San Luis Obispo 1876

Editor: So, this is Carleton Watkins' "San Luis Obispo," a gelatin silver print from 1876. It gives a striking view of the town nestled in the valley. I’m curious about the choice of photography here. What does that material mean for how we view this landscape? Curator: Excellent question! I think looking at the materiality of this piece is essential. Watkins using photography at this time wasn’t just about capturing a picturesque scene. Photography as a medium, and gelatin silver prints specifically, were rapidly changing the way people understood and consumed landscapes, even transforming the nature of travel and settlement. Editor: Could you elaborate on that a bit? How did photography affect those things? Curator: Absolutely. The mass production and distribution of photographs like these created a kind of visual inventory of the West, promoting its resources and attracting settlers. Watkins, operating as a commercial photographer, directly participated in shaping the narrative of the American West as a land of opportunity. What kinds of labor do you think would be relevant to the production of this image, as well as its circulation? Editor: Well, there’s Watkins, obviously, behind the camera and also whoever is processing the gelatin silver print. Then, maybe, think about the railway workers making it easier to get equipment and prints around. And also, those building San Luis Obispo, since his business depended on representing development to prospective populations. Curator: Precisely. You are drawing attention to the system. By focusing on the photographic process and related social contexts, we recognize it as more than just a pretty picture, revealing its deep engagement with American industry. Editor: I see that now. I didn't initially appreciate how this photo acts as a kind of advertisement. Thank you for helping me think through the labor and broader context that shaped it. Curator: It's been a pleasure. Keep challenging those assumptions!