29
10
1404
-
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fb948f15e90eb04685a60cdbeff358a3
https://omeka.library.ualberta.ca/files/original/5e0972407f12834ddd916ee5218f40eb.jpg
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a4db2f62a74e77aa747874437a9334ae
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
Trial of Patrick J. Whelan for the Murder of the Hon Thos D'Arcy McGee
Date
A point or period of time associated with an event in the lifecycle of the resource
1868
22.0 x 14.0
KE 228 W53 T74 1868
Description
An account of the resource
<p><span style="font-weight: 400;">Here we have an example of </span><a href="https://www.tate.org.uk/art/art-terms/p/photojournalism" target="_blank" rel="noopener"><span style="font-weight: 400;">photojournalism</span></a><span style="font-weight: 400;"> before photojournalism was entirely practical. <span>It would still be a few decades before the </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3044"><span>halftone process</span></a><span> made it efficient and therefore cost-effective to print photographs and text side-by-side. In this report of the trial of Patrick J. Whelan, there is a a single <a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener">albumen print</a> pasted onto the report. Compare this to later examples of photojournalism, such as </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3045"><i><span>Life</span></i></a><i><span> </span></i><span>and <em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3164">The Fight for Apartheid!</a></em></span><span>.</span></span><span style="font-weight: 400;"><br /></span></p>
<p><span style="font-weight: 400;">A related example from the history of photography is Alexander Gardner’s “</span><a href="https://www.loc.gov/item/2008680151/" target="_blank" rel="noopener"><span style="font-weight: 400;">Execution of the Conspirators</span></a><span style="font-weight: 400;">” from 1865. When Gardner’s photographs of the execution were reproduced as </span><a href="https://images.indianahistory.org/digital/collection/p0409/id/9" target="_blank" rel="noopener"><span style="font-weight: 400;">woodcut illustrations in </span><i><span style="font-weight: 400;">Harper’s Weekly</span></i><span style="font-weight: 400;"> on 22 July 1865</span></a><span style="font-weight: 400;">, the periodical boasted that “the present perfection of the art of photography enables an illustrated paper like ours to depict persons and events with the utmost precision.” <br /><br />A full scan of the report is available through the <a href="https://archive.org/details/cihm_23543/page/n5/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.<br /></span></p>
Creator
An entity primarily responsible for making the resource
photographer unknown
-
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e1abeb2aa29ccf8a84b444fce25e3b04
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0b9c8e168a582d0790b5cef8fa19f220
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
Louis Riel
Creator
An entity primarily responsible for making the resource
Israel Bennetto (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1869-84]
10.0 x 16.0 cm
FC 3217.1 R53 B46 1884
Description
An account of the resource
<p><span style="font-weight: 400;">This </span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3055">carte-de-visite</a></em> <span style="font-weight: 400;">of Métis leader Louis Riel provides an example of how a photograph of a political figure circulates information and ideas. Riel led the </span><a href="https://indigenouspeoplesatlasofcanada.ca/article/red-river-resistance/" target="_blank" rel="noopener"><span style="font-weight: 400;">Red River Resistance</span></a><span style="font-weight: 400;"> in 1869-70, and then negotiated the terms of Manitoba’s entry into Confederation with the Dominion of Canada. Years later, in 1885, Riel led the <a href="https://indigenouspeoplesatlasofcanada.ca/article/1885-northwest-resistance/" target="_blank" rel="noopener">Northwest Resistance</a></span><span style="font-weight: 400;"> in support of Métis' rights and identity, for which he was hanged. This photograph was taken at some point between those two events.</span></p>
<p><span style="font-weight: 400;">As </span><a href="https://bpsc.library.ualberta.ca/exhibits/ancestors" target="_blank" rel="noopener"><span style="font-weight: 400;">Sarah Carter and Inez Lightning</span></a><span style="font-weight: 400;"> have shown, Riel’s portrait circulated widely as both a <em>carte-de-visite</em> and as a <a href="https://www.tate.org.uk/art/art-terms/w/wood-engraving" target="_blank" rel="noopener">wood engraving</a>. In the reproductions, changes to the image allowed Riel to appear at times heroic and at other times dangerous. <br /><br /><br /></span></p>
carte-de-visite
portrait
-
https://omeka.library.ualberta.ca/files/original/157154ba2ff9382c26049c55f7eb3db3.jpg
20988739e15a4ab4dc2ec7d10a6a5fc9
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57755b4dee093f41fbd0072eee9b0c9c
https://omeka.library.ualberta.ca/files/original/ff5be2dd1c5f10c2f5107167fc5eb241.jpg
66220a8fd0c4118bdf7bde737c488c72
https://omeka.library.ualberta.ca/files/original/95218be6181fea87115607ef4feec2a0.jpg
