1
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
Hoofs, Claws and Antlers of the Rocky Mountains by the Camera
Creator
An entity primarily responsible for making the resource
A. G. Wallihan (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1894
29.5 x 26.0 cm
QL 706 W21 1890
Description
An account of the resource
<em>Hoofs, Claws and Antlers of the Rocky Mountains by the Camera</em> documents a trip through the Rocky Mountains, with an emphasis on the animals encountered (and hunted) along the way. The publication provides a good example of an early use of the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3044">halftone process</a>, which allowed photographs to be easily printed side by side with text, bringing about what historian Gerry Beegan has called “the mass image.” <br /><br />In its approach to photographic illustration, this publication is firmly rooted in nineteenth-century practices. This can be seen in the photograph captioned “Mr. Wallihan and his Camera,” where Mr Wallihan stands next to a large camera mounted on an even larger tripod in order to illustrate the photographer’s care and expertise. <br /><br />The publisher’s note informs us of the “extreme difficulty of securing first-class negatives under these conditions,” where “the photographer was rarely able to obtain the most favorable position or sunlight advantage.” As a result, not all of the photographs published here are by Mr and Mrs Wallihan: “In order to make the collection of wild animals found in the Rocky Mountains more complete, it has been necessary to use several photographs obtained by others.” <br /><br />These notes, as well as an introduction entitled “How We Made the Photographs,” and a title that announces the camera’s authorship (“by the Camera”), present photography as a remarkable mode of representation that requires specialized knowledge.<br /><br />A full scan of this item is available through the <a href="https://archive.org/details/cu31924024575205/page/n3/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.
Relation
A related resource
<span style="font-weight: 400;"> </span>
halftone
Rockies
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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 Fight against Apartheid!
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
29.5 x 41 cm
DT 763.6 A25 1969 folio
Description
An account of the resource
<p><i><span style="font-weight: 400;">The Fight against Apartheid! </span></i><span style="font-weight: 400;">is, as its cover explains, “an </span><span style="font-weight: 400;">album of exhibition photographs showing life under apartheid and depicting the struggle of the South African people for their liberation under the banner of the African National Congress.” The photographs gathered here call </span><span style="font-weight: 400;">attention to the role of <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/circulate-knowledge/1900-to-1969">documentary photography</a> in political activism, and are related to the tradition of </span><span style="font-weight: 400;">social documentary photographs</span> <span style="font-weight: 400;">published in twentieth-century magazines like </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3045"><i><span style="font-weight: 400;">Life</span></i></a><span style="font-weight: 400;">.</span><span style="font-weight: 400;"> At the time of this album’s publication, apartheid was still a reality in South Africa, and the fight referenced in the title was an urgent one. <br /><br />These photographs provide one example of photography's </span>potential to prompt action by establishing a “<a href="https://vimeo.com/25369128" target="_blank" rel="noopener">civil contract</a>” (Azoulay) between the people photographed and the viewer. However, given that <span style="font-weight: 400;">apartheid in South Africa continued well beyond the publication of these photographs, the album also points toward </span><span style="font-weight: 400;">the limitations of documentary photography</span><span style="font-weight: 400;">. </span></p>
<span style="font-weight: 400;">A related photograph, taken in 1976, is Sam Nzima’s “</span><a href="http://100photos.time.com/photos/sam-nzima-soweto-uprising" target="_blank" rel="noopener"><span style="font-weight: 400;">Soweto Uprising</span></a><span style="font-weight: 400;">,” which is sometimes credited with bringing international attention to apartheid. To learn more about apartheid in South Africa, visit</span><a href="https://www.sahistory.org.za/article/history-apartheid-south-africa" target="_blank" rel="noopener"><span style="font-weight: 400;"> South African History Online</span></a><span style="font-weight: 400;">. </span>
Creator
An entity primarily responsible for making the resource
African National Congress (author)
photographers unknown
