plate includes. <br /><br /><span style="font-weight: 400;">Muybridge’s photographs contributed to a discussion among artists regarding the representation of movement in painting, as seen in the work of artists <a href="https://www.philamuseum.org/collections/permanent/43938.html" target="_blank" rel="noopener">Thomas Eakins</a> and <a href="https://philamuseum.org/collections/permanent/51449.html" target="_blank" rel="noopener">Marcel Duchamp</a>. Muybridge’s photographs have entered the art world in other ways as well, often appearing today on the walls of art galleries. For example, some of the plates from the original 1887 series are held by the the <a href="https://www.artic.edu/artists/18883/eadweard-muybridge" target="_blank" rel="noopener">Art Institute of Chicago</a>.</span></p>
<p><span style="font-weight: 400;">The copy of </span><i><span style="font-weight: 400;">Animal Locomotion </span></i><span style="font-weight: 400;">housed in Bruce Peel Special Collections is a facsimile edition published in 1969; by that time, the series was more likely to be studied by art historians than by scientists.</span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Forever Wild
Date
A point or period of time associated with an event in the lifecycle of the resource
1966
35.7 x 26.0 cm
F 127 A2 P84 folio
Description
An account of the resource
<p><span style="font-weight: 400;">An association between black-and-white film and fine art photography persisted long after colour photography became commonplace among amateurs. Despite this association, <a href="https://www.getty.edu/art/collection/artists/1426/eliot-porter-american-1901-1990/" target="_blank" rel="noopener">Eliot Porter</a> took up colour photography in the 1940s and achieved widespread recognition for his fine art photography featuring American landscapes and animal life. </span></p>
<p><span style="font-weight: 400;">In the 1970s, when artist <a href="https://www.icp.org/browse/archive/constituents/sherrie-levine?all/all/all/all/0" target="_blank" rel="noopener">Sherrie Levine</a> began rephotographing fine art photographs, she chose Porter’s colourful landscapes as one of her subjects</span>—<span style="font-weight: 400;">demonstrating, as Abigail Solomon-Godeau pointed out</span>—<span style="font-weight: 400;">that Porter was among the “canonized masters of photographic modernism” at the time (127). In her essay “Living with Contradictions: Critical Practices in the Age of Supply-Side Aesthetics," Solomon-Godeau goes on to explain:</span></p>
<blockquote>[Levine’s] selection of stolen images was anything but arbitrary; always the work of canonized male photographers, the contents and codes of these purloined images were chosen for their ideological density (the classical nude, the beauty of nature, the poor of the Great Depression) and then subjected to a demystifying scrutiny. (128)</blockquote>
Creator
An entity primarily responsible for making the resource
Eliot Porter (photographer)
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Russland
Creator
An entity primarily responsible for making the resource
El Lissitzky (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1930
28.8 x 22.2 cm
NA 1188 L769 1930
Description
An account of the resource
<p><span style="font-weight: 400;">El Lissitzsky’s </span><i><span style="font-weight: 400;">Russland: Die Rekonstruction der Architecktur in der Sowjetunion</span></i><span style="font-weight: 400;">, published in 1930, proposed a new and revolutionary architecture for the Soviet Union. Like the architecture that the book promotes, the book’s photographs offered a new perspective that aligned with Lissitzsky and his colleagues’ revolutionary ideas. For example, the </span><a href="https://www.tate.org.uk/art/art-terms/p/photomontage" target="_blank" rel="noopener">photomontage</a><span style="font-weight: 400;"> that graces the cover layers different viewpoints, some of which are taken from extreme camera angles, in order to disrupt our usual viewpoint and prompt a new way of seeing. </span></p>
