Edinburgh. Greyfriars' Churchyard 1843 - 1847

Editor: This evocative gelatin silver print is "Edinburgh. Greyfriars' Churchyard" by Hill and Adamson, created sometime between 1843 and 1847. It feels so still, almost dreamlike. I'm struck by the figures nestled amongst these ornate, weathered monuments. What captures your attention when you look at it? Curator: It whispers to me of time, wouldn't you agree? It’s not just the subject matter, the gravestones heavy with history, but the very *process* by which it was created. This image emerges from the infancy of photography – the