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                <text>1894&#13;
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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;p&gt;&lt;span style="font-weight: 400;"&gt;The twenty-eight volumes of the &lt;i&gt;Dictionnaire raisonné des sciences, des arts et des métiers, par une societé de gens de lettres&lt;/i&gt;&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;&amp;nbsp;&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;(also known as the &lt;i&gt;Encyclopédie&lt;/i&gt;&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;) &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;was originally published in Paris between 1751 and 1772. The edition of the &lt;i&gt;Encyclopédie&amp;nbsp;&lt;/i&gt;held by Bruce Peel Special Collections was published in Geneva from 1771 to 1776. &lt;br /&gt;&lt;br /&gt;As an attempt to gather together and order all of the knowledge of the world, the &lt;/span&gt;&lt;a href="https://library.wustl.edu/a-revolutionary-encyclopedia/" target="_blank" rel="noopener"&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Encyclopédie&lt;/span&gt;&lt;/i&gt;&lt;/a&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt; &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;is a representative &lt;/span&gt;&lt;a href="https://www.khanacademy.org/humanities/renaissance-reformation/rococo-neoclassicism/rococo/a/a-beginners-guide-to-the-age-of-enlightenment" target="_blank" rel="noopener"&gt;Enlightenment&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; project (Bull 6-9). &lt;/span&gt;&lt;span style="font-weight: 400;"&gt;With its eleven volumes of illustrations created by copperplate &lt;/span&gt;&lt;a href="https://www.tate.org.uk/art/art-terms/e/engraving" target="_blank" rel="noopener"&gt;engravings&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;, the &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Encyclopédie &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;also provides an example of how illustrations could be reproduced and disseminated prior to the discovery of photography. The images and texts were printed in separate volumes since they required two different techniques for printing. &lt;br /&gt;&lt;br /&gt;One of the plates shown here portrays a print shop, and shows how such illustrations would have been created. The print has an&lt;/span&gt; &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/what-is-photography"&gt;indexical&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; relationship with the inked plate, but unlike a photograph, it does not hold an indexical relationship to t&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;he thing that-is-seen in the illustration.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;Another plate, captioned "Optique," explains the &lt;a href="http://www.photographyhistoryfacts.com/photography-development-history/camera-obscura-history/" target="_blank" rel="noopener"&gt;principles of the camera obscura&lt;/a&gt;, an enclosed box that could project the view from the outside world into its interior. The earliest photographs were created by combining the camera obscura with light-sensitive materials that could fix the view as a stable image. Note in particular the two pictures at the bottom of the page; the picture on the left demonstrates the principles of the camera obscura, while the picture on the right portrays a portable camera obscura with an added lens. &lt;a href="https://www.youtube.com/watch?v=me5ke7agyOw&amp;amp;t=145s" target="_blank" rel="noopener"&gt;Camera obscuras&lt;/a&gt; like this one had been in use since at least the sixteenth century.&lt;br /&gt;&lt;br /&gt;&lt;span style="font-weight: 400;"&gt;Browse the &lt;i&gt;Encyclopédie&lt;/i&gt;'s articles and plates at the &lt;a href="https://quod.lib.umich.edu/d/did/" target="_blank" rel="noopener"&gt;Encyclopedia of Diderot &amp;amp; d'Alembert Collaborative Translation Project&lt;/a&gt;.&lt;/span&gt;&lt;/p&gt;</text>
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Pierre Mouchon (author) </text>
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                <text>1771&#13;
43.0 x 26.0 cm &#13;
AE 25 E56 1771 folio</text>
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                <text>Photograph includes: E. Anderson, S. McLennan, E. Tharp, M. Hull, W. Martin, C.E. Rac (Coach), W. McLean. </text>
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                <text>&lt;p&gt;Around the same time as photography’s discovery, &lt;a href="https://library.vicu.utoronto.ca/collections/special_collections/george_baxter/" target="_blank" rel="noopener"&gt;George Baxter&lt;/a&gt; developed a process of colour printing known as &lt;a href="https://www.npg.org.uk/collections/explore/glossary-of-art-terms/chromolithograph" target="_blank" rel="noopener"&gt;chromolithography&lt;/a&gt;, which he patented in 1835. The portraits of the Emperor and Princess of Prussia seen here employ that process in order to create r&lt;span&gt;ichly-coloured portraits that commemorate the powerful and the wealthy. In comparison to &lt;/span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3125"&gt;daguerreotypes&lt;/a&gt;&lt;span&gt;&lt;span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3125"&gt; of middle-class patrons like that of Mrs Morrow&lt;/a&gt;, these could be, and were intended to be, circulated widely in order to promote a public identity.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&#13;
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