Dr. Leopold Stieglitz 1919

Editor: This gelatin-silver print, "Dr. Leopold Stieglitz," was made by Alfred Stieglitz in 1919. The softness in the focus gives it an almost painterly feel, but what really strikes me is the materiality itself - the tonal range achieved in the silver print. How do you see the materiality influencing its meaning? Curator: I see it as directly tied to Stieglitz’s project of elevating photography to the status of fine art. Look at the gelatin-silver process. It wasn't just about capturing an image; it was about crafting it, manipulating the materials to achieve a specific aesthetic. This was labor-intensive. Editor: So, you're saying the act of making, the conscious choices in printing, become part of the art’s statement? Curator: Precisely! And think about who Dr. Stieglitz was – Alfred Stieglitz's father! This portrait isn't simply a record of a man, but a reflection on family, legacy, and the social context that allowed Stieglitz the means and time to produce this work. Editor: It’s interesting to consider the relationship inherent in both the image and the labor of creating it. Were these techniques seen as controversial then? Curator: Absolutely! Straight photography versus manipulated prints was a major debate. By embracing the gelatin-silver print and manipulating the tonal values, Stieglitz challenged the perceived objectivity of the medium. Editor: I never considered how much the material and its manipulation could inform the reading of a portrait like this. Thanks for highlighting that. Curator: And thank you for drawing attention to the importance of technique! Hopefully this can lead people to question all of the steps and all the labor in this final image.