photojournalism
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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
Animisme et Spiritisme
Date
A point or period of time associated with an event in the lifecycle of the resource
1895
21.4 x 13.0 cm
BF 1262 A32 1895
Description
An account of the resource
<p><span style="font-weight: 400;">The practice known as </span><a href="https://history.nebraska.gov/blog/spirit-photography" target="_blank" rel="noopener">spirit photography</a><span style="font-weight: 400;"> pushes the limits of what we consider photographic by seeking to represent the spiritual, rather than the physical and visible, on the photographic plate. </span><span>The practice of spirit photography also points towards nineteenth-century tendencies to manipulate the image</span><span>—</span><span>a kind of photoshop before photoshop. </span></p>
<p><span style="font-weight: 400;">Though we don’t consider a belief in spirits “scientific” today, this practice holds similarities to scientific practices that have sought to capture what is invisible to the human eye photographically, such as <a href="http://100photos.time.com/photos/wilhelm-conrad-rontgen-first-x-ray" target="_blank" rel="noopener">x-ray photographs</a> and </span><span style="font-weight: 400;">Muybridge’s <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3153">motion photographs</a>. </span><span style="font-weight: 400;">Of course the extent to which each of these examples is manipulated to produce an image of what was previously invisible varies. One of the most well-known nineteenth-century spirit photographers is <a href="https://thisiscriminal.com/episode-159-spiritual-developments-2-26-2021/" target="_blank" rel="noopener">William Mumler</a>, who claimed to have photographed Abraham Lincoln's ghost. <br /></span></p>
<p><span style="font-weight: 400;">You will notice that <em>Animisme et Spiritisme </em>(Animism and Spiritualism) does not actually contain any photographs. Rather, it contains </span>engravings<span style="font-weight: 400;"> based on photographs, attesting to the continued difficulties of printing photographs side by side with text in an efficient manner. Yet it is noteworthy that the texts framing the engravings insist on their photographic origins. <br /><br />A full scan of this item is available through the <a href="https://archive.org/details/animismeetspiri00sandgoog/page/n10/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.<br /><br /><br /></span></p>
Relation
A related resource
<p></p>
Creator
An entity primarily responsible for making the resource
Alexandre Aksakof (author)
photographer unknown
engraving
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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
Sierra Nevada: The John Muir Trail
Creator
An entity primarily responsible for making the resource
Ansel Adams (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1938
22.8 x 15.0 cm
F 868 S5 A25 1938 folio
Description
An account of the resource
<p><span style="font-weight: 400;">As a founding member of </span><a href="https://www.metmuseum.org/toah/hd/f64/hd_f64.htm" target="_blank" rel="noopener"><span style="font-weight: 400;">Group f/64</span></a><span style="font-weight: 400;">, </span><a href="https://www.getty.edu/art/collection/artists/1582/ansel-adams-american-1902-1984/" target="_blank" rel="noopener"><span style="font-weight: 400;">Ansel Adams</span></a><span style="font-weight: 400;">—</span><span style="font-weight: 400;">along with other members of the California-based group</span><span style="font-weight: 400;">—</span><span style="font-weight: 400;">used the camera’s smallest aperture (known as f/64) in order to create photographs with greater depth of field, keeping as much of the image in clear focus as possible. They also embraced the use of glossy </span><a href="https://www.nga.gov/research/online-editions/alfred-stieglitz-key-set/practices-and-processes/gelatin-silver-prints.html" target="_blank" rel="noopener"><span style="font-weight: 400;">silver gelatin prints</span></a><span style="font-weight: 400;">, which called attention to the photographic nature of their images.</span></p>
<p><span style="font-weight: 400;">Only five hundred copies of this publication were published in 1938, and each copy featured silver gelatin prints tipped in (pasted in) on individual pages. The white space around each picture emphasizes the photograph’s status as a work of art that stands on its own. </span><span><br /><br /></span><a href="https://www.youtube.com/watch?v=Xw5_qb71bXs" target="_blank" rel="noopener"><span style="font-weight: 400;">Adams</span></a><span style="font-weight: 400;"> was a leader in the nature conservation movement and is today among the best known landscape photographers of the twentieth century; </span><i><span style="font-weight: 400;">Sierra Nevada: The John Muir Trail</span></i><span style="font-weight: 400;"> provides one example of Adams’s many publications</span><span style="font-weight: 400;">. <span>Compare Adams’s <a href="https://www.tate.org.uk/art/art-terms/s/sublime" target="_blank" rel="noopener">sublime</a> photographs of the American West to those captured almost a century earlier in</span><span> </span><span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3147">Geological Survey of California: The Yosemite Book</a></em>. </span> </span></p>