71bf8a09e13898fbadfab9e9dd51603f
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
A System of Phrenology
Creator
An entity primarily responsible for making the resource
George Combe (author)
J. J. Butler (engraver)
Date
A point or period of time associated with an event in the lifecycle of the resource
1844
19.0 x 11.3 cm
BF 870 C72 1844
Description
An account of the resource
<p><span style="font-weight: 400;">The title page of </span><i><span style="font-weight: 400;">A System of Phrenology </span></i><span style="font-weight: 400;">boasts that the volume</span> <span style="font-weight: 400;">features “upward of one hundred engravings.” Photography had been discovered by the time the book was published, but the dominant processes of the time</span><span style="font-weight: 400;"> (the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3125">daguerreotype</a> and the calotype) did not offer </span><span style="font-weight: 400;">an efficient or practical method of circulating knowledge alongside printed text. </span></p>
<span style="font-weight: 400;">The system of </span><a href="https://victorianweb.org/science/phrenology/intro.html" target="_blank" rel="noopener"><span style="font-weight: 400;">phrenology</span></a><span style="font-weight: 400;"> described in this volume is closely related to the Victorian practice of physiognomy. Described today as pseudosciences, phrenology and </span><a href="https://blogs.getty.edu/iris/physiognomy-the-beautiful-pseudoscience/" target="_blank" rel="noopener"><span style="font-weight: 400;">physiognomy</span></a><span style="font-weight: 400;"> posited that an individual’s exterior features revealed aspects of their character. Later, </span><a href="https://www.metmuseum.org/art/collection/search/301897" target="_blank" rel="noopener"><span style="font-weight: 400;">Francis Galton</span></a><span style="font-weight: 400;"> would use photography as a tool to both investigate and circulate physiognomic principles, and Charles Darwin would use photographs to examine <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3145">human emotion</a>. <br /><br />A full scan of this item is available through the <a href="https://archive.org/details/101519023.nlm.nih.gov/page/n4/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.<br /></span>
engraving
-
https://omeka.library.ualberta.ca/files/original/bf5c0a7b2f9d0a333e95de8c67be5505.jpg
75e34a2dd23bf01111d613026346ad72
https://omeka.library.ualberta.ca/files/original/051810e99b845b8fc0bce054c8b92852.jpg
291997264426dada9db0b650c1419c82
https://omeka.library.ualberta.ca/files/original/aa4112779446c181184fd4145f5a5f2f.jpg
15164d3ceee675951caa74e5b67e600b
https://omeka.library.ualberta.ca/files/original/c72b563196df13b1eec88c584545019f.jpg
4065831d2958b9bc0e34a5e33e12bf9e
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eec996266f56a7d455d66113abb0dbe2
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 Aurelian: A Natural History of English Moths and Butterflies
Creator
An entity primarily responsible for making the resource
Moses Harris (creator)
Date
A point or period of time associated with an event in the lifecycle of the resource
1766
38.6 x 26.0 cm
QL 555 G7 H318 1766 folio
Description
An account of the resource
<p><i><span style="font-weight: 400;">The Aurelian: A Natural History of English Moths and Butterflies </span></i><span style="font-weight: 400;">was created by English entomologist and artist </span><a href="https://wonder-cabinet.sites.gettysburg.edu/artful-nature/merian-and-her-context/moses-harris-the-aurelian-and-the-mania-for-insects-and-tulips/" target="_blank" rel="noopener"><span style="font-weight: 400;">Moses Harris</span></a><span style="font-weight: 400;">. The book’s title page explains that its pictures were “drawn, engraved and coloured from the natural subjects.” </span><span style="font-weight: 400;">Harris’s hand-coloured engravings are remarkable, and he went on to become known as a colour theorist after publishing a </span><a href="https://brightonmuseums.org.uk/discover/2013/07/04/rare-copy-of-moses-harriss-natural-system-of-colours-on-display-at-the-royal-pavilion/" target="_blank" rel="noopener"><span style="font-weight: 400;">treatise on colour</span></a><span style="font-weight: 400;"> that also features hand-coloured plates.</span></p>
<p><span style="font-weight: 400;">The frontispiece (the image facing the title page) features a portrait of a man, presumably representing Harris himself, offering us a tray of specimens with his left hand while pointing into a wooded landscape with his right hand. When we follow his gesture, we see the same man engaged in the labour of collecting moths and butterflies. By selecting this image as the frontispiece, Harris seems to emphasize the presence of an expert as a guide. In contrast, photographic collections of scientific specimens often have the effect of effacing the presence of their makers. For example, compare </span><i><span style="font-weight: 400;">The Aurelian </span></i><span style="font-weight: 400;">to an entomological album </span><span style="font-weight: 400;">from 1875, </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3156"><em>Anatomical Illustrations of the Bee</em></a><span style="font-weight: 400;"></span><i><span style="font-weight: 400;">. </span></i></p>
