Jerusalem-Façade of the Church of the Holy Sepulchre before 1866

Curator: Editor: So, this photograph shows the "Jerusalem-Façade of the Church of the Holy Sepulchre" by Francis Bedford, taken before 1866, and printed using the albumen process. The print has this kind of grainy, almost weathered quality that's really intriguing. How would you interpret this image? Curator: Looking at the albumen print process itself, think about the colonial context of its production. Bedford was part of a wave of photographers documenting the Middle East, but how were these images consumed back in Europe? The mass production of these prints for albums and books catered to a growing Victorian interest in the 'Holy Land', a commodity that reinforced particular narratives and power structures. The materiality of the albumen – the egg whites used in its creation – seems almost domestic, yet here it's used to create images of a faraway and exoticised place. Editor: That’s a really interesting perspective, thinking about the photograph as a commodity in its own right and the materials used. Curator: Exactly. We should also note the skilled labor needed to prepare the photographic materials and take the photo – how much would those workers have known about Jerusalem? The labor behind its manufacture complicates any romantic vision of the place. How does knowing this change how you feel about the photograph? Editor: It certainly complicates the image. I guess I was just looking at it aesthetically before, now I am more aware of its complex origins. Thanks. Curator: Considering those complex social relations imbedded in this image lets us understand its enduring power as a crafted object.