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The Hampton, Virginia, photograph album contains approximately 120 photographs, mainly panoramic images, showing waterfront views of the Hampton Roads region of Virginia as well as images of a rural farm or estate.

The Hampton, Virginia, photograph album contains approximately 120 photographs, mainly panoramic images, showing waterfront views of the Hampton Roads region of Virginia as well as images of a rural farm or estate. The album (28 x 38 cm) is half bound in brown leather. Images of interest include several exterior and interior views of a beach cottage; men, women, and children in swimming apparel, bobbing in the surf, strolling the beach and the boardwalk, and posing on the cottage porch swing and lawn; two photographs of a family group dining on the cottage veranda while an African American servant holds a fan; and a well-dressed African American couple on the porch steps.

Other photographs include views of the Chamberlain and Buckroe Beach hotels; the Cape Henry lighthouse; the Hampton Institute from across the water; the Ocean View Resort in Norfolk; the electric railway bridge over the water; and the Hampton soldier's home. Marine subjects include views of numerous small boats manned by sailors; possibly engaged in a rowing exercise; a naval station and battleship in the background; a Navy monitor under steam; and sailing boats moored in a harbor. An additional series of photographs show exterior views of a large country house in a landscaped setting, with elegant horse-drawn carriages, a farmyard with livestock, an African American man plowing a field, workers harvesting fruit in an orchard, and two African American men tending a steaming vat over an open fire.

The Haverhill, Mass. photograph album (15 x 19 cm) contains 92 amateur photoprints (cyanotypes and gelatin silver prints) mainly consisting of photos taken at a home on North Street, Haverhill, Massachusetts as well as family photos, pet pictures and winter scenes taken around Haverhill, Captain's Pond in Salem, New Hampshire, and other locations around southern New Hampshire.

The Haverhill, Mass. photograph album (15 x 19 cm) contains 92 amateur photoprints (cyanotypes and gelatin silver prints), including photos taken at a home on North Street, Haverhill, Massachusetts, "camp" at Captain's Pond in Salem, New Hampshire, and scenes from several other locations in southern New Hampshire. There are numerous photographs of exterior and interior views of houses, pets and farm animals (cats, dogs, geese, cows and horses) as well as a number of winter scenes, candid shots of women swimming and family groups, including images of a women's outdoor tea party and a child with a dog.

The album has a pebbled black leather cover and is housed in a light grey wrapper with a blue cloth spine.

The Heath family photograph album, Ilion and Dolgeville, N.Y., contains approximately 60 photographs primarily taken in Herkimer County, New York, related to the Heath family.

The Heath family photograph album, Ilion and Dolgeville, N.Y., contains approximately 60 photographs primarily taken in Herkimer County, New York, related to the Heath family. The album (18 x 27 cm) has black cloth covers, and some photographs bear manuscript captions. Images include street views of Dolgeville, the Dolge factory complex, tree-lined residential streets, a patriotic parade and rally in Ilion, a procession of young women holding rifles marching beside a cemetery, and the interior of a room stocked with chemicals (possibly a photographic darkroom). Other images show farm scenes, posed individual and group portraits, and people with horses. One subject is identified by caption as "Clark Heath."

The Henry M. Wheeler photoprint collection consists of approximately 719 images of colonial architecture and historical locations in Massachusetts from ca. 1889 to 1915.

The Henry M. Wheeler photoprint collection consists of approximately 719 images of colonial architecture and historical locations in Massachusetts from ca. 1889 to 1915. The collection is mainly composed of 10 x 15 cm silver platinum, platinotype, and gelatin silver prints as well as 15 x 20.5 cm cyanotypes. A couple of manuscript notes are also present. Much of the focus is on eastern Massachusetts, centering on Wheeler’s hometown of Worcester. Photographs show residential architecture from the 17th century, unidentified colonial homes, and contemporary architecture from Wheeler's day and age. Many of the historical structures documented here were in danger of vanishing during Wheeler's lifetime, and many have long since been destroyed. Other photographs show natural landscapes, noteworthy trees, country roads, parks, public and educational buildings, farms, monuments, bridges, milestones, and gravestones as well as images of famous paintings, engravings, and lithographs. Also included are a small number of images related to Washington, D.C., Maine, and New Hampshire. Wheeler likely took the vast majority of these photographs, though there are several instances where he credited the original sources of certain images. The collection materials were removed from the original album volumes they were stored in and have been rehoused in three 3-ring binder albums and three flat boxes. Most photographs also have original reference numbers that were used by Wheeler to organize the collection.

In addition to this finding aid, the Clements Library has created the Henry M. Wheeler Photoprint Collection Inventory. This inventory lists items according to volume/box location and includes references to specific page/mat numbers, image descriptions (most of which are derived from captions originally inscribed by Wheeler on photograph versos), and photographic formats.

The Hudson Valley African Americans photograph album contains 25 photographic portraits and 1 silhouette portrait of African Americans in New York State’s Hudson Valley region.

