Birth of St. John 1857

Editor: Here we have Roger Fenton's "Birth of St. John" from 1857, a gelatin silver print. It almost looks like he photographed a stone carving! What catches your eye in this piece? Curator: What intrigues me is Fenton's deliberate choice to photograph a relief sculpture, using the relatively new medium of photography. He isn't documenting "reality" but capturing a representation of it. Think about the labour involved: a sculptor meticulously carves the original relief, and then Fenton further refines it through the photographic process, controlling light, shadow, and print quality. It points to Victorian England's understanding of the industrial production of art. What statement do you think Fenton might be making by turning craft into a reproducible image? Editor: That’s interesting, I hadn’t considered the labor aspect. Perhaps he’s commenting on the changing value of craftsmanship with the rise of mass production? Does photography devalue the original sculpture by making it easily reproducible? Curator: Exactly. And think about access. Before photography, experiencing art like this was largely confined to the elite who could travel or afford to commission work. Now, this image democratizes access, even if it is mediated by the photographer’s interpretation. Consider too, the chemistry involved in creating this gelatin silver print - the material properties impacting its very existence. How does considering these processes change your interpretation? Editor: It shifts my focus. Instead of simply seeing a religious scene, I am now much more conscious of the choices Fenton made in his photographic process and the broader social context. I initially saw the romance, but you’re bringing me back to reality! Curator: That is precisely what this approach achieves; connecting art to the physical world and challenging established hierarchies of value. It is a crucial part of understanding Fenton’s work and photographic history.