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On the Road – 1910s

Sallows' success as a commercial photographer soon granted him the opportunity to travel more extensively for paid work. Commissions from the Canadian railways sent him across the county to capture images along the trans-Canadian rail route.

By the early 1910s, Sallows had ventured almost a dozen times to Algonquin Park. Local lumber companies and fishing camps invited him to capture images of their relatively unknown settings. His work was published in Suburban Life, Outing, Leslie's Magazine, Burr-McIntosh, and a number of other well regarded American magazines. The Canadian publication, Rod and Gun Magazine, featured several series of photographs from his trips to this region.

The railway companies also sent Sallows north with requests for photographs of this fine part of the country. In 1911, he travelled over 150 miles west of Sudbury to photograph the Soo Line to Blind River in order to capture the driving river scenes along the route. The Grand Trunk Railway sent Sallows to northern Ontario this same year to accompany the manager of a local inn on a two week hunting trip in an effort to promote travel to good hunting areas on the rail line.

Government agencies also recognized the value of Sallows' art as a tool useful to their work. The Department of Agriculture for Ontario sent Sallows on journeys across the province to document rural living. The photographer himself was known to advertise locally for an opportunity to photograph the local farm buildings, herds, and crops that indeed represented some of the finest examples of farming in the nation.

In 1910, the Department of Immigration for Canada purchased a large number of Sallows' work to be shown to "old country farmers". Several years later in 1913, the artist was sent across Canada by railway on a commission from the federal Department of Immigration to document prairie farm living, the new Canadian frontier, capturing some of the first recorded photographs of the Doukhobors who settled in western Canada. From the Canadian West to the Eastern Townships of Quebec, Sallows' portfolio now contained a remarkable collection of work from across the country. In fact, in 1916 Sallows recorded that he had accumulated over 6,000 prints for commercial work.

Also in 1916, Printer and Publisher magazine reports that Sallows is "one who has done much to demonstrate the possibilities of camera art, and one who is in demand all over the world".


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