TRUNK SALE BEATS COVID PhotographS by CLINT HRYHORIJIW

56 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Some 250 dedicated collectors descended on the PHSC Annual Trunk Sale to break the strong-hold of the Covid pandemic. Face masks were in abundance as dealers and visitors mingled and haggled for bargains. The lack of photo fairs in the Toronto area for some time brought out the crowd to savor the goodies that they had missed so much. Happy days all round!

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 57 Geraldine Moodie– Pioneer Female Photographer

Suc-a-ma-ta-mia or Poundmaker, son of Chief Poundmaker, in Moodie’s Battleford studio, 1896. Source: Library and Archives Canada, a028853

58 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Geraldine Moodie: Pioneer Female Photographer By Lisandra Cortina de la Noval

Geraldine Moodie was born in Toronto on October 31, 1854, the third child of Agnes Dunbar Moodie and Charles Thomas Fitzgibbon. Passion for the arts ran in Geraldine’s blood: her mother was a well-known illustrator; her maternal grandmother, Susanna Moodie, was a legendary Upper Canada writer, author of Roughing it in the Bush, considered a classic of Canadian literature; and her great-aunt, Catharine Parr Traill, was a writer and amateur botanist. In her early years, Geraldine helped her mother with the illustrations for Catharine Parr Traill’s book Canadian Wild Flowers, published in 1869. This was the beginning of Geraldine’s lifelong passion for Canadian plant life. Over the years, she would produce a great number of sketches, watercolours and Self-portrait of photographer Geraldine Moodie, Battleford, Saskatchewan, [ca.1895-1896]. Source: photographs (some hand-coloured) of Glenbow Museum, NC-81-10 wild flowers across Canada. In 1877, Geraldine travelled to Europe and met her future husband, a distant relative called John Douglas Moodie. They married a year later and moved back to Canada with their first child in 1879. After spending some time farming in the Canadian West, they relocated to Ottawa, where the North-West Mounted Police (NWMP) hired J.D. Moodie as Inspector. His position would take the couple to “almost every major North-West Mounted Police post in Western Canada and into the Hudson’s Bay district of the Eastern Arctic,”1 unfolding a life full of out-of-the ordinary experiences and great opportunities for the strong-minded, independent and adventurous Geraldine.

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 59 Branding cattle on Sandy McCarthy’s ranch on Bear Creek, east of Maple Creek Saskatchewan, 1897. Source: Glenbow Museum, ND-44-47

DGS “Arctic” frozen in the ice, Fullerton Harbour, Nunavut, April 1905. Source: Glenbow Museum, ND-44-10

From mother of six to professional photographer After being stationed in Calgary, Medicine Hat and Lethbridge, the Moodies finally settled in Battleford in 1891. By this time, they had six children. It is not known how or when exactly Geraldine learned the art of photography. Given the constant changes of location and the responsibility of raising a family and caring for her home, she was most probably self-taught. Despite her family obligations, Geraldine ran not one but three commercial studios at the turn of the 20th century in Western Canada. In 1895, she opened her first photography studio in Battleford, where she took portraits of residents, The particulars of the Moodies participation in the NWMP officers and the local Cree people. ceremony are unknown. In Geraldine’s account of the event, she mentioned, “Towards evening great preparations are That same year, Geraldine was commissioned by Prime going on for the feast which takes places at the end. And Minister Sir Mackenzie Bowell to photograph a number of though we provided much for in consideration of them historic sites between Prince Albert and Edmonton to promote allowing us to take photos we did not remain to see them settlement in the area. This commission boosted Geraldine’s enjoy it.”3 Many of her Sun Dance photographs are now reputation as a successful professional photographer. available online, but they should not be published without In June 1895, she photographed the Cree Sun Dance consultation with the appropriate First Nation. Ceremony near Battleford. Despite being a sacred ceremony, In September 1896, the Moodies moved to Maple Creek, Geraldine photographed the ritual and participants, including forcing Geraldine to close her successful studio in Battleford. the women and their role as criers seated on the ground behind The following year, she opened a new photography studio the drums during the dance. She admired their beautiful and in Maple Creek plus a branch 60 miles away in Medicine elaborate clothing and was eager to learn about their culture Hat. With the help of a housekeeper, she operated both and way of living. In her notes, she mentioned, “They build businesses, commuting periodically by train. An amazing homes for the winter and live in tepis [sic] all summer. feat for a married woman and mother of six at the end of the Houses is hardly the name for the log shacks of one room 19th century, or ever, really! with a kitchen added on the back. A common remark of the girls at the schools: How hard the white people work to live In addition to the usual portraiture work, Geraldine and do not seem any happier than the Indians. Truly, the extensively documented the ranching life of the neighbouring [illegible word] plan of living in tents served all the purpose communities, as well as the wildflowers of the area. Her of living that we require in this short mortal life – after all we work recorded a period of major social and economical only imagine we need all these. If our neighbors did without changes that took place in Western Canada at the turn of the them we would not think them necessary.”2 20th century.

60 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Portrait of Ivalik woman (Kookooleshook) wearing her beaded inner parka or attigi and holding her baby, Fullerton Harbour, Nunavut, 1904. Source: Library and Archives Canada, e006581104-v8

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 61 make a land attractive, it still has a grandeur and beauty all its own.”5 Upon her arrival, Geraldine started doing what she did best: photography. Over the next two years, she created some of her finest and most striking portraits. Geraldine’s portraits of Inuit show a greater degree of empathy toward her subjects than those made by her male counterparts. She was deeply interested in their culture and admired certain aspects of their life. “The peaceful and affectionate way in which they live and care for each other is certainly a lesson to so call [so-called] Christians. Without question, they divide everything while they have food and when it is gone, all starve alike. (…) What strikes one most is that they never quarrel, even the children don’t appear to disagree.”6

Studio portrait of two small Inuit girls of the Ivalik tribe, Kiouyouk and Tutuwuck, Fullerton Harbour, Nunavut, [1904-1905]. Source: Glenbow Museum, ND-44-20

She was not only a skilled and well organized photographer but also a businessperson. Early in her career, she began to copyright a selection of her best images. “As far as can be determined, Moodie was the only woman photographer in Canada during this period to hold copyright on her work.”4 Geraldine closed her Medicine Hat studio by the fall of 1897, and a few years later sold the one at Maple Creek to photographer George E. Fleming. First woman to photograph Inuit in Eastern Arctic In 1903, J.D. Moodie was promoted to superintendent of the NWMP and travelled to the Hudson Bay District and Eastern Arctic regions with the mission of establishing the first NWMP post in the area and instituting Canadian authority over Inuit and whalers alike. Once again, Geraldine joined her husband in what was probably the biggest adventure of her life. She arrived at Cape Fullerton, Northwest Territories (now in the Kivalliq Region of Nunavut) on October 16, 1904, the only non- Inuit woman in the Eastern Arctic at the time. About her new surroundings, she wrote, “Words cannot describe this wonderful coast, apparantly Portrait of Inuit woman, Neveshenuck, showing the back of her decorated attigi, Fullerton Harbour, Nunavut, [1904-1905]. Source: Glenbow [apparently] devoid of everything that goes to Museum, S-251-18

62 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 As much as possible, she carefully identified the sitters by Photographing outdoors in the Eastern Arctic was not their Inuktitut names in addition to their “whaling” names an easy task for Geraldine. It was very difficult to get good (biblical names assigned to Inuit by American and European definition with the glare of snow and nothing to relieve whalers in the area to facilitate pronunciation), which has it. She had to try under all light conditions, changing the helped scholars and oral history collectors to contact their position of her lens multiple times until she was able to get relatives and gather personal histories from the past. a good negative. About her experience in the Arctic, she Geraldine developed a special relationship with the women wrote, “Every day I learn more about photography, and will and children, who had never seen a non-Inuit woman before, be much benefitted by my experience here even if they don’t pay me for it, the experience costs me nothing but the work, resulting in her beautiful mother-child portraits. Unlike most 8 of her contemporaries, she chose to highlight the universal and I will have a good many private pictures too.” concept of family, and the mother-child bond in particular, The Moodies returned home in the fall of 1905 and a year rather than the physical features of her subjects. The mothers later were posted to Fort Churchill, where they lived for the of her portraits seem at ease, looking directly to the camera next three years. Geraldine continued to photograph Inuit, and showing their children to the world with pride. “This this time in their summer camps. Her photographs were used maternal pride becomes a link between Moodie’s Euro- by government departments and freelance writers alike, to American culture and that of Inuit; motherhood, a universal illustrate various reports and publications. to which both can relate, is employed by Moodie as a vehicle 7 After a few more postings, including three years in of cultural convergence.” This was rare in times when Inuit Dawson, Yukon, J.D. Moodie retired from the NWMP in were mostly portrayed as the uncivilized other. 1917. Geraldine spent her final years taking care of her The traditional Inuit clothing fascinated Geraldine, garden, spending time with her family and photographing, especially the women’s beaded inner parkas or attigis, undeterred by the loss of vision in one of her eyes. She died handmade with caribou skin and decorated with geometric on October 4, 1945, near Midnapore in Calgary, at the age designs out of beads. She extensively photographed Inuit of 91, leaving behind a visual legacy that documents over women, alone and in groups, wearing their traditional attire, 50 years of Canadian history and the extraordinary life of a which she considered works of art. pioneer female photographer. Her work is now preserved at In addition to the Inuit portraits, Geraldine photographed institutional and private holdings across North America and the NWMP and their quarters, the steamer Arctic, local Great Britain, including Library and Archives Canada, the wildflowers, and several locations along the Hudson Bay Glenbow Museum, the Thomas Fisher Rare Book Library ❧ and Fullerton areas. (University of Toronto) and the Museum of Mankind.

EndNotes 1 Donny White, In Search of Geraldine Moodie. Regina: Canadian Plains Research Center, University of Regina, 1998. 2 Moodie, G. (after 1895). Meeting of Indians of all tribes at their annual Sun dance. Handwritten description transcribed by her biographer, Donny White. Glenbow Archives (M-9718-32). Consulted at https://www. glenbow.org/collections/search/findingAids/archhtm/ extras/moodieg/m-9718-32-transcript.pdf 3 Ibid. 4 Susan Close, Framing Identity: Social Practices of Photography in Canada, 1880–1920. Winnipeg: Arbeiter Ring Publishing, 2007. 5 Geraldine Moodie’s diary of the S.S. “Arctic” expedition. October 18, 1904–July 7, 1905. Glenbow Archives (M-9718-34). Consulted at https://www. glenbow.org/collections/search/findingAids/archhtm/ extras/moodieg/m-9718-34-transcript.pdf. 6 Ibid. 7 Close, Framing Identity. Dramatic chunks of sculpted ice, Churchill River, Manitoba, [1906-1908]. Source: Glenbow Museum, NC-81-69 8 Geraldine Moodie’s diary.

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 63 A Treasure From My Collection… john kantymir’s King’s Own Tropical CAMERA

JOHN KANTYMIR

One day I was online and spotted a rarity I had been hunting for since my childhood – the elusive and very rare King’s Own Tropical camera made by the London Stereographic Co. As I tried to contact them, the virtual shop it was in disappeared and the only information I had was the city in South Africa where the shop was located and a photograph of the front of the antique shop with the name on the glass. I am so grateful that we live in an age where virtually everything is at your fingertips and by the next morning I had found the shop’s address and phone number. After talking to the lady who owned the shop, I found out the South African Post Office had gone on strike and they could not ship anything out, so they shut down their on- line store to wait out the strike (something I could sympathize with). I was thrilled to find out that they still had the camera and I told her I would pay for overnight delivery by one of the more dependable shipping companies if she was willing to ship it all the way to Canada. After paying for the camera, it still took it over a week to get to me, which again is a modern miracle, but stressful nonetheless.

64 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 The London Stereoscopic Co. was mainly a purveyor of stereo views with over 100,000 stereo photographs listed in its 1858 catalogue, but did sell a full line of photographic cameras and accessories as well. From its formation in 1854 through its demise in 1922, they shifted through a variety of antymir names and locations. Although not usually the manufacturer of the high quality cameras they sold, they were able to ohn K source a variety of well-made cameras from manufacturers in England, France and Germany and sell them under their own name. The King’s Own was not one of these. It was designed, built and sold exclusively by the London Stereoscopic Company in Britain. It is an exceptionally well-built J by Photographs tropical camera made from beautiful polished teak wood and liberally reinforced with brass to resist warping and bending in the humid environment of the tropics. Tropical cameras such as these were often custom-built in the late Victorian through the Edwardian era for wealthy customers who often travelled to Africa on holidays or for work. As some of you know, I have a thing for the smallest variants of the cameras I seek out and this is the smallest size at 2 ¼ x 3 ¼ inches and was only produced for a few years around 1906-1910. The plate on the back list the address as 106 & 108 Regent St. in London where they were located between 1889 and 1912. At 7 by 3 ¾ by 2 ½ inches and weighing 2 1/4 pounds, it is a compact but well proportioned camera. It came to me with one original and one modern 120 size film spool, so is easily usable today as well with sheet film since the back has a removable panel to allow for the use of plate holders. The camera serial number is 238 and the lens is a C.P. Goerz 90mm f6.8 Series III Dagor in a compound shutter with serial number 243469. The lens serial number puts it in the 1909-10 range. An interesting side note is that the company was revived in 2008 by Brian May who is the lead guitarist of the rock band Queen and an avid stereo photography buff. He is also a leading authority on TR Williams who was a photographer with the London Stereoscopic Co. in the 1850s. Currently they have an interesting website with information and books for sale. ❧

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 65 Largest One-piece one-exposure photo enlargement in the world june 1913 by Robert Lansdale

In the absolute-source book on panorama photography: Then in 2005 Photographic Canadiana Vol. 31-2, it was Photography at Length by Brian Polden A.R.P.S (Bardwell explained how Sinichi Yamamoto of Japan worked out how Press) he points out that on pages 227-31 in the May 1926 to motorize an enlarger to synchronize the printing of a long issue of Camera Craft there is a report on an enlarging panorama negative with the paper print at the easel in order to machine for Circuit negatives “having the accuracy and produce a sharp enlarged print. It was quite the engineering delicacy of a fine watch and yet the strength an stability feat; he was able to make the longest colour print in the world of a motor truck.” at 145 meters – a Guiness World Record. Masterminded by Lawrence B. Morton, this apparatus could enlarge on one sheet Cirkut images 40 ins. high by up to 50 ft. long. Illustrations accompanying the article showed operators holding up the monster murals. This novel enlarging Courtesy of Sam Mabuhi service proved to be quite popular among Cirkut Sinichi Yamamoto and enlarger Schematic of enlarging system photographers. Up to that time one could only turn to This got me wondering as we had published a story in the No. 16 Cirkut camera to April 2005 about two large panoramic images of Niagara produce 20 ft. long images Falls found in the attic of the Ontario Legislative building with final prints made by Camera Craft, May 1926 in Toronto. They were 28 inches wide by 18 feet and 2 contact. Today there is no inches long – larger than any panorama camera could be patent nor trace of the invention. But there have been many produced at the time. Both had a small label attached which instances of panorama prints produced from three or more said: “Largest One-Piece One-Exposure Photo-Enlargement negatives onto a single piece of photo paper. In The World, June 1913 – By Wm. Thomson Freeland.”

