Review of <i>Everett Baker's Saskatchewan: Portraits of an\nEra.</i> Selected by Bill Waiser
Bibliographic record
Abstract
The photographs that Everett Baker (1893- 1981) took in Saskatchewan from the 1940s to the 1960s cover just about one-half of the province, mostly the prairie part, at the northern end of the Great Plains. An American citizen, Baker was not drafted into World War I because of an asthmatic condition; after obtaining a BS degree he went to work in Saskatchewan in the hope that the dry climate would be better for his health. There he sold books and farmed in the Palliser Triangle, soon sharing with its rural population the hardships that accompanied the Great Depression. This was for him and his wife the school of hard knocks: "Their second child, daughter Jean Marie, died before she was one. Everett was also struck down with typhoid fever, followed by a bout with Spanish influenza that nearly killed him. Then his father and two sisters perished in a car crash in Minnesota." In keeping with the cooperative entrepreneurial spirit then characterizing the province, he became involved in the Saskatchewan Wheat Pool Field Service Division, within which he showed education and entertainment-oriented films to sundry audiences in isolated communities: "By the end of the 1930s, field men were hosting about seven hundred film nights a year, a phenomenon that is remembered with affection to this day." Soon Baker would take advantage of these evenings to show his own slides of contemporary rural life.\nHe had bought a Leica in 1939, at the very end of the Great Depression. With the help of this lightweight camera and the recently developed Kodachrome 16 and 25 ASA films, he was able to take fine-grained, long-lasting color slides of local people and their landscapes. Two comparisons come to mind immediately: with Walker Evans and Henri Cartier-Bresson. In Let Us Now Praise Famous Men (1941), the former illustrated with stark black-and-white, mostly posed, photographs a poetic text James Agee dedicated to the rural poverty of the American South. As for CartierBresson, who also worked with a Leica, his blackand- white snapshots are famous for the artistry caught at what he called "the decisive moment."
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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 | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.005 | 0.012 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.002 | 0.001 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.034 | 0.015 |
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".