The Lauteraar joch, from the Abschwung before 1866

Curator: This is a fascinating page from an album showcasing Ernest Edwards’ "The Lauteraar joch, from the Abschwung," taken before 1866. Edwards primarily worked with photography, using gelatin silver and albumen printing techniques to capture landscape scenes like this one. Editor: It's stark, isn't it? The strong vertical lines create a powerful sense of scale, but the narrow, rounded frame seems almost like looking through a keyhole into an untouched world. Curator: The framing does add an interesting tension, compressing this sublime landscape into a confined space. Consider the cultural context; this was the age of exploration and the rising popularity of alpine tourism. Photography served to document, yes, but also to make these imposing landscapes accessible, almost consumable, for a Victorian audience. Editor: Precisely! Look how the glaciers are rendered. The tonality is used in such a specific way as if its structure has its own meaning and narrative within this cultural movement. How do we reconcile such artistic beauty while the photograph promotes the exoticization of the untouched. Curator: Edwards uses light incredibly effectively, doesn't he? The harsh sunlight enhances every crevasse, every icy peak. This emphasizes both the monumental scale of the glacier and its delicate texture. Consider how the stark black and white amplifies the drama, eschewing color to heighten the impact of pure form and line. Editor: Indeed, and even the presentation as an open book speaks volumes. Placed directly beside the text that accompanies it we have to understand that it is one facet of something greater than an image alone. We get to truly study the intention of this historical photographer and reflect upon ourselves, which perhaps, is more sublime than a mountaintop. Curator: I agree. The framing, the composition, and even the format of the book – it all contributes to a narrative beyond a simple document.