66 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 The Freeland panoramic image, 18 ft 2 in long , depicting Niagara Falls in the spring of 1913. Courtesy Ontario Archives

Quite a declaration that made me think that this needed to and Herbert Anthony (1). By 1891 they have added two more be investigated as it might prove to be a “Canadian first”. A children: Edith L. (4) and Erhel C. (2) located in Durham West, small line of type at the bottom of the label says: “Negative Ontario. The 1901 census notes the family in Bowmanville, & Copyright, Canada, 1910, By Panoramic Camera Co. Ontario with both William Thomson and Emily Roberta of Canada.” This would indicate that the negatives for the missing from the household. Both are untraceable so may be images were taken by William J. Johnston (of Cirkut camera in the States or, on the part of Emily, – married. George and fame) who was proprietor of the Panoramic Camera Co., Herbert are designated as Photographers. George operated a studio in Bowmanville from 1899; sold out in 1904; but Toronto listings have him also working for H.E. Simpson studio as a retoucher/photographer. By 1911 the family had moved to Toronto but the father Robert had passed away. George is now described as a Doctor while William and Herbert are Photographers.

Label on Niagara panorama prints by Wm. Thomson Freeland To better comprehend their status we turn to the yearly Toronto Street Directories for information. William Thomson established in Toronto in 1907. One of the photos is dated first appears in those pages in 1896 as a “retoucher” November 1, 1912, and shows the Niagara Falls area under a for photographer H.E. Simpson but the following years cover of snow. The other of the same area, dated June 1913, he is listed as an “artist”. William was taking pictures was taken in the late spring. independently earlier. Nine pictures of Launching of the So who was William Thomson Freeland? We can trace, Toronto are registered as copyright for William Thomson by Canada census, the Freeland family to Montreal East, Freeland in the month of August 1898. But the Phillips Quebec with a Scottish father Robert declared in 1871 as a Ontario Photographers Index does not list him before 1900. “Soap Maker” – grandfather Peter arrived in 1819. In 1881 Another photo of the launching of the S.S. Corona was Robert and family of four children are in Waterville, Quebec copyrighted in July 9th 1898 by Wm. Thomson Freeland. still as a “Soap Maker.” This particular census is excellent as George enters the scene and takes the place of his it gives the full names of everyone: wife Mary Lockyer (34), brother at the H.E. Simpson studio. William alternates in William Thomson (8), Emily Roberta (7), George Purkis (4) subsequent years as a “retoucher” and “photographer”

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 67 Spring image of Niagara Falls, June 1913

at the 27 McGill location of Simpson. By 1906 George I pondered how Freeland could devise a system to P. takes up a long occupation at 436 Yonge Street as a do the enlarging. A gearing system to retro-fit a Cirkut “photographer” while Herbert finally makes his appearance camera, as created by Yamamoto in Japan, I think might as a “photographer” at Galbraithe Photo Co. at the 436 be too technical for William Thomson as he shows no Yonge address. It seems in 1908 George P. becomes and mechanical aptitude. In the Polden panoramic book there independent photographer at 436 Yonge with brother are examples of flat-plane pans and curved-plane pans Herbert and William T. working for him. Galbraithe has all done with a shifting lens or rotating lens. I chose to removed to 239 Yonge. In 1918 they moved to 338 Yonge develop my theory based on the Kodak No.1 Panoram until 1928 when they went to Bloor Street. camera where its lens sweeps across the curved film at In 1910 there is a sudden shift as William Thomson joins the rear of the camera. The Panoram was introduced in Wm. J. Johnston as proprietors of the Panoramic Camera Co. 1900 preceded by the Al-Vista panoramic camera of the of Canada at 127 Sherbourne St. But it does not last long as Mutiscope & Film Company in 1896. by the next year he is back to being an artist at 436 Yonge and These are my thoughts: (see schematic.) A light box in 1913 he lists himself as “panoramic photographer”. is created with access to daylight or several arc-lamps For many years George and William are listed in the street to provide illumination from the rear – a cloudless sky directories. Commercially George P. lists for the last time in is required to prevent light fluctuation – hopefully the 1937 as a “photographer” at 89 Bloor St. West. His brother William T. is still listed as an “artist” at 1-3 Carleton Street ‘til 1940 (at the time, dead-ending into Yonge Street across from George’s studio) and dies in 1945. George’s studio photographs graduate-students head-shots and produces yearly graduating class composites for the University of Toronto. Panoramas of groups and scenes and commercial buildings are recorded. So the year 1913 is critical as William Thomson lists himself a “panoramic photographer.” But why were the enlargements made at this time? Why did the Ontario Agriculture Department need them? The Globe of Toronto for September 1913 reported that: “Five representatives Kodak Panoram camera of the French government reached Toronto on Saturday to make inspection of the grounds and buildings of the Canadian National Exhibition. The visit will probably result in the official French Exhibition for the Panama Fair of 1915 being shown in Toronto.” So it would seem that the CNE was to be the honoured location for this prestigious international fair. But the World War I scuttled those plans and San Francisco held it in 1915. But at the time (1912-13) the Ontario government needed something spectacular and Courtesy of Photography at Length – Brian Polden William Thomson was challenged to create something big. It is speculation to say whether William J. Johnston arc lamps would not sputter. The panoramic negative worked out the technical details because of his Cirkut is mounted to the front of the curved surface of the camera patent and experiments; he would have the skills box – forming a semi-circle equi-distant from the to think out the problems of enlarging a panoramic copy lens which is on a mount on a swivel supporting negative. The label on the pictures blatantly insists the table like the Panoram. prints were made BY Wm. Thomson while Johnston only took the pictures and supplied the negative images.

68 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 The Freeland winter panoramic image depicting Niagara Falls in November 1, 1913. Courtesy of Ontario Archives

The photographic paper is mounted on a number of move- might have seen the process as a threat to marketing of their able stands which can be pushed back-and-forth in an arc to Cirkut cameras which were ever gaining in size. achieve focus of the enlarged image from the lens. A black- cloth wall should seal off the photo paper to eliminate any Needless to say, we can celebrate a “First for Canada” chance of fogging the paper during the long exposure. in the enlarging of panorama negatives... until proven A light-weight narrow arm should extend from the lens otherwise. table to support a large card in front of the paper surface. So hurrah for William Thomson Freeland! ❧ This card would have a very narrow slit from top-to-bottom to cover the width of the paper. This would allow only a narrow image of the negative to pass through the card opening. As in the Panoram camera there would be a narrow hood/snoot on the front of the lens to reduce the amount of image projected to the paper. A variable-geared electric motor would be mounted at the end of the slit-card assembly to activate a wheel touching the smooth-level floor. This would cause the lens-and-slit assembly to swing/swivel and traverse the length of the paper in a steady slow movement. Speed of the traverse would have to be tested to work out the proper exposure for the paper. Start by viewing one end of the negative, activate the motor so that it scans the full length of the negative and thus print the entire enlarged image onto the paper through the slit in the card. Processing of the paper could be achieved by attaching it to the surface of a large suspended drum, then dipping into trays of solution and rotating the drum to bring chemicals to all of the surface OR unwrap the roll, back-and-forth, in a large tray of chemicals – a two man job. I wonder why Freeland never Schematic for suggested enlarging of panorama negatives. applied for a patent as the enlarging of Cirkut negatives could be a lucrative business. Maybe the system proved too temperamental with more failures than • William Thomson Freeland died on Sept. 4,1945 at age 73. successes. If the system was based on the • George Purkis Freeland died on May 5, 1937 at age 60. working of the Panoram camera he might have faced lawsuits for breaking patents held by Eastman Kodak. Therein Kodak

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 69 Toronto waterfront looking east with steams of people walking from Front Street to the docks having to cross the railway tracks of the Esplanade.

WHAT Assistant WE editor FOUNDLouise Freyburger ABOUT delved deeperTHE into FREE the history LAND of the FAMILYFreeland family .

TORONTO PUBLIC LIBRARY – LANDMARKS OF TORONTO

UNIVERSITY OF TORONTO ARCHIVES

The mainstay of the Freeland Studio was the photographing of Canadian patent 4100 graduating students at the University issued Nov. 26, 1874 of Toronto and the creation of the big graduation class was for an invention composites. With the number of Faculties it would have by Robert Freeland been an all-year production to keep up with the sittings (the father of George and demand. and William). It Included in the above photos are samples from the consisted of a metal Faculty of Medicine, Class of Forestry and School of tank with pipes inside Nursing. The UofT archives houses many examples through which dry while meeting lodges, restaurants and museums display steam was applied. The many on their walls. heat caused the soap ingredients to liquefy Located at 436 then 338 Yonge Street the studio was and rise while the cold CANADIAN PATENT RECORD finally moved to 89 Bloor Street West close to the UofT descended causing a campus. thorough mixture of all parts. 70 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 William Thomson’ early venture into panorama photography 1897-1907 saw Toronto’s waterfront recorded a number of times while commercially he applied it to architectural scenes as this Ardwold Gate at the John Craig Eaton estate.

Toronto waterfront looking east with steams of people walking from Front Street to the docks having to cross the railway tracks of the Esplanade. TORONTO PUBLIC LIBRARY

TORONTO PUBLIC LIBRARY WHAT Assistant WE editor FOUNDLouise Freyburger ABOUT delved deeperTHE into FREE the history LAND of the FAMILYFreeland family .

William. T. and George P.’s grandfather, Peter Freeland (d.1861), and brother William, from Glasgow, Scotland, crossed the Atlantic in 1819. They first started a soap and candle factory in Montreal, then Peter TORONTO PUBLIC LIBRARY came to York in 1832 to found his own company. Photographer George Freeland of He built a wharf at the foot of Church Street out Toronto claimed damages from the Bank over the water on stone cribs (not the bottom of of Canada Note Company on June 23, Yonge Street as often mis-stated), then added a 1931 for alleged use of a copyrighted three storey, 90 ft. by 40 ft. factory (see illustration) photograph of the Prince of Wales. which was enlarged to the north onto the mainland. While the Prince was in Canada in From his native Scotland, he imported large iron 1919 Mr. Freeland was asked to come kettles and from the U.S.A. candle moulds. Peter to Government House to photograph began by initially making candles and branched into His Royal Highness. He had but a few the production of soap. minutes to take several views. The Peter established what was for some time a major pictures were completed and accepted. landmark along the waterfront. The high water level As was customary with photographs allowed schooners carrying goods to dock and unload of prominent persons, the photos were directly. These included tallow, palm oil, wood ashes copyrighted at Ottawa. Its is estimated and lime needed by Peter’s soap manufacturing. He 64,000,000 of the bills were issued. sold out eventually but son Robert took up the trade Damages could be 10 cents a bill ❧. in Montreal and then in Bowmanville, Ontario. The wharf where the S.S. Corona was Grave launched May 23, marker 1896 (above photo), for was bought by George Canada Steam Ship Purkis Lines in 1915. Freeland at Mt. Pleasant cemetery. Updated 89 Bloor Street West (peaked dormers) has entrance at left to the upstairs. (GoogleMaps) PHOTOGRAPHIC CANADIANA 46-5 FEBRUARYMT. •PLEASANT MARCH •CEMETERY APRIL • 2021 71 A CANADIAN PERSONALITY Brodie Macpherson: Early photo printer By Samantha Shields Photographic Archivist, Private Specialized Media, Archives Branch library and Archives Canada / Government of Canada

Brodie Macpherson, born Archibald Brodie Macpherson, nicknamed “Handlebars” (presumably for mustache-related reasons), was a notable figure in Canada for his role in the photographic community during the rise of colour printing. Born in Toronto, Ontario, on November 26, 1909, to University Professor Walter Ernest and Elsie Margaret Macpherson, Brodie was the eldest of three children and the first to attend the University of Toronto. He enrolled in the Faculty of Applied Science and Engineering in 1927 and graduated in 1931. He would go on to serve as a member of the Royal Canadian Air Force in the Second World War before returning home to start his photography business in early 1946. Macpherson’s engineering background, in conjunction with his subsequent A shop display for Colgate Palmolive toiletries. (e011312591) years of experience working in the lithography business, would serve him well in the colour printing trade. The rise of colour photography Colour photography began to gain momentum in the mid-1930s with the advancement of colour transparencies. Colour prints were also possible at this time, but they were far less popular with photographers than black-and-white prints. The process of making and printing separation negatives was too expensive and complicated for most hobbyists, and the finished prints were rarely worth all the effort for professional photographers. Portrait and scenic photographers were certainly not interested in spending a small fortune to produce prints that critics would frequently describe as garish, vulgar, and unnatural. Despite its many shortcomings, colour truly excelled in the realm of advertising. While bright and clashing colours can be visually jarring, they are also excellent for Portrait of Brodie Macpherson at work. (e011310471) attracting attention. During this era, colourful photographs increasingly adorned the pages of magazines, billboards, and sales tools. Advertising was ideally suited for colour, since much of it involved bulk orders, where repetition and quantity could distribute the high cost and complexity of making an initial print over multiple copies.

