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Series consists of 41 photographs produced by Hannah Maynard of Mrs. R. Maynard’s Photographic Gallery between 1880 and 1899. Images were examples of Maynard's advanced technical photographic skill in producing experimental works such as photocollages, composites, cut-and-paste montages, photosculptures (referred to by Maynard as “living statuaries” or “statuary from life”) and double- or multiple-exposure portraits. Photographs were produced as commercial products and to promote Maynard's photographic portfolio. Some of the composite photographs feature landscape views attributed to Richard Maynard.

The series consists of 76 predominantly studio portraits of Indigenous people in what is now known as British Columbia, taken between ca. 1862 to 1890. The majority of the photographs were taken by Hannah Maynard, however some are attributed to Frederick Dally and Carlo Gentile (perhaps others). Photographs were produced and marketed as commercial products popular during the 1860s and 1870s, such as 'cartes de visites', and, to a lesser extent, as personal portraits in the late 1880s. Maynard's studio produced conventional portraits as well as composite photographs which combined portraits with field photography landscapes. Indigenous communities and individual's names have been identified at the item level when known.

Series consists of 31 photographs of members of the Maynard family posed formally or gathered casually within their homes, their shops, around Victoria, or during their extensive travels. Many images can be attributed to Hannah, Richard, or Albert H. Maynard, but other photographers are likely.

Series consists of 517 photographs produced primarily by Hannah Maynard of Mrs. R. Maynard’s Photographic Gallery between 1874-1916. Other photographers are also identified on some negatives. Images depict individual, family, and group portraits, including babies, youth, young adults, and adults. Some backgrounds were kept simple while others include a range of often re-occurring scenic backgrounds and props. Several of the negatives were manipulated, with retouching visible on sitters' faces and hair. In rare instances, retouching was used to outline props or other studio accessories.

The series consists of ca. 5500 glass dry plate negative portraits created by John Savannah at his Victoria studio, between ca. 1894 and his death in 1925. While most of the photographs are studio portraits of individuals, including many babies and children, there are also family groups and bridal parties as well as sports teams, professional groups and the occasional outdoor shot of a building or other structure. In some cases, Savannah took photographs of photographs, presumably for clients who wanted new prints of their family photos.

The negatives were stored in batches of 12 to 16 in the original glass plate boxes. The boxes were numbered from 1 to 1033 with many duplicates and gaps. Each original box was usually accompanied by the box cover which listed the names of the people who either ordered the photograph or were subjects of the portraits for that box. The plates in the box were stored in the order of the list and may be numbered in some cases. Many of the names were written on the negatives by Savannah using white pencil, along with the number and type of copy prints requested.

There are several duplicate box numbers, with the first instance of the number containing 13 x 18 cm negatives and the second instance of the same number containing 16 x 22 cm or 21 x 25 cm negatives. Several box lids with index information are missing and there are also individual missing negatives. The location of the majority of Savannah's original boxes is unknown. The negatives have been arranged in original box and plate number order, and are accompanied by the original box cover where it exists.