Before Montgomery married in 1911, she told George Boyd MacMillan,
her Scottish pen-pal whom she and Ewan would be visiting on their
honeymoon, that she had bought a "dandy new . . . kodak" for taking
snaps on the tour (MDMM, 58). She used many of these photographs
to illustrate the scrapbooks. MacMillan was a reporter for the newspaper
the Alloa Journal in Scotland, and he recorded her visit
to his office in an article she pasted into her scrapbook. MacMillan
noted that she makes "use of the 'Kodak' by means of which the novelist
seeks to provide herself with souvenirs of her tour."
There are no more batches of new cyanotypes in the scrapbooks once
Montgomery has the new Kodak, but she continues to take photographs
enthusiastically for decades. She kept a separate cache of photographs
in later life and separate albums for the hundreds of photographs
of Chester and Stuart, though pictures of them do appear numerous
times in the scrapbooks as well. When she was given a Kodak movie
camera in 1931, she enjoyed it enormously.
1999, the Confederation Centre Art Gallery and Museum mounted an
exhibition of Montgomery's photography called The Visual Imagination
of Lucy Maud Montgomery; the black-and-white photographs were
from the Montgomery collection of the University of Guelph archives.
The curator was Dr. Elizabeth Rollins Epperly of UPEI's L.M. Montgomery
Institute (also curator for this Virtual Museum of Canada exhibition).
The 1999 exhibition included a display of period photographic equipment
and a 4 X 5 camera.
Montgomery's interest in photography
was life-long. There is much still to be learned by comparing her
photographs with her written descriptions and by assessing how the
trained eye of the photographer affects the composing of written
[For further information see Dr. Elizabeth R. Epperly's chapter
"L.M. Montgomery's Visual Imagination" in Making Avonlea: L.M.
Montgomery and Popular Culture ed. Irene Gammel (U of Toronto
P, 2002). Also see "A Writer's Visual