Kleermakers met naaimachines in Bandung 1900 - 1935

Editor: This is “Kleermakers met naaimachines in Bandung,” a gelatin silver print taken sometime between 1900 and 1935 by Neville Keasberry. It feels like a very observational, almost candid street photograph, depicting daily life. What formal qualities stand out to you? Curator: I find the photograph striking due to its structured composition. Observe how the photographer frames the tailors within their workspace, delineating distinct planes through tonal variations, ranging from dark foreground figures to the progressively lighter backgrounds. This ordered recession provides a tangible structure. Note the rectilinear geometry governing the canopy supports juxtaposed against the more organic curvature of the figures, how would you see these relationships? Editor: I hadn’t thought about the geometric forms versus the curves of the people. It creates a subtle, but definite tension. What does the use of grayscale bring to the overall impact? Curator: Precisely. The reduction of colour allows us to concentrate solely on light, form, and texture. For instance, notice the intricate detail rendered in the wooden structures of the stalls— the sharp contrasts and gradation. Furthermore, the photograph itself acts as an interesting structure; two stereoscopic images placed within a larger rectangular border. Editor: It's interesting how the lack of colour enhances other elements. It is also curious that the final image has another, larger rectangular border. Now, observing the piece at closer inspection I realize more every time the details on their faces and tools. This makes a great picture. Curator: Indeed, by attending closely to the formal components, we unearth layered significations often unseen during initial observation. The interweaving of form and technique facilitates enhanced interpretation.