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Text engl. - This book was originally produced in 1967 to mark the one hundredth anniversary of the Confederation of Canada. It became a national bestseller and won numerous design, printing and photographic awards. The book’s contents have been divided in four chapters representing the four seasons.

Text dt. - Nur Kurztitelaufnahme 05.2012.

Text engl. - Other edition: 2nd ed. 1979. - A retrospective collection of photographs taken in the United States and Canada.

Text dt. - Andere Ausgaben: Erstausgabe 1987. Auch in anderen Sprachen erschienen. - Zahlreiche Photographien stammen von Michael Freeman.

Text engl. - „Mandated to foster a sense of national cohesion The National Film Board of Canada's Still Photography Division was the country's official photographer during the mid-twentieth century. Like the Farm Security Administration and other agencies in the US, the NFB used photographs to serve the nation. Division photographers shot everything from official state functions to images of the routine events of daily life, producing some of the most dynamic photographs of the time, seen by millions of Canadians - and international audiences - in newspapers, magazines, exhibitions, and filmstrips. In The Official Picture, Carol Payne argues that the Still Photography Division played a significant role in Canadian nation-building during WWII and the two decades that followed. Payne examines key images, themes, and periods in the Division's history - including the depiction of women munitions workers, landscape photography in the 1950s and 60s, and portraits of Canadians during the Centennial in 1967 - to demonstrate how abstract concepts of nationhood and citizenship, as well as attitudes toward gender, class, linguistic identity, and conceptions of race were reproduced in photographs. The Official Picture looks closely at the work of many Division photographers from staff members Chris Lund and Gar Lunney during the 1940s and 1950s to the expressive documentary photography of Michel Lambeth, Michael Semak, and Pierre Gaudard, in the 1960s and after. The Division also produced a substantial body of Northern imagery documenting Inuit and Native peoples. Payne details how Inuit groups have turned to the archive in recent years in an effort to reaffirm their own cultural identity. For decades, the Still Photography Division served as the country's image bank, producing a government-endorsed "official picture" of Canada. A rich archival study, The Official Picture brings the history of the Division, long overshadowed by the Board's cinematic divisions, to light.“ (Publisher’s text).

Text engl. - „How have photographs contributed to visualizing the "imagined community" of Canada? In what ways does the dissemination of photographs in the media and through exhibitions shape our understanding of the past? How have photographs been used to reanimate the past through memory work? The Cultural Work of Photography in Canada is an in-depth study on the use of photographic imagery in Canada from the late nineteenth century to the present. This volume of fourteen essays provides a thought-provoking discussion of the role photography has played in representing Canadian identities. In essays that draw on a diversity of photographic forms, from the snapshot and advertising image to works of photographic art, contributors present a variety of critical approaches to photography studies, examining themes ranging from photography's part in the formation of the geographic imaginary to Aboriginal self-identity and notions of citizenship. The volume explores the work of photographs as tools of self and collective expression while rejecting any claim to a definitive, singular telling of photography's history. Reflecting the rich interdisciplinarity of contemporary photography studies [the book] is essential reading for anyone interested in Canadian visual culture.“ (Publisher’s text).

Text engl. - „Making a connection between photography and memory is almost automatic. Should it be? In Scissors, Paper, Stone Martha Langford explores the nature of memory and art. She challenges the conventional emphasis on the camera as a tool of perception by arguing that photographic works are products of the mind - picturing memory is, first and foremost, the expression of a mental process. Langford organizes the book around the conceit of the child's game scissors, paper, stone, using it to ground her discussion of the tensions between remembering and forgetting, the intersection of memory and imagination, and the relationship between memory and history. Scissors, Paper, Stone explores the great variety of photographic art produced by Canadian artists as expressions of memory. Their work [...] is presented as part of a rich interdisciplinary study of contemporary photography and how it has shaped modern memory.“ (Publisher’s text).

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