121
10
1402
-
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93bcd3b5a087d78d85b9bb4d0742102e
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c3dd39ea27fd4df1bd14054ae9759e16
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138785f23035e18b981cb1198718e751
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98949dadd99156fc08d9aead4e774ccf
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
Postcard Album
Date
A point or period of time associated with an event in the lifecycle of the resource
[1906-1958]
26.0 x 20.0 cm
in cataloguing queue
Description
An account of the resource
<span>This album of photographic <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3096">postcards</a> includes examples of the <a href="https://www.youtube.com/watch?v=3s0hiBi5c4Y" target="_blank" rel="noopener">cyanotype process</a>, which was a relatively simple and low-cost process frequently used for <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/snapshot-albums">family snapshots</a>, contact prints, and blueprints. The cyanotype process remained consistent from the early-nineteenth century (when botanist <a href="https://www.nhm.ac.uk/discover/anna-atkins-cyanotypes-the-first-book-of-photographs.html" target="_blank" rel="noopener">Anna Atkins</a> used the process) into the twentieth century, as seen in the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3066">Report on Evaporation Data</a>, included in this exhibition. <a href="https://www.taniawillard.ca/images/anthro-a-pologizing-2018-1" target="_blank" rel="noopener">Tania Willard</a>, a multidisciplinary artist from the Secwepemc Nation, continues to use the cyanotype process today.<br /><br />This album forms part of the </span><a href="http://peel.library.ualberta.ca/magee.html" target="_blank" rel="noopener">Magee Photograph Collection</a>, along with <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3131">another album</a> in this exhibition that features tintypes<span>.</span>
Creator
An entity primarily responsible for making the resource
photographer unknown
cyanotype
postcard
-
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e4000830c8a0b1a746d412a15fee7b88
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a03c32e13760ecb5f2f3859da5eeeaa0
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c5d77e923bac6f31fac9d162ddf550cb
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3fb4de8f3ca3dc8487c2aeb4dba6e9f5
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7a5fd13366dc08be7d3b84df24cc55f8
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8eead41514d3e1fae5576613a98fb39b
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7049a7c61722b70e556ff27751ef268f
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3666a5eb966b6835e87b8b20842e5037
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cb724d8e5cd21f85cf534a1c08dfb60c
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989d151ee3b013002a018b585f8115e4
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c4bf00a9656d197d3842ac40eedce1dc
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
South African War Through the Stereoscope
Creator
An entity primarily responsible for making the resource
Underwood & Underwood (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1900-1901
8.8 x 17.7 cm
DT 930 S72
Description
An account of the resource
<p><a href="https://www.youtube.com/watch?v=AN34QUEayzQ" target="_blank" rel="noopener">Stereoscope<span style="font-weight: 400;"> technology</span></a><span style="font-weight: 400;"> was developed to experiment with binocular vision, and later became a popular tool for both entertainment and instruction. Stereographs seen through the </span><a href="https://www.youtube.com/watch?v=Icbe2WSfw_Q" target="_blank" rel="noopener"><span style="font-weight: 400;">stereoscope</span></a><span style="font-weight: 400;"> offered such a convincing illusion of three-dimensional reality that some commentators, like the American doctor Oliver Wendell Holmes, suggested that “form is henceforth divorced from matter.” In his article entitled “</span><a href="https://www.theatlantic.com/magazine/archive/1859/06/the-stereoscope-and-the-stereograph/303361/" target="_blank" rel="noopener"><span style="font-weight: 400;">The Stereoscope and the Stereograph</span></a><span style="font-weight: 400;">,” published in 1859, he went on to explain that “matter as a visible object is of no great use any longer, except as the mould on which form is shaped. Give us a few negatives of a thing worth seeing taken from different points of view, and that is all we want of it.” <br /></span></p>
<p><span style="font-weight: 400;">This series of </span><span style="font-weight: 400;">stereocards</span><span style="font-weight: 400;"> portraying the South African War, also known as the Boer War, informed viewers of world events while also offering a visual spectacle. These stereographs can be compared to other examples of war photography created earlier, like </span><a href="https://www.loc.gov/pictures/collection/ftncnw/" target="_blank" rel="noopener"><span style="font-weight: 400;">Roger Fenton’s photographs of the Crimean War</span></a><span style="font-weight: 400;"> from 1855, and later, during the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3130">world wars of the twentieth century</a> or the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3164">fight against apartheid</a> in South Africa.<br /><br />Materials relating to the Boer War are included in the <a href="https://steele.library.ualberta.ca/theme/5" target="_blank" rel="noopener">Sir Samuel Steele Collection</a> at Bruce Peel Special Collections, which also includes <a href="https://steele.library.ualberta.ca/result.html?qq=*%3A*&fq=format%3A%22Photographs%22&sort=&start=10" target="_blank" rel="noopener">photographs</a>. For more information about this particular series of stereocards published by Underwood & Underwood, see "</span><a href="http://www.theheritageportal.co.za/article/anglo-boer-war-stereo-photographs-produced-underwood-underwood" class="active" target="_blank" rel="noopener">Anglo-Boer War: Stereo Photographs produced by Underwood & Underwood</a>."</p>
