The exhibition was, by all reviews, a show-stopper, particularly the movies. According to Wheeler, ‘they carried his audience off its feet and [Harmon] was called on to show them again and again throughout the duration of the Congress.’
Monaco, as it turned out, was but one of several locations in which the exhibit received rave reviews. On his way there Harmon had exhibited his prints on the floor of the Canadian House of Commons (selling prints to nearly all the members of Parliament), and after the Congress he showed his films before the Royal Geographical Society in London and the Royal Scottish Geographical Society in Glasgow, Aberdeen, and Edinburgh.
On the strength of the 1920 jaunt, Harmon returned to Europe in the winter of 1923-4, exhibiting prints and showing films in the major centres of France, Germany, and Great Britain and returning with contracts for over 15,000 feet of film- no small amount in the early twenties. The mountain photographer had arrived.
Despite his successes, Harmon remained a quiet and modest person, the sort of man, according to old-timers, whom one might take for granted. An immaculate dresser in town, a near teetotaller and non-smoker, he avoided the social activities of Banff, preferring to spend his time with his family* or his work. Not that he was unfriendly; he merely had other things on his mind than curling, cards, and dancing, the three major Banff social pastimes.
One of the things on his mind, of course, was his continuing work with the Rockies and the Selkirks.
*His first marriage was to Maud Moore in either 1909 or 1910. Three children-Aileen, Lloyd, and Don-were born in 1912,1914, and 1917. Don was born on the same night the theatre burned down, something Harmon used to tease him about: ‘Worst time of my life,’ he would say, ‘two disasters in one night.’ A second marriage, to Rebecca Pearl Shearer, took place in Seattle in 1928.