landscape
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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
Sundry Photographs of the Lethbridge Brewing and Malting Co
Creator
An entity primarily responsible for making the resource
Arthur Rafton-Canning of the British and Colonial Photographic Company (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1912]
25.4 x 17.5 cm
FC 3234.2 p732 PE004991
Description
An account of the resource
<p><span style="font-weight: 400;">This album of photographs from the Lethbridge Brewing and Malting Company likely dates from between 1905 (when the Alberta Brewery, founded in 1901, was renamed the Lethbridge Brewing and Malting Co) and 1918 (when the name was changed to Lethbridge Breweries Limited). </span><span style="font-weight: 400;">The photographs document the interior of the factory, and are reminiscent of <a href="https://www.icp.org/browse/archive/constituents/lewis-wickes-hine?all/all/all/all/0" target="_blank" rel="noopener">Lewis Hine</a>'s photographs of industrial labour. Though perhaps best known for his photographs documenting child labour while he worked for the <a href="https://www.loc.gov/collections/national-child-labor-committee/about-this-collection/" target="_blank" rel="noopener">National Child Labor Committee</a> from 1908 to 1924, Hine also photographed adult labour, and some of his photographs heroize labourers</span>—<span style="font-weight: 400;">such as his series of the <a href="https://digitalcollections.nypl.org/collections/photographs-of-the-empire-state-building-under-construction#/?tab=about" target="_blank" rel="noopener">Empire State Building under construction</a> from 1931 and his 1920 <a href="https://www.metmuseum.org/art/collection/search/265184" target="_blank" rel="noopener">photograph of a steamfitter</a>.<br /><br />This album is from the <a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener">Prairie Ephemera Collection</a> housed in Bruce Peel Special Collections.</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
Scenes from Kodachromes
Creator
An entity primarily responsible for making the resource
Byron Harmon (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1904-1942]
9.4 x 14.0 cm
IA 36565
Description
An account of the resource
<a href="http://content.time.com/time/arts/article/0,8599,1906503,00.html" target="_blank" rel="noopener">Kodachrome</a> was one of the first widely-used <a href="https://www.youtube.com/watch?v=QP3uLdlAAAA&feature=emb_title" target="_blank" rel="noopener">colour films</a>, introduced by the Eastman Kodak Company in 1935. Here, Kodachrome film was used to create colourful pictures of the Canadian Rockies. Printed as <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3096">postcards</a>, the pictures were sold as souvenirs of one’s travels. They could be preserved as a set, as was the case with this particular example, or sent through the mail. <br /><br />Many of the photographs taken with Kodachrome film were printed as <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3159">slides</a>. To see examples of Kodachrome slides, visit the <a href="https://www.anonymous-project.com/en" target="_blank" rel="noopener">Anonymous Project</a>. Created by Lee Schuler, the website features digitized slides that “preserve this collective memory and give a second life to the people forgotten in these timeless moments captured in stunning Kodachrome film.”
colour
Kodachrome
postcard
Rockies
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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
Picturesque Edmonton, NWT
Creator
An entity primarily responsible for making the resource
C. W. Mathers (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1903
20.5 x 27.0 cm
FC 3696.37 M42 1903-1909
Description
An account of the resource
This book's title and cover image suggest that the photographs found within conform to the conventions of the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3052">picturesque</a>—though the photographs that follow do not all fit easily within this aesthetic category. The photographer who took these pictures, Charles Wesley Mathers, was one of <a href="https://citymuseumedmonton.ca/2014/08/21/edmontons-pioneer-photographers/" target="_blank" rel="noopener">Edmonton's first photographers</a>.
