19
10
1402
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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
Portraits of British Americans
Creator
An entity primarily responsible for making the resource
Fennings Taylor (author)
William Notman (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1865
21.0 x 14.5 cm
FC 25 T228 1865
Description
An account of the resource
<p><span style="font-weight: 400;"><em>Portraits of British Americans</em> demonstrates some of the challenges of circulating knowledge through photographs in the mid-nineteenth century. Though these </span><a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener"><span style="font-weight: 400;">albumen prints</span></a> <span style="font-weight: 400;">could be mass-produced, each print had to be individually pasted onto the page in order to combine it with text in the form of an illustrated book.</span></p>
<p><span style="font-weight: 400;">This book was published by the photographer </span><a href="https://www.aci-iac.ca/art-books/william-notman/biography/" target="_blank" rel="noopener"><span style="font-weight: 400;">William Notman</span></a><span style="font-weight: 400;">, who ran a successful photographic firm based in Montreal, with branches in several other cities in Eastern Canada and the United States. Notman was an aggressive entrepreneur, and this volume likely functioned as a promotional tool for his portraits, which made up the bulk of his business. Notman’s elegant studio, use of artistic backdrops, and innovative printing techniques drew an elite clientele, who would have been drawn to the idea of joining the ranks of eminent British Americans by having a portrait taken by the “photographer to the Queen,” a title that Notman secured in 1860. The <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3053">portrait of A. C. Rankin and his brother</a> provides an example of a particularly lavish portrait produced by Notman’s studio. </span></p>
<p><span style="font-weight: 400;">Many of the photographs of Western Canada included in this exhibition were taken by Notman’s photographic firm, such as </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3056"><i><span style="font-weight: 400;">CPR</span></i><i><span style="font-weight: 400;"> 1887</span></i></a> <span style="font-weight: 400;">and </span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3148"><span style="font-weight: 400;">Photographs of the Canadian Rockies, Fraser River, Yellowstone Park, etc</span></a></em>, and contributed to<span style="font-weight: 400;"> an <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity">imagined geography</a> of Canada. With these other photographs in mind, consider what this volume and its photographs suggest about the identity of British Americans. <br /><br />A full scan of this book is available through the <a href="https://archive.org/details/portraitsofbriti01tayluoft/page/n4/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.</span></p>
portrait
William Notman
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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
Animal Locomotion
Creator
An entity primarily responsible for making the resource
Eadweard Muybridge (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1969 facsimile of 1887 original
34.2 x 49.5 cm
QP 301 M992 1969 folio
Description
An account of the resource
<p><span style="font-weight: 400;"><a href="https://www.youtube.com/watch?v=wNU7sXkZmSw" target="_blank" rel="noopener">Eadweard Muybridge</a>’s efforts to capture animal motion with photography provides evidence of the desire to capture photographically what is invisible to the human eye. The resulting photographs had a significant influence on both scientists and artists. </span></p>
<p><span style="font-weight: 400;">The series </span><i><span style="font-weight: 400;">Animal</span></i><span style="font-weight: 400;"> <em>Locomotion</em>, published in 1887 and based on <a href="https://archives.upenn.edu/exhibits/penn-history/muybridge" target="_blank" rel="noopener">Muybridge's studies at the University of Pennsylvania</a>, </span><span style="font-weight: 400;">provides an example of what could be achieved with the shorter exposure times of </span><a href="https://www.youtube.com/watch?v=r0eIH69QWd8" target="_blank" rel="noopener">gelatin dry plates</a> and the photomechanical process of the <a href="https://www.moma.org/collection/terms/collotype" target="_blank" rel="noopener">collotype</a>. But, as scholars such as Marta Braun have pointed out, the photographs required manipulation and editing to render animal motion legible. To begin examining the editorial decisions that are apparent in Muybridge's studies, consider the different actions performed by men and women in the plates featured here. Also consider how many different views of the moving body each plate includes. <br /><br /><span style="font-weight: 400;">Muybridge’s photographs contributed to a discussion among artists regarding the representation of movement in painting, as seen in the work of artists <a href="https://www.philamuseum.org/collections/permanent/43938.html" target="_blank" rel="noopener">Thomas Eakins</a> and <a href="https://philamuseum.org/collections/permanent/51449.html" target="_blank" rel="noopener">Marcel Duchamp</a>. Muybridge’s photographs have entered the art world in other ways as well, often appearing today on the walls of art galleries. For example, some of the plates from the original 1887 series are held by the the <a href="https://www.artic.edu/artists/18883/eadweard-muybridge" target="_blank" rel="noopener">Art Institute of Chicago</a>.</span></p>
