Redding the Line c. 1890

Editor: Here we have David Octavius Hill's "Redding the Line," a gelatin-silver print from around 1890, at the Minneapolis Institute of Art. I’m struck by the intimate, almost melancholy mood of this portrait. What kind of story do you think Hill is trying to tell? Curator: Hill’s work, especially his portraits of working people, sits within a complex socio-political landscape. Consider the rise of photography in the mid-19th century: it offered a seemingly objective way to document society. But was it truly objective? How does Hill, through his framing and lighting, shape our perception of this fisherman? Is he celebrating the dignity of labor, or subtly reinforcing class divisions by presenting this figure in a particular way? Editor: I see what you mean. His gaze is averted, and he’s involved in this meticulous task…it almost feels like he's meant to embody humility. Was that a common theme in portraying laborers at the time? Curator: It's more nuanced than simple 'humility'. Photography, particularly in its early days, was often used to create a visual inventory of social types. These images circulated widely and contributed to the construction of public understanding and attitudes towards different social groups. What do you think about the staging here - do you think that contributes to any sense of "authenticity," or perhaps romanticizes his labor? Editor: I can see how posing him would create an interpretation rather than document true work. Thinking about Hill using this kind of photo for other works - I guess it really underlines the public role and the politics that are rooted in portraiture. Curator: Exactly! Recognizing those social undercurrents truly changes how we understand it. Editor: Absolutely! It’s fascinating to consider photography not just as art, but as an active participant in shaping social narratives. Thanks for your insight!