Abou Simbel, Nubia 1857

This photograph by Francis Frith captures the imposing temple of Abou Simbel in Nubia. It’s an albumen print, a process which involves coating paper with a layer of egg white and silver nitrate. The resulting surface is incredibly smooth, allowing for a high level of detail and a distinctive sepia tone. What I find fascinating is how the material qualities of photography itself intersect with the subject. Frith was a master of capturing scale, and here he uses it to emphasize the monumental size of the ancient statues. The very act of taking the photograph – setting up the equipment, exposing the plate, and developing the image – was a labor-intensive process. The stark contrast between the photographer’s effort and the seemingly timeless nature of the temple raises questions about labor, time, and our relationship to history. This photograph invites us to consider the immense amount of work involved in the construction of the original temple, but also the effort required to document it for a European audience in the 19th century. It’s a powerful reminder that all images are made, not just taken, and that the materials and processes used to create them are integral to their meaning.