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                <text>1911-1912&#13;
8.1 x 30.7 cm&#13;
FC 3234.2 P732 PE000893</text>
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                <text>&lt;span style="font-weight: 400;"&gt;This &lt;/span&gt;panoramic photograph&lt;span style="font-weight: 400;"&gt; was created from three different prints, as we can see from the seams between the photographs.&lt;br /&gt;&lt;br /&gt;For another example of a panoramic photographic, see the &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3065"&gt;group portrait of plumbers and steamfitters&lt;/a&gt;.&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>Hoffman's Novelty Circus</text>
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                <text>[1943]&#13;
106.7 x 35.8 cm&#13;
FC 3234.2 P732 PE000407</text>
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                <text>&lt;span style="font-weight: 400;"&gt;This poster promoting Hoffman’s Novelty Circus provides an example of the &lt;/span&gt;&lt;a href="https://www.ted.photographer.org.uk/photoscience_halftones.htm" target="_blank" rel="noopener"&gt;halftone process&lt;/a&gt; &lt;span style="font-weight: 400;"&gt;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.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;This album is part of the &lt;a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener"&gt;Prairie Ephemera Collection&lt;/a&gt; housed in Bruce Peel Special Collections.&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Trial of Patrick J. Whelan for the Murder of the Hon Thos D'Arcy McGee</text>
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                <text>1868&#13;
22.0 x 14.0&#13;
KE 228 W53 T74 1868</text>
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Here we have an example of &lt;/span&gt;&lt;a href="https://www.tate.org.uk/art/art-terms/p/photojournalism" target="_blank" rel="noopener"&gt;&lt;span style="font-weight: 400;"&gt;photojournalism&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; before photojournalism was entirely practical. &lt;span&gt;It would still be a few decades before the&amp;nbsp;&lt;/span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3044"&gt;&lt;span&gt;halftone process&lt;/span&gt;&lt;/a&gt;&lt;span&gt; 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 &lt;a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener"&gt;albumen print&lt;/a&gt; pasted onto the report. Compare this to later examples of photojournalism, such as &lt;/span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3045"&gt;&lt;i&gt;&lt;span&gt;Life&lt;/span&gt;&lt;/i&gt;&lt;/a&gt;&lt;i&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;/i&gt;&lt;span&gt;and&amp;nbsp;&lt;em&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3164"&gt;The Fight for Apartheid!&lt;/a&gt;&lt;/em&gt;&lt;/span&gt;&lt;span&gt;.&lt;/span&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;A related example from the history of photography is Alexander Gardner’s “&lt;/span&gt;&lt;a href="https://www.loc.gov/item/2008680151/" target="_blank" rel="noopener"&gt;&lt;span style="font-weight: 400;"&gt;Execution of the Conspirators&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;” from 1865. When Gardner’s photographs of the execution were reproduced as &lt;/span&gt;&lt;a href="https://images.indianahistory.org/digital/collection/p0409/id/9" target="_blank" rel="noopener"&gt;&lt;span style="font-weight: 400;"&gt;woodcut illustrations in &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Harper’s Weekly&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt; on 22 July 1865&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;, 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.”&amp;nbsp;&lt;br /&gt;&lt;br /&gt;A full scan of the report is available through the &lt;a href="https://archive.org/details/cihm_23543/page/n5/mode/2up" target="_blank" rel="noopener"&gt;Internet Archive&lt;/a&gt;.&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;</text>
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                <text>Otis Dump Cars </text>
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                <text>[1910]&#13;
8.4 x 14.0 cm&#13;
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This pamphlet for Otis dump cars provides an example of the promotional uses of photography in the early-twentieth century. It also calls to mind some of the more mundane uses of photography, which were taken up and parodied by conceptual artists in the later twentieth century. &lt;/span&gt;&lt;span style="font-weight: 400;"&gt;The NE Thing Company’s &lt;/span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3140"&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Portfolio of Piles&lt;/span&gt;&lt;/i&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;,&lt;/span&gt;&lt;span style="font-weight: 400;"&gt; for example, builds on the function and aesthetic of corporate publications like this one.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Bruce Peel Special Collections houses both the published pamphlet and the original photographs on which the printed images were based. Considered on their own, the photographs resemble the &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3151"&gt;Modernist aesthetic&lt;/a&gt; taken up by photographers in the early-twentieth century.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>[1916]&#13;
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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;
&lt;blockquote&gt;For unadulterated mountain scenery &lt;br /&gt;With its snow capped jagged peaks &lt;br /&gt;The Canadian Rockies furnish everything&lt;br /&gt;That the true lover of Nature seeks&lt;/blockquote&gt;</text>
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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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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Souvenir of Saskatoon</text>
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                <text>undated&#13;
23.6 x 29.5 cm&#13;
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>photographer unknown</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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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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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Canadian Rockies </text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1940&#13;
23.2 x 30.6 cm&#13;
FC 219 C225 folio</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>photographer unknown</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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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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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Plumbers and Steamfitters</text>
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                <text>photographer unknown</text>
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            <name>Date</name>
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                <text>1926&#13;
16.6 x 82.6 cm&#13;
FC 3234.2 P732 PE000419</text>
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            <description>An account of the resource</description>
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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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    <elementSetContainer>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Preliminary Report on Available Evaporation Data for Alberta and Saskatchewan</text>
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            <name>Date</name>
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                <text>1927&#13;
34.0 x 21.0 cm&#13;
QC 915.7 C3 S76 1927 folio</text>
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            <description>An account of the resource</description>
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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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