Nelumbo nucifera of Heilige lotus before 1895

Editor: Here we have Kazumasa Ogawa’s “Nelumbo nucifera of Heilige lotus,” a photographic print made before 1895. I’m immediately drawn to the subtle textures he's captured, especially in the petals. What strikes you about it? Curator: I'm drawn to the process itself. Look closely – this is not just photography; it's a photographic print, implicating a layering of industrial and artistic labour. Consider the materials, the chemicals involved in the development, the paper quality, and the distribution of these prints. These choices signify more than mere representation. Editor: So, it's more about the physical act of making the image? Curator: Exactly. This lotus, reproduced through photography and printing, enters a circuit of production and consumption. We must question the intended audience. Who could afford such prints at this time? How did this consumption affect the perceived value of nature and, potentially, Japan's relationship with the West? Editor: It makes me wonder about the role of photography at the time. Was it considered "high art"? Curator: Precisely. Examining this piece allows us to challenge the conventional boundaries between high art and craft. Photography, originally often seen as merely reproductive, aimed for artistic legitimacy. By using these kinds of visual aesthetics, the creator implicates it within traditional aesthetics. We also must interrogate photography's relationship to labor and its potential for both artistic expression and exploitation of workers. Editor: So by looking at how this image was made and distributed, we can understand its historical impact. Curator: Precisely. The subject and technique create both beautiful floral imagery while alluding to the socioeconomic contexts in which those practices take place. That means it’s material construction really directs our interpretations. Editor: I hadn't considered all the different layers involved. This makes me look at photography completely differently.