An early colour photograph by Brodie Macpherson demonstrating the layering of yellow, magenta, and cyan to achieve a full-colour print. (e011312589)

72 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 We thank our new friends at Library and Archive Canada who kindly provided us with these two Canadian photo-history stories. We hope more hidden treasures will continue to be found as their workload allows. /RL

Brodie Macpherson – the business In February 1946, rather than resume his pre-war employment with Harris Lithography, Macpherson embarked on making and selling quantities of colour photographs using modified versions of Eastman Kodak’s Wash-off Relief and Dye Transfer processes. Given the operational similarities, a background as a lithographic camera operator proved particularly useful in this work. It was quite daring to initiate a business of making complicated dye prints and expect to make a profit. But Brodie’s lockdown formulas for rigid exposures and improved colour techniques from experimentation brought him success in a very niche market. Macpherson’s business approach was simple: provide the best possible product for the lowest reasonable price. This goal was achieved by: ▪ limiting sales to colour prints, thereby reducing the need to stock equipment and materials to process black-and-white prints, and promoting a specialization in colour. ▪ selling prints in bulk only, thereby maximizing the life of the chemicals and lowering costs overall. As Macpherson built his own one-shot colour separation camera, chemicals would begin to expire rapidly when poured which allowed him to expose three plates behind different into trays, it was not economical to let materials spoil coloured filters simultaneously. Otherwise, the exact same between small orders. photo would need to be taken successively for each filter colour. ▪ experimenting and mixing his own chemicals. (e011312590) Macpherson was able to further streamline his printing process, maintain a consistent quality, and avoid some of the higher costs associated with purchasing prepared chemicals. These cost-savings enabled him to keep prices to a level that attracted customers. ▪ building and customizing tools, from production Portrait of Brodie Macpherson at work. (e011310471) equipment (e.g., cameras and lights) to printing (e.g., light-bulbs and tray rockers). Macpherson was continually designing, experimenting, and tweaking to improve and perfect the process. Building and improving his own equipment kept his overhead to a minimum and thus his business profitable. ▪ communicating and collaborating with suppliers, manufacturers (including Kodak), fellow photographers, and printing labs, and continually sharing research, information, and resources to help improve the production of colour photography. An advertisement and price list for ordering coloured photographs from Brodie Macpherson. (e011312588)

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 73 Brodie Macpherson teaching a lesson in colour photography at a CAPPAC seminar. Photo by Eric Trussler

Ever the son of a university professor and librarian Undeniably clever, Macpherson would readily share information and freely offer his opinion and advice. He was an invaluable resource, as photographers active during this era considered Macpherson to be the best colour photographer / printer in the city. Over the years, as colour-photography technology continued to improve in speed and accuracy, Macpherson’s skills in this area and his knowledge of colour-print specifications continued to From the outset, clients considered the quality of be recognized. He regularly shared his Macpherson’s colour prints to be strong, and his prices— research findings and encouraged discussion through various while still more expensive than those of black-and-white photography publications, private letters, photography clubs, or hand-colour photographs—reasonable. His price lists public lectures, and evenings in his studio accompanied by were consistently lower than those of other colour-printers records and top-shelf scotch. in the area, and remained unchanged for the duration of the business. Over the next 18 years, Macpherson would go on to fill orders for clients from all over Canada and from the United States. The colour studio, located at 172 Walmer Road, in Toronto, in the basement of his family home, operated officially until Macpherson’s retirement in 1964. The Toronto Camera Club (TCC) – Colour Print Group According to the President of the Toronto Camera Club, Frank E. Hessin, Macpherson was “unquestionably [the] driving force in the [Toronto Camera] Club” for the promotion of colour prints. In 1946, he proposed the creation of—and subsequently chaired—the TCC’s Colour Print Group. Over the next several years, he employed the TCC’s facilities to teach the colour separation process to anyone willing to learn. Everett Roseborough, a fellow TCC member, writes the following characterization of Macpherson, which echoes throughout the correspondence and articles in the Brodie Macpherson fonds (R791). “Opinionated [and found] seated in the back row at photographic society meetings, stroking his moustache, he could be counted on to object to something. Following a concerted groan by those present, frequently he would be proven correct.”(Photographic Historical Society of Canada, 1994) Brodie Macpherson and Miss 1948, Lialla Raymes, during a skit portraying the changing trends in photography to mark the 60th Anniversary of the Toronto Camera Club. (e011310464)

74 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 A series of promotional prints commissioned by Purity Factories Ltd., St. John’s, Newfoundland and Labrador. The company placed several orders with Macpherson, and continued to request reprints until 1970. (e011312592) Print pricing – Canadian Photography August 1950 Retirement Already spending most of the winter months in Barbados, Macpherson semi-retired from the printing business in 1964, at the age of 55. While he was no longer accepting any new business, during his time in Toronto, he would still fill orders of reprints from existing negatives for previous clients. By the late 1960s, the photographic processes used by Macpherson had largely been replaced by Kodak’s new— and simpler—Ektacolor material. As a result, it became increasingly difficult to obtain the necessary supplies in Canada, and the reprinting stopped altogether. A recluse by nature, Macpherson quietly closed up his home and studio sometime in the 1970s, reportedly moving to Florida without a trace (Roseborough, 1994). Subsequent efforts to locate Macpherson in Toronto, Florida, and Bermuda post-1970 were unsuccessful. Macpherson’s successful career in colour photography, particularly during a period of rapid technological Self-portrait, approximate 1945 (e010767976) development, is a true testament to his entrepreneurial spirit, his dedication, and his mastery of the craft. ❧

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 75 Collection of photographic chemistry in various bottles found in Brodie Macpherson’s darkroom at Walmer Road.

An aside Commercial photographer Rick Bell’s studio was on Soho Street in Toronto –next door was an electrical and general contractor. After Walmer Road was sold, renovations were necessary; the contractor was called and on seeing the photo-paraphernalia, thought his neig hbour Rick should check out the contents. Rick visited the long-standing damp and dark basement workroom. Not wishing to soil his clothing, he quickly decided that nothing was of value but gathering up some meticulous notes and correspondence from beside the mouldering mounds of dye transfer prints. Attracting his eye was a 1956 silver trophy for Best Colour from the Commercial And Press Photographers Association of Canada (CAPPAC) and a cache of interesting bottles of chemicals (some in liquor bottles); he left with his booty. The house was subsequently gutted. The cache of chemistry was eventually donated to the Ryerson University Library for which we thank Alison Skyme, Special Collection Librarian for providing these images. CAPPAC records show that Brodie first appeared as Secretary in 1949, serving until 1953, becoming Courtesy of Special Collections, Ryerson University Library Treasurer in 1954, his last year on the board. /RL ❧

76 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 From The Indianapolis Journal, September 13, 1903

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 77 PHOTO PROCESSES

CONSIDERING various PROCESSES by Robert Lansdale

Luis Nadeau’s Encyclopedia of Printing ILLUSTRATIONS NEW YORK TRIBUNE, APRIL 2 1851 Photographic, and Photomechancal Processes says: “the Crayon Daguerreotype was a technique invented by J.A. Whipple of Boston and patented in 1849. A card, in which there was an oval cutout, was moved in front of the lens during a long exposure, such as required for the Daguerreotype process, the object was to vignette around the portrait.” On the other hand “Crayon Portraits are produced by printing a thin positive on glass, and a superior process. This became a very important part in laying this film-side down, upon a lithographed sheet, shaded the production of ceramics where the dusted image was in imitation of crayon work. Others modify the effects and burnt onto porcelain or glass for permanent portraits on soften their paper prints by interposing a sheet of glass, of tombstones. They were also used as time capsules in corner- gelatin, of mica, or of tissue paper between the negative and stones, jewelry, etc. The process is still mainly employed to the paper; in this way are made the so-called ‘MEZZOTINT apply children’s portraits on dishes, cookie jars, etc. PRINTS.’ This method, brought prominently forward by Carl Meinerth of Newburyport Massachusetts, gives often Contact Printing was the constant way to make prints very pleasing pictures ca 1870.” in the 19th century. A negative the size of the final print was needed. It was placed first in a wooden frame with a There are quite a number of processes that utilizes the glass surface. Photographic paper was positioned behind the Dusting-on Process to provide various types of permanent negative then firmly clamped together with a back that had images. Henri Garner and Alphonse Salmon in 1858 several pressure bars across it. discovered that ferric citrate, exposed to light, changes its solubility and hydroscopic properties. On an exposed print The frame was they dusted dry powder or metallic salt, which adhered then exposed to soft daylight by a window or on exposure platforms. Since proper exposure could not always be determined from variable light or winter conditions with much overcast, the back of the frame was opened up briefly to see how much the image was printed down. As long as one ONLY to the unexposed tacky portions. The image was of the pressure bars still held much of the print and negative fixed by rinsing in water, which removed the iron salt, but together, it would be guaranteed when the frame and back left the image relatively intact. Finally, the pigment image were put together again, the print would still be in register... ❧ was coated with a rubber solution. In 1859 they abandoned and the exposure continued. the iron salt method and switched to a hydroscopic layer ILLUSTRATIONS COURTESY Encyclopedia of Printing of ammonium dichromate and sugar which was to lead to Photographic, and Photomechancal Processes

78 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 photographic CANADIANA Journal of the Photographic Historical Society of Canada

Volume 46 • Number 4 December • 2020 • January • 2021 otman Photograph by William N by Photograph

$15.00 CDN A Treasure From My Collection… Ralph London’s Gundlach Optical Company Korona IIA

From the front, this 4 x 5 field camera, which has maroon bellows and takes glass plates, looks like many other such cameras. The metal parts are nickel-plated and highly polished. It has a rising and falling front RALPH LONDON controlled by a rod with a thumb screw across the top of the lens standard. Horizontal shift is controlled by the flat locking mechanism at the base of the lens standard. The curved locking screw allows focusing along the bed, aided by the focusing scale on one side of the bed. The scale is marked in feet, 5 to 100. The other side of the bed has a standard rotating finder. There are two tripod sockets. The camera is labeled “KORONA IIA.” at the bottom of the lens standard. Its maker is the Gundlach Optical Company in Rochester, New York. The lens is probably Gundlach’s Instantaneous Symmetrical rather than their more expensive Turner-Reich Anastigmat lens which was also offered. The shutter is their regular Korona shutter. The 1899 catalog for Korona Cameras, Lenses and other Photographic Apparatus says the shutter is “lately improved.” The 1900 catalog identifies the regular Korona shutter as the “Model D.” In both catalogs the price with the less expensive lens is $16, including a leather carrying case in either of two sizes. One size holds the camera and five double plate holders, the other only three. Gundlach Optical Company Korona IIA

80 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 ALL PHOTOGRAPHS COURTESY OF THE AUTHOR

Hinged cover and rear bellows with opening for viewing ground glass image.

Gundlach’s Instantaneous Symmetrical Lens & Shutter

The unusual feature of the camera is on the back. Opening the hinged cover reveals an unusual second maroon bellows. In its center is an opening for viewing the image on the ground glass. Gundlach claims this patented focusing back “largely [does] away with the necessity of a focusing cloth and a magnifying glass.” The second bellows is removable, revealing all of the usual ground glass. The bellows has two channels, top and bottom, for thin rods, the ends of which attach the bellows to the camera back by means of a rotating metal keeper at each corner. The 1899 and 1900 catalogs are the only two catalogs to include the Model IIA. It is not in the catalogs for 1898, 1901 or 1902. Apparently the second bellows was not a sought-after feature. I bought this treasure at the San Jose Camera Show in November 1991, almost certainly because it was there rather than because I was looking for it. ❧

Detail of upper right corner of back, showing rear bellows, rotating metal keeper and rod (visible between top of bellows and keeper).

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 81 CLINT’S CURIO CORNER by Clint Hryhorijiw

Sorting through a new batch of cartes de visite, this name Stephens in Toronto did not seem familiar in the realm of Ontario photographers. Checking through the two good photographer indexes we find a John Stephens who operated in Bradford, Barrie and Brantford from 1861 as a daguerreotypist up until as late as 1897. But there certainly was no record of him operating in Toronto. So it came down to a long search through the Toronto Street directories, year by year, photographer by photographer. They include a special list of PHOTOGRAPHERS but this time-saving element produced nothing for Stephens. That meant going back through the books looking for the OF THE AUTHOR PHOTOGRAPHS COURTESY specific name of Stephens (John). I got the idea looking up the specific address of 53 King Street East as marked on the verso of the carte to help narrow it down. There in the 1872-73 directory by the Toronto Telegraph Printing Company on page 249 is our missing photographer. The listing is corrected to June 25th of 1873. The rental of the location is erratic as 1868 sees James Penrose occupying the space. No photographer in 1870. R.J. Orr takes over in 1871 then John Stephens in 1872-73. But the specific 1873 directory lists W.J. Armstrong there followed by Alexander Turner in 1874. It should be cautioned that this period takes place during “The Great Depression” of 1873-79 (some say 1873-1896). Canadian businesses failed, en masse, with citizens flocking to the USA where the economy was tempered by their Centennial celebrations of 1876. Some moved to vacation- land Florida and started photo services there; others were lured to Western Canada as the government offered free land after the Red River Insurrection (1870) or were similarly lured to western USA land offers (California with its Navel orange upsurge in planting). Subsequent searching of directories and Canada census finds John Stephens born in Canada East. At age 20 he is listed as a “machinist” which seems his main occupation even when he moves to Gananoque in 1891 at age 40. But research by Louise Freyburger turns up evidence that conflicts with these early findings. It is noted that a John Stephens, photographer, is listed in Brantford and Barrie etc. Could he be our mystery photographer 1872-73 Toronto Street Directory, Telegraph Printing Co. who ventured into Toronto for this one short time possibly commuting by train between studios for appointment days? John Stephens was a photographer who began work in 1861 as a photographic artist, a daguerreotypist, and ambrotypist in Brantford, Ontario, where he worked until 1868. In 1872, Stephens, then 35 years old, opened a studio in Barrie, Ontario. He retired in July of 1891 and his son- in-law J. Frank Jackson took over the studio. After a hiatus of five years, Stephens returned to photography, buying the studios and negatives of photographers Barraud and King located in the Bothwell Block of Dunlop Street in Barrie, where he operated until 1897. https://www.simcoe.ca/ Archives/Pages/livingstone.aspx ❧

82 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 THE 1870 MYSTERY PHOTOGRAPH...... with a great story to tell by Robert Lansdale

S couring the Toronto Public Library for old images, George Dunbar came upon this faded image of a beached Indian canoe with several passengers. He digitally enhanced it to bring out much of the original detail. I was intrigued as it intimated early exploration and I wondered why it was important that a photographer had been included on the “expedition” and here was the evidence of his 1870 skills. This was in the wet–plate era when a portable darkroom was necessary to complete any photography in the field – an arduous task to coat a plate, expose in the camera and process quickly. The cut-line gave but little clues: “Robert Cunningham of the Toronto Daily Telegraph and Indians beside a canoe.”

