James Brady was a mid twentieth-century Indigenous political organiser, trapper, prospector, writer, and intellectual. He was also a prolific photographer. This article considers the significance and aesthetics of Brady’s photographic archive through the lens of Indigenous visual sovereignty. Brady was Métis – one of Canada’s three recognised Indigenous peoples along with First Nations and Inuit. The Métis engaged in two conflicts with the Canadian state and negotiated the entry of a province into confederation. For a significant period of history, they lived outside Canadian infrastructures, whether the system of First Nations’ reserves created in the post-treaty era or Euro-Canadian settlements. Particularly vulnerable to land loss and displacement, the Métis were in desperate condition when Brady first began travelling with his camera. Brady’s photographs document the political rebirth of Métis people and the resilience and persistence of Métis communities in northern Alberta and Saskatchewan. They bear photographic witness to the lived experience of sovereignty rooted to place and continue to resonate with his subjects and their descendants.

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“附上一些快照”：詹姆斯·帕特里克·布雷迪、摄影和政治激进主义

詹姆斯·布雷迪 (James Brady) 是 20 世纪中叶的土著政治组织者、捕手、探矿者、作家和知识分子。他还是一位多产的摄影师。本文通过土著视觉主权的镜头考虑了布雷迪摄影档案的意义和美学。布雷迪是梅蒂斯人——与原住民和因纽特人一起是加拿大三个公认的原住民之一。梅蒂人与加拿大政府发生了两次冲突，并通过谈判将一个省加入联邦。在一段重要的历史时期，他们生活在加拿大基础设施之外，无论是在后条约时代建立的原住民储备系统还是欧洲-加拿大定居点。特别容易受到土地流失和流离失所的影响，当布雷迪第一次开始带着他的相机旅行时，梅蒂斯人处于绝望的境地。布雷迪的照片记录了梅蒂斯人的政治重生以及艾伯塔省北部和萨斯喀彻温省梅蒂斯社区的韧性和持久性。他们用照片见证了扎根于地方的主权生活体验，并继续与他的臣民及其后代产生共鸣。