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                <text>&lt;span style="font-weight: 400;"&gt;This report on evaporation data combines two types of photographs. Glossy&lt;/span&gt; &lt;a href="https://asc.ucalgary.ca/photohistory/silver-gelatin/" target="_blank" rel="noopener"&gt;silver gelatin prints&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; that portray various locations in Alberta and Saskatchewan are inserted into cuts in the pages, while the pages themselves are &lt;/span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3132"&gt;cyanotypes&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; on which the white text was rendered photographically. The rich blue of the pages are typical of the&lt;/span&gt; &lt;a href="https://www.youtube.com/watch?v=3s0hiBi5c4Y" target="_blank" rel="noopener"&gt;cyanotype process&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;.&lt;br /&gt;&lt;br /&gt;This record of evaporation data points toward some of the more mundane uses of photography as it became increasingly commonplace. Yet, due to their disregard for conventional rules of artistic composition, some of the photographs included in this report take on a &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3151"&gt;Modernist aesthetic&lt;/a&gt; while also recalling &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/works-of-art/1950-to-21st-century"&gt;conceptual photography&lt;/a&gt; by artists like &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3171"&gt;Ed Ruscha&lt;/a&gt; and &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3140"&gt;Iain Baxter&amp;amp; and Ingrid Baxter&lt;/a&gt;.&amp;nbsp;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>This group portrait of plumbers and steamfitters was taken during a picnic held at Shouldice Park in Calgary in July of 1926. The portrait was printed as one single print, in contrast to some &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3042"&gt;panoramic photographs&lt;/a&gt; that were created by putting multiple prints together.&lt;br /&gt;&lt;br /&gt;&lt;span style="font-weight: 400;"&gt;Other examples of group portraits in the exhibition include a &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3104"&gt;portrait of members of &lt;span&gt;the first Chinese church in Victoria, BC&lt;/span&gt;&lt;/a&gt;, and a &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3098"&gt;portrait of a graduating class&lt;/a&gt;.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;This album is part of the&amp;nbsp;&lt;/span&gt;&lt;a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener"&gt;Prairie Ephemera Collection&lt;/a&gt;&lt;span&gt;&amp;nbsp;housed in Bruce Peel Special Collections.&lt;/span&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>The &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3052"&gt;picturesque&lt;/a&gt; views featured in this souvenir book, along with the subtitle "The Switzerland of America," calls attention to the ways that European perspectives and conventions influenced representations of North American landscapes.</text>
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                <text>Published by the Canadian National Railways, this souvenir book promotes travel through the Canadian Rockies and Alaska with colourful pictures. The colours were likely printed in stages over the black-and-white image, as we can see gaps and overlaps between the yellows and blues when we look closely. Compare these images to the colourful pictures produced with &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3043"&gt;Kodachrome film&lt;/a&gt;.</text>
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                <text>This souvenir book from Saskatoon includes twenty photographs, each one mounted on its own separate page. The photographs are typical of souvenir books of Prairie towns during this period, as can be seen from comparisons to&amp;nbsp;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3067"&gt;&lt;em&gt;Picturesque Edmonton&lt;/em&gt;&lt;/a&gt; and&amp;nbsp;&lt;em&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3124"&gt;Glimpses of Winnipeg&lt;/a&gt;.&lt;/em&gt;</text>
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                <text>[1890]&#13;
15.0 x 19.5 cm&#13;
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                <text>&lt;span style="font-weight: 400;"&gt;These views of Portree, Scotland, are reproduced by &lt;/span&gt;&lt;a href="https://www.moma.org/collection/terms/collotype" target="_blank" rel="noopener"&gt;collotype&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;, a &lt;/span&gt;&lt;a href="https://psap.library.illinois.edu/collection-id-guide/photomechanical" target="_blank" rel="noopener"&gt;photomechanical process&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;&amp;nbsp;developed in the mid-nineteenth century that allowed photographic negatives to be printed with ink on paper. &lt;/span&gt;Collotypes&lt;span style="font-weight: 400;"&gt;&lt;span style="font-weight: 400;"&gt; provided a way to print photographs within the pages of books alongside text, instead of pasting in individual photographs, but it was a laborious and expensive process.