North and South Dome, Yosemite 1870 - 1874

Curator: Looking at this piece, "North and South Dome, Yosemite," created by Carleton Watkins between 1870 and 1874, one can immediately recognize its adherence to the Hudson River School's fascination with the American landscape. Editor: The photo washes over me like a memory. It's sepia-toned calm, that quality old photos have of pulling you into a quieter time. What strikes me most is how peaceful the river seems. Does the river hold stories? Curator: Undoubtedly, rivers often symbolize journeys and transitions, reflecting the passage of time and the unfolding of history. Watkins would have consciously worked within that historical artistic legacy while framing his work. This particular albumen print also resonates with a certain manifest destiny ideology, presenting a majestic but unpopulated land ready for claiming. Editor: Oh, that manifest destiny lens…It does feel that even in its quiet beauty, this landscape feels claimed. Like someone's already planned a scenic overlook and souvenir shop. Curator: Absolutely. Yosemite, particularly, has long carried that weight. Watkins' choice of the albumen print, in its detail and tonality, also enhances this perceived grandeur. It’s worth pondering that he captured this at a pivotal time when Yosemite was on the verge of becoming a national park. The photographic images themselves swayed decisions about preserving this particular American treasure. Editor: Photography as political persuasion. Who knew a single snapshot could hold so much agenda? But really, knowing it might’ve helped preserve the valley… Gives me a tiny speck of hope that even the most manipulated image can have a beautiful consequence. It also gives more complexity to how symbols—landscapes, rivers, in particular—operate and resonate, carrying various historical and ideological layers simultaneously. Thanks for that deeper perspective! Curator: It is in teasing out those layers that meaning emerges and deepens.