The Hudson Valley African Americans photograph album contains 25 photographic portraits and 1 silhouette portrait of African Americans in New York State’s Hudson Valley region.

The album (25.5 x 22 cm) has red and orange velvet covers with silver adornments and clasp while the pages are faux wood boards. Contents include 10 cabinet cards, 5 tintypes, 8 cartes de visite, 1 real photo postcard, 1 snapshot, and 1 silhouette. All or most subjects appear to be African American and include men, women, and children of a variety of ages. The silhouette shows a man in profile wearing a bowler hat smoking a cigar.

Images of particular note include portraits of an older man with a long beard, an older woman wearing black mourning clothing, a younger woman posing next to what appears to be some type of doll or taxidermied animal, a portrait of a woman taken by Pirie MacDonald on pg. 11 (produced at some point prior to MacDonald's decision to exclusively photograph men), and two carte de visite copies of a portrait of a bearded man with lighter skin.

The Hugh Fred Cameron photograph album contains approximately 121 photographs related to a young man in New England including images from vacations with friends in Maine, Rhode Island, and New Hampshire as well as snapshots from Cameron’s final year at Brown University in 1909.

The Hugh Fred Cameron photograph album contains approximately 121 photographs related to a young man in New England including images from vacations with friends in Maine, Rhode Island, and New Hampshire as well as snapshots from Cameron’s final year at Brown University in 1909.

The album (25.5 x 18 cm) is bound in green cloth with "Photographs" stamped in gold on the front cover. Most photographs are accompanied by hand-written captions identifying people, places, activities, and dates. Images of particular interest include group portrait photographs showing Cameron with his friends and family posing on the beach, hiking, wearing baseball uniforms, interacting with pet cats and dogs, celebrating Labor Day, and engaging in a number of aquatic activities (including yachting in Bristol, Rhode Island) as well as a portrait of Cameron from his youth sitting alongside the members of the “Hope Orchestra.” Additional photographs show commencement activities and buildings at Brown University including the John Carter Brown Library and Lyman Gymnasium as well as class traditions at Wellesley College including the Alumni Game, Tree Day, and the “Ancient Greek Dance of the Huntresses above Lake Waban.”

The Ismailia-Damascus pilgrimage photograph albums consist of a three-volume set containing approximately 260 photographs taken during an Ismailia Shriner pilgrimage trip in 1902 to the western United States and an undated expedition overseas to various places in Greece, Egypt, Turkey, Palestine, Syria, Algeria, Lebanon, and Italy.

Volume 1 (23 x 25 cm) contains approximately 98 photographs pertaining to an overseas Shriner expedition to various locations around the Mediterranean Sea region including sites in North Africa, western Asia, and southern Europe. It is unclear when this expedition took place, though it likely occurred ca. 1902. Many of the sites visited by the group are related to biblical stories, events, and personages. Images of particular interest include the Lion's Gate at Mycenae (pg. 1); the Arch of Hadrian in Athens (pg. 3); the supposed tree under which Mary and Joseph rested in the Land of Goshen (pg.8); ruins from a "last stand" made by European Crusaders (pg. 11); the Plain of Sharon (pg. 12); the Great Pyramid (pg. 14); a "Nilo-meter" on the River Nile (pg. 14); an elevated view of Istanbul (pg. 16); a group of Greek Klephts marching in traditional uniforms (pg. 17); Tiberias (pg. 18); a tour boat conducted by guides of Nassaire, Farajallah & Co. (pg. 19); Jerusalem's Damascus Gate (pg. 21); the bell tower on the Mount of Olives (pg. 24); the Monastery of Choziba (pg. 24); the Mosque of Amr in Cairo (pg. 28); ancient Egyptian ruins at Luxor (pg. 30); the public square in Corinth where Paul was said to have preached (pg. 31); Bisharin villagers near Aswan (pg. 34); a waterfront view of Algiers (pg. 35); Pompeii (pg. 36); Job's Wall in Silwan, Palestine (pg. 40); the Bosporus Strait (pg. 41); Haifa (pgs. 43 & 45); Damascus (pg. 46); Ba'labakk (pgs. 47 & 48); and Hotel Fast in Jerusalem (pg. 49). Many but not all of the images have inscribed captions on their versos. A loose cartoonish engraving/etching of a bald man with a moustache wearing Arabic clothing while riding a camel titled "Dr. Walter D. Greene" is also present inside the front cover. The album is string bound in black leather covers with the word "Photographs" embossed in gold on front.

