Prins Bernhard fotografeert zijn dochters Beatrix en Irene in Ottawa, Canada 1943

Editor: Here we have a 1943 photograph by Yousuf Karsh, titled "Prins Bernhard fotografeert zijn dochters Beatrix en Irene in Ottawa, Canada". It's quite a candid image. It appears to be a father capturing a casual moment with his daughters, although there’s a formal structure surrounding the scene. What strikes you about this photograph? Curator: For me, it’s compelling to consider the very materiality of this image and the act of its production. We see Prince Bernhard consuming photographic materials to construct an image of his family, yet, that image is mediated for us through Karsh's work. Editor: Could you explain further? Curator: Karsh, a prominent photographer, likely had access to specific resources – cameras, film, darkroom – tools enabling the production of the final print. It also hints at the labour involved. Consider the processes of development, printing and the possible manipulations in the darkroom itself. What kind of narrative are we then constructing around this family portrait? Editor: I guess I was drawn to the apparent spontaneity of the image, but thinking about it that way, the staging is more deliberate than it appears. Curator: Exactly. It highlights how social narratives are created and distributed. Consider, too, the contrast between the apparent lightness of the family moment and the wartime context, the physical materials and labor contribute a deeper reading. The paper the image is printed on. The chemicals involved. Even Karsh’s access to the Royal Family indicates existing power dynamics and privileged consumption patterns during wartime. Editor: That's fascinating! It completely shifts how I see it. Focusing on materials and labour exposes so much more depth. Curator: Indeed. It's a reminder that art objects aren't just aesthetic, but products of material realities. It's interesting to ponder what elements, outside the figures themselves, truly bring significance to the work.