<p><span style="font-weight: 400;">The copy of </span><i><span style="font-weight: 400;">The Aurelian </span></i><span style="font-weight: 400;">housed in Bruce Peel Special Collections and featured here is a composite of pages from the first and second editions, published in 1766 and 1778, respectively, and brought together by a previous owner. Subsequent editions were published into the nineteenth century, as can be seen from this </span><a href="https://archive.org/details/Aurelian00Harr/page/n5/mode/2up" target="_blank" rel="noopener"><span style="font-weight: 400;">full scan of an edition of 1840</span></a><span style="font-weight: 400;">. <br /><br /></span><i><span style="font-weight: 400;">The Aurelian </span></i><span style="font-weight: 400;">forms part of the <a href="https://bpsc.library.ualberta.ca/collections/dr-ronald-b-madge-entomology-collection" target="_blank" rel="noopener">Dr </a></span><span style="font-weight: 400;"><a href="https://bpsc.library.ualberta.ca/collections/dr-ronald-b-madge-entomology-collection" target="_blank" rel="noopener">Ronald B. Madge Entomology Collection</a>.</span></p>
colour
engraving
entomology
-
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73dd10a3e4cde67c8d12a8fc29ae5046
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a2e7a7ca1d93971afa9503b1fe2c93ce
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138d3aec7d614dd53b6ca27034d6f1ca
https://omeka.library.ualberta.ca/files/original/63cf02efc63e59f0b06f70f1727ce8ec.jpg
0f2e9f964138afc99102bf3fb0bb637a
https://omeka.library.ualberta.ca/files/original/3bf784b77af3f258831c692fe320ec46.jpg
e9e12bc858836d12138907d80a2c5e49
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
Life Magazine
Creator
An entity primarily responsible for making the resource
Margaret Bourke-White (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
21.8 x 33.6 cm
AP 2 L72 v.1, no.1 1937
Description
An account of the resource
<p><a href="https://artsandculture.google.com/partner/life-photo-collection?date=1956" target="_blank" rel="noopener"><i><span style="font-weight: 400;">Life</span></i></a> <span style="font-weight: 400;">is among the most famous of the twentieth-century picture magazines, and some of the century's most <a href="https://reyherphoto.com/time-life-photojournalists-iconic-photos/" target="_blank" rel="noopener">iconic photographs</a> were published in its pages. This first issue of </span><i><span style="font-weight: 400;">Life</span></i><span style="font-weight: 400;">, from 1936,</span> <span style="font-weight: 400;">features a photograph by <a href="https://www.icp.org/browse/archive/constituents/margaret-bourke-white?all/all/all/all/0" target="_blank" rel="noopener">Margaret Bourke-White</a> on its cover. A full scan of this issue is available through the <a href="https://archive.org/details/Life_Magazine_v01n01_Nov_23_1936_/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.</span></p>
<p><span style="font-weight: 400;">Picture magazines like </span><i><span style="font-weight: 400;">Life</span></i><span style="font-weight: 400;"> used the </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3044"><span style="font-weight: 400;">halftone process</span></a><span style="font-weight: 400;">, which allowed photographs to be printed efficiently alongside text. Magazines began employing photo editors to create innovative and eye-catching layouts, such as the ones seen here. To consider the changing aesthetic of photojournalism, compare </span><i><span style="font-weight: 400;">Life</span></i><span style="font-weight: 400;">’s photographs and layout with the illustrated news report from 1868 on </span><span style="font-weight: 400;">the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3049">Trial of Patrick J. Whelan</a>.</span></p>
<p><span style="font-weight: 400;">The <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/circulate-knowledge/1900-to-1969">documentary photographs</a> published in </span><i><span style="font-weight: 400;">Life </span></i><span style="font-weight: 400;">follow a tradition of social documentary photography that emerged in the late-nineteenth century with photographers <a href="https://www.npr.org/templates/story/story.php?storyId=91981589" target="_blank" rel="noopener">Jacob Riis</a> and <a href="http://100photos.time.com/photos/lewis-hine-cotton-mill-worker" target="_blank" rel="noopener">Lewis Hine</a>. Bourke-White took part in this tradition with her photographs documenting poverty in the American South, which were published alongside the writings of Erskine Caldwell in </span><a href="https://thephotographersgallery.org.uk/whats-on/exhibition/margaret-bourke-white-you-have-seen-their-faces" target="_blank" rel="noopener"><i><span style="font-weight: 400;">You Have Seen Their Faces</span></i></a><span style="font-weight: 400;">. Around the same time that Bourke-White was photographing the American South, the American government’s <a href="https://livinghistoryfarm.org/farminginthe30s/water_14.html" target="_blank" rel="noopener">Farm Security Administration</a> started hiring photographers like <a href="http://100photos.time.com/photos/dorothea-lange-migrant-mother" target="_blank" rel="noopener">Dorothea Lange</a> and <a href="https://www.nga.gov/education/teachers/lessons-activities/uncovering-america/parks-photography.html" target="_blank" rel="noopener">Gordon Parks</a> to record the effects of the Depression in America. <br /><br />Other examples of photojournalism included in this exhibition include <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3130"><em>The Changing of the Guard</em></a> and <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3164"><em>The Fight against Apartheid!</em></a></span></p>