photojournalism
-
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9c4a74b976887283a4cc543510308bb3
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6ea4def694defd7fb2e636ad983548f7
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b0d0b782399814772947d00aca40110d
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822f261f32f739bafbd837f62b852af6
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5edce15fa4e277b6e164de8a6f54985a
https://omeka.library.ualberta.ca/files/original/42bdc4dda246973e456845fc4a3e99e3.jpg
103ab887e6262a666c306bdd0cfc6637
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a20f92542c6df4edbbbb4ed9480c91aa
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
Postal Souvenirs
Date
A point or period of time associated with an event in the lifecycle of the resource
[1920]
27.5 x 35.0 cm
FC 3234.2 P732 PE001561
Description
An account of the resource
<span style="font-weight: 400;">“Postal Souvenirs” provides an example of what the faster exposures of the </span><a href="https://www.youtube.com/watch?v=r0eIH69QWd8" target="_blank" rel="noopener"><span style="font-weight: 400;">gelatin process</span></a><span style="font-weight: 400;"> could achieve. Here, a trip to a rodeo provided an opportunity to capture the sense of movement that eluded earlier nineteenth-century photographers. The album also provides an example of the day-to-day memories that could be recorded and preserved once the camera became commonplace. It is noteworthy that some of these photographs were printed as <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3096">postcards</a>.<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.</span>
Creator
An entity primarily responsible for making the resource
photographer unknown
postcard
-
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08c7a1aee41b46c466053701d5b081d3
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31cd7ddf6b805e0650a6bf25e80ad42a
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114475f59b8dbeb27ba5373121576702
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dbf6ca44266c70ea2da0fb239ed3c6c0
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6e51f6ac6f99e4e9fb449a14714849d9
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3831b8dbe2c4410c38aa6cad54b6775b
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0ff28a88581cd6620dbf5a2a65143ba5
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7b10e7770aef1d898c0dd918108f1043
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039e5170055ede59c6877bb905baedb9
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e1c16dafc6c7694ac7f0312d09be7ebb
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a51dafe11ca0af1227149684e20fc5b7
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0b6be3b2c175ecca2cd15db352ba8b87
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
Album with Pressed Flowers
Date
A point or period of time associated with an event in the lifecycle of the resource
[1899]
17.0 x 53.0 cm
FC3234.2 P732 PE001004
Description
An account of the resource
<p><span style="font-weight: 400;">This unique album from 1894 acts as an </span><i>aide memoire</i><span style="font-weight: 400;">, with the photographs as well as the pressed plants and flowers providing an </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/what-is-photography">indexical</a><span style="font-weight: 400;"> link to the places represented. </span></p>
<span style="font-weight: 400;">The </span><a href="https://www.youtube.com/watch?v=r0eIH69QWd8" target="_blank" rel="noopener">gelatin dry plate process</a> <span style="font-weight: 400;">rendered photography more accessible in the late-nineteenth century. Once the plates could be dry rather than wet (as was the case with the </span><a href="https://www.youtube.com/watch?v=hnxT4WQsLLM" target="_blank" rel="noopener">wet collodion process</a><span style="font-weight: 400;">), photographers did not need a portable darkroom in order to create the kind of landscape pictures included here. Still, the careful compositions found within this album suggest that the photographs were taken by a serious amateur who had knowledge of the photographic process, made use of a tripod, and aimed for artistic compositions. Compare this album to an <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/snapshot-albums">album of snapshots</a> from the early-twentieth century to get a sense of this difference.<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
-
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ff76dffcfd44df6c8b1e006824724452
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7de3a13eb3c1c09c97615c3c951178b0
https://omeka.library.ualberta.ca/files/original/3b83b62617c7fd15ac1cb34e879416f7.jpg
c16e02df53c1f98dc673931a609ad8c5
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6434f46966ee8148940bdb273d16f2c1
https://omeka.library.ualberta.ca/files/original/c04a2e022752f07187125505d826056c.jpg
59a760ab8e3d64313695f8bf7c660867
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d113de7a0aa5e9960fe489c380381383
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84dd03730a3cd1e3eb3bdd77a63267dd
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
Free Homes and Cheap Railway Lands!