&lt;br /&gt;&lt;br /&gt;The photographs collected in &lt;i&gt;Views of Portree &lt;/i&gt;provide a souvenir of this place and contribute to the “&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity"&gt;imagined geographies&lt;/a&gt;” of Portree&lt;/span&gt;&lt;/span&gt;—much like the album &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3056"&gt;&lt;i&gt;CPR 1887&lt;/i&gt;&lt;/a&gt; contributes to the imagined geography of Canada. Notice, too, the similarities between these views of Portree and &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3052"&gt;Gilpin’s picturesque drawings&lt;/a&gt; from a century earlier.&lt;br /&gt;&lt;br /&gt;This album is one of the many &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/souvenir-books"&gt;souvenir books&lt;/a&gt; included in this exhibition.</text>
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                <text>Souvenir of My Trip through the Canadian Rockies on the CPR </text>
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                <text>1915&#13;
24.7 x 29.7 cm&#13;
FC 219 S72</text>
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                <text>This souvenir book promoted travel on the Canadian Pacific Railway in the early-twentieth century by featuring &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3147"&gt;sublime landscapes&lt;/a&gt; alongside modern conveniences like trains and luxury hotels (such as the CPR Banff Springs Hotel). The cover artwork is particularly striking, recalling some of the commercial designs created by members of the &lt;a href="https://www.gallery.ca/magazine/exhibitions/the-group-of-seven-and-graphic-design" target="_blank" rel="noopener"&gt;Group of Seven&lt;/a&gt; around the same time, such as A. Y. Jackson's &lt;a href="https://open.library.ubc.ca/collections/chung/chungosgr/items/1.0216282" target="_blank" rel="noopener"&gt;Bon Echo Inn on the Mazinawe Lakes&lt;/a&gt;.&lt;span&gt;&amp;nbsp;&lt;/span&gt;&amp;nbsp;&lt;strong&gt;&lt;br /&gt;&lt;/strong&gt;</text>
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                <text>[1916]&#13;
25.0 x 31.0 cm&#13;
FC 219 R68 folio&#13;
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                <text>The owner of this souvenir book inscribed the back of the last page with a short unattributed&amp;nbsp;poem: &lt;br /&gt;&#13;
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                <text>Jindřich Štyrský (photographer)&#13;
Jaromír Funke (photographer)&#13;
Jan Lauschmann (photographer)&#13;
Jaroslav Rösler (photographer)&#13;
František Drtikol (photographer)&#13;
Alfons Mucha (photographer)</text>
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15.0 x 10.0 cm&#13;
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This series of postcards from the collection of the Museum of Decorative Arts in Prague provides a striking example of the transition from &lt;/span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/works-of-art/1900-to-1950"&gt;Pictorialism&lt;span style="font-weight: 400;"&gt; towards&lt;/span&gt; straight photography&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; among twentieth-century photographers. The postcards were issued in 1973 to accompany the exhibition &lt;em&gt;Personalities of Czech Photography&lt;/em&gt;, and feature work by Czech photographers of the 1920s and 1930s such as &lt;/span&gt;&lt;a href="http://tallisphotography.weebly.com/jindrich-styrsky.html" target="_blank" rel="noopener"&gt;Jindrich Styrsky&lt;/a&gt;, &lt;a href="https://www.idnes.cz/kultura/vytvarne-umeni/jiri-jenicek-se-dockal-prvni-samostatne-vystavy.A010831_095623_vytvarneum_kne" target="_blank" rel="noopener"&gt;&lt;span&gt;Jiří &lt;/span&gt;Jeníček&lt;/a&gt;,&amp;nbsp;&lt;a href="https://www.getty.edu/art/collection/artists/1717/jaromir-funke-czech-1896-1945/" target="_blank" rel="noopener"&gt;Jaromír&amp;nbsp;Funke&lt;/a&gt;, &lt;a href="https://www.icp.org/browse/archive/constituents/jan-lauschmann?all/all/all/all/0" target="_blank" rel="noopener"&gt;Jan Lauschmann&lt;/a&gt;, &lt;a href="https://www.getty.edu/art/collection/artists/1645/jaroslav-rossler-czech-1902-1990/" target="_blank" rel="noopener"&gt;Jaroslav&amp;nbsp;Rössler&lt;/a&gt;, and &lt;a href="https://www.getty.edu/art/collection/artists/1484/frantiek-drtikol-czech-1883-1961/" target="_blank" rel="noopener"&gt;Frantisek Drtikol&lt;/a&gt;.&amp;nbsp;&lt;br /&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;Many of these postcards offer unique perspectives by playing with the light, shadows, and geometric forms found in city streets. The city is familiar yet also made strange due to these unique perspectives, calling to mind &lt;a href="https://www.metmuseum.org/toah/hd/phsr/hd_phsr.htm" target="_blank" rel="noopener"&gt;Surrealist photographers&lt;/a&gt;, some of whom were inspired by French photographer &lt;a href="https://www.metmuseum.org/toah/hd/atgt/hd_atgt.htm" target="_blank" rel="noopener"&gt;Eugène Atget&lt;/a&gt;.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;</text>
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