<p><span style="font-weight: 400;">The copy of </span><i><span style="font-weight: 400;">Animal Locomotion </span></i><span style="font-weight: 400;">housed in Bruce Peel Special Collections is a facsimile edition published in 1969; by that time, the series was more likely to be studied by art historians than by scientists.</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
Forever Wild
Date
A point or period of time associated with an event in the lifecycle of the resource
1966
35.7 x 26.0 cm
F 127 A2 P84 folio
Description
An account of the resource
<p><span style="font-weight: 400;">An association between black-and-white film and fine art photography persisted long after colour photography became commonplace among amateurs. Despite this association, <a href="https://www.getty.edu/art/collection/artists/1426/eliot-porter-american-1901-1990/" target="_blank" rel="noopener">Eliot Porter</a> took up colour photography in the 1940s and achieved widespread recognition for his fine art photography featuring American landscapes and animal life. </span></p>
<p><span style="font-weight: 400;">In the 1970s, when artist <a href="https://www.icp.org/browse/archive/constituents/sherrie-levine?all/all/all/all/0" target="_blank" rel="noopener">Sherrie Levine</a> began rephotographing fine art photographs, she chose Porter’s colourful landscapes as one of her subjects</span>—<span style="font-weight: 400;">demonstrating, as Abigail Solomon-Godeau pointed out</span>—<span style="font-weight: 400;">that Porter was among the “canonized masters of photographic modernism” at the time (127). In her essay “Living with Contradictions: Critical Practices in the Age of Supply-Side Aesthetics," Solomon-Godeau goes on to explain:</span></p>
<blockquote>[Levine’s] selection of stolen images was anything but arbitrary; always the work of canonized male photographers, the contents and codes of these purloined images were chosen for their ideological density (the classical nude, the beauty of nature, the poor of the Great Depression) and then subjected to a demystifying scrutiny. (128)</blockquote>
Creator
An entity primarily responsible for making the resource
Eliot Porter (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
Russland
Creator
An entity primarily responsible for making the resource
El Lissitzky (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1930
28.8 x 22.2 cm
NA 1188 L769 1930
Description
An account of the resource
<p><span style="font-weight: 400;">El Lissitzsky’s </span><i><span style="font-weight: 400;">Russland: Die Rekonstruction der Architecktur in der Sowjetunion</span></i><span style="font-weight: 400;">, published in 1930, proposed a new and revolutionary architecture for the Soviet Union. Like the architecture that the book promotes, the book’s photographs offered a new perspective that aligned with Lissitzsky and his colleagues’ revolutionary ideas. For example, the </span><a href="https://www.tate.org.uk/art/art-terms/p/photomontage" target="_blank" rel="noopener">photomontage</a><span style="font-weight: 400;"> that graces the cover layers different viewpoints, some of which are taken from extreme camera angles, in order to disrupt our usual viewpoint and prompt a new way of seeing. </span></p>
<p><span style="font-weight: 400;">Lissitzky's work is associated with <a href="http://www.arthistoryarchive.com/arthistory/constructivism/" target="_blank" rel="noopener">Russian Constructivism</a>, while his photographs and photomontages also provide an example of the “<a href="https://www.metmuseum.org/toah/hd/nvis/hd_nvis.htm" target="_blank" rel="noopener">new vision</a>” developed at the <a href="https://www.metmuseum.org/toah/hd/phbh/hd_phbh.htm" target="_blank" rel="noopener">Bauhaus</a>. <br /><br />A full scan of the book is available through <a href="https://collections.library.yale.edu/catalog/16628752" target="_blank" rel="noopener">Yale University Library</a>.</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
Book of Fishes (National Geographic)
Creator
An entity primarily responsible for making the resource
John Oliver La Gorce (editor)
Murayama Hashime (artist)
Photo-Art Commercial Studios (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1958
25.3 x 17.0 cm
QL 625 B66 1958
Description
An account of the resource
<p><span style="font-weight: 400;">Literary scholar </span><a href="https://www.upress.virginia.edu/title/3806" target="_blank" rel="noopener"><span style="font-weight: 400;">Stephanie L. Hawkins</span></a><span style="font-weight: 400;"> explains that, “as one of the world’s most widely recognized distributors of global images, </span><i><span style="font-weight: 400;">National Geographic </span></i><span style="font-weight: 400;">has filled an important role in what Arjun Appadurai has termed the global mediascape” by circulating knowledge about distant lands and peoples among their readers (9). </span><span style="font-weight: 400;">The National Geographic's</span><i><span style="font-weight: 400;"> Book of Fishes </span></i><span style="font-weight: 400;">attests to this role by demonstrating how the National Geographic brand extended beyond the well-known magazine, first published in 1888, to offer stand-alone reference books and, in the twenty-first century, <a href="https://www.nationalgeographic.com/" target="_blank" rel="noopener">web content</a>. </span></p>
