Gezicht op een kapel van de ruïne van Melrose Abbey met op de achtergrond Eildon Hill before 1870

Curator: What catches my eye about this image is not the romantic ruin, but rather its production as an albumen print. Editor: This is “Gezicht op een kapel van de ruïne van Melrose Abbey met op de achtergrond Eildon Hill,” a photograph taken before 1870 by W.J. Pringle. It feels very romantic and gothic, looking at this crumbling abbey. What do you see in it? Curator: Well, instead of the romanticism, consider the process. Albumen prints like this one involved coating paper with egg whites to create a glossy surface before applying the light-sensitive chemicals. It's a rather laborious process, isn't it? The high gloss, popular in its day, allowed for incredibly detailed reproductions. And remember, photography was relatively new. Think about the implications: readily reproducible images for the masses. Editor: So, the *how* is as important as the *what*. How does thinking about its reproduction change things? Curator: It makes us consider consumption. These photos weren’t just aesthetic objects, but commodities. Sold, collected, and traded. Consider too, how access to photographs of distant places like Melrose Abbey transformed people's understanding and perception of those places. It democratized seeing, but it also made viewing an industry. How do we view these landscapes today, shaped by this early photographic vision? Editor: So, beyond the pretty picture of ruins, it shows the commodification of places. Something about making images reproducible… it’s like the start of travel advertising. I’ll definitely think about that next time. Thank you. Curator: It's all about examining the materials, processes, and the conditions that gave rise to it. Keeps things grounded, doesn't it?