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The early photographs of Canadian mountaineering are a unique genre of historical evidence that serve two functions: (1) they provide pictorial representations of the mountain scenery that supplement literary representations; (2) they are also an artifact of a kinetic event, the act of photographing. This paper considers journals, monographs and photographs from British and Canadian mountaineers. However, the specific focus is on the production and consumption of mountaineering photographs produced in the Canadian Rocky and Selkirk mountains between 1880 and 1920. While mountaineers made pioneering climbs in the Rocky and Selkirk ranges, their desire to reproduce the event brought additional meaning to the experience. Portable cameras and the event of photographing served this desire. As historical evidence, photographs are not merely reproductions of what they saw. They are extensions of what they desired to see as well as extensions of what they desired to feel. Photographs reveal a sensibility that is not evident in the written discourse. Through their cameras they cultivated a new and non-traditional way experiencing their surroundings and their bodies. Different ways of using the camera enabled this generation of mountaineer-sportsmen to constitute themselves as subjects of modernism. This paper demonstrates how ideas about modernist aesthetics provide an interesting and provocative analytical framework for the history of sport.
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Papers that cite the same references — the relational fallback while embeddings are still backfilling.
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