Digitally improved: Robert Cunningham and canoe at Sault Ste Marie My research came up with the most likely event of 1870 which was the Red River Expedition to Fort Garry to quell the insurrection by Louis Riel and his Metis supporters. Having a newspaper correspondent and photographer attached would be required. To set the scene, Canada was but two years old with Confederation in 1867 and Great Britain was stepping away from supporting her colonies with military troops. Canada was hard pressed to pick up any new financial tasks. Around the same time, due to failure to control the fur trade, the Hudson Bay Company wanted to divest itself of the vast Rupert’s Land from Labrador, northern Canada, and the western territories, through to the Rocky Mountains. Canada wanted to add the West, with the hope of British Columbia would join Confederation. America had acquired the vast Louisiana Purchase in 1803 and concluded the Alaska Purchase in 1867 with a thirst for expansion under “Manifest Destiny”. There was also talk of annexing the western portion of the Minnesota Territory reaching up into the Winnipeg/ Assiniboine area. As well, the Fenian Brotherhood was active again in the West, eyeing the situation there to take that colony away from the British at which America might step in and take over the territory. Canada was forced to continue British influence in Rupert’s Land to guarantee westward expansion and

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 83 not be hemmed in by the Americans. It was agreed that the It should be pointed out that the French speaking Metis new young Canada should take over this vast territory for were of the Roman Catholic faith, while Scottish Selkirk some £300,000. Without consultation on the transfer of the settlers were Protestant. As such, Quebec and its newspapers territory from the HBC to Canada, the Metis and Indians supported the Metis while Ontario supported the Scottish were much concerned for the future of their culture and settlers. It was common to have troubles brew up in Eastern property being placed in the hands of remote politicians. Canada between the Orange Brotherhood and Catholic groups Scottish settlers of the Selkirk settlement were induced to as they delineated their territories among city wards. look after their own concerns and formed the Canada Party. Troubles escalated over the summer of 1869 when a survey The Indians were never taken into account despite the fact team arrived to begin laying out roads. Problems developed that they had never “sold” their lands to anyone. over pay scale to local hires, but the most antagonistic problem was marking out territory as per Canadian practice – on a square-grid section. Local tradition, however, was to divide lots into long, narrow strips from the river’s edge to provide greater points of access to water and to the hay fields –privileges, colloquially — set back from the river according to the French seigneurial system as in colonial Quebec. A new Lt-Governor was appointed to the North-West territory, with William McDougall, Canadian Prime Minister Macdonald’s public works minister, and long-time advocate of westward expansion being chosen. He travelled through America via train to the western access. However, by order from Louis Riel, McDougall with his 30 cart wagon train Fort Garry in North-West Territories were denied entry when at the Pembina border. Without a military or even constabulary force to support his commission, McDougall had to return to camp and cool his heels. McDougall sent a messenger to Winnipeg on November 30 with a proclamation announcing the transfer of Rupert’s Land to Canada and himself as Lieutenant-governor, and a second proclamation appointing John Stoughton Dennis as “Lieutenant and Conservator of the Peace” with authority to “raise a sufficient force” to “disperse the armed men so unlawfully assembled”. In Winnipeg, a group of loyalists gathered to show support for McDougall and Dennis. With armed Riel and his Council troops, Riel arrested 45 Neither London nor Ottawa men and women who wanted to deal with this small subsequently escaped matter while other problems were or were set free. Riel at hand. It was not until Riel took held Conventions at things into his own hands that which it was decided Ottawa started to take notice. to send a committee Frustrated by the lack of progress to Ottawa made up with the slow transfer of Rupert’s of 20 French and 20 Land, first to the Queen and then to English speaking Canada and to dot every “i” along delegates. They the way, Riel formed a Council negotiated a settlement in order to negotiate terms with for Manitoba to the Canadian government. With enter the Canadian no direct communication between Confederation. East and West, there existed a Due to lack of Execution of Thomas Scott vacuum of information and much communications, a loyalist group tried to pass Fort Garry Louis Riel scepticism of intentions. and were arrested by Metis troops. Several were ordered

84 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 to be executed by Riel but cooler heads prevailed and they I was lucky to come across a new book on the Colonel were set free except Thomas Scott, a belligerent Orangeman Wolseley Expedition on the internet. But it was scheduled who attacked his guards. He was brought before a tribunal to be made public only in December 2020. That was on March 3rd and found guilty of taking up arms against the months after my publication date and so could prove Provisional Government and striking his guards. The next useless. An appeal to Dundurn Publishers for a book- morning he was executed by a firing squad. Scott’s death review copy brought a 280 page PDF that gave me much ignited a fire-storm of rage and indignation across Protestant Ontario — and John Schultz and Charles Mair who escaped Embedded : Two Journalists, a Burlesque Star, from imprisonment in Fort Gerry to fan the flames. Aided and the Expedition to Oust Louis Riel by Ted Glenn by Joseph Monkman and William Drever, Schultz and Mair Paperback: English, 288 pages, 6” by 9”, price $24.99, made their way to Ontario where George Denison (of Canada Publication date 17 Dec. 2020 by Dundurn Group Ltd, First Party) organized rallies across the province to “express indignation at one of the most cold blooded murders ever 39 Illustrations B&W, Bibliography; Index, perpetrated” by “that black criminal, Riel” Such was the ISBN10 1459747348, unravelling of all progress. ISBN13 9781459747340 Prime Minister Macdonald had proposed a mounted needed information. The police force be sent West book, EMBEDDED to bring law and order to by Ted Glenn tells a the Territory. With the rather unique story increase in violence, of two journalists, a military force was and a Burlesque Star chosen and Britain was who accompanied the asked to provide the expedition to oust Louis main corp while Canada Riel. was still struggling to Robert Cunningham build its militia. Great of the Toronto Daily Britain was pulling her Telegraph, Molyneux garrison from Canada St. John of the Globe but agreed to contribute and his wife Kate Ranoe so that America would filed some 89 stories while accompanying the daring sojourn stay neutral. British through dangerous rapids and untamed forests of northwest troops would have to be Ontario. In particular, it makes it most intriguing to have a Col. Garnet Wolseley back in the East before women present on such an adventure. winter set in to ship them back to Britain by Christmas. Robert Cunningham was 33 years old in December 1869. Lt-General James Lindsay was sent from England to be He and family had emigrated from Scotland to Toronto where in charge arriving in April 4th 1870. It was most urgent to Cunningham found work as a novice city beat reporter for the get operations under way as soon as possible and Colonel Globe. He took an interest in the “stark, ghastly poverty” of Garnet Wolseley had prepared a Memorandum Regarding the Ward, an infamously poor neighbourhood of immigrants the Despatch of an Armed Force to the Red River Territory. in downtown Toronto. He later got wooed away to join the So thorough and complete was the report that he was put in rival Daily Telegraph. charge to lead the expedition and immediately went to work. Molyneux St. John had military experience as a Royal You don’t hear of Lindsay much after this appointment as he Marine in China and San Juan Island in British Columbia was busy with other problems. before retiring to England as a playwright. He immigrated to It was realized that America would not allow armed Canada in 1868 and joined the Globe to take the place of the troops to pass through her territory so the best way West departed Cunningham. was the North West Company canoe highway pioneered by Kate Ranoe was English, born in 1841, a Paris-raised the fur trading voyageurs traversing from Lake Superior’s burlesque star who immigrated to Canada with St. John Thunder Bay to Rainy River and on to Red River. Simon J. in 1868 and quickly became an audience favourite in the Dawson of the Canadian Public Works despatched in 1869 theatres and music halls of Montreal and Toronto. Somehow, over 200 men to cut a road from Thunder Bay through to after St. John was made special correspondent, Ranoe was Shebandowan Lake cutting off a big loop in the river system able to finagle a way to accompany him on the journey to thus making it easier to transport the military cargo by horse- Red River. And it was a good thing: just out of Thunder Bay, drawn wagon. It was not complete. At the same time some St. John injured his hand and had to rely on Ranoe to ghost- 140 shallow-draught boats were ordered built. Things had write his news coverage the rest of the way. to be ready by Spring break-up when the water routes were Cunningham first entered the scene in 1869, when George clear of ice. Brown, Editor of the Globe, sent him West to interview

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 85 Louis Riel. Early reports of western unrest were picked On May 14th Ontario Volunteers were brought in to up from sensationalist American papers. Cunningham’s establish a Camp Sault and protect the supplies as it was purpose was to get first-hand truthful reports on what was reported Fenians were about to move against the expedition happening. The only route for him to reach his destination at the Soo and Fort William. was via rail through the United States to the railhead at St. I wondered why our Cunningham picture with canoe was Cloud, Minnesota, then a freezing sleigh ride to the border the only expedition photo I could find. But two others showed at Pembina. He got the interview (one of the first “Eastern” up from a Mary Clare in Halifax. A scan of the back of one reporters to do so), but was thrown in jail then expelled from photo bears the initials “D.F. MacD.” the settlement with two armed guards accompanying him to the border, and warned never to return. Riel had read previous Embedded has this to say: “On June 10, the Globe’s Sault unsavory reports in the Globe and would have nothing to do Ste. Marie correspondent said the Waubuno arrived from with the enquiring correspondent. Parry Sound with ‘a photographer from Guelph’ named D.F. Macdonald. According to the reporter, Macdonald took a So it was on May 3, 1870, Robert Cunningham, Molyneux St. John, and Kate Ranoe found themselves at the tiny port of Collingwood, Ontario ready to board the side- wheeler Algoma along with 150 regular passengers and 150 labourers hired by Dawson to continue work on the road to Shebandowan Lake. Cunningham found a “whirlwind of activity” had descended upon the tiny village. Expedition trains had been running for days and their cargo spilled along the shore and narrow wharf jutting into the bay. Over the next six weeks steamers and schooners would transport the expedition’s 1,100 troops; 700 voyageurs, guides, scouts, teamsters, and labourers; and thousands of tons of munitions and supplies to Government Station at Thunder Bay. Beside the Algoma was the sleek Chicora, a side-wheeler too, that would transport the munitions and other military supplies a few days later. Officers camping at Sault Ste Marie At Sault Ste. Marie trouble was expected when passing through the canal locks, which were on the American side. general survey of the area and then some specific ‘views’ The Algoma steamed through the half-mile waterway of the grounds, the tents, and other ‘objects of interest.’ “unmolested” but days later the Chicora was denied passage One ‘view,’ the reporter judged ‘particularly capital,’ was on orders from Washington. It looked like the Expedition of a group of officers gathered in front of Major Acheson might come to a halt right there. However, officials had Gosford Irvine’s tent. expected this, so unloaded the ship and set up camp with the D.F. Macdonald was born in West Flamborough, Canada task of portaging the supplies past the locks where they could West, and moved to the Parry Sound district in 1867. There he be re-loaded again. Beyond the locks there was the option worked for the Crown Lands Department as a wood ranger, of hiring American steamers to carry everything to Thunder timber cruiser, and eventually Crown timber agent. Much Bay. But this possibility was eliminated when Canada later, he was appointed local Indian agent for the district. threatened to close Ontario’s Welland Canal to American Macdonald was also an avid diarist and photographer.” ships. Canadian vessels would be allowed passage through their canal. The ban on soldiers and munitions would remain “The Archives of Ontario contain a small trove of his in place. records, including photographs of the expedition taken at Sault Ste. Marie: the ‘capital view’ of the officers in front of (presumably) Major Irvine’s tent; two views of the camp; one shot of expedition teamsters at breakfast; another (presumably) of their camp; and one of an unnamed soldier enjoying a pipe. With one exception, Macdonald’s are the only known pictures of the expedition from Sault Ste. Marie.” “The Globe said that Macdonald intended to accompany the expedition ‘at least to Fort William,’ and the ‘views’ and sketches he planned to take ‘will no doubt command a large sale throughout the country’ There is no record of Macdonald proceeding to Thunder Bay. Embedded reads: “For Cunningham, relief came on Thursday, June 2, when the Chicora arrived back from Thunder Bay with The Hudson’s Bay Company post at Sault Ste. Marie, showing orders for the reporter to ‘start for Fort William’ on its next trip the campsite of Colonel Wolseley’s expedition. north, scheduled for Saturday June 4. Cunningham was over the moon, but had a lot to do. First, he bought a ‘fine new bark canoe’

86 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 and provisions. Then he sought ‘to obtain the services of a couple leap,” and when he opened them, they were in the middle of the of Indians’ to man and guide the canoe. The first fellow he found “surging, boiling, raging” rapids and Waubussy quickly steered was Joe Sagers, supposedly the son of a Chippewa chief ‘of them back to the safety of the shore. considerable importance.’ Joe ‘caught at the suggestion at once’ of exploring the Red River Territory. On Joe’s recommendation, Journey through the Wilderness: Cunningham then hired George Waubussy, ‘the most genuine Garnet Wolseley’s Canadian Red River Expedition type of a full-blood Chippewa’ he’d ever seen, with ‘long, lank of 1870 by Paul McNicholls hair’ and ‘almost as dark as a negro’.” Paperback : 194 pages, English, bibliography, index This identifies the persons in our picture but it does not ISBN-10 : 1911628305 identify who took the picture. Embedded points out: “On ISBN-13 : 978-1911628309 board the Chicora on June 3, 1870, was a photographer whom Dimensions : 7” by 10”, Price : $42.95 St. John said proposed to ‘accompany the expedition and Publisher : Helion and Company (Dec 19 2019) take a series of views along the route.’ The man was still in camp on June 11, but by then ‘everyone about the place’ was asking ‘when is he going to begin? We all want photographs of the camp, the bay, the Indians, and of everything in general, For a better to send to our friends.’ By June 15, the photographer was description of the gone, prompting St. John to ask: ‘Is there not in Toronto a problems encountered photographic establishment sufficiently enterprising to send by the Expedition an artist up who will take views of the camp and Thunder Bay, in pressing forward and accompany the expedition to Red River?’ “ to the Red River I “The photographer could have been Toronto-based turned to another book: painter and photographer William Armstrong, the most Journey Through the prolific documenter of the expedition. At least 13 of his Wilderness, Garnet sketches appeared in Canadian Illustrated News, including Wolseley’s Canadian Kakabeka Falls and Portage, which served as the basis for Red River Expedition his most famous expedition rendering, Kakabeka Falls on the of 1870 by author Paul Kaministiquia River. His obituary said he was ‘chief engineer’ McNicholls. To research with the ‘63rd Regiment’ in charge of getting ‘the troops it McNicholls went back to negotiate the rivers and lakes of northwestern Ontario’. to original sources to get While Armstrong might have been the photographer St. John the real hard truth. reported in Prince Arthur’s Landing in June 1870, the Globe To sum up, I must had Armstrong back in Toronto by June 18 selling paintings.” mention that the font-type in this book is quite Could Armstrong have started to take photographs, only small and hard to read. My old eyes struggled even with a to find the wet-plate process was too cumbersome in the hot magnifying glass. summer? So he turned to his more lucrative enterprise of The first half of the book sets the scene with information on making sketches from which he was committed to supply the fur trade, Canada Confederation, withdrawal of the British illustrations to the News and to make paintings. garrison, troubles in the Red River settlement, Col. Garnet Cunningham and crew commenced their trip west and Wolseley, and the route chosen. “they got to the mission above Fort William on the evening British intelligence officer William Butler, while spying in Fort of Monday, June 27, and spent the next day giving the canoe, Ambercrombie on the Red River heard rumors of disasters that now christened the Telegraph, “a thorough overhaul.” At five had befallen the Expedition. For instance, some forty Canadian the next morning, they paddled out into the Kaministiquia soldiers had been lost in one of the boiling rapids, some said. The River.” He describes the vagaries of the trip of wet weather Americans were expecting the Expedition to fail! and mosquitoes. Cunningham said he had encountered the Both Cunningham with his canoe, the Telegraph, and little buzzing beasts before but never could have imagined Wolseley and party, in the lead section, got lost for two days “the plague” that swarmed into their tent at night. The three while navigating the many islands of Lac des Mille Lacs. After fought valiantly but could only find sleep “in snatches.” much frustration, they found it necessary to return to their Just downstream from the famous Kakabeka Falls at the earlier location to secure a guide and start anew. Wolseley sent largest rapids they were about to disembark once more, when runners back to the following brigades to offer guidance. Waubussy in the stern lost traction with his pole and the In running the rapids Sam Steele reported: Captain Daniel Telegraph was drawn immediately into the middle of the current, McMillan aboard the stern oar.... it snapped like a pipe-stem hurtling toward the six-foot rapid. All three men paddled “with and the boat swung into the tremendous waves rolling and almost superhuman effort” to get back to shore. But to no avail pitching over them and hurling several of the crew from their – the current was too strong. Waubussy jammed his paddle into oars into the bottom of the boat... Death stared us in the face as the river beside the canoe and used it like a rudder. And “in a we raced through the whirlpools at great speed. Big Mike, our tenth of the time it takes to read it,” the Telegraph dashed over Iroquois boatman stood towering in the bow wielding a heavy the rapid. Cunningham closed his eyes as the bark “took the oar as if it was a light paddle. Our boat came through safely!

