Gezicht op de Vernal-waterval in Yosemite National Park c. 1880 - 1900

Editor: Here we have Isaiah West Taber’s “Gezicht op de Vernal-waterval in Yosemite National Park,” a gelatin silver print from sometime between 1880 and 1900. The image is incredibly detailed, almost hyper-realistic, with a palpable sense of depth. What stands out to you when you consider the material and context of this photograph? Curator: Immediately, I think of the labor involved. Creating a gelatin silver print at that time was a complex process, demanding technical skill. Think about the extraction of silver, the preparation of the gelatin emulsion, the labor involved in transporting the equipment to Yosemite, developing the image onsite or transporting it back to a darkroom in San Francisco... Were there specific social class associations related to landscape photography at the time? Who was doing this work? Editor: That's fascinating; I hadn't considered the logistics involved. The idea of hauling all that equipment really puts a different spin on the “plein-air” aspect. It also makes me think about access - who had the resources to travel and experience these views? Curator: Precisely. Landscape photography, particularly of monumental natural wonders like Yosemite, often served the dual purpose of celebrating nature while simultaneously promoting westward expansion and resource extraction. Whose land are we actually looking at? Whose labor was exploited? Think about the burgeoning tourism industry – these images weren't just art, they were commodities. The photographs fueled desires and romantic visions. Editor: So, the beauty we see is also tied to the business and social structures of the time. Curator: Exactly! By focusing on the materials, labor, and economic contexts, we can begin to deconstruct the romantic narrative and reveal the complex web of social and environmental implications embedded within this beautiful image. What started as a stunning visual now gives insight to labour exploitation, environmental transformation, and indigenous dispossession. Editor: That has definitely expanded my understanding and changed my perspective. Thanks! Curator: My pleasure! It’s these tangible considerations that lead to a fuller appreciation.