Volume 2 (18.5 x 27.5 cm) contains approximately 98 photographs related to the Ismailia-Damascus Pilgrimage of 1902. Images of particular interest include a cyanotype of B.W. Rowell (pg. 1); a group portrait of the travelling party at the railroad station in McFarlan, Kansas (pg. 5); scenes from Pikes Peak, Colorado (pgs. 7-23); views of the Garden of the Gods (pgs. 24, 25, 28-36 & 38); the Royal Gorge (pgs. 37, 39, 40, 42 & 44); Glenwood Springs, Colorado (pgs. 47-49, 57 & 58); the Mormon Tabernacle and Salt Lake Temple (pgs. 52-54); Monterey Bay, California (pgs. 64-66 & 67); Santa Barbara, California (pgs. 68-71); Mount Shasta and Shasta Springs (pgs. 73-77); natural landscapes in Oregon (pgs. 81-86); and a ferry boat on the Columbia River (pgs. 91-96). The album is bound in red leather covers with the words "Photographs of the Ismailia-Damascus Pilgrimage 1902; Compliments of B.W. Rowell, Imperial Recorder; To Walter D. Greene" embossed in gold on front.

Volume 3 (18.5 x 27.5 cm) contains approximately 63 photographs related to the Ismailia-Damascus Pilgrimage of 1902. Images of particular interest include scenes from Spokane, Washington (pgs. 1-3); geysers at Yellowstone's Norris Basin (pgs. 12-22) and Upper Basin (pgs. 27-36); Yellowstone Lake (pgs. 39-43); Yellowstone's Upper and Lower Waterfalls and Grand Canyon (pgs. 46-51); Shriner Caleb Saunders posing with a haul of fish (pg. 52); and Walter D. Greene posing with his wife Mary L. Greene (pg. 55), an unidentified fellow "manager" of the pilgrimage (pg. 56), and alongside George F. Loder and a man identified as "Gass" (pg. 57). The album is bound in red leather covers with the words "Photographs of the Ismailia-Damascus Pilgrimage 1902; Compliments of B.W. Rowell, Imperial Recorder; To Walter D. Greene" embossed in gold on front.

The Jacob Myers & Sons photograph album contains 80 photographs taken between 1906 and 1912 of various structures including large private residences, institutional buildings, and city dwellings that were built or renovated by prominent Philadelphia-based construction company Jacob Myers & Sons.

The Jacob Myers & Sons photograph album contains 80 photographs taken between 1906 and 1912 of various structures including large private residences, institutional buildings, and city dwellings that were built or renovated by prominent Philadelphia-based construction company Jacob Myers & Sons. The album (30 x 22.5 cm) is hard-bound with a green leather cover and includes photographs showcasing a number of construction projects in various stages of completion. The photographs appear to cover a period of time from 1906 to 1912. No clear identifications are provided regarding who produced the album, however there are indications that the locations represented are primarily in eastern Pennsylvania and that they relate to jobs performed by Jacob Myers & Sons.

The album may possibly have been used as a company sample book by Jacob Myers & Sons in order to attract new customers. In one photograph on pg. 41, there is visible signage indicating that work was being done by "Jacob Myers & Sons, Builders." A sequence of photographs on pgs. 47-75 also shows the construction of Drown Hall at Lehigh University, a project that Myers was known to have bid on in August of 1906. The construction of Drown Hall is documented extensively with photographs taken every few months from foundation to completion. Extensive renovation of an unidentified farmhouse is also photographed from start to finish over a three-month period. Another building shown on pg. 15 has been identified as "Dolobran," the home of Clement Griscom in Haverford, Pennsylvania. While there is no confirmation that Myers ever worked on this house, he was known to have been very active in residential building in that area around the time when Dolobran underwent a major renovation.

The James F. Johnson railroad photograph album contains approximately 115 photographs including technical images related to railroad machinery and the oil industry in Florida and Pennsylvania during the late 1920s.

The James F. Johnson railroad photograph album contains approximately 115 photographs including technical images related to railroad machinery and the oil industry in Florida and Pennsylvania during the late 1920s. The album (14 x 21 cm) is string-bound with black leather covers. Images of particular interest include photographs of trains on what appears to be the Florida East Coast Railway, identified friends and coworkers of album creator James F. Johnson (a railroad test observer in Florida and Pennsylvania during the 1920s), engine components, trials of various engines, and interiors of rail cars and instruction laboratories. Also included are images of drilling for oil and oil storage tanks in both Florida and Pennsylvania, general scenic views of Franklin (Pennsylvania), Saint Augustine (Florida), and the Florida Keys, as well as an image of a Shriners' convention in Miami. An envelope containing 7 additional photos is also laid in.

The Japanese tea production photograph album (15 x 23 cm) contains 12 hand-tinted gelatin silver prints pertaining to tea production in Japan ca. 1910.

The Japanese tea production photograph album (15 x 23 cm) contains 12 photographs pertaining to tea production in Japan ca. 1910. Photographs depict workers at various stages of processing tea, including picking, weighing, drying, transporting, and selling. Men, women, and children are represented performing various tasks. Also included are two photographs showing Japanese women in traditional clothing presenting and drinking tea.

The album has a coarse brown cloth cover with a painted design of two women picking tea and is tied with green string. Housed in gray board wrap with blue cloth spine.