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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 Expression of the Emotions in Man and Animals
Creator
An entity primarily responsible for making the resource
Charles Darwin (author)
Oscar Rejlander (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1872
22.0 x 23.0 cm
QP 401 D22 G3 1872
Description
An account of the resource
<p><span style="font-weight: 400;">Charles Darwin is recognized as one of the early adopters of photography in scientific illustration, and much has been written about his use of photographs in the 1872 publication </span><i><span style="font-weight: 400;"><a href="https://www.darwinproject.ac.uk/commentary/human-nature/expression-emotions" target="_blank" rel="noopener">Expression of the Emotions in Man and Animals</a></span></i><i><span style="font-weight: 400;">.</span></i><span style="font-weight: 400;">The photographs included as evidence for Darwin’s theories were taken by professional photographers and printed as </span><a href="https://www.moma.org/collection/terms/collotype" target="_blank" rel="noopener"><span style="font-weight: 400;">collotypes</span></a>, while some of the images were translated into <a href="https://www.tate.org.uk/art/art-terms/w/woodcut" target="_blank" rel="noopener">woodcut</a> illustrations<span style="font-weight: 400;">. Some were created especially for Darwin’s publication and others were already available. </span></p>
<p><span style="font-weight: 400;">One photographer who worked with Darwin on this project was </span><a href="https://www.gallery.ca/magazine/exhibitions/ngc/oscar-rejlander-and-the-beginning-of-art-photography" target="_blank" rel="noopener"><span style="font-weight: 400;">Oscar Rejlander</span></a><span style="font-weight: 400;">, who is often described as “The Father of </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/works-of-art/1850-to-1900"><span style="font-weight: 400;">Art Photography</span></a><span style="font-weight: 400;">.” Rejlander fought for the recognition of photography as a fine art. One of his most well-known photographs, </span><a href="https://artmuseum.princeton.edu/collections/objects/18132" target="_blank" rel="noopener"><i><span style="font-weight: 400;">The Two Ways of Life</span></i></a><span style="font-weight: 400;"> (c 1857), combined over thirty different negatives to create an original composition, and was purchased by Queen Victoria for her art collection.<br /><br /></span><span style="font-weight: 400;">Though it was important to Darwin to include photographs as illustrations of his work, largely due to the perceived evidentiary force of photography, scholars have shown that many of these photographs were manipulated in order to produce their desired effects. Oscar Rejlander’s photograph of a crying baby is one noteworthy example. Rejlander could not capture a clear image of a crying baby with the </span><a href="https://www.youtube.com/watch?v=hnxT4WQsLLM" target="_blank" rel="noopener"><span style="font-weight: 400;">wet collodion</span></a><span style="font-weight: 400;"> technology available to him, so he made use of a pencil to render the image legible. </span><span style="font-weight: 400;">The photograph is also known as “</span><a href="http://collections.vam.ac.uk/item/O1394071/ginxs-baby-photographs-rejlander-oscar-gustav/" target="_blank" rel="noopener"><span style="font-weight: 400;">Ginx’s Baby</span></a><span style="font-weight: 400;">,” after a character in a novel by Charles Dickens, and it circulated as a popular print. This example thus also shows how photographs can take on different meanings depending on the contexts in which they circulate. </span></p>
<p><span style="font-weight: 400;">Bruce Peel Special Collections houses a German edition of the book. A full scan of the English edition is available through the </span><a href="https://archive.org/details/expressionofemo00darw/page/n3/mode/2up" target="_blank" rel="noopener"><span style="font-weight: 400;">Internet Archive</span></a><span style="font-weight: 400;">.</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
Papillons Européens
Date
A point or period of time associated with an event in the lifecycle of the resource
[1890]
34.0 x 24.0 cm
QL 543 P36 1890z folio
Description
An account of the resource
