Women Photographers. Ovo Photo, Nos. 17/18, September-October 1974.

Women photographers theme special double issue edited by Denyse Gerin-Lajoie. Photographers: Julia Margaret Cameron; Gertrude Kasebier; Tina Modotti; Dorothea Lange; Margaret Bourke-White; Barbara Morgan; Martine Franck; Claire Beaugrand-Champagne; Marion Palfi; Laura Jones; Camille Maheux; JoAnn Frank; Judith Eglington; Eva Rubinstein; Pamela Harris; Jerry Zbiral; Barbara Crane; Naomi Savage; Louise Turner; Louise Abbott; Gisele Freund; Louise de Grosbois; Abigail Heyman; Ginette laCasse; Mary Ellen Mark; Barbara Astman; Sherry Suris; Theresa Totalik; Selena Tucktoo; Betty Hahn; Angela Nori; Lynn Murray; and Robin Williams. A scarce issue of this excellent Canadian photography journal. Wraps, 78 pages, very good with minor cover wear.  Summary:

This double issue serves as a feminist critique of traditional photographic history. By curating work that bypasses the "glamour" standards of the era, the editors presented a collective visual manifesto on the realities of female labor, domesticity, and social identity.

Featured Historical and International Masters

The issue contextualizes modern work by referencing the pioneers who established photography as a tool for social and psychological depth:

• The Pioneers: The volume pays homage to the foundational work of Julia Margaret Cameron and Gertrude Käsebier, whose portraiture first challenged the rigid objectivity of the medium.

• Social Documentary: The influence of Dorothea Lange, Tina Modotti, and Margaret Bourke-White is evident throughout the issue, providing a framework for photography as a vehicle for political and social change.

• Modern Masters: Portfolios and mentions include Mary Ellen Mark’s raw humanism, Gisèle Freund’sintellectual portraiture, and Martine Franck’s lyrical compositions. Barbara Morgan and Naomi Savage are highlighted for their experimental and rhythmic approaches to the form.

Contemporary Canadian and Avant-Garde Perspectives

A significant portion of the issue is dedicated to the vibrant 1970s Canadian scene and experimental American photographers:

• The Canadian Lens: Key contributions from Claire Beaugrand-Champagne, Louise Abbott, and Pamela Harris provide a documentary look at community and labor. The issue also includes the culturally vital work of Theresa Totalik and Selena Tucktoo, bringing Indigenous perspectives to the forefront.

• Experimental Form: The magazine showcases the boundary-pushing work of Barbara Crane, Betty Hahn, and Barbara Astman, who utilized multi-media and non-traditional processes to explore the female identity.

• The Domestic and the Personal: Through the work of Abigail Heyman, Judith Eglington, and Eva Rubinstein, the issue dives into the "private" sphere, making the personal political through intimate, often stark imagery.

Significance of the Issue

• Diverse Representation: By including photographers such as Marion Palfi, Camille Maheux, and Grosbois, the magazine explored systemic issues ranging from civil rights to the lives of the elderly and marginalized.

• Editorial Impact: The issue is valued for its inclusion of a wide array of voices—from JoAnn Frank and Sherry Suris to Lynn Murray and Robin Williams—creating a dense, rich tapestry of what it meant to be a woman behind the lens in 1974.

Historical Context: This issue remains a cornerstone of the Ovo Photo legacy, representing a definitive break from "the camera as a male instrument" and establishing a new, inclusive vocabulary for the medium.