Yosemite Valley 1870 - 1874

Editor: So, this is Carleton Watkins’ "Yosemite Valley," taken between 1870 and 1874, an albumen print. It's stunning how detailed it is, even for such a large scene. What catches your eye when you look at this piece? Curator: Well, I immediately think about the materiality of this photograph, and its accessibility. Watkins made numerous prints, a kind of mass production in its time, fueled by tourism. He isn't just capturing the sublime; he’s participating in a burgeoning industry. How does the commodification of the landscape, via photography, change our understanding of nature itself? Editor: That's interesting. It makes me think about how the very act of creating and selling these images changes Yosemite. It’s no longer just a wilderness; it becomes a product. Curator: Exactly! Consider the labor involved: Watkins had to transport cumbersome equipment, process chemicals, and meticulously craft these images. This is strenuous physical labor embedded in what seems like a purely aesthetic pursuit. This photograph isn’t just about capturing a scene; it's evidence of a complex manufacturing process and the distribution of goods. Editor: I didn't think of it that way before. It’s like, each print represents hours of work, not just from Watkins himself, but potentially assistants, and then the whole distribution network… Curator: Precisely. And how does this distribution shape consumption patterns? Were these photographs primarily purchased by wealthy elites or more widely accessible? Examining these prints through a material lens allows us to explore these fascinating questions about production, labor, and accessibility. Editor: So much more than just a pretty picture! It's opened my eyes to the tangible and societal aspects of art that I had previously overlooked. Curator: Exactly! Let’s keep questioning how things are made and shared. It tells a powerful story about us.