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 87 Troops crossing a portage – hauling up the boats on a ladder

88 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 89 Journey describes the end. At 3 PM on August 21st fifty AFTERMATH boats containing the 60th Rifles, together with the artillery The Ontario contingent took over policing the territory while and engineer components of the Expedition, set off down the British regulars started back to the East via the way they the Winnipeg River. By nightfall on the 23rd the force was came to return to Britain. Many soldiers from the expedition still six miles short of the upper fort and orders were given opted to remain in the West, retiring out of the army with to halt for the night. About 10pm a violent storm blew in the offer of a land grant of 360 acres. Better a landed farmer and continued all night. By daybreak Wolseley surveyed in Canada than a labourer in England with no job. Gordon the unpleasant scene; the roads were mere tracks ankle Goldborough of the Manitoba Historical Society has a long deep in black gluey mud. Wolseley amended his plans to list of military settlers on his site. march to the fort and, instead, by 6am the men were back Robert Cunnigham stayed in the West and entered politics. at the oars rowing up the river in three columns while a He founded The Manitoban newspaper October 1870 and detachment acting as an advance guard patrolled on shore went on to served as member of Parliament in the House of for any resistance. At Point Douglas, two miles short of Commons. En route from Ottawa he died suddenly in St. Paul, the fort, the troops disembarked and quickly formed up. Minnesota on Saturday, July 4th 1874. Molyneax St. John also stayed in the West entering the service of the Lieut- Governor Archibald as clerk of the Manitoba Legislature, then Secretary of the newly appointed Indian Commission, as well as other appointments. He became managing editor of the newly firmed The Standard but eventually became special correspondent to the Globe in Toronto. St. John continued to churn through a number of appointments and contracts. In January 1902, Prime Minister Laurier made him Gentleman Usher of the Black Rod. He died January 30, 1904. Kate Ranoe is noted as being in Winnipeg, Toronto and Montreal, re-entering the theatrical business with a drama written by her husband. She gained the most attention with a successful lecture tour in Southern Ontario in 1871 called Under sail on a North-West river “The Great North-West.” In March 1893 Kate The northern gate could be seen and was closed. But was killed by a run-away horse while crossing the street in there was no flag flying. Gun muzzles could be seen in downtown Montreal with her husband. the bastion and at two embrasures. The force commander The Metis, overcrowded by the influx of Eastern Protestant needed to know what was going on at the other side of settlers, uprooted themselves and moved west to Saskatchewan Fort Garry, facing the Assiniboine River. A staff officer, to establish their own cultural communities. not known for sure, rode forth to find the answer. Hugh Riel escaped to the United States and became involved in McCalmont claims he was the first to enter the fort. He politics in Montana. Later, he was drawn back to Canada and galloped off and found the southern gate wide open. So became involved in the North-West Rebellion of 1885. He he rode into the fort and confronted a man standing by the chose to surrender and was put on trial, as a result of which he flagstaff from which the flag of the provisional government was found guilty and hanged November 16th 1885. We look still flew. So with revolver, he ordered it taken down then back now with remorse. extracted a Union Jack from under his saddle and ran the Manitoba finally entered Confederation July 15, 1870 colours up to the peak. Facts don’t support his story. receiving Royal Assent to the Manitoba Act in parliament. How Thus, with band playing, Wolsleley marched into the long it took that news to reach Winnipeg in the West must be fort where, in celebration, a 21 gun salute was fired. It considered in the effects on history. was somewhat anti-climatic and disappointing, as on Canadian history can be so interesting. These two books 24th August, thirty-six days out from Shebandowan, the are excellent in providing the background evidence for expeditionary force had completed its mission. Of the 94 forming our present Canada. In the light of mistreating of the days since landing in Thunder Bay it had rained for 45. Metis and First Nations people, it became too embarrassing It was a hollow victory and the Ontario volunteers felt to tell the truth. But such should be told. at a loss for not being part of the final entry to the fort There are so many subtle historical nuisances contained in after all their trials and tribulation, thrashing their way the pages of these books that it is impossible to relate them all. through the forest. Buy the books yourself and enjoy true Canadian history. ❧

90 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Molyneax St. John Robert Cunningham

Louis Riel Kate Ranoe

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 91 THE FAMILIES OF THE DUMP by Gerry Yaum

Family in their home, Mae Sot garbage dump, Mae Sot, Thailand 2016 Gerald Hewko, photographically known as Gerry As he says: In 2013 I made my first trip to the Mae Yaum, of Edmonton, Alberta has been visiting the Sot Thailand garbage dump. I entered a world that garbage dump, in Mae Sot, Thailand since 2013 to was entirely foreign to me; it was overwhelming record the lives of some 50 families who sift through in every way. I remember heading into the garbage the garbage to make a living by scavenging for dump that first day. It was shocking! The searing heat, recyclable goods. These family groups are refugees the smells, the flies, and the blinding light reflecting from nearby Burma (Myanmar), Life at the dump off thousands of white plastic bags. I had traveled South East Asia for years, but this new place, this for them is better than they would have back home in was different. The flies buzzed at me from every Burma. Most importantly their lives in Thailand are angle, the sweat rolled down into my eyes. It all gave safer than the lives they had in Burma. Not only are me a headache and made me squint in discomfort. I the dump-refugee families escaping extreme poverty asked myself, “What the f--k are you doing here?” I but they are also running from rape as an instrument of looked down at my body and counted over 40 flies. terror, mass genocide and decades of civil war. It was disgusting.

92 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Group Working the Garbage, Mae Sot Garbage Dump, Mae Sot , Thailand, 2013

Boy Working the Garbage, Mae Sot Garbage Dump, Mae Sot, Thailand, 2013

Oldest Win Family Boy Working the Garbage, Mae Sot, Garbage Dump, Mae Sot, Thailand 2015

Boy in his Dump Shack, Mae Sot Garbage Dump, Mae Sot , Thailand, 2015, PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 93 THE FAMILIES OF THE DUMP I noticed a working figure with a white hat My real name is Gerald Hewko. I prefer to use far off in the distance. It seemed better to the name Gerry Yaum for all my photographic photograph him. I realized that the man was not work. I need to remain anonymous. I want to a man, not even an adult but instead was a small, be unknown for two reasons. I hope to stay off delicate, 9-year-old girl (her name I learned later any blacklists the governments of South East was Iye-iye). I crouched down and watched this Asia might attach to my name as a result of the innocent child as she worked. She was looking photographs I make. Some of the photographs through a purse that she had found. Every place the countries, the corrupt police and the compartment, every pocket, every corner was politicians in a poor light. A photographer I checked to make sure there was nothing of value exhibited within 2018 was blacklisted from Burma left inside, nothing forgotten by the previous because his photographs of poverty and oppression owner. This little child seemed oblivious to got certain people in power angry. Secondly, and the flies, to the heat, to all the things that were more importantly, the photographs are all about making me whine and cry. I thought to myself, my subjects, not me, to put my real name on a wall “what grace this little girl has”, she was like an seems wrong, even exploitative. For me the only angel glowing in the sunlight. Nothing seemed to thing of importance is putting the photography bother her; she was so much tougher than I. At subjects on the gallery walls, in the magazines, that point, I snapped out of my self-pity;”I was a or online. Telling the stories of the people I healthy, strong at 48 years old, with all kinds of photograph and speaking about their lives; that is advantages in my life. I had money, I could leave what matters! Yaum is the Thai word for “Security the dump anytime I wanted to.” Guard”. I have worked as a night-time security After that meeting I made a commitment to guard in Edmonton, Alberta, for 24 years. help THE FAMILIES OF THE DUMP, one that Gerry Yaum may be reached at: I am still working to achieve. I went back day- [email protected] after-day, week-after-week, year-after-year and overcame all the things that initially upset me, the flies, the heat, the smells, and the filth. I even got used to the flies after a time and they stopped bothering me. This project, THE FAMILIES OF THE DUMP, is part humanitarian and part photographic. The photographs have led to the humanitarian work. On my first trip to the dump I took two bags of food to hand out to some of the shacks. Since that time we (my donors and myself) have handed out over $8000 CAD in new goods, head-lamps, rubber boots, medicines, food goods, toys, candy, raincoats, school supplies etc. I have also taken donated goods from Canada to the families: boots, clothing, hats and toys. For me the humanitarian work is a perfect creative circle and speaks to the power and the beauty of social documentary photographic art. So the photographs are more than art, they do more than educate, raise awareness and interpret forgotten lives. They also directly help the people in the pictures. IT IS BEAUTIFUL! Young Girls and Dogs, Mae Sot Garbage Dump, Mae Sot, Thailand, 2016

94 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Two Girls, Mae Sot Garbage Dump, Mae Sot, Thailand, 2015

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 95 THE FAMILIES OF THE DUMP

Nui-Ooh, Mae Sot Garbage Dump, Mae Sot, Thailand, 2015

Young Mother, Mae Sot Garbage Dump, Mae Sot, Thailand, 2013

Woo-wee-kai With Hammock, Mae Sot Garbage Dump, Mae Sot, Thailand, 2013

96 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 17

Working group with falling garbage at night, Mae Sot Garbage Dump, Mae Sot, Thailand, 2018

17

Win Family Father, the Hardest Working Man In The Dump, Mae Sot Garbage Dump, Mae Sot, Thailand, 2015 Little Chemeeko with his Father, Mae Sot Garbage Dump, Mae Sot, Thailand, 2015 ALL PHOTOGRAPHS COURTESY OF THE AUTHOR GERRY YAUM

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 97 A Treasure From My Collection… bob lansdale’s Zeiss Ikon miroflex CAMERA The camera that would be two.... ROBERT LANSDALE

The Miroflex camera is based on the Nettel, a strut folding press camera with a focal plane shutter. It is a folding SLR for plates, which is no bigger than a conventional press camera if you disregard the viewing hood. The design was originally purchased by Nettel, but it was delayed from reaching the market by the First World War. After Contessa merged with Nettel, they released the camera in 1919. It was carried over into the Zeiss line after Contessa-Nettel joined Zeiss Ikon in 1926, and was produced until 1936. The bellows has an opening at the top that is capped with a ground glass and a folding viewing hood. Inside the bellows is the reflex mirror, which swings up out of the way and caps the top of the bellows during exposure. The mirror can be left up, and the viewing hood folded down, to create a press camera. A wire frame finder is provided. The viewing hood, top plate and mirror all fold inside the body for storage when the camera is closed to create a folded camera really no bigger than a comparable Nettel press camera. The Miroflex as a strut- folding press camera

Front view with 15cm Carl-Zeiss-Jena Tessar lens Side view with shutter knob and mirror knob

98 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 PHOTOGRAPHS COURTESY OF THE AUTHOR

This model, the more common Miroflex B was for 9x12cm images made by Zeiss Ikon from 1929-1936 and supplied with a 150/4.5mm Carl-Zeiss-Jena Tessar lens but could also be equipped with 165/3.5 or 165/2.7, and the 165/2.8 Bio-Tessar. The camera has a two- curtain focal-plane shutter with speeds from 1/3 sec. to 1/2000 sec plus T. and B. Speeds vary by a retarding gear acting on the second blind. Self-capping shutter. Focusing position setting that holds the lower blind while top blind is wound up. The bellows are opened at the top, capped with a ground glass and a folding viewing hood. Inside the bellows is the reflex mirror, which swings up out of the way and caps the top of the bellows during exposure. The mirror can be left up, and the viewing hood folded down, to create a press camera. A wire frame finder is provided. The viewing hood, top plate and mirror all fold inside the body for storage when the camera is closed to create a folded camera really no bigger than a 3 1/4 inch wide feat of German engineering. The weight is a hefty 6 pounds of metal body and wood lens board. Black leather and chrome The Miroflex now as a metal finishes off this prize collectible. ❧ folding SLR camera

Back view with 9x12 cm film pack holder Back view with film holder removed

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 99 The Other side of Stan white my second swan song.... In retirement Stan combines poetry and images to create remembrances of his past successes. His new web site at stanjwhite.com is, as he says, “to prove that has lived on this planet for 91 years”. His Lilliputian photography brings humour and joy while his stereo photography in the Infra-Red is charming and unique. Check the various “Stanzas” of the site to learn the depth of our long time member. ❧ stanjwhite.com

