Seealso:Camera: 35 mm; Camera: An Overview;
Exposure; Film; Lens
Further Reading
Coe, Brian.Cameras: From Daguerreotypes to Instant Pic-
tures. New York: Crown, 1978.
Eastman Kodak Company, eds.Kodak’s Guide to 35 mm
Photography. Rochester, New York: Eastman Kodak
Company, 2000.
Eastman Kodak Company, eds.The Joy of Photography.
Rochester, New York: Eastman Kodak Company, 1991.
Hedgecoe, John.The Book of Photography. New York:
Alfred A. Knopf, 1990.
Langford, Michael.Story of Photography. 2nd ed. Boston:
Focal Press, 2000.
Langford, Michael.Langford’s 35 mm Handbook. 3rd ed.
New York: Alfred A. Knopf, 1993.
London, Barbara, and John Upton.Photography. 7th ed.
Upper Saddle River, NJ: Prentice Hall, 1998.
The Camera. rev. ed. Alexandria, Virginia: Time-Life Inc.,- Time-Life, Library of Photography.
PHOTOGRAPHY IN CANADA
Canada emerged in 1867 when the francophone
Lower Canada and anglophone Upper Canada
nations, containing almost equal populations,
were united, creating a country of vast landscapes
and contrasting seasons that makes up the second
largest sovereignty in the world after Russia.
Canada has offered to photographers and explorers
countless exceptional locales and phenomenon.
In the beginning of the twentieth century, Cana-
da’s population was concentrated in the eastern
provinces, mainly Ontario and Que ́bec, the largest
city until the 1960s being Montre ́al. In the late
decades of the century, most of the Canadian
population became concentrated in the southern
parts of the country, which had some 30 million
inhabitants at the end of 2001. The Canadian
North, covering half of the country, remains a
virtual desert of snow and ice, immortalized by
the pioneering ethnographic works of Robert J.
Flaherty as early at 1910.
In photography, as in many other areas, Cana-
da’s culture and history tend to be overshadowed
by that of the United States. America’s dominance
in the northern hemisphere has resulted in many
stereotypes and myths about Canada, with many
Americans knowing Canada only for few famous
pictures, such as the panoramic perspective of the
Niagara Falls. Yet Canada has great depth and
breadth of photographic imagery which has both
shaped and disseminated its culture, some of the
best known being views of the spectacular and
historic Quebec City, which was selected by UN-
ESCO to appear on its prestigious ‘‘World Heri-
tage List.’’ The magnificent Chaˆteau Frontenac
atop Cap-Diamant and dating from 1893 is per-
haps the most photographed hotel in the world.
Unfortunate stereotypes perhaps still linger, as a
comprehensive history of Canadian photography
has yet to be written. Chief among those who
have explored aspects of Canadian photographic
history are Professor Michel Lessard, who has writ-
ten extensively about the origins and evolution of
visual arts in Canada. He founded the ‘‘Atelier de
recherche sur l’image photographique’’ (ARIP), at
the Universite ́ du Que ́bec a` Montre ́al (UQAM).
Yet it is clear that photographs and photographers
were always popular in all regions of Canada. Prior
to 1914, for instance, there were some 700 profes-
sional photographers, men and women, owning
studios just in the St. Lawrence Valley (including
Montre ́al, Que ́bec City, and many villages) (Les-
sard, 1986). That amazing number tripled in the
three following decades. One should add to this
number countless amateur photographers across
Canada’s 10 provinces.
The history of Canadian photography in the
twentieth century, however, can be roughly divided
into two main categories: that which celebrates the
few photographers who were aligned with the aims
of the Canadian establishment, and that of the
numerous unrecognized photographers, portrai-
tists, and anonymous amateurs who showed aCAMERA: POINT AND SHOOT