Kitty at Lake George 1916

Editor: So, this is Alfred Stieglitz's photograph "Kitty at Lake George" from 1916. It’s a beautiful portrait. The lighting feels very soft. I'm struck by the way the light interacts with her clothing. What is your interpretation of the piece? Curator: From a materialist perspective, I'm particularly drawn to considering what Stieglitz is doing with photography as a medium at this moment. This isn't simply a representational portrait, but a very self-conscious exploration of the chemical processes and labor involved. Look closely - it is a platinotype - it means it has a wide tonal range thanks to the use of platinum salts instead of silver ones. Why platinum, a precious metal, to capture this particular sitter? What kind of wealth does that choice represent? Editor: That’s a very interesting point! I hadn’t really considered the economic aspect of the material choices, but it clearly elevates it from simple portraiture. Do you think it says something specific about Stieglitz’s perception of women, then? Curator: Perhaps. The choice of material, the meticulous process – it suggests an attempt to imbue the subject with an inherent value, almost as if mirroring the metal itself. Also notice the soft-focus lens that produces images similar to impressionist paintings of the same era, which required artists to make or buy specific, expensive pieces of equipment. We must consider this image not in isolation, but as part of a complex web of material, labor, and social meanings. Editor: It makes me think differently about what's included (or excluded) in the frame, and the impact each production choice has. Thanks! Curator: My pleasure. Now think about that with every image that catches your eye.