STAN J. WHITE

Cleaning Camera

Artist in Brobdingnag

British Regiment Defends a Pound of Mild Cheddar Cheese

Old Man’s Dream of a Young Man’s Fancy

ALL PHOTOGRAPHS AND POETRY COPYRIGHT OF STAN J. WHITE

100 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 CherryCherry Tomato Tomato Production Production CandleCandle Light Light

arsars poetica poetica of whenof when a never a never is born is born and and a a forever ends I writeI write of stars of stars forever ends andand of the of theinfinity infinity behind behind mirrors mirrors I writeI write of where of where an echo an echo fades fades andand of the of theinconsequence inconsequence of of andand in the in thetouch touch of a of lover’s a lover’s hand hand triflestrifles andand of where of where a rainbow a rainbow strays strays I write in the sound of the sea in I write in the sound of the sea in I writeI write in the in thecrevices crevices of dawns of dawns shellsshells andand of the of thecrescendo crescendo of silence of silence andand in the in thedrone drone of the of thehumble humble bees in thein thelight light of an of eye an eyein the in thedeep deep bees of sleepof sleep andand of where of where a fall a offall wood of wood smokesmoke goes goes I writeI write between between a memory a memory and and a a forgetforget I writeI write in the in thesynonym synonym of time of time in thein thefading fading half-light half-light at the at theend end andand of the of thenight night side side of the of themoon moon of daysof days andand in the in thebreath breath of fairy of fairy kneeling kneeling CemeteryCemetery in Mist in Mist andand upon upon the theeve eveof every of every eve eve flowersflowers I writeI write in the in theepilogues epilogues of myths of myths I writeI write of stars of stars MUSICMUSIC of whereof where the theseaward seaward runes runes once once told WhatWhat form form you youhave have told youryour miscellany miscellany of patterns of patterns fill myfill mindmy mind with with the thegossamer gossamer of your of your sadness sadness the theebullience ebullience of your of your joy. joy. PowerlinePowerline Road Road Brantford WhatWhat curiosity curiosity of sound of sound Brantford engenderedengendered such such serendipity serendipity …language…language of birds, of birds, dancesdances of of silence? silence?

Stream East of St. George Off OffTo School To School Stream East of St. George PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 101 PHOTO PROCESSES

Oxybenzylmethylenglycolanhydride

by Mary Goldie

The Electrical Experimenter of March 1917 had this to had curved sides, rounded corners, decorative ribs and a say about that mouthful of alphabets: shiny surface, all typical of the 1930s streamlining. It is “With a cunning surpassing that of the alchemist of old, made from Trolitan plastic which is the German equivalent the modern chemist combines two strong-smelling liquids of Bakelite. Such features would have been very difficult to to form a solid that is utterly devoid of odor or taste. Under realize in metal. conditions know to that deft magician – the chemist – these Another outstanding design of the period was the 1937 two odorous and unpromising materials, carbolic acid Purma Special. This camera took the form of an elegant (Phenol) and formaldehyde, unite and form a transparent, curved and tapered rectangular case of Bakelite. Unlike most amber-like solid (Oxy-benzyl-methyl-englycol-anhydride), other models the film advance mechanism, shutter lever and better know as BAKELITE. shutter release button did not protrude from the body. Again, these features would have been more difficult and costly to “Bakelite (patented in 1907 ) is a condensation product realize in metal. of carbolic acid and formaldehyde. In its final form, it is PURMA SPECIAL CAMERA a hard, amber-like substance, having none of the chemical characteristics of the raw materials from which it is made. “Bakelite has no melting point but at temperatures in excess of 575ºF. (300ºC.) gradually carbonizes and disintegrates. It is not merely a mixture, like compounds of rubber, shellac, or resin, which have characteristics of their components. Bakelite is an American invention, the process V E L O X : having been originated the first gas- by Dr. L. H. Baekeland, light paper was already widely known introduced in by his discovery of America in 1884 the so-called gas-light by the Nepera Chemical Co. photographic papers, AGFA TROLIX CAMERA notably VELOX”. from the formula of Dr. Baekeland. Bakelite became the basic component used to make It was very thousands of cheap black plastic cameras (from the 1930s KODAK BABY BROWNIE convenient to use to the 1960s) and items such as jewelry, billiard as printing could be balls, toys and game pieces, radios, flatware sets, done at night by Tungsten light. and many other products. The most common It achieved wide popularity. items also produced for photography in Bakelite In 1899 George Eastman were light meters, lens caps and cases, developing bought the Velox process from tanks, and projectors. Kodak and Coronet are Baekeland for $1,000,000 and two of the more popular brands to use Bakelite Velox paper was used to print regularly. the Kodak negatives instead of In 1934 the industrial Walter Dorwin Teague being printed only by daylight on printing-out paper. Kodak designed a camera that was better suited to the VELOX paper was a very characteristics of the new material. This was KODAK VELOX PAPER slow ‘Development’ printing the Baby Brownie - a black phenolic box with a paper, producing a blue-black image, suitable for contact distinctive vertical ribbing. printing only. – Encyclopedia of Printing Photographic Other great designs followed. The Agfa Trolix of 1936 and Mechanical Processes - Nadeau. ❧

102 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 photographic CANADIANA Journal of the Photographic Historical Society of Canada

Volume 46 • Number 5 February • March • April • 2021

$15.00 CDN

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 103 The Annual General Meeting and ZOOM and telL by Robert Carter

This meeting was historic for two reasons: For the first compared to wages. Her second item was another Kodak time in its 46 year history the PHSC (using Eventbrite and technical camera, a Signet 80. ZOOM) held a Toronto meeting online. And the Annual Chris Bandera, a Toronto photographer (and full-time General Meeting (AGM) usually held each April, was held programmer) spoke about his photography business of in December. taking portraits on the street during his lunch hour using For the AGM portion, president Clint Hryhorijiw read a an 85mm lens. So far, he has rarely kept in touch with his synopsis of year 2020 events mentioning each member of subjects. The lighting and background are kept consistent the executive by name. No questions being received from the and subjects are encouraged not to smile as he brings out “floor”, the AGM portion of the meeting closed at 8:23 pm. their inner character. Programme Director. Celio Barreto, did a great job lining Marty Magid called in from Georgia where he has family up speakers, illustrations, arranging for Eventbrite access, (home is near Detroit). Marty mentioned that some forty and assisting all presenters to ensure the ZOOM session years ago in Florida a photo club asked him to do a history would move smoothly. Well done Celio! The request for of photography program. He wrote the program using about presenters and audience went out by material designed by 60 slides (one per minute). He showed a recently obtained Sonja Pushchak and John Morden. Information was covered special Canadian Toonie using a famous WW2 photograph by newsletter, website and social media. Guests were from taken in BC for its central engraving. It will take the place Newfoundland, Georgia, etc who would never be able to of a previous WW2 slide in his program. Surprisingly, Clint attend a meeting in person. One attendee used a telephone had a copy of the actual print (“Wait for me, daddy”). connection to hear our talk in New York City. I (Bob Carter) followed Marty and spoke of the difficulties First up was new member Jeri Danyleyko. Ms Danyleyko Leitz faced introducing the tiny Leica, especially the impact showed a Kodak Pony camera and covered the Pony series of the dirty 30s depression. This background served as an noting various options. While the camera prices seemed introduction to a ring (VALAU) available in the 1930s to low today, when sold the cameras were actually expensive make the 5cm Elmar camera lens suitable for the enlarger. I

104 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 followed with an unusual accessory coded MQUOO allowing the screw mount camera shutter to be operated by mouth. The tiny device is clouded in uncertainty - spelling of designer’s name, Leitz employee or manufacturer, introduction for screw mounts when M3 was available, role of designer’s son, why some were signed “Leitz” and some not. Journal editor Bob Lansdale showed an early daylight developing tank for film - the STANDA by Houghton Ltd. of the UK. The daylight tank was invented in Baddeck, Nova Scotia by Arthur McCurdy who worked for Alexander Graham Bell at his summer home there. His tank had a visual viewer with a red filter (for orthochromatic film). McCurdy sold his patent to Kodak and they came out with a revised tank in 1902. The tank story will appear in more detail in the next issue of Photographic Canadiana. Toronto cinematographer Jamie Day Fleck spoke at a meeting of the PHSC five years ago. Tonight, she gave background information and the trailer to her now finished movie on the New York Armenian DANYLEYKO’S PONY CAMERA Photographer of a century or so ago SHIELD’S DAGUERREOTYPE called simply “Kirk”. After the trailer, Ms Fleck briefly described her activities since that movie was completed. Nicole Plaskett and Stephanie Normand of the non profit organization Canadian Heritage Photography Foundation (CHPF) described their organization and its activities as the disseminator of works of Canadian photographers. It began with George Hunter’s works. They previously scanned 4000 images of Ontario and this year scanned over 2000 images of BC by George Hunter and the upcoming release BANDARA’S STREET PORTRAITS CARTER’S LEICA VALAU of 4000 images of Quebec and the East Coast. Scans of photographs taken from Quebec East are expected to be up by the end of February 2021. A small army of interns and grad students (32) helped with the scanning. Toronto based photographer Jason Cipparrone showed samples of his most recent work. When COVID-19 hit, Jason stopped using digital and went back to film. He is currently doing a documentary onthe homeless crisis. His sample of part of his work in progress video was thought provoking. A homeless person spent 15 minutes on the phone including an issue over top bunk beds at a time when such beds were banned only to find out there were no shelter beds available. The wrap up presenter, Lorne Shields (famous for his FLECK’S KIRK FILM bicycles and cycliana collection including photos) showed the earliest known photograph of a cyclist, which, as an aside, had written details housed within its case. The provenance of this 1850 daguerreotype of a child on an early velocipede was authenticated using objects from the collection of the MoMA’s in NYC. It is currently the oldest known photographic image with a cyclist. Following the presentations was a Q and A and a general discussion by all making for a fine ending to this epic AGM and Toronto meeting. LANSDALE’S STANDA TANK Join us on our next ZOOM adventure. ❧

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 105 A Treasure From My Collection… ROBERT lansdale’s STANDA DAYLIGHT PROCESSING TANK

Houghton’s competitor to Kodak’s daylight tank... ROBERT LANSDALE

May I introduce you to the STANDA daylight processing tank that entered the market in 1908. It is a heavily nickel–plated two-part container that loads exposed film into a second processing chamber. It is five inches tall and can take a variety of film sizes. J.W. Meek and D.B. Thomas are given the credit for patent number 11,162 of May 22, 1908, but they may be the lawyers or patent attorneys who handled the case. But first, let me set the scene with some photographic history. Canadian Arthur W. McCurdy of Baddeck, Nova Scotia invented the daylight processing tank while working for Alexander Graham Bell. McCurdy was required to take photographs of Bell’s aviation experiments while he vacationed in the Maritime. Rather than rely on a local photographer to process his film, McCurdy devises a way where no darkroom was necessary – patent Houghton’s STANDA daylight processing tank and shipping box number 647,900 of April 17, 1900. He sold the patent to Eastman Kodak Ltd. and under Canadian F.A. Brownell, the processor underwent changes to reduce complexity. The final developing machine, introduced in 1902, consisted of two round–bottom compartments. The roll of film was rolled together on an apron of clear plastic and then chemistry introduced to that unit. Film and apron were rolled back and forth. On October 4, 1902 Kodak ran an advertising blitz with the theme of “The Darkroom Abolished”. The all-metal tank was improved to become the more-recognized wooden box with black apron roll inside. The processing of Kodak’s first processor consists of two round-bottom units A.W. McCurdy with his processing tank the rolled apron with film was in a separate tank.

106 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 As to Houghton’s STANDA tank the film chamber/spool box (9) is hinged and swung off to the side where the roll of exposed film is mounted between spring–controlled spindles. The larger chamber contains a long roll of black plastic (apron 26) which is unwound, passing through a light-tight opening/ slit in the back of this canister (24). When unwound fully, the final end is attached to a hook (27) to a central spindle (5) at the center of the unit. The film leader/black paper is now attached to this same hook and the milled knob on the outside-top of the chamber (18) is given a couple winds to commence take-up of both film and apron. The door is now closed and bolted and the milled knob is rotated until all the apron has been pulled inside the chamber and the film has been transferred as well. The spool-box is now removed by sliding sideways off the main unit. The film is protected by the density of the black apron. The chamber is immersed in a separate developing tank and the processing sequence completed. The apron has, along each edge, a strip of rubber with rows of teeth attached to give space between film and apron surfaces and to provide free–flow of chemistry. I could see that films might experience stains or unprocessed areas as the black–paper backing is also loaded between the cramped spacing of the apron. Good agitation should overcome this defect. ❧

Spool box is swung to side for loading film Schematic shows attaching film leader to central spindle

Spool box is slid off main chamber after loading film

Plastic apron is brought outside

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 107 George Buchanan Sproule: –Peterborough Photographer by Gina Martin, assisted by Duane Robnik With kind permission to reprint from the Heritage Gazette, Vol 15, No 3, November 2010

The third of six children born to Joseph Sproule and the former Matilda Ann Robinson, George Buchanan Sproule Recently the Trent Valley Archives was born on 1 December 1848 in Carrickamulkin, near successfully aided an Australian Omagh, County of Tyrone, Ireland. I May 1860, the family researcher in pursuit of his elusive left Ireland bound for Canada, sailing into New York harbour ancestor, shedding a much-welcomed and travelling by land to Peterborough where a number of light on a year-old genealogical Tyrone immigrants had already settled. They moved to a brick wall. But in the endeavour a small farm in North Monoghan Township located at the success proved to be two-fold as the western end of present day Lansdowne Street where George endeavour also helped to uncover and Matilda remained until their respective deaths. the life and career of a seemingly lost Young George attended school for several years before member of Peterborough’s artistic and beginning an apprenticeship with a druggist where he professional community. “We’ve always began learning the intricacies of chemistry required for the wondered what happened to George”. development of [wet-plate] photographs. He made trips to The researcher stated in his request Chicago and New York City where he took courses to further for help. He was referring to George enhance his voracious interest in the field, along the way Buchanan Sproule, a talented and learning the craft of photography as well as development. extremely prolific studio photographer The Peterborough Examiner, 25 August 1881, recorded, whose work in Peterborough spanned “Mr. Geo B. Sproule of this town, leaves town on Monday more than a quarter century. for Chicago to attend the Photograph College Examinations From the late 1860s until his at Chicago where he is one of the examiners on a new departure from the city in 1895, process of dry plate, and will read a paper on the advantages his work documented some of of “Nitric Acid in the Silver Bath.” Throughout his career, Peterborough’s most prominent citizens he was known as an expert in all technical aspects of the and displayed the most modern and photography business, often invited as a guest speaker at advanced photographic techniques various event. of the time. While his personal life At a mere twenty years of age, he opened his first seemed, at times a bit unsure, his studio and gallery in the Charlotte Street premises vacated lifelong career as a photographer was by photographers Ewing and Hall and placed his first no less than brilliant with samples of business advertisement in the Peterborough Examiner 19 his work today in many archives across November 1868. Here, he extensively outlined his new North America. “Photographic and Fine Art Gallery” and boasted that, “No expense has been spared to make it one of the finest galleries in the Dominion”. At his gallery, he had a full stock of photographic chemicals, nitrate silver, various forms of paper and frames of all styles and sizes. He advertised the various studio backdrops and sceneries available for fine photographs as well as his knowledge of style from both America and England. Perhaps one of the services offered, he could produce pictures of all dimensions ranging from wall size to those for lockets and rings.

