"A Picture of Prosperity": The British Columbia Interior in Promotional Photography, 1890-1914
Bibliographic record
Abstract
The development of photo-reproduction technology in the latter half of the nineteenth century made possible the presentation of innumerable images to a very large audience.To the Europeans of the time, reproductions of photographs were instrumental in forming strong new impressions of distant places."In the nineteenth century, an age voracious for information, the camera immediately became its travelling eye.551 On 30 October 1869, the Canadian Illustrated News published the first photographic halftone, the product of a delicate process of chemical applications, washes, raised wax plates and molds. 2 Subscribers saw the photograph reproduced, however crudely, in its true likeness, a remarkable technical phenomenon with great potential in the publishing world.Halftones were soon common features of pictorial newspapers such as the Illustrated London News, Harper's Weekly and The Graphic, as well as of books and other forms of printed material.Of course, illustrated books were published in Europe and in North America long before the appearance of halftone technology.Engravings of landscapes frequently supplemented descriptions of foreign lands.Sketches from the field were used as the basis for intricate and detailed wood engravings.When photographic equipment achieved a certain degree of portability, it was possible to replace the "on-location" drawings with photographs, which supplied a great deal more visual information about the setting, as well as a greater variety of images.Eventually, photographic images were projected directly onto the engraver's block.3 Even though they may have been based on photographs, these engravings were still products of an artist's interpretation, including the option to add, omit or embellish features.Many of the engravings were -and are 1 Gus Macdonald, Camera Victorian Eyewitness,
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.004 | 0.008 |
| Science and technology studies | 0.015 | 0.005 |
| Scholarly communication | 0.005 | 0.002 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.013 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".