Montmorenci Falls, near Quebec before 1866

Curator: What captures my attention first about William Notman's "Montmorenci Falls, near Quebec," a pre-1866 albumen print, is its construction. Look how the labor behind its production—both natural and human—reveals much about societal values. Editor: I find the falls so romantic, and its framing as part of an open book so unique! What story do you think it’s trying to tell? Curator: Storytelling always depends on who does the telling, and how! Albumen prints required elaborate darkroom processes and specific chemicals; thus its existence depended on a particular technology and on the resources of studios, like Notman's. His studio heavily commodified landscapes. So how did these images influence understandings of Canadian identity? Editor: That’s fascinating – I hadn’t considered the role of production in shaping cultural understanding. Were these images mass-produced? Curator: Absolutely. These photographic albums, like the one housing this print, were not simply artistic objects; they were commodities. Examining the labor invested in creating and distributing them gives us insight into colonial economies, industrial advancements, and the consumption of scenic views. So how might the act of viewing or owning this print alter the viewers idea of Canada? Editor: It’s really shifted my thinking about the piece, away from pure aesthetics and towards thinking about its creation and context. Now I wonder about who the consumer of such an album would be. Curator: Exactly! Considering materiality, modes of production, and reception shifts art historical interpretation significantly. It shows how the 'craft' is just as telling, or perhaps, more than the subject depicted. Editor: That’s really opened my eyes. Thanks for showing me the work involved in image-making, and its deep effect on our history! Curator: The real work begins when the viewer examines its cultural consumption, production and representation, so keep those questions alive.