We're sorry. An error has occurred
Please cancel or retry.
A History of Photography in Canada, Volume 2
Some error occured while loading the Quick View. Please close the Quick View and try reloading the page.
-
17 November 2026

By the early twentieth century photography had emerged as a ubiquitous medium with deep cultural, social, and political force. A Medium Unleashed shows how photography moved beyond recording events to actively shaping them, transforming how Canadians imagined themselves and their country.
Drawing on the work of photographers in Canada and Newfoundland, foreign correspondents, and Canadian-born artists active abroad, Martha Langford relates a lively and richly re-
searched history of the medium. The First World War had greatly expanded the reach of photography – already in use for four generations – introducing photojournalism as well as aerial, industrial, and reconnaissance photography. Professional practice grew alongside widespread amateur enthusiasm, supported by clubs, communal darkrooms, classes, contests, and salons. During the Second World War photography became more organized and specialized as information units laid the groundwork for the postwar commercial studio. The medium also moved into public and commercial life, from medical and advertising uses to more provocative explorations of the human body. But socialization begins at home, where participation is varied: not just taking or making but staging, posing, and talking about pictures. Across twenty-five chapters devoted to distinct photographic practices, the second volume of this comprehensive history puts people, places, events, and objects in the frame: at home or on the move, on the ice or in the ring, from farm to factory to laboratory, shipyard to outport to far North, from the Winnipeg riots to Expo 67. By 1969 photography had secured creative recognition, mass appeal, practical utility, and persuasive authority, embraced by both establishment institutions and countercultural movements.
This is the history of a transnational medium seen through a national lens. Langford moves fluidly between incisive readings of individual photographs and the broader transformation of the Canadian imaginary, vividly expanding the definition of photographic experience.
“Martha Langford’s A History of Photography in Canada stands far apart from a long tradition of illustrated histories. While it contains images that are just as great and compelling as any in that genre, it shows us so much more: what was going on before the shutter clicked, and what was in the minds of those who saw the print. The photograph emerges as the midpoint of an intellectual, cultural, and historical process involving photographer, printer, and viewer. Recommended reading for anyone who’s ever taken a picture!” Jonathan F. Vance, University of Western Ontario