Sacha en Maria 1912

Editor: Here we have a photographic print titled "Sacha en Maria," created in 1912. The artist is anonymous. Looking at this, I’m struck by how staged it feels, and yet there's a real sense of intimacy between the two women. What stands out to you about this piece? Curator: What immediately grabs me is the industrial context that allowed such a portrait to be created. The production of photographic materials and cameras became much more accessible at this point. Look closely at the details: the costumes, the backdrops – were these constructed within a professional studio, reflecting the material realities and conventions of commercial portraiture? Editor: That’s a fascinating way to think about it. I was so focused on the smiles that I didn’t really consider the… infrastructure behind it all. Were these commercial studios employing a specific class of worker at the time? Curator: Absolutely. Consider the labor involved in the entire process, from the sourcing of raw materials to the darkroom technicians developing the images. Photography studios became burgeoning businesses, impacting social class, labor laws and urban landscapes. It also speaks to the democratisation of art in ways painting at the time wasn't, wouldn’t you agree? Editor: I can see that. Photography did open up the art world to more people, as consumers and creators. I guess I’d never really considered it in terms of industrial production. Thanks! Curator: Of course. And think about the very act of sitting for a photograph in 1912. The clothing the ladies are wearing gives some clue as to their standing. This makes it feel different when compared to modern snaps that everyone shares, doesn't it? Editor: It does change the feel a lot when I look at the women now, keeping the material reality in mind. This photograph opens a door into understanding labor, economy, and technology, all intertwined with human connection.