Waterval Falls of Foyers 1865 - 1875

Editor: Right, so this gelatin silver print, *Waterval Falls of Foyers*, captured sometime between 1865 and 1875 by James Valentine, it's… captivating, in a way. The water’s motion is almost palpable, even though it's a still image. But there’s a stillness too, like the world is holding its breath. What strikes you most when you look at it? Curator: You know, it whispers to me of the Romantic era's obsession with nature’s sublime power. Think of Turner’s tempestuous seascapes. Valentine isn’t painting, but he’s certainly harnessing that same emotional punch, wouldn’t you agree? That silky waterfall juxtaposed against the rugged rocks. It feels very intentional. Makes you wonder, what does that tension tell us about how he felt about the Scottish Highlands, eh? Editor: I see what you mean. The "sublime power." It’s… carefully constructed, though, right? It doesn't feel entirely wild, like a document, or like a casual snapshot? Curator: Oh, darling, definitely not. This isPictorialism peeking through, that desire to elevate photography to art, playing with light and shadow like a painter. I can almost feel him tweaking the exposure to get that dreamy blur. Can't you just feel him waiting for the perfect conditions? Like capturing the very soul of that waterfall! It is more than a documentation, what stories are unfolding within the frame? Editor: That's really interesting! I hadn't considered the Pictorialism aspect so directly. I suppose I saw the romantic landscape first, but thinking of it as trying to emulate painting gives me a new lens, almost, for viewing the work. Curator: Absolutely, and thinking about Valentine the person behind the camera and trying to guess his motivations or intentions might let even deeper meanings fall out of it. I think it is a good exercise.