Waugh worked in the Anthropology division of the Geological Survey of Canada, where he conducted research and photographed Indigenous people in eastern Canada, focusing on the technology and food preparation of the Haudenosaunee (1911–18). Waugh’s papers and photographs are held at the Canadian Museum of History, where in 1999 photographer Jeff Thomas curated Emergence from the Shadow: First Peoples’ Photographic Perspectives. The exhibition placed the work of Indigenous artists and the work of several ethnographers—including Waugh—together to create a dialogue.

Image: Frederick Wilkerson Waugh, Simon Bumberry with fishing equipment, halfway between Six Nations Indian Reserve, Ontario and Tuscarora Indian Reserve, New York, 1912, black and white negative, 12.7 x 10.16 cm, Canadian Museum of History, Gatineau.

For further reading, see:

Thomas, Jeff. “Emergence from the Shadow: First Peoples’ Photographic Perspectives.” In The Cultural Work of Photography in Canada, edited by Carol Payne and Andrea Kunard, 212–30. Montreal and Kingston: McGill-Queen’s University Press, 2011.

Waugh, F.W. Iroquois Foods and Food Preparation. Ottawa: Government Printing Office, 1916.

White was an Inuk woman and an amateur photographer who photographed daily life in Labrador from the 1920s to the 1950s. She was married to Richard White, the owner of a trading post, and many of her photographs portray the activities of Inuit and Innu in the vicinity of Kauk, a settlement north of Voisey’s Bay. In the 1950s White sent over two hundred photographs to American anthropologist Alika Podolinsky Webber, whom she met while Webber was conducting thesis research in Labrador. This material is now in the collection of Library and Archives Canada.

Image: Judith Pauline White, Inuk child (Pauline White), c.1900–50, black and white photograph, Library and Archives Canada, Ottawa.

For further reading, see:

Campbell, Heather. “Judith-Pauline White, Nunatsiavut Photographer.” Library and Archives Canada blog, July 23, 2019. thediscoverblog.com/2019/07/23/judith-pauline-white-nunatsiavut-photographer/.

Whitelaw took up photography as a teenager in Vancouver and had a budding business under the guidance of his mentor, John Vanderpant. Whitelaw was active in the local camera club and his youthful work suggests a conscious shift from Pictorialism to a more modern geometric style. After the Depression hit, he left Vancouver for Toronto, where he was involved with the Camera Club. He worked as a commercial and advertising photographer for Milne Studios in the early 1930s and moved to the fashion and catalogue department of Pringle & Booth in the mid-1930s, where he began working in colour. After the war, he was hired by Brigden’s Limited, a prominent graphic arts agency in Toronto, and became involved in professional organizing as a founding member of the Commercial and Press Photographers Association of Canada. Whitelaw had a long career creating carefully crafted images of modern Canada.

Image: Brodie Whitelaw, Promotional photograph: Woman with Ontario travel posters, 1930s, gelatin silver print, 20.5 x 20.5 cm, Library and Archives Canada, Ottawa.

For further reading, see:

Birrell, Andrew, et al. “On View: The Evolution of Amateur Photography.” Archivaria, 1983: 115–35.

Rodger, Andrew C. “Brodie Whitelaw.” In Private Realms of Light: Amateur Photography in Canada, 1839–1940, edited by Lilly Koltun, 327-28. Markham: Fitzhenry & Whiteside, 1984.

Simpson, Peter. “Beyond Commercial Impact: Photographs by Whitelaw, Metcalfe and Sauer.” National Gallery of Canada Magazine, May 28, 2019. www.gallery.ca/magazine/in-the-spotlight/beyond-commercial-impact-photographs-by-whitelaw-metcalfe-and-sauer.

Wong is primarily known as a video artist whose experimental works explore sexuality, race, and place. However, he has worked in still photography throughout his career, including contributions to the collaborative project, 13 Cameras/Vancouver, 1979, organized by Roy Kiyooka. In 1977, Wong collaborated on Murder Research, which used thirty-six photo/text panels and a video to offer a blended fact and fiction account of the murder of a young Indigenous man.

For further reading, see:

Fletcher, Kenneth, Paul Wong, and David Hlynsky. Murder Research. Toronto: Image Nation, 1980.

Gagnon, Jean, Elspeth Sage, and Monika Kin Gagnon. Paul Wong: On Becoming a Man. Ottawa: National Gallery of Canada, 1995.

Wong, Paul. Yellow Peril Reconsidered. Vancouver: On the Cutting Edge Publications Society, 1990. Photo, film, video.

Wood trained at William Notman’s Montreal studio before returning to the Eastern Townships of Quebec to work for photographer John A. Wheeler. From 1897 through 1907, she operated her own business in Knowlton as “Miss S.E. Wood,” though it was unusual to announce one’s unmarried status as a woman businessowner. Wood focused on portraits and landscapes, many of which she featured in a popular series of illustrated postcards that helped encourage and shape tourism in the area.

Image: Sally Eliza Wood, Ladies at Tea, Oranges, and Cookies, QC, c.1900, glass negative, 12.7 x 17.8 cm, McCord Stewart Museum, Montreal.

For further reading, see:

Bureau, Lucie. Sous l’oeil de la photographe : portraits de femmes, 1898–2003 / In the eye of women photographers: portraits of women, 1898-2003. Val d’Or: Centre d’exposition de Val-d’Or, 2004.

Farfan, Matthew. “Sally Elizabeth Wood (1857–1928).” Townships Heritage WebMagazine, 2010. townshipsheritage.com/article/sally-elizabeth-wood-1857-1928.

Marcil, Madeleine. “Images de femmes : les Québécoises photographes.” Cap-aux-Diamants, no. 21 (1990): 39–41.