Date
A point or period of time associated with an event in the lifecycle of the resource
1890
23.0 x 10.5 cm
FC 3204.1 C214 1890
Description
An account of the resource
<p><span style="font-weight: 400;">Published by the Canadian Pacific Railway in 1890, this brochure provides another example of the way that the CPR packaged and sold the land of Canada, and of the role that photography played in that process. Here, actual land is advertised as available for purchase, whereas the album <em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3056">CPR 1887</a></em>, <span>created just three years earlier to commemorate a CPR investors' trip across Canada,</span></span><span style="font-weight: 400;"> packages and sells an idea of Canada’s landscape to investors. </span></p>
<span style="font-weight: 400;">This brochure also demonstrates the challenge of printing photographs and texts side-by-side at this time and calls attention to some of the strategies used instead. Here, captions accompanying each illustration promise viewers that the pictures are based on photographs and are therefore “photographic,” even in the absence of actual photographs. This was a common approach used in illustrated newspapers throughout the second half of the nineteenth century, until the </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3044">halftone process</a><span style="font-weight: 400;"> came into widespread use.</span>
Creator
An entity primarily responsible for making the resource
photographer unknown
-
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bfcb08191864933c4f8d649faf0f9c43
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33681760df376abd9e66ec5075d19684
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12af908eeea8897063c4997f8c092a4e
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271986711598b1f58b74164a8a26af81
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b79ee0f546b9bde4937030bc3c1f6ace
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bd8db227784968b97d68fed1197fadd2
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8ab9c3c0750a3d82803b4c7c6ad0df3d
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ca199722f4b1cc236ff0a4aa11c7bd29
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333ba008f18b98b270f159dac069de8e
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d12e4116cbf94782afc9872bd0c14aee
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a879d69e903b8c5f010f35228da65500
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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
Lett's Expedition from Edmonton to Victoria
Creator
An entity primarily responsible for making the resource
R. C. W. Lett (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1910
24.2 x 19.0 cm
FC 3205.3 L65 1910
Description
An account of the resource
<p><span style="font-weight: 400;">This album was assembled by a man named R. C. W. Lett, who is described in the album’s pages as a “colonization agent” of the Grand Trunk Pacific Railway. The album thus makes visible and explicit the ways that photography was used as a tool of colonization. </span></p>
<p><span style="font-weight: 400;">The album also contains some surprises. Three loose photographs found among the album’s pages offer views of Mount Robson. Look closely. In each print, a man sits at an easel in the foreground, dwarfed by the size of the mountain while painting the scenery around him. Paint has also been applied to the surface of the photographs in an apparent effort to transform these documentary prints into </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/works-of-art/1850-to-1900"><span style="font-weight: 400;">works of art</span></a><span style="font-weight: 400;">.<br /></span></p>
landscape
Rockies
-
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b0448990b5ca5f8a8848bcdc3a506bec
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9d2a0f0495c26015aeea9925740de666
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39ae9e53b8fa3543d219df3223d57cce
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4a01f582c8df01d893340a6906120093
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66b7052e586a6b26dfa67a971c5b241c
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7a07180531016058c15829e5802563b5
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
Photographs of India
Date
A point or period of time associated with an event in the lifecycle of the resource
[1900]
16.0 x 21.0 cm
DS 413 A53 1900
Description
An account of the resource
<p><span style="font-weight: 400;">This album of original photographs offers a view of India as seen through a </span><a href="https://archive.artic.edu/stieglitz/pictorialism/" target="_blank" rel="noopener">Pictorialist</a><span style="font-weight: 400;"> lens. The photographer, who was a visitor to India in 1900, plays with composition and focus to soften the appearance of the photographs, differentiating this album from the typical <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/snapshot-albums">snapshot albums</a> that began to proliferate around this time. </span><span>Here, the romantic haze of the Pictorialist style contributes to the view of India circulated by this album. Another example of the Pictorialist approach can be found in Edward Curtis's </span><i><span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3155">The North American</a></span></i><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3155"> <em>Indian</em></a><em>,</em> which aimed to document the Indigenous peoples of North America in the early-twentieth century, and often did so through a hazy, romanticized lens.</p>
Creator
An entity primarily responsible for making the resource
photographer unknown
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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
