The Lehigh, At Turkey Run c. 1895

Editor: We're looking at "The Lehigh, At Turkey Run" by William H. Rau, an albumen print from around 1895. The sepia tones give it a real nostalgic feel, but what strikes me is how the railroad tracks seem to clash with the otherwise idyllic river landscape. What's your take? Curator: It's a fascinating juxtaposition, isn't it? Think about the context. This is the late 19th century, a time of rapid industrial expansion and westward movement in the US. Photography, itself a product of technological advancement, became a powerful tool for shaping public perception of progress. Landscape photography, previously dominated by painting traditions rooted in the Hudson River School’s romanticism of nature, was being used to promote these industrial ventures by illustrating both the taming and exploiting of landscapes, but simultaneously capturing the sense of untainted nature in a way that masks over ecological change. Editor: So, the photograph isn’t just capturing a scene; it’s also making a statement? Curator: Exactly! The placement of the railroad tracks, almost parallel to the river, isn’t accidental. It subtly suggests the co-existence, perhaps even the dominance, of industrial development over nature. The 'objective' view of photography here can become a way to justify human impact, presenting it as progress. How does this lens affect how we receive photography? Editor: It makes me question the apparent neutrality of photography. This image appears simple at first glance, but it reflects much broader cultural narratives. Curator: Precisely. Seeing landscape through a cultural and historical lens gives context, nuance, and meaning. Editor: I now have a much clearer understanding. Thanks for your time!