Cleistes divaricata- Spreading Pogonia 1931

Editor: Here we have Edwin Hale Lincoln’s “Cleistes divaricata - Spreading Pogonia,” a gelatin-silver print from 1931. The starkness of the print, and the simple composition, give it almost an archival feel. What stands out to you? Curator: Well, it strikes me how this image intersects with the broader history of botanical illustration and the burgeoning conservation movement of the early 20th century. It reminds me of how photography, initially seen as objective, became a powerful tool for documenting and, in a way, ennobling the natural world. Does the gelatin-silver process suggest anything to you about the image's historical moment? Editor: I guess I hadn't really considered that aspect. The choice of gelatin-silver makes it seem less precious, maybe even mass-producible in a way a hand-drawn illustration wouldn't be? Curator: Exactly! It democratizes access to this specific image, of course. But how might its distribution and public display contribute to shaping public perception of this particular flower or its natural habitat, especially considering concerns of conservation at the time? Were these images widely available? Editor: That’s a fascinating point. Perhaps these photographs, displayed in accessible venues, served to cultivate a wider appreciation for nature, inadvertently fostering environmental awareness. I hadn’t really thought about photography as playing that role at the time. Curator: The socio-political environment shapes everything, doesn't it? These images served multiple purposes, documenting nature but also engaging a public newly aware of their environmental impact. Editor: This really shifts my perception of the work, from a purely aesthetic piece to a document embedded in a specific cultural and political moment. Thanks! Curator: And thinking about this image helps me re-evaluate the ways artists engage with contemporary social and environmental concerns, through photography today. A constant dialogue!