London
Date
A point or period of time associated with an event in the lifecycle of the resource
1914
22.5 x 16.0 cm
DA 684 C52 1914
Description
An account of the resource
<p><span style="font-weight: 400;">American </span><a href="https://archive.artic.edu/stieglitz/pictorialism/" target="_blank" rel="noopener">Pictorialist</a><span style="font-weight: 400;"> photographer </span><a href="https://www.getty.edu/art/collection/artists/1957/alvin-langdon-coburn-british-born-united-states-1882-1966/" target="_blank" rel="noopener">Alvin Langdon Coburn</a> <span style="font-weight: 400;">was a founding member of the </span><a href="https://archive.artic.edu/stieglitz/the-photo-secession/" target="_blank" rel="noopener">Photo-Secession</a><span style="font-weight: 400;">, along with </span><a href="https://archive.artic.edu/stieglitz/alfred-stieglitz/" target="_blank" rel="noopener">Alfred Stieglitz</a><span style="font-weight: 400;">. Photo-Secession members advocated for photography’s status as a fine art, showing their photographs alongside European modern art at Stieglitz’s <a href="https://archive.artic.edu/stieglitz/little-galleries-of-the-photo-secession291/" target="_blank" rel="noopener">291 Gallery</a> in New York City and in the pages of the journal </span><a href="https://archive.artic.edu/stieglitz/camera-work/" target="_blank" rel="noopener"><i>Camera Work</i></a><span style="font-weight: 400;">, where photographs and paintings were reproduced side-by-side using </span><a href="https://archive.artic.edu/stieglitz/photogravure/" target="_blank" rel="noopener">photogravure</a><span style="font-weight: 400;">. In 1912, Coburn emigrated to the United Kingdom and became involved with the </span><a href="https://platinumprince.com/pictorialist-organisations/2019/4/8/the-linked-ring" target="_blank" rel="noopener">Linked Ring</a><span style="font-weight: 400;">, a British group of </span>pictorialist<span style="font-weight: 400;"> photographers founded in 1892. <br /><br /></span><span style="font-weight: 400;">This privately-printed book includes a text by the British writer Gilbert Keith Chesterton and ten photographs by Coburn, printed by </span>mezzogravure,<span style="font-weight: 400;"> a printing process similar to the </span><a href="https://archive.artic.edu/stieglitz/photogravure/" target="_blank" rel="noopener">photogravure</a><span style="font-weight: 400;">. Photographs and text remain separate, with just one photograph per page featured in a series of photographic plates, making it clear that the photographs are not merely illustrations but works of art in their own right. This treatment of photographs is similar to the presentation in </span><i>Camera Work</i> <span style="font-weight: 400;">and other fine art publications of the time.</span></p>
<p><span style="font-weight: 400;">A full scan of the book is available through the <a href="https://archive.org/details/london00chesuoft/page/-3/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.</span></p>
Creator
An entity primarily responsible for making the resource
G. K. Chesterton (author)
Alvin Langdon Coburn (photographer)
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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
A Portfolio of Piles
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
24.2 x 16.5 cm
TR 660 T44
Description
An account of the resource
<p><span style="font-weight: 400;">Artists Iain and Ingrid Baxter formed the <a href="https://vancouverartinthesixties.com/essays/siting-the-banal" target="_blank" rel="noopener">NE Thing Co</a> in 1966. The Company, which was incorporated under Canadian law, challenged the supposed divide between art and everyday life</span><span style="font-weight: 400;">—</span><span style="font-weight: 400;">and particularly everyday economic life</span><span style="font-weight: 400;">—</span><span style="font-weight: 400;">while also parodying the conventions of the corporate world. </span></p>
<p><a href="http://artistsbooksandmultiples.blogspot.com/2014/03/n-e-thing-co-portfolio-of-piles.html" target="_blank" rel="noopener"><i><span style="font-weight: 400;">A Portfolio of Piles</span></i></a><span style="font-weight: 400;"> consists of 59 photographs of piles found around Vancouver. The photographs document what the NE Thing Co called “ACTs,” or “Aesthetically Claimed Things.” Claiming things, rather than making things, called attention to the artificial divide between art and life, while also trespassing across established boundaries. </span></p>
<p><span style="font-weight: 400;">The banality of the photographs further contributes to this challenge. Compare these images to examples of corporate photography in this exhibition, such as the </span><span style="font-weight: 400;"><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3051">Otis Dump Cars pamphlet</a>, a <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3066">Report on Evaporation Data</a>, and an album of </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3161">Sundry Photographs of the Lethbridge Brewing and Malting Co</a>, <span style="font-weight: 400;">as well as other examples of </span><a href="https://www.tate.org.uk/art/art-terms/c/conceptual-photography" target="_blank" rel="noopener">conceptual art</a>, <span style="font-weight: 400;">like Ed </span><span style="font-weight: 400;">Ruscha’s </span><i><span style="font-weight: 400;"><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3171">Every Building on the Sunset Strip</a></span></i><span style="font-weight: 400;">.</span></p>
Creator
An entity primarily responsible for making the resource
NE Thing Co (creator)
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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