108 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Frederick Haultain (later Sir) by Sproule Lissie Hamilton portrait Unknown three quarter portrait

For a while, his older brother, Alex “Harpur” Robinson Francis Jamot and, in 1873, he produced an impressive series Sproule, also appeared to be engaged in the photography of Stony Lake photographs that were later turned into a post business. Family lore says that he and George worked card series that can be today found in the National Archives together. But none of the almost weekly advertisements that in Ottawa. He won a multitude photography contests and George placed in the Peterborough Examiner ever mentioned judged many more. Life seemed good for George Buchanan his brother even though local directories listed him as a Sproule. It seems shocking that, in the early part of 1895... photographer. Whatever he situation, it was short-lived as, in he seems to give it all up. 1880, Harpur Sproule moved his wife and children to Ireland In the early part of 1895, Sproule closed his studio which after a childless maternal uncle bequeathed to them the family had moved some years earlier from the original Charlotte estate in Fintona, County Tyrone. This was the end of any Street location to a larger one at 158 Hunter Street, overlooking photography career held by Harpur Sproule in Peterborough. Chamber Street. While his wife and daughters remained in the On 12 October 1871, George Buchanan Sproule married family home at 196 Aylmer Street, George Sproule relocated Miss Maria “Josephine” Thirkill, a young woman of United to the United States town of Helena, Montana where he Empire Loyalist stock born is Prince Edward County in remained the rest of his life. The family never reconciled September 1848. They married in Lindsay, Canada West and, save for the funeral of his mother in 1902, there is little (now Ontario) were her family had relocated during the mid evidence that he ever returned to Peterborough. 1860s and immediately returned to Peterborough where two daughters were later born, Anne on January 12, 1873 and Helena seemed a far cry from well-established Peterborough. Daisy in April 1875. As many Montana communities, it started as a mining town during the great gold rushes of the 1860s. In 1864, gold was While still in his twenties, he had a thriving photography business, a delightful young family and was becoming a member of Peterborough’s “well-to-do” circle, having befriended members of the Bradburn, Rogers and Calcutt families. He had an active recreational life playing on local cricket teas and, in 1872, was a member of the “Red Stockings”, Peterborough’s first official lacrosse team. He was also an avid hunter and outdoors man, spending time at various area hunt clubs, particularly in the area of Stony Lake. During his thirties of Peterborough’s benefactress Charlotte Jane Nicholls, Stony Lake artist John Claque, future North-West Territories premier Frederick W. G. Haultain, Bishop John

1865 – Street scene of old Helena, Montana

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 109 discovered in a nearby creek and, within a few years, rough given George Sproule opportunities to hear about Helena. and tumble Helena was becoming with more than three Or perhaps his many travels surrounding the photography thousand people in search of fortune. In 1875, Helena was business had, on occasion, taken George to Seattle or names the capitol of Montana and, in 1883, the Northern even the little Montana own where he eventually settled. Pacific railroad extended through the town. Both factors, Given the instant [?] partnership with Emil D. Keller, it along with the growth of agriculture in the surrounding would seem that plans had indeed been made before he left valleys, allowed Helena to survive once the gold supply Peterborough. Whatever the case, events of the next few dried up. By the time of George Sproule’s arrival in 1895, years were interesting to say the least. Helena had a population 13,834 people and many established Sometime between 1892 and 1895, Thomas Chase businesses. In Helena in 1897, he went into partnership as Patrick and Sylvia Lyman Patrick appear to have gone their Sproule & Keller with local photographer Emil D. Keller separate way with the return of Sylvia and her young son

1872 – Gathering for a Masonic Temple cornerstone laying 1871 – aftermath of drastic fire in Helena, Montana who had an active studio on West Sixth Avenue in the business district. In 1898, Sproule bought Keller’s interest in the partnership and established an even bigger studio at 141-2 S Main Street as Sproule Photo Co. He was, it seems, attempting to build in Helena what he had left behind in Peterborough. Further research proves that the town of Helena, Montana could hardly have been unknown to George Sproule. In the early 1880, a nephew of his wife travelled to Helena from his home in Lindsay where he opened the “Thomas C. Patrick & Co.” general store. Thomas Chase Patrick was the son of Josephine Thirskill Sproule’s sister Marion and her husband, Thomas Chase Patrick Sr. The two In 1887, Thomas the younger married Sylvia Rosffie 1897 – down town in modern Helena, Montana Lyman, a Helena girl who, born in 1865 was the first white child born in that area in Montana. Her father was the to Helena and Thomas to Lindsay where he died at age 35 enigmatic Lorenzo Branch Lyman, a lawyer from New York on 6 April 1896. They last appeared together in a district who, in 1864, helped turn Montana into a territory of the census taken in Seattle in 1892. The Helena directory United States. Shortly after the marriage, Mr. Patrick sold of 1894 named Sylvia as the head of her household on his business and the couple moved to Seattle, Washington Main Street where she lived with her son and widowed father. But the directory of 1895 began to tell a new story. where their son, Thomas Chase Patrick III, was born in 1890. While still the head of her household with her father Thomas C. Patrick may have visited family in Lindsay and and son, Sylvia was now listed as an “artist” working

110 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 for newly arrived photographer, George Buchanan Sproule What became of the family that George Buchanan Sproule who is listed as a resident in Sylvia’s home. The directories left behind in Peterborough? In 1899, Josephine Sproule for 1896–7 showed the same arrangement with Sylvia now and her daughters moved from Peterborough to Everett, working for Sproule as “retoucher”. All the directories Massachusetts where Josephine’s brother, William Thirkell, between 1898 and 1910 showed her in his employ as a had taken his family twenty years earlier to work in the photographer and in 1910 census recorded Sylvia once railway system. Josephine took in borders and her daughters worked as curtain makers. No doubt to save herself and again as the head of her household with her son, father and daughter from embarrassment she listed herself in all the “uncle” George B. Sproule in her home. Sylvia and George directories as “widow of George”. In 1902, Annie and Daisy were both listed as married” even though Sylvia, at that went to Boston where they took clerical jobs and Josephine point, had been a widow for four years. Technically, George moved to a house in nearby Dorechester where she died in was still married to early 1910, leaving George and Sylvia free to marry in Salt his wife Josephine Lake City. even though they In July 1910, Annie and Daisy Sproule moved to Regina, had been apart the Saskatchewan where they lived at 2035 Hamilton Street and last five years. The worked at office jobs until 1925 when Annie secured a job census listed Sylvia in San Francisco as a dietician at a nursing home. Passenger married for twelve records show that she had gone there for an extended work years and George assignment in 1921 and again in 1923 before making the for twenty-seven. final move. In 1928, both girls became naturalized citizens of the United States and, by the time of the 1930 census, Annie Over the next had become superintended of the “Protestant Episcopal Old number of years, Ladies Home” in San Francisco. Later, both girls moved to the Sproule studio Portland, Oregon where Annie died on March 18, 1942 and was as feverishly Daisy on September 21, 1956. They never married. active in Helena After the death of her second husband, Sylvia Lyman as it had been in Patrick Sproule continued to live in Helena where she P e t e r b o r o u g h . remained a highly respected member of the historical G e o r g e community. In her later years she became interested in photographed many Montana history and was very proud of her unique place Newly married Elmo and Ella Rice, 1911 of Montana’s most within it. As the first white child born in the Gallatin Valley important sites surrounding Helena and the daughter of the man for whom and residents while further building his now very national the town of Lyman was named, she was a revered member reputation as a skilled photographer. Sylvia worked as an of the “Sons and Daughters of Montana Pioneers”, an “artist” involved painting the many types of scenery offered organization she often represented at speaking engagements as backdrops for photographs and colouring the black and through out the region. When she died in Helena on 14 July 1948, the president of the club placed a notice the Helena white stills for framing. Independent asking that members her funeral. She and Although no samples of her photography have been George are buried in Forestvale Cemetery. identified, Sylvia remained listed as a photographer at It is unfortunate that there is no central archival collection the studio until 1910. Early that year, she and her son of the George B. Sproule photographs. Instead they are took an extended trip to Salt Lake City and stayed with scattered sporadically in various archives throughout North her brother who had relocated there some years earlier. In America. We have a few at Trent Valley Archives and some early spring, George B. Sproule travelled to meet her and are on file at the Peterborough Museum and archives. Still the two were married there on May 17th. They returned others maybe found at the Library and Archives Canada to Helena where George continued his work, moving the in Ottawa, the Trent University Archives, the Glenbow studio in 1919 to a very large facility further up Main Museum in Calgary and various archives and galleries in Street where he remained working almost until his death on Chicago and New York. One wonders what happened to May 26, 1927. His obituary praised him for his outstanding the many prints and negatives that existed at the time that Sproule closed his Peterborough studio. Wherever they photography career in both Canada and the United States ended up, the are testament to a local pioneer in photography while mentioning his widow, a stepson with a wife and two who was talented enough to leave one thriving career in grandchildren and two daughters by “a former wife”. Peterborough only to pick it up and take it to even further heights in Helena, Montana. ❧

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 111 the walker pocket camera an Early miniature camera 1881 By [the late] Matthew R. Isenburg Reprinted from Northlight, Journal of the Photographic Historical Society of America, Vol. 4 No. 2, Spring 1977.

Walker’s Pocket camera was first manufactured in 1881, probably mid-year since the introduction to the instruction manual was dated July 1881. It is one of the most significant cameras in American Wm. H. WALKER hardware for many reasons. William Hall Walker 1882 AD SHOWS was co-inventor with George Eastman of the HE HAD SAME IDEA TO POPULARIZE Eastman-Walker roll holder, an invention that PHOTOGRAPHY helped bring about the birth of the Kodak. AS GEORGE EASTMAN. Since the roll-holder patent was granted in May of 1885, it was applied for in 1884 only three scant years after the introduction of the Walker camera. W. H. Walker himself became secretary and 10% owner (200 shares) of the stock of The Eastman Dry Plate & Film Co. which was incorporated October 1, 1884. In its formation H.A. Strong was President and largest stock holder with 750 shares while his younger protege George Eastman owned 650 shares thus making Walker the third largest stockholder of that corporation. Apparently things moved rather fast in Rochester at that time. Many of the merchandising techniques used by Eastman seemed to have been previously used by Walker. Walker advertised heavily in Century Magazine going outside the trade journals to sell his goods. Interestingly enough, WILLIAM H. WALKER Eastman wrote to Walker in late 1888 “We by himself and he never find that it does not pay to advertise Kodak will. He has not persevered in anything but the magazines and weeklies enough.” of the choicest circulation.” He even named With this letter in mind, Century Magazine thus leading one to believe we cannot help but wonder that Eastman possibly may have learned from how emotional Eastman Walker in the formative years learning heavily may have been when we on Walker’s expertise then subconsciously closely examine the first forgetting from whence that knowledge came sole product of W. H. Walker causing personality problems between the & Co. namely the Pocket two men as time went on. Camera. This camera At best, their relationship was strained WALKER POCKET CAMERA AT EASTMAN MUSEUM is a jewel of precision in 1883 when Eastman wrote part to Henry engineering and design, Strong concerning Walker: “I do not want to see him. I even cherish cleverly thought out and intriguingly ingenious in just about every the hope that I may never see him again. He has been a care and a aspect of its functionality. Nothing about it is sloppy. Everything worry to me ever since I knew him, and now when it looks as if I clicks into place with the satisfying sound of a good fit even though had got rid of him, his infernal swelling, pompous incapacity for the camera in almost 100 years old. At first examination, its stark anything but making mistakes, I don’t think I shall ever call him to simplicity almost fools one into thinking it is a cheaply made outfit me. No indeed. If he has the cheek to come here I won’t entertain but close inspection proves otherwise. him in my house or have anything to do with him.” – “As far as Remember this camera was one of the earliest to be specifically conciliating him for fear of any harm he can do, I can’t do it. It sticks designed for commercially prepared gelatin dry plates as noted in my crop. Besides that I am not afraid. He never invented anything in paragraph two of the Introduction to the Instructions where

