[Unidentified Man] 1843 - 1847

Editor: Here we have an intriguing gelatin-silver print by Hill and Adamson, dating back to somewhere between 1843 and 1847. It's simply titled "[Unidentified Man]." There's something about the soft focus and the subject's imposing figure that strikes me. What stands out to you, considering the era it was created? Curator: For me, this piece really underscores the material shift occurring in image production at that time. The very process of creating a gelatin-silver print, transforming light-sensitive materials through chemical processes, democratizes portraiture to a degree unseen before. Editor: How so? Curator: Prior to photography, portraiture was largely the domain of the wealthy. Think about the labor and materials involved: a skilled painter, expensive pigments, canvases… Photography, though still a relatively new technology, offered a comparatively quicker and more accessible method of representation. It brought images, likenesses, into more homes, shifting their social role. Who had access to this technology? Who did it benefit most? Editor: So, rather than simply seeing this as a portrait of an "unidentified man", we should consider who had the means to commission, create, and consume this image during the mid-19th century? Curator: Exactly. How did the rise of photography change our relationship with materiality? Consider that a photographer is both an artist and a craftsman using these novel materials. Did that break down barriers of high art and craft? This wasn't just about capturing a likeness; it reflected the changing economic landscape. Editor: That's fascinating, to see it as more than just a face, but a sign of changing labor and manufacturing practices. I will never see photography the same way! Curator: Indeed. Considering the materiality of art opens us to broader understandings of how value is constructed.