<p><i><span style="font-weight: 400;">The Book of Fishes </span></i><span style="font-weight: 400;">combines text with colour photographs and reproductions of paintings, demonstrating the ease with which different media could be printed side-by-side in the twentieth century. From the 1950s up until 1978, National Geographic employed </span><a href="https://vimeo.com/78230375" target="_blank" rel="noopener">four-colour process letterpress</a><span style="font-weight: 400;"> to print their images. By 1958, when this book was published, it was no longer remarkable to include photographs in a reference book, as it had been in publications like </span><span style="font-weight: 400;">Charles Darwin’s </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3145"><i><span style="font-weight: 400;">Expression of the Emotion in Man and Animals</span></i></a><span style="font-weight: 400;"> (1872) or </span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3040">Hoofs, Claws and Antlers of the Rocky Mountains by the Camera</a></em> (1894).</p>
<p><span style="font-weight: 400;">A full scan of a 1961 edition of <em>The Book of Fishes</em> is available through the <a href="https://archive.org/details/bookoffishesbett00nati" target="_blank" rel="noopener">Internet Archive</a>. The copy included here forms part of Bruce Peel Special Collections' <a href="https://bpsc.library.ualberta.ca/collections/bruce-p-dancik-collection-of-angling-books" target="_blank" rel="noopener">Bruce P. Dancik Collection of Angling Books</a>.</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
First Over Everest
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
23.5 x 15.5 cm
DS 486 E8 H84
Description
An account of the resource
<em>First Over Everest: The Houston-Mount Everest Expedition 1933 </em><span>brings together the technologies of aviation and photography to exert a sense of control over a</span><span> <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3147">sublime landscape</a>. The book’s photographic illustrations demonstrate photography’s usefulness for circulating knowledge. At the same time, the variety of ways the photographs are manipulated within the book's pages suggest an effort to experiment with methods of producing meaning with photographic images. Examine the book’s different forms of photography, and consider which ones are most useful for circulating knowledge. <br /><br />A full scan of the book is available through the <a href="https://archive.org/details/in.ernet.dli.2015.208096/page/n7/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.</span>
Creator
An entity primarily responsible for making the resource
photographer unknown
sublime
-
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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
Photographs of the Canadian Rockies, Fraser River, Yellowstone Park, etc
Creator
An entity primarily responsible for making the resource
William Notman (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1888-1914]
18.0 x 23.5 cm
FC 219 A34 folio
Description
An account of the resource
<p><span style="font-weight: 400;">This album featuring photographs of the Canadian Rockies, Fraser River, and Yellowstone Park is a typical </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/souvenir-books">souvenir album</a><span style="font-weight: 400;"> that contributes to </span>“<a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity"><span style="font-weight: 400;">imagined geographies</span></a>” <span style="font-weight: 400;">of a place, much like the album </span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3056">CPR 1887</a></em><i><span style="font-weight: 400;">. <br /><br /></span></i><span style="font-weight: 400;">The album's <a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener">albumen prints</a>, </span><span style="font-weight: 400;">some of which were taken by <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3154">William Notman</a> & Son’s photographic studio</span><span style="font-weight: 400;">, were assembled between 1888 and 1914, and were pasted onto the album’s pages individually.</span> <span style="font-weight: 400;">These photographs likely circulated in other contexts as well, in other albums or as standalone pictures. </span></p>
<span style="font-weight: 400;">Though these pictures are photographic and record actual spaces, the decisions that the photographers made in creating these views rely on artistic conventions for representing landscape, such as the conventions of the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3052">picturesque</a> and the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3147">sublime</a>. They therefore fit easily within fine art traditions. </span><span style="font-weight: 400;">As you explore additional examples of landscape photographs included in this exhibition, you will notice many more photographs with similar compositions. </span>
landscape
William Notman
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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
Geological Survey of California: The Yosemite Book
Date
A point or period of time associated with an event in the lifecycle of the resource
1868
20.5 x 15.5 cm
F 868 Y6 C15 1868 folio
Description
An account of the resource
