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FC 219 C225 folio</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 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>This presentation album was created to commemorate a Canadian Pacific Railway investors' trip across Canada, and was published by Canadian photographic studio &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3154"&gt;William Notman &amp;amp; Son&lt;/a&gt;. &lt;br /&gt;&lt;br /&gt;The album provides an example of &lt;a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener"&gt;albumen prints&lt;/a&gt; created using the &lt;a href="https://www.youtube.com/watch?v=hnxT4WQsLLM" target="_blank" rel="noopener"&gt;wet collodion process&lt;/a&gt;. The photographers responsible for these images would have travelled across the landscapes pictured here carrying their supply of glass plate negatives and a full darkroom, due to the necessity of preparing and developing wet plates on location. Once the photographs were printed on albumen paper, they had to be individually pasted onto each page of the album.&lt;br /&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Photographs like these ones played a role in shaping the ways that the Canadian West was imagined, and provide a good example of what photo historian Joan Schwartz calls "&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity"&gt;imagined geographies&lt;/a&gt;." This album turns the spaces of Canada into an imagined place&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;—&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;and, for the specific purposes of this album&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;—&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;one that was intended to please investors in the railway.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;As you consider the kind of “imagined geographies” that these photographs both build on and contribute to, consider additional &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/souvenir-books"&gt;souvenir albums&lt;/a&gt; of the &lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Western Canadian landscape included in this exhibition. &lt;/span&gt;&lt;span style="font-weight: 400;"&gt;What arguments do these photographs make and how do they encourage us to imagine and remember these places?&amp;nbsp;&lt;br /&gt;&lt;br /&gt;This album forms part of the Prairie Roots Collection at Bruce Peel Special Collections, supported by the Prairie Roots Endowment Fund (gift of Ralph and Gay Young).&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;a href="http://content.time.com/time/arts/article/0,8599,1906503,00.html" target="_blank" rel="noopener"&gt;Kodachrome&lt;/a&gt; was one of the first widely-used &lt;a href="https://www.youtube.com/watch?v=QP3uLdlAAAA&amp;amp;feature=emb_title" target="_blank" rel="noopener"&gt;colour films&lt;/a&gt;, introduced by the Eastman Kodak Company in 1935. Here, Kodachrome film was used to create colourful pictures of the Canadian Rockies. Printed as &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3096"&gt;postcards&lt;/a&gt;, 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.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Many of the photographs taken with Kodachrome film were printed as &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3159"&gt;slides&lt;/a&gt;. To see examples of Kodachrome slides, visit the &lt;a href="https://www.anonymous-project.com/en" target="_blank" rel="noopener"&gt;Anonymous Project&lt;/a&gt;. 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.”</text>
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                <text>&lt;em&gt;Hoofs, Claws and Antlers of the Rocky Mountains by the Camera&lt;/em&gt; 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 &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3044"&gt;halftone process&lt;/a&gt;, which allowed photographs to be easily printed side by side with text, bringing about what historian Gerry Beegan has called “the mass image.” &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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.” &lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;A full scan of this item is available through the &lt;a href="https://archive.org/details/cu31924024575205/page/n3/mode/2up" target="_blank" rel="noopener"&gt;Internet Archive&lt;/a&gt;.</text>
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                <text>&lt;span style="font-weight: 400;"&gt;&amp;nbsp;&lt;/span&gt;</text>
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