documentary photography
halftone
photojournalism
-
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c6ae99653266512ee120dae9965d99ec
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3646e27f2b9072665ff6141bf0953f06
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45206772d1f9f0e1e146380d4e937fd7
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fc02abe467019aa520dd33bced726cc8
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067bc7708527ddffd69e41969646341f
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975dfbaf4b2407462f11206f7c8a3f59
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
Hoffman's Novelty Circus
Date
A point or period of time associated with an event in the lifecycle of the resource
[1943]
106.7 x 35.8 cm
FC 3234.2 P732 PE000407
Description
An account of the resource
<span style="font-weight: 400;">This poster promoting Hoffman’s Novelty Circus provides an example of the </span><a href="https://www.ted.photographer.org.uk/photoscience_halftones.htm" target="_blank" rel="noopener">halftone process</a> <span style="font-weight: 400;">used in advertising. Notice the grid pattern across the surface of the image, showing how dots were printed closer together or further apart to achieve different gradations of grey. <br /><br />This album is part of 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.<br /></span>
Creator
An entity primarily responsible for making the resource
photographer unknown
halftone
-
https://omeka.library.ualberta.ca/files/original/2d55e79a34e1aa552155a2477758eb6b.jpg
5877a8154ea26bf479422f7d34306295
https://omeka.library.ualberta.ca/files/original/f47e7d0d180c8483619f7b2738ae422b.jpg
976e42aec822d8db4c5fcac74eca7b18
https://omeka.library.ualberta.ca/files/original/1af27b3371d51699980c58935a527755.jpg
2516c3ea13e57a49d853ab3c7b5e73f2
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da1dd779909feea83052c4824ed09fc2
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5f1de473f8bf4c1c993208bfd85e8a96
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91fee8ab62137fc5f58f78393c4b0042
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a1d88f65b21c2bc84280b7bf538ab188
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
-
https://omeka.library.ualberta.ca/files/original/579935d74387887fb5b744cd4651e685.jpg
bcb1e7f22964d7683601f5d68a6c7d77
https://omeka.library.ualberta.ca/files/original/96c2e699f09c1077cb89969ac5db5f5b.jpg
682fbefd7d05f1afd0557022f5399df0
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
Panoramic Photograph
Date
A point or period of time associated with an event in the lifecycle of the resource
1911-1912
8.1 x 30.7 cm
FC 3234.2 P732 PE000893
Description
An account of the resource
<span style="font-weight: 400;">This </span>panoramic photograph<span style="font-weight: 400;"> was created from three different prints, as we can see from the seams between the photographs.<br /><br />For another example of a panoramic photographic, see the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3065">group portrait of plumbers and steamfitters</a>.<br /><br /><span>This album is part of the </span><a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener">Prairie Ephemera Collection</a><span> housed in Bruce Peel Special Collections.</span><br /></span>
Creator
An entity primarily responsible for making the resource
photographer unknown
-
https://omeka.library.ualberta.ca/files/original/fcb5f2103243d5c6383f9a2dc758f0f4.jpg
bb06c3533453a0400afffbfefe743c22
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https://omeka.library.ualberta.ca/files/original/4d43bca07ae4dedb951a663af9cae6c6.jpg
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c477f9abf2deede6c866acb9823e3aca
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
-
https://omeka.library.ualberta.ca/files/original/786f2e932fac6ad7ba581e5366a64df8.jpg
1ad1d350a87e08ef2020f52cdfeb8219
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https://omeka.library.ualberta.ca/files/original/34690f124e903630d63bc2831dad929e.jpg
19cf618fed00dc62b612d1023a5158e4
https://omeka.library.ualberta.ca/files/original/d4065753ef5d67d0d79db3297b7dd733.jpg
78697514d5d8e2d8ad2d4071dd17c27e
https://omeka.library.ualberta.ca/files/original/45ac5275b335b7b8866902ca14936520.jpg
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https://omeka.library.ualberta.ca/files/original/d762dd6d19f333c16133132a6003f264.jpg
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https://omeka.library.ualberta.ca/files/original/17e117a89c84ba2e3844c6863dc1c78b.jpeg
e53178fe22abd2cdd2daf7188ec24a66
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