Photographs of Scottish scenery c. 1877

Curator: So, here we have a photographic album dating back to approximately 1877, attributed to James Valentine, simply titled 'Photographs of Scottish Scenery'. These are albumen prints, a very common photographic process of the time, and it is held here at the Rijksmuseum. Editor: My initial impression is of something very formal, almost austere. The title page with its plain font, the neat framing lines. But there's a quiet beauty here, even without seeing the landscape photographs. Curator: Yes, these photograph albums became extremely popular during the Victorian era. Valentine, a prominent photographer based in Dundee, Scotland, really capitalized on the vogue for tourism in the Highlands. People wanted a piece of the sublime, untamed Scotland to take home. He was actually "Photographer by Special Appointment to H.M. the Queen." Editor: The Queen's patronage is crucial! These images played a role in shaping perceptions of Scotland. Consider how notions of national identity were being curated and sold, reinforcing or even creating romantic narratives for both domestic and international consumption. Curator: Absolutely. Photography like this played a key part in constructing the visual identity of Scotland. Consider that by being "By Special Appointment to H.M. The Queen," Valentine gained an implicit endorsement and guaranteed sales of a popular national idea. He captured specific landscapes with certain visual qualities and made them appealing. Editor: It also highlights the complexities of access and representation. Who could afford to travel to and purchase these images? Whose stories and experiences were excluded from these curated vistas of Scottish identity? Were there counter-narratives challenging these dominant representations? The very concept of "scenery" is a cultural construct. Curator: I agree, but I think the democratizing aspect of photography is easily forgotten, compared to paintings that are harder to come by. Editor: To clarify: I don’t necessarily disagree. However, we should consider how photographic records were available in vastly different measures. While photographic albums certainly held a form of democratization when it came to landscape art consumption, their accessibility remained restricted by class and economic realities. Curator: It's crucial for our listeners to recognize that seemingly straightforward images are products of their time, reflections of prevailing ideologies. They invite exploration and challenge accepted notions of the past. Editor: Right. So, while the album might initially strike some as a collection of lovely landscape photographs, it's truly a potent lens through which to explore questions of identity, representation, and power in Victorian Britain.