Merced River, Yosemite 1870 - 1874

Editor: We're looking at Carleton Watkins’ “Merced River, Yosemite,” taken between 1870 and 1874, an albumen print now at the Met. I’m immediately struck by how the verticality of the trees contrasts with the horizontal flow of the river. It feels like a carefully constructed scene, even though it depicts a natural landscape. What do you see in this piece, especially concerning its composition? Curator: The composition reveals a clear structure. The converging lines of the trees create a strong central perspective, drawing the eye into the distance. Note how Watkins utilizes the texture of the rocks in the foreground, providing a tactile contrast to the smooth, reflective surface of the water. Editor: So the textures are almost as important as what's represented? Curator: Indeed. The interplay of light and shadow, coupled with the varying textures, elevates the work beyond mere documentation. Observe how the tonal range of the albumen print enhances the textural nuances. It becomes a study of photographic form, focusing on the medium's capacity to render visual information with such detail and clarity. Do you notice any repetition in this scene? Editor: The rocks, maybe? And the lines in the trees' reflections? Curator: Exactly. Consider also the negative space, the areas that provide a sort of breathing room within the photograph. It isn't merely about replicating the scene, but constructing an image that invites contemplation on the inherent qualities of photography itself. Editor: So, instead of reading it as a straightforward landscape, it's a reflection on photography? That’s given me a whole new perspective. Thanks! Curator: Precisely! Engaging with art through the lens of its inherent structural properties and materiality allows for a deeper appreciation beyond surface representation.