Water Tanks Outside of Annex, Paris Exposition Universelle 1855

Editor: Here we have "Water Tanks Outside of Annex, Paris Exposition Universelle," a daguerreotype from 1855 by Charles Thurston Thompson. The monochromatic palette and rather severe architectural lines create a slightly somber mood, a far cry from what I imagine a World's Fair would be like! What stands out to you? Curator: Ah, yes, somber but also pregnant with a certain…promise, perhaps? For me, it’s the pre-dawn feeling, that liminal space just before innovation truly bursts forth. Look how these cylindrical tanks, almost like silent sentinels, loom over the smartly dressed figures below. There’s a visual tension there – humanity dwarfed by its own creations. What do you make of their gazes? Where do you think they are looking? Editor: Hmm, it looks as if they're observing something off to the left. Maybe gauging the effectiveness of whatever that water is spraying out? The architecture certainly suggests industry and progress. But what's particularly striking is the human element, or, really, the lack thereof—besides these few onlookers, everything is still and silent. Curator: Exactly! Thompson isn’t merely documenting architecture. It feels more like a stage set. The very precise, almost clinical arrangement invites us to consider not just what’s being built, but the aspirations underpinning it all. The Expo was about showcasing progress, yes, but also about the human drive to shape the world. It whispers questions about our place within these grand designs. Makes you think, doesn't it, about what kind of "progress" we celebrate today? Editor: It does, especially given today's concerns about technology and its impact on the environment! I never thought about photography from this era having that kind of commentary. I guess I always considered them mere records. Curator: That's the beauty of digging beneath the surface! Each image, even one seemingly as straightforward as this, is layered with intention, context, and a whole universe of possible interpretations. What starts as a record often ends up being a mirror, reflecting not just the world then, but also our own.