112 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 it states: “The simplification of Photographic processes made light leaks from the side. Even this dowel is removable from within the last few years, the extensive preparation commercially the plate holder for replacement. Walker advertised that all parts of Gelatin Dry Plates, and the accurate, yet simple apparatus were so uniformly produced as to allow for replacement of parts herewith bought to your notice make the successful pursuit of “at a trifling expense.” this most pleasing occupation” – “ within the understanding of The Walker Pocket Camera could also be considered the any person of average mechanical ability.” Did he write that with first product of the Rochester Optical Company since Wm. H. George Eastman’s success in Rochester with gelatin dry plates Walker & Co. was founded by Walker and his partner W. H. in mind? By September 1881 Eastman was forced to leave Reid. This company became the Rochester Optical Company a promising job at the Rochester Savings Bank to head up his in 1883 which became the Rochester Optical & Camera Co. in company full time only two years after making his first dry plates. 1899. A voluntary liquidation in 1903 brought back the name This came about since January 1881, Eastman was manufacturing Rochester Optical Co. when the Eastman Company bought the plates in a rented loft in a State Street factory building, yet by remaining assets which left $130,000 for shareholders after October he was selling four thousand dollars worth a month! In paying off their debts. a town as small as Rochester was, Walker certainly must have known about George Eastman’s astonishing success. Another great feature of the camera is the corrugated interior of the inner chamber itself. About 20 corrugations on each of The Walker Pocket Camera was produced as a dry plate camera only 16 years after the American Civil War ended. To give the reader an idea as to the exposure time, the instruction manual discusses the slowest speed for trial exposure in normal light as one second in length and then add a second from there for each subsequent test shot. Yet the guillotine drop shutter for instantaneous exposures was considerably faster than the one second previously discussed: it therefore, did “require brilliant illumination.” A claim was even made that the world’s fastest train the “Flying Scotchman” was photographed in England by Walker, though, “at times attaining the frightful speed of seventy miles an hour.” Another interesting fact about the Walker is that it seems to be America’s earliest miniature gelatin CHEMICAL BOTTLES FOR KIT BOY WITH WALKER CAMERA dry plate camera since it used a dry plate only 2¼ x 3¼ inch in size. W. H. Walker also makes note of this by saying “Many of the finest views taken by the photographer of the Hayden expedition were subsequently enlarged from the small plates and everyone who has seen these masterpieces of photography cannot fail of conviction that large apparatus is a nuisance and a delusion.” Again a very early and strong statement for miniature photography. Still another interesting concept was that the Walker was sold primarily as a complete photographic COMPLETE KIT SOLD WITH WALKER CAMERA INTERIOR OF CAMERA outfit for amateurs, though, the camera could be bought separately. the four insides of the box discourage internal light scattering. An offer was also made to form a club for the purpose of There is no modern 35mm camera that does not have that feature ordering five cameras and a sixth one would be sent as a free incorporated within its exposure chamber, yet here it was in premium. Now as for the mechanics of the outfit itself, the camera 1881. was a variable focusing model could take close ups by twisting By swinging down the viewing back the double plate holder the milled collar of the tube and “with a slow spiral motion move can be positioned. “The clasp for holding the top of the holder it inward or outward as the case may require. The Diaphragm has to the camera is the same as held the focusing screen in a similar two openings, “diffused or medium light requires the larger, while position.” Last but not least is the Walker’s Patent Tripod Head brilliant sunlight requires the smaller opening.” which allowed the camera to be adjusted “in both vertical and The camera came in three finishes: Mahogany, “Ebonized”, horizontal planes without the necessity of moving the tripod and Cherry. The camera illustrated is the ebonized model with a legs” by a ball and socket action. So far only six cameras metal shutter. I have seen one other with a black plastic shutter of have surfaced including the two at the Eastman house yet in the same material as the plate holders. Even the double holders a December 1881 appendix to the instructions Walker talks for this camera area work of art, “the frames being in one piece about “several hundred instruments in the hands of amateurs” of non-absorbent plastic material, are consequently joint less an and production carried well into 1882. Where are the rest of unaffected by dampness.” Removal of the dark slide allows a this them. William H. Walker? ❧ metal dowel holding black fabric to spring into place eliminating

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 113 Canadian photographer Edward Burtynsky gifts archive to the Ryerson Image Centre by Ryerson Image Centre

Edward Burtynsky began his career in the late 1970s at the School of Image Arts of Ryerson Polytechnical Institute (now Ryerson University). “It was important to me that my life’s work be housed in a Canadian institution, and it felt like a fitting ‘homecoming’ to entrust these works to the same place where The Ryerson Image Centre I first developed as a photographer,” Burtynsky says. “The (RIC) is proud to announce a multi- Ryerson Image Centre has become one of the leading museums in the world for photo historical research and has a growing year donation of photographs by collection of artist archives. I realized that there was no place I celebrated Canadian photographer would rather have my work preserved and studied.” Edward Burtynsky, whose iconic Burtynsky’s first donation includes photographs made images have brought worldwide between 1976 and 1989, primarily taken at locations across Ontario and Western Canada. Many are unique, and the majority attention to the impacts of human are unrepresented in other museum collections, making the industry on the natural landscape. RIC’s collection a critical resource for exploring the origins of The first installment of this gift the artist’s mature style. comprises 142 photographs from The earliest works are the original landscape photographs and city views Burtynsky submitted to his Ryerson instructors in his the artist’s early career, a selection first and second-year portfolios. While still in school, he began of which have been made public in a to focus on industrial sites and the relationship between humans virtual gallery on the RIC’s website. and their environment. Rarely-seen photographs from the 1980s trace Burtynsky’s early explorations of society’s attempts to Subsequent annual gifts will make the control nature—from studies of industrial greenhouses and Toronto-based photography centre meat-packing plants to interior views of taxidermy studios. Seen together, the photographs in this group represent the most important global repository Burtynsky’s evolution from classic black-and-white landscape for the study of Burtynsky’s oeuvre. and documentary traditions to the richly-coloured, large-format overviews of industrial sites, mines, and homesteads, and altered landscapes that first established his reputation worldwide. The donation extends to the end of the 1980s, when the artist’s first major exhibition Breaking Ground began touring museums in Canada, and he began producing his photographs in editions. “We are thrilled to be chosen as the place that will preserve Edward Burtynsky’s work for posterity,” says Paul Roth, Director of the Ryerson Image Centre. “He is the premier photographer dealing with the issues surrounding global climate change—the critical subject of our time—and one of the most influential landscape photographers in the history of the medium. He is also a great friend of our institution, as an alumnus of Ryerson’s world- class photography program and a founding board member of the RIC. We look forward to making his life’s work accessible to students, scholars, and other audiences here in Canada and around the world.” Each annual donation will add another chronological stage of Burtynsky’s career to the museum’s holdings until his entire career is represented. Once fully comprised, the collection will span five-plus decades of his photography on a range of subjects related to industrial manufacturing; landscapes altered for the economic exploitation of oil, water, stone, and other resources; waste and recycling; and the incursion of transportation routes and commercial and residential development into nature.

114 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Edward Burtynsky, Early Landscape Study, 1st Year Ryerson Portfolio, 1976, gelatin silver print © Edward Burtynsky/Nicholas Metivier Gallery, Toronto. The Edward Burtynsky Collection, Ryerson Image Centre, Gift of the artist, 2019

Burtynsky’s images have been widely exhibited and published around the world, and have become profoundly influential—both for photographers inspired by his arresting style and elevated viewpoints, and by mainstream audiences transfixed by his vision of humankind’s outsized impact on the environment. Established in 1969, the RIC’s collection comprises nearly 375,000 objects, with a special focus on photojournalism and documentary photography. Research and teaching are at the heart of the RIC’s mandate and the works in the Burtynsky collection will be available for scholars, students, and the public to view by appointment at the RIC’s Peter Higdon Research Centre (currently closed until further notice due to COVID-19). About Edward Burtynsky Edward Burtynsky is regarded as one of the world’s most accomplished contemporary photographers whose works are included in the collections of over 60 major museums around the world. Major (touring) exhibitions include Anthropocene (2018), Water (2013) organized by the New Orleans Museum of Art & Contemporary Art Center, Louisiana; Oil (2009) at the Corcoran Gallery of Art Edward Burtynsky, Savannah, Georgia, 2nd Year Ryerson Portfolio, 1978, in Washington D.C.; China (2005 five-year tour); gelatin silver print © Edward Burtynsky/Nicholas Metivier Gallery, Toronto. The and Manufactured Landscapes (2003), National Edward Burtynsky Collection, Ryerson Image Centre, Gift of the artist, 2019 Gallery of Canada. Film collaborations include Jennifer Baichwal’s Manufactured Landscapes (2006); Watermark (2013); and the third film in the trilogy, ANTHROPOCENE: The Human Epoch which opened in theatres across Canada in October 2018 and in theatres across the US in September 2019. Burtynsky’s distinctions include the inaugural TED Prize in 2005, which he shared with Bono and Robert Fischell; the Governor General’s Awards in Visual and Media Arts; the Outreach award at the Rencontres d’Arles; the Roloff Beny Book award; and the 2018 Photo London Master of Photography Award. In 2019 he was the recipient of the Arts & Letters Award at the Canadian Association of New York’s annual Maple Leaf Ball and the 2019 Lucie Award for Achievement in Documentary Photography. Most recently he was awarded a Royal Photographic Society Honorary Fellowship (2020). He currently holds Edward Burtynsky, Holland Marsh, Ontario, from the series eight honorary doctorate degrees. Packing, 1983, chromogenic print © Edward Burtynsky/ Nicholas Metivier Gallery, Toronto. The Edward Burtynsky www.edwardburtynsky.com @edwardburtynsky ❧ Collection, Ryerson Image Centre, Gift of the artist, 2019

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PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 115 Edward Burtynsky, Mines #19, Westar Open Pit Coal Mine, Sparwood, British Columbia, Canada, from the series Breaking Ground, Mines, 1985 (printed 2013), chromogenic print © Edward Burtynsky/Nicholas Metivier Gallery, Toronto. The Edward Burtynsky Collection, Ryerson Image Centre, Gift of the artist, 2019

Edward Burtynsky, Railcuts #11, C.N. Track, Thompson River, British Columbia, Canada, from the series Breaking Ground, Railcuts, 1985 (printed 2007), chromogenic print © Edward Burtynsky/Nicholas Metivier Gallery, Toronto. The Edward Burtynsky Collection, Ryerson Image Centre, Gift of the artist, 2019

116 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Edward Burtynsky, Nicollet Mall Façade, Federal Reserve Bank of Minneapolis, Minneapolis, Minnesota, from the series Banks, 1987–1988, chromogenic print © Edward Burtynsky/Nicholas Metivier Gallery, Toronto. The Edward Burtynsky Collection, Ryerson Image

Edward Burtynsky, Homesteads # 32, View from Highway 8, British Columbia, from the series Breaking Ground, Homesteads, 1985 (printed ca. 1988), chromogenic print © Edward Burtynsky/ Nicholas Metivier Gallery, Toronto. The Edward Burtynsky Collection, Ryerson Image Centre, Gift of the artist, 2019

PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 117 Across Canada by Canoe by Paul Paquin and Dick Lesage by Jeff Ward

Victorious Paul Pequin and Richard Lesage pose with their canoe in Halifax. Photograph by J.C.M. Hayward

A cold rain kept the crowd small as two men posed with the canoe journey was his shot at redemption. Richard Lesage their 16-foot canoe in downtown Halifax on December 12, was his manager and travelling companion, which suggests he 1929. They had just completed a west-to-east cross-Canada did as much as or more work than Paquin as they paddled and canoe journey which had begun in Vancouver more than portaged west to east across the country. six months earlier. Unusual feats had become a defining The Dominion of Newfoundland had not yet joined Canada characteristic of the late 1920s and early 1930s as people at the time, so Nova Scotia was the easternmost province sought fame, if not fortune, by becoming the first to do and the end-point of their adventure. It is perhaps ironic anything, so long as it made the news. But this was an (or fitting), therefore that the photographer, John Hayward, accomplishment far more challenging than sitting on a pole was a Newfoundlander. Hayward had worked in Halifax for for two weeks or dancing non-stop until you dropped. several years and he took the photograph on assignment for The two men at the centre of this story (and at either end Canadian National Railways, who may have been a sponsor of the canoe, holding paddles), Quebeckers Paul Paquin and of the trip. That would account for why they are standing Richard Lesage, were part of this fame-seeking trend. A year where they are, in front of the Canadian National Railways earlier, Paquin had participated in the Trans-American Footrace building at the corner of Barrington and George Streets in from Los Angeles to Chicago, nicknamed the Bunion Derby. Halifax. This had been, incidentally, the site of the William Paquin faltered in Oklahoma and had to give it up, so perhaps Notman studio between 1873 and 1909.

118 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Paquin and Lesage began their journey on May 1, a little was already late October when they reached Ottawa, just later than intended, by setting out in their canoe in the Fraser before the stock market crash. By the time they reached the River in Vancouver. Following an itinerary they had worked Maritimes in late November, winter had set in. out in Montreal and finalized in Victoria with the help of On November 27, La Presse reported: “Paul Paquin and the provincial geographer G.G. Aitken, they paddled up Richard Lesage, are currently on the Madawaska River the Fraser River to Lytton. There, they were joined by two in New Brunswick. They are fighting against the cold, unnamed aboriginal guides who assisted them through the the snow and ice, and endure great pangs. They will need Rockies, following the South Thompson River to Kamloops, more courage than usual to reach the end of their journey. then along the Eagle, Illecillewaet, Beaver, Columbia and Both travelers plan to arrive in Halifax around December Blackberry Rivers, following the general alignment of the 12th. Paquin and Lesage could not go around the Gulf [of CP Railroad. After reaching the foothills of the Rockies and St. Lawrence] because of the advance season. The most saying their good-bye to their guides, they continued on the experienced sailors have strongly advised them not to go North Saskatchewan River and by portage past Edmonton, to the gulf with such a light craft Prince Albert, and all the way north to The Pas and Norway as they do, while the big ships face House, then south on Lake Winnipeg to Fort Alexander. enormous difficulties in fighting They planned next to continue along the Winnipeg River, the furious sea.” but they took a brief sojourn into Winnipeg for publicity. By then, the alternative route, the St. John River had started to freeze up, and they were forced to carry their canoe for part of the distance to avoid the ice. Crossing between New Brunswick and Nova Scotia on the Bay Fundy, they were tossed into the dangerously cold water by a rogue wave. They received help from a passing schooner and continued on their way, paddling down the Shubenacadie River and finally arriving in Halifax after 226 days. It had been reported by La Presse that an aviator named Charles Brunelle of Saint-Eustache had volunteered to fly to Halifax to bring them back to Montreal. This did not happen. After their photo op in Halifax, Paquin and Lesage quickly boarded a train for their return to Montreal where they were welcomed home by a large crowd at Bonaventure Station. They said they intended to write a book chronicling their truly heroic adventure, but I have found no evidence that one was ever

LA PRESSE, 1929–11–23 published. The next time an event Back on the Winnipeg River, they paddled into the Lake comparable to this achievement THE DAILY COLONIST, 1929–01,–27 of the Woods at Kenora and proceeded east by way of the occurred in 1967 when the Centennial Voyageur Canoe Rainy River, Rainy Lake and Pigeon River (the international Pageant was held as part of Canada’s Centennial celebration boundary line) to the river mouth on Lake Superior. From - a canoe race between Rocky Mountain House and Montreal there they skirted the edge of Superior to Sault Ste Marie was held, featuring ten teams using 4-person canoes. While and then probably followed Lake Nipissing to the Ottawa impressive, perhaps you will agree the 1967 event pales in River. They had planned to be finished their adventure terms of epic scope of the forgotten journey of Paquin and in November but it took longer than they had hoped. It Lesage in their humble canoe. ❧

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