<p><i><span style="font-weight: 400;">Papillons Europ</span></i><i><span style="font-weight: 400;">éens: Nocturnes, Crépusculaires, et Diurnes </span></i><span style="font-weight: 400;">demonstrates a method of recording specimens that predates photography: the </span><a href="https://herbariumworld.wordpress.com/2017/10/16/nature-printing-in-the-19th-century/" target="_blank" rel="noopener">nature print</a><span style="font-weight: 400;">. With a </span>nature print<span style="font-weight: 400;">, the specimen itself is used to make an impression so that, as with photography, there is an </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/what-is-photography">indexical</a><span style="font-weight: 400;"> relationship between the object and its representation. This example, from 1890, shows that nature printing continued to be used well after the introduction of photographic technologies. Here, </span>watercolour<span style="font-weight: 400;"> paints have been added to the prints.</span></p>
<p>Nature printing<span style="font-weight: 400;"> could also be achieved photographically, a process that was popular in the early decades of photography. The British botanist </span><a href="https://www.nhm.ac.uk/discover/anna-atkins-cyanotypes-the-first-book-of-photographs.html" target="_blank" rel="noopener">Anna Atkins</a><span style="font-weight: 400;"> is well known for her prints (<a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3132">cyanotypes</a>) of botanical specimens</span><span>. Atkins published her photographs in 1843 as <a href="https://nhm.primo.exlibrisgroup.com/view/BookReaderViewer/44NHM_INST/12190875980002081" target="_blank" rel="noopener"><i>Photographs of British Algae: cyanotype impressions</i></a>, and is today considered one of the first to produce a photographically-illustrated book. </span></p>
<p><span style="font-weight: 400;"><br /><strong><br /><br /></strong><br /></span></p>
Creator
An entity primarily responsible for making the resource
creator unknown
Anna Atkins
cyanotype
indexical
nature print
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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
Miscellaneous Objects as Seen With and Without the Microscope
Description
An account of the resource
<p><i><span style="font-weight: 400;">Miscellaneous Objects as Seen With and Without the Microscope</span></i><span style="font-weight: 400;"> predates the introduction of photography. The visual notes it contains depend entirely on the artist's ability to not only record their observations, but to also remember what was seen through the microscope when they refocused on the page. </span></p>
<p><span style="font-weight: 400;">In 1839, <a href="https://www.getty.edu/art/collection/artists/1969/william-henry-fox-talbot-english-1800-1877/" target="_blank" rel="noopener">William Henry Fox Talbot</a> speculated on the application of photography to the microscope:</span></p>
<blockquote>The objects which the microscope unfolds to our view, curious and wonderful as they are, are often singularly complicated. The eye, indeed, many comprehend the whole which is presented to it in the field of view; but the powers of the pencil fail to express these minutiae of nature in their innumerable details. What artist could have skill or patience enough to copy them? or granting that he [<span style="font-weight: 400;"></span><i><span style="font-weight: 400;">sic</span></i><span style="font-weight: 400;">]</span> <span style="font-weight: 400;">could do so, must it not be at the expense of much most valuable time, which might be more usefully employed? Contemplating the beautiful picture which the solar microscope produces, the thought struck me, whether it might not be possible to cause that image to impress itself upon the paper, and thus to let Nature substitute her own inimitable pencil, for the imperfect, tedious, and almost hopeless attempt of copying a subject so intricate. (quoted in Goldberg 43)</span></blockquote>
<p><span style="font-weight: 400;">Compare this example to an <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3156">album of anatomical illustrations of a bee</a> from 1875</span><span style="font-weight: 400;">, which includes photomicrographs.</span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
[1820]
15.8 x 9.4 cm
QL 466 M58 1820
Creator
An entity primarily responsible for making the resource
creator unknown
daguerreotype
engraving
photomicrograph
William Henry Fox Talbot