<p><span style="font-weight: 400;">Lissitzky's work is associated with <a href="http://www.arthistoryarchive.com/arthistory/constructivism/" target="_blank" rel="noopener">Russian Constructivism</a>, while his photographs and photomontages also provide an example of the “<a href="https://www.metmuseum.org/toah/hd/nvis/hd_nvis.htm" target="_blank" rel="noopener">new vision</a>” developed at the <a href="https://www.metmuseum.org/toah/hd/phbh/hd_phbh.htm" target="_blank" rel="noopener">Bauhaus</a>. <br /><br />A full scan of the book is available through <a href="https://collections.library.yale.edu/catalog/16628752" target="_blank" rel="noopener">Yale University Library</a>.</span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Book of Fishes (National Geographic)
Creator
An entity primarily responsible for making the resource
John Oliver La Gorce (editor)
Murayama Hashime (artist)
Photo-Art Commercial Studios (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1958
25.3 x 17.0 cm
QL 625 B66 1958
Description
An account of the resource
<p><span style="font-weight: 400;">Literary scholar </span><a href="https://www.upress.virginia.edu/title/3806" target="_blank" rel="noopener"><span style="font-weight: 400;">Stephanie L. Hawkins</span></a><span style="font-weight: 400;"> explains that, “as one of the world’s most widely recognized distributors of global images, </span><i><span style="font-weight: 400;">National Geographic </span></i><span style="font-weight: 400;">has filled an important role in what Arjun Appadurai has termed the global mediascape” by circulating knowledge about distant lands and peoples among their readers (9). </span><span style="font-weight: 400;">The National Geographic's</span><i><span style="font-weight: 400;"> Book of Fishes </span></i><span style="font-weight: 400;">attests to this role by demonstrating how the National Geographic brand extended beyond the well-known magazine, first published in 1888, to offer stand-alone reference books and, in the twenty-first century, <a href="https://www.nationalgeographic.com/" target="_blank" rel="noopener">web content</a>. </span></p>
<p><i><span style="font-weight: 400;">The Book of Fishes </span></i><span style="font-weight: 400;">combines text with colour photographs and reproductions of paintings, demonstrating the ease with which different media could be printed side-by-side in the twentieth century. From the 1950s up until 1978, National Geographic employed </span><a href="https://vimeo.com/78230375" target="_blank" rel="noopener">four-colour process letterpress</a><span style="font-weight: 400;"> to print their images. By 1958, when this book was published, it was no longer remarkable to include photographs in a reference book, as it had been in publications like </span><span style="font-weight: 400;">Charles Darwin’s </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3145"><i><span style="font-weight: 400;">Expression of the Emotion in Man and Animals</span></i></a><span style="font-weight: 400;"> (1872) or </span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3040">Hoofs, Claws and Antlers of the Rocky Mountains by the Camera</a></em> (1894).</p>
<p><span style="font-weight: 400;">A full scan of a 1961 edition of <em>The Book of Fishes</em> is available through the <a href="https://archive.org/details/bookoffishesbett00nati" target="_blank" rel="noopener">Internet Archive</a>. The copy included here forms part of Bruce Peel Special Collections' <a href="https://bpsc.library.ualberta.ca/collections/bruce-p-dancik-collection-of-angling-books" target="_blank" rel="noopener">Bruce P. Dancik Collection of Angling Books</a>.</span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
First Over Everest
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
23.5 x 15.5 cm
DS 486 E8 H84
Description
An account of the resource
<em>First Over Everest: The Houston-Mount Everest Expedition 1933 </em><span>brings together the technologies of aviation and photography to exert a sense of control over a</span><span> <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3147">sublime landscape</a>. The book’s photographic illustrations demonstrate photography’s usefulness for circulating knowledge. At the same time, the variety of ways the photographs are manipulated within the book's pages suggest an effort to experiment with methods of producing meaning with photographic images. Examine the book’s different forms of photography, and consider which ones are most useful for circulating knowledge. <br /><br />A full scan of the book is available through the <a href="https://archive.org/details/in.ernet.dli.2015.208096/page/n7/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.</span>
Creator
An entity primarily responsible for making the resource
photographer unknown
sublime