well-received portraits of Canadian poet and song-
writer Leonard Cohen and many others.
Foreign photographers had a significant influ-
ence upon the perception of Canada. Many Amer-
icans, for instance, had their first encounter with
Canada through the pages ofVoguemagazine. A
young photographer from New York City, Lida
Moser, went to Montre ́al in 1950 to prepare a series
of articles about Canada. Fluent in French, she met
the two most important specialists of the Canadian
heritage at that time, novelist Fe ́lix-Antoine Savard
and folklorist Luc Lacoursie`re, both professors
from Universite ́Laval in Que ́bec City, who helped
her to discover rural Que ́bec. Moser also visited
Que ́bec City and Montre ́al (Moser, 1982), shooting
landscapes that previously had been mostly
unknown to most Canadians, much less Ameri-
cans. She also made portraits of most of the impor-
tant Canadian artists and intellectuals of the era,
including painter Alfred Pellan, poet Alain Grand-
bois, actor Pierre Dagenais, novelist Roger Leme-
lin, and maestro Wilfrid Pelletier. Lida Moser was
so delighted with her experience of Canada that she
returned in December 1950 to make another series
of photographs, forLookmagazine.
Legendary photographer Henri Cartier-Bresson
visited Que ́bec in 1965, and some of his photo-
graphs were included in a montage for Rex Tasker
and Wolf Koenig’s documentary filmLe Que ́bec vu
par Cartier-Bresson(NFB, 1969).
Some respected foreign photographers came to
Canada to establish themselves: Pierre Gaudard
emigrated from France in 1952; Sam Tata came
from Hong Kong in 1956; Gabor Szilasi came
from Hungary in 1959; George Zimbel left the Uni-
ted States for Canada in 1971 (Hanna, in Dessur-
eault, 2000).
Canadian-born photographers of importance of
this period include Michel Lambeth (1923–1977). A
published author, he is known for his in-depth por-
trait of Toronto of the 1950s, and he was a leading
photojournalist during the 1960s. Lambeth also
amassed an important historical collection that fea-
tured anonymous photographers’ shots of Toronto
from the early years of the century. Arnaud Maggs,
born in 1926 in Montre ́al, emerged via the impor-
tant 1977 exhibition7 Canadian Photographersat
the National Film Board. He had had a successful
career as a fashion photographer and graphic
designer, and began his photographic career as a
portraitist. He is best known for works consisting
of materials he collects and photographs, including
death notices, factory records, or public signs
arranged in grids of dozens of images.
John Max, born in 1936, also took up fine-arts
concerns at a time when most Quebec-based photo-
graphers were focusing on photojournalistic or
social documentary subject matter. In the 1960s,
he worked with subjective, autobiographical topics
in striking black-and-white photographs that pre-
figured the turn towards more personal work at the
end of the eighties in Canada. After a sojourn in
Japan in the 1970s, he returned to Canada to unde-
served obscurity. His oeuvre includes a striking
two-part portrait of his colleague Sam Tata.
If the Canadian Natives and Inuit were often the
subjects of ethnographic or ‘‘exotic’’ photographs,
instituted early on by the popularity of Robert
Flaherty’s images, some also contributed as photo-
graphers themselves, mostly towards the end of the
twentieth century. A pioneer among Native photo-
graphers is George Johnston, a Tlingit Indian hun-
ter, trapper, and entrepreneur, who took many
photographs of the Yukon’s Natives before 1940.
His contribution is memorialized by the naming of
an exhibition hall after him, the George Johnston
Museum in Yukon.
In the latter half of the twentieth century, most
Canadian Native photographers worked in cities in
Ontario. Among those Native artists are Jeffrey M.
Thomas, born in Buffalo, New York, in 1956, a
member of the Onondaga tribe of Six Nations,
Ontario; and Barry Ace, born on Manitoulin
Island in 1958, an Anishnabe (Ojibwa) of the
West Bay First Nation. Both are self-taught artists.
Among other notable Native photographers are
Greg Hill, an installation, multimedia, perfor-
mance artist and photographer, whose work ex-
plores his Rotinonhsyonni (Iroquoian) identity;
and Greg Staats (Mohawk) born in Brantford,
Ontario in 1963. Raised on the Six Nations Re-
serve near Brantford Ontario, Greg Staats is cur-
rently based in Toronto. All of them have
participated in exhibitions in Canada and in Cana-
dian embassies abroad.
Among Native women photographers from Ca-
nada are Mary Anne Barkhouse, a graduate of the
Ontario College of Art who was born in Vancouver
in 1961, a member of the Nimpkish Kwakiutl
nation; and Me ́tis artist Rosalie Favell, a digital
photo artist and printmaker as well as a scholar.
Rosalie Favell obtained a BFA from the Ryerson
Polytechnical Institute and an MFA from the Uni-
versity of New Mexico; she was born in Winnipeg,
Manitoba in 1958. Also a graduate of the Ontario
College of Art, filmmaker and photographer Shel-
ley Niro, born in Niagara Falls, New York, in
1954, is a member of the Mohawk Nation, IroquoisCANADA, PHOTOGRAPHY IN