Gezicht op de Wijde Marktsteeg in Rotterdam met de toren van de Laurenskerk op de achtergrond 1900 - 1911

Editor: So, this photograph by G. Hidderley, titled "View of the Wijde Marktsteeg in Rotterdam with the tower of the Laurenskerk in the background," was taken sometime between 1900 and 1911. The buildings look so solid, despite the reflection shimmering in the water. What's striking to you about this cityscape? Curator: What jumps out is the explicit labor implied by the signage— "mantels en japonstoffen" tells us something important about Rotterdam's place in the global textile trade and the hands that made and sold those goods. We have this record of specific consumption habits from a certain time. Consider the socio-economic structure it depicts. How do the materials in these shops relate to the architectural styles? Editor: That's a fascinating point! The different architectural styles – some more ornate than others – hint at various levels of wealth and social status of those who lived and worked there. Is the act of photographing and reproducing images a form of industrial labour as well? Curator: Exactly! Photography, in itself, embodies a mechanical reproduction tied to commerce. Hidderley documents this space, creating prints that were likely sold or used in publications. Did this capture simply mirror reality or reinforce social values by aestheticizing work and consumption? How were these images accessed? Did that play into a shared understanding of the labor captured? Editor: It’s almost like he’s producing a material document that showcases Rotterdam’s production processes. It gives another perspective to realism. I’m learning how crucial the socio-economic landscape of a work can be! Curator: Precisely! Analyzing photography through a material lens exposes complex systems. You start to realize how images create as well as reflect society.