Looking Back: Chasing Clouds and Light

I had the privilege recently to view the rough draft of a very special book that will be launched in January.  It is a collaborative effort between the Crowsnest Museum and Vic Bergman and is destined to become the definitive work on the Gushul photographic legacy. And legacy it is.  Much of the early history of the Crowsnest Pass was captured by these two amazing Ukrainian immigrants, who opened their first studio in East Coleman (Bushtown) in 1918 and a second in Blairmore in 1922.  Right up until the early 1960’s they, along with their talented son Evan, continued to capture moments in time that provide an invaluable record of our blended communities. 

The concept for this book started taking shape as far back as 2015 when Bergman experimented with what he calls repeat photography.  That is to say photographs of the same subject taken at the same location at different times.  In his case he chose one of six men posing by a coal screener at the Mohawk Tipple that had been taken by Thomas Gushul in 1945. Vic decided to recreate the platform in the tipple that Gushul worked from in order to be able to match the photo positioning with a modern shot. He then blended both past and present photos into a lovely repeat. This journey more or less drew him deeper into the world of the Gushuls and the concept of a book on their remarkable story formed in his mind.  It led him to write a sample chapter and approach the museum, who gave him the go ahead in 2017.  Thus began seven years of researching their story and locating, scanning and cleaning up and restoring many of the 60,000 prints and negatives that make up their invaluable collection.  Glass plates with scratches and a lot of what photographers refer to as “noise” was photographically repaired or removed.  Vic chose to start the book’s photography story in the Pass with profiles of a myriad of early itinerant photographers that preceded the Gushuls and then weave his way through Thomas and Lena’s story of immigration and seizing opportunity.  It was a daunting task, one that required designing chapters on different cultural captures and then filtering through the photos to pick the most iconic ones.  This process went from 2500 to 1200 to eventually the final 275 that he felt spoke to each chapters exploration. Whether it was weddings, musicians, special events, iconic scenery or disasters, the Gushul camera masterfully captured, in high quality, their essence. If not for Thomas Gushul recognizing the huge significance of the Hillcrest Mine Disaster we would not have those oh so important images of Canada’s worst mining disaster as it unfolded.  The stories in the book of how they applied their high standards to imagery are quite remarkable. Whether it was Evan sitting in a field with his paints making sure the colorized version of a scenery  shot was accurate or Thomas driving to the same spot week after week to get that perfect blend of light and clouds, there was no compromise.  As a mining historian I found that Thomas’s spectacular capture of the Greenhill entry to be an important shot, one that demonstrated the technique of light painting. 

By all reports Lena was also an excellent photographer and as it turns out took the very last shot ever in their Blairmore studio, it being one of the Del Rays Band. Alas not one photo of hers has her signature on it but Vic has done his best to acknowledge how important she was to the family business.  

This compilation, that has taken thousands of hours to bring together, is definitely a labour of love. The museum is now taking preorders for this 9 by 12 beautifully bound, with dust jacket, must have book.  All proceeds from the book go to the museum only. 

Author’s Note - I was given the honor of contributing the preface to Vic’s book and historian and author Ian McKenzie wrote the prologue.  Last Monday, December 9th, was the one year anniversary of the loss of an amazing woman who was principle in editing Vic’s 245 pages of text for the book. She applied her meticulous talent and command of the English language to Vic’s work, making sure it was the best it could be.  I know that Isabel Russell is looking down now and proud to have been a part of such an important work.  The museum has posted a 4-minute video on YouTube on the book and Vic himself has a great write up on the book on his own website- vicbergman.com.  This book would make a wonderful gift to friends or family, be they here or abroad.