<div style="page-break-before:always; page-break-after:always">Following in the footsteps of the early 19th-century artists, photographers began to travel the West and record the places and people they encountered. One group of Westerners that fascinated and attracted the image-makers were America&rsquo;s Indigenous peoples, who remarkably and consistently agreed to be drawn, painted and photographed. Forgotten to history was a group of American Indians who were inspired by the photographers they met to become photographers themselves. Nicole Dawn Strathman, a lecturer in art history at the University of California, Riverside, has researched and written a remarkable book, Through a Native Lens: American Indian Photography (University of Oklahoma Press, $50), that recounts the roles of the Native participants in photography and the Western Indian photographers. As Strathman notes in her introduction, &ldquo;[I]n the latter half of the 19th century, American Indians were using cameras to record events from daily life and to remember tribal members.... But unlike the Western photographers of Native Americans, indigenous photographers generally did not emphasize or deemphasize the &lsquo;Indianness&rsquo; of their subjects.&rdquo;<div style="page-break-before:always; page-break-after:always">Readers will be fascinated by the depth and breadth of Strathman&rsquo;s research, which uncovered remote photographers including Inland Tlingit George Johnston of the Yukon Territory; Tsimshian Benjamin Haldane, who may have had the &ldquo;first photography studio on a reservation, Annette Island Indian Reserve, in Metlakatla, Alaska;&rdquo; and Crow/ Scottish/adopted Cree Richard Throssel, who worked for the Bureau of Indian Affairs on the Crow Reservation from 1902 to 1911. The photographs by Johnston, Haldane and Throssel provide a window into the day-to-day life of tribes that was rarely allowed to be recorded by non-Indian photographers.<div style="page-break-before:always; page-break-after:always">Strathman&rsquo;s research also took her deep into archives across the West to uncover photos made by Native amateur photographers, a deeply personal and reflective group of unrecognized but important artists. In an attempt to provide as broad a continental scope as possible, the author focuses on five photographers: Kiowa&rsquo;s Parker McKenzie and Nettie Odlety of the Phoenix Indian School; Cherokee Jennie Ross Cobb of the Cherokee Female Seminary School; Northern Paiute Harry Sampson of Nevada; and George Johnston of the southern Yukon. McKenzie and Odlety&rsquo;s Kodak Brownie images include rare photos inside the girls&rsquo; dormitory, providing a different view of Indian boarding school life than is usually projected by historians.What will readers conclude from Strathman&rsquo;s Through a Native Lens? I believe the author&rsquo;s research reflects back to us a personal connection to the human condition of Indian people of North America. And while we benefit from the images made by photographers such as Carleton Watkins, Timothy O&rsquo;Sullivan, Edward S. Curtis and Frank A. Rinehart (see pages 34-41), who beautifully and empathetically recorded Indian life on film in the 19th and early 20th centuries, the photos of Indian people made by Native photographers provide a window into a more personal place of day-to-day life. As Strathman eloquently concludes, &ldquo;In practicing photography, Native peoples have been able to harness the power of images to assert their own visual voices and to tell their own stories.&rdquo;

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