A Quiet Day in the Mortar Battery by Roger Fenton

A Quiet Day in the Mortar Battery 1855

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print, paper, photography, gelatin-silver-print, albumen-print

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16_19th-century

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print

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wedding photography

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war

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landscape

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paper

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photography

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gelatin-silver-print

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men

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history-painting

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natural palette

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albumen-print

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realism

Dimensions: 24 × 34.6 cm (image/paper); 41.7 × 53 cm (mount)

Copyright: Public Domain

Editor: So, this is Roger Fenton's "A Quiet Day in the Mortar Battery," taken in 1855. It's a gelatin silver print – a very tonal work! To me, it feels oddly… peaceful. Given its subject, I expected something more overtly dramatic. What strikes you most about it? Curator: Peaceful, yes, and ironic, isn't it? Fenton's capturing what he titles “a quiet day,” and I suppose that can become true in war. Look closer, and I mean *really* feel the stillness. The photograph feels more like a stage play, doesn't it? As if Fenton is orchestrating this moment in time! Considering he re-staged scenes, maybe he truly *did* want to depict quiet. Does that make it less “real?” Editor: A stage play… that's a compelling perspective. It makes you wonder about authenticity, doesn’t it? Was he trying to convey something more profound about the war, or just sanitizing it? Curator: Exactly! Think about his context – the Crimean War, photography still in its infancy. Access was incredibly limited, control immense. Was this a curated message intended to project stability and calm? And do we then see an alternative war photography—something equally compelling even though its staging war and perhaps hiding deeper pains? I mean, it certainly feels too serene, doesn’t it? It’s not what one imagines. What feelings is that disconnect stirring within you? Editor: The disconnect is really strong... I initially felt comforted by it, but now I’m seeing how staged moments can distort a larger truth. It certainly gets you questioning your assumptions about the role of photography and storytelling. Curator: You got it! Consider then all of history; it’s always, in a way, the staging and arrangement. History never appears spontaneously. This seemingly straightforward image cracks open like an egg of meaning, wouldn't you say? Editor: Definitely. I walked in just noticing its calm, landscape aspects, but now I feel more deeply the quiet *tension* within Fenton’s choices. I guess there’s no true escaping of war’s painful realties, especially when staging moments for the history books! Curator: Precisely. Even "quiet" whispers stories when you listen closely!

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