Augustine Heard & Co. Steamer "Kinshan" 1865

Editor: Here we have Sylvester Dutton’s gelatin silver print, “Augustine Heard & Co. Steamer 'Kinshan',” dating to 1865. It has such a quiet, almost nostalgic feel, a stillness in the cityscape. How do you see this photograph functioning within its historical moment? Curator: The Kinshan embodies a pivotal moment in global trade history. The ship itself belonged to Augustine Heard & Co., an American trading firm deeply involved in the opium trade with China. Dutton's photograph, in its seeming objectivity, participated in the visual culture that legitimized and celebrated this trade, even as it had devastating social consequences. Do you think this portrayal is intentionally concealing such things? Editor: That's quite a contrast to my initial impression. The framing does feel celebratory in a way. I see how this is less a neutral record and more a…statement of power. How would an exhibition highlight that context effectively? Curator: Juxtaposing it with photographs documenting the Opium Wars, or even contemporary advertisements for opium, would immediately complicate the seemingly benign image. We can reveal the darker realities obscured by its calm aesthetic. By understanding the economic and political engines behind its creation and distribution, we start to see photography’s part in shaping public perception of such commercial activities. What do you make of that idea? Editor: So it's not enough to just appreciate the artistry; we have to dig into what that artistry was complicit in. That shifts the whole understanding of the photograph. Curator: Precisely! And that is often the function of the photographic image within larger economic and political structures. Looking critically beyond surface aesthetics challenges assumptions and promotes more critical engagement. I am delighted you see the implications here. Editor: I am starting to see this photograph less as a pretty picture and more as a loaded document! Thanks, this was eye-opening.