<p><span style="font-weight: 400;">Between 1860 and 1874, a team headed by Josiah D. Whitney </span><a href="https://naturalhistory.si.edu/research/botany/about/historical-expeditions/california-geological-survey" target="_blank" rel="noopener"><span style="font-weight: 400;">surveyed the state of California</span></a><span style="font-weight: 400;"> in order to gather and circulate information about the natural resources of California.</span><i><span style="font-weight: 400;"> </span></i><span style="font-weight: 400;">Most of the photographs in the volume featured here were taken by America photographer <a href="https://www.youtube.com/watch?v=-hxHPhEXFr8" target="_blank" rel="noopener">Carleton E. Watkins</a>. As you contemplate the photographs, remember that Watkins used the </span><a href="https://www.youtube.com/watch?v=hnxT4WQsLLM" target="_blank" rel="noopener"><span style="font-weight: 400;">wet collodion process</span></a><span style="font-weight: 400;">, and therefore would have had to carry with him all of the glass plate negatives he intended to use, a large-format camera and tripod, all the chemicals required for preparing and developing his plates, and a portable darkroom. The photographs are printed on </span><a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener"><span style="font-weight: 400;">albumen paper</span></a><span style="font-weight: 400;"> and pasted into the book.</span></p>
<p><span style="font-weight: 400;">Though the photographs included here originated in a scientific project intended to survey the land, they drew on conventions for representing <a href="https://www.tate.org.uk/art/art-terms/s/sublime" target="_blank" rel="noopener">sublime landscapes</a> that had grown popular in the late-eighteenth century. To get a sense of the characteristics of the sublime, compare these photographs with picturesque drawings by <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3052">William Gilpin</a> or to the picturesque views included in souvenir books like <em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3060">Views of Portree</a>.</em><br /><br />The sublime has been a recurring theme in landscape photography, and perhaps this is not surprising. A sublime landscape is one that is awe-inspiring in its grandeur, almost unbelievable, and so we can expect that a photographer might take a picture in order to offer proof of such a view. Photographers other than Watkins known for their sublime landscapes include <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3141">Ansel Adams</a> and <a href="https://www.edwardburtynsky.com/projects/photographs" target="_blank" rel="noopener">Edward Burtynsky</a>. <br /><br />Watkins's photographs have served various purposes depending on their contexts. In the introduction to this volume on Yosemite, for example, Whitney wrote that the purpose of the publication is “to call the attention of the public to the scenery of California, and to furnish a reliable guide to some of its most interesting features.” The photographs included here had the desired effect; Watkins’s sublime photographs of Yosemite are often credited with “</span><a href="https://www.smithsonianmag.com/history/carleton-watkins-yosemite-photographer-national-parks-180959065/" target="_blank" rel="noopener"><span style="font-weight: 400;">saving Yosemite</span></a><span style="font-weight: 400;">.” Almost a century later, <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3141">Ansel Adams’s photographs of Yosemite</a> continued this relationship between photography and nature conservation.</span></p>
<p><span style="font-weight: 400;">While Watkins’s photographs fit easily within a geological survey, they have also found a home in art collections, including the collections of the </span><a href="https://www.nga.gov/collection/artist-info.13519.html#biography" target="_blank" rel="noopener"><span style="font-weight: 400;">National Gallery of Art</span></a><span style="font-weight: 400;"> in Washington, DC and the </span><a href="https://www.moma.org/artists/6260#works" target="_blank" rel="noopener"><span style="font-weight: 400;">Museum of Modern Art</span></a><span style="font-weight: 400;"> in New York. These photographs therefore provide a good example of how “photography’s discursive spaces,” to borrow art critic Rosalind Krauss’s words, can change the meaning of a photograph. </span></p>
<span style="font-weight: 400;">A full scan of the book is available through the </span><a href="https://archive.org/details/GR_4646/page/n5/mode/2up" target="_blank" rel="noopener"><span style="font-weight: 400;">Internet Archive</span></a><span style="font-weight: 400;">.</span>
Creator
An entity primarily responsible for making the resource
J. D. Whitney (author)
Carleton E. Watkins (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
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
Die Olympischen Spiele 1936
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
30.5 x 46.0 cm
NC 1883.6 G3 C54 1936 Bd.1 folio
Description
An account of the resource
<p><span style="font-weight: 400;">This </span><a href="https://azmemory.azlibrary.gov/digital/collection/msiartifact/id/85/" target="_blank" rel="noopener">cigarette album</a><span style="font-weight: 400;"> commemorates the 1936 Olympic Games, held in Berlin and in the Bavarian ski town of Garmisch-Partenkirchen. </span><span style="font-weight: 400;">Cigarette albums like this one were sold with printed text and blank spaces for photographs; album owners would send in coupons that came with packets of cigarettes to receive photographs to paste into the album’s pages. In this example, the album's owner is invited to create their own personal memento from photographs of a current, public event. <br /><br />A full scan of this album is available through the <a href="https://archive.org/details/dieolympischensp1401ciga/mode/2up" target="_blank" rel="noopener">Internet Archive</a>. </span><span style="font-weight: 400;">Another </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3142"><span style="font-weight: 400;">German cigarette album</span></a><span style="font-weight: 400;"> housed in Bruce Peel Special Collections celebrates the life of Adolf Hitler. <br /><br /><br /><br /><br /></span></p>
Creator
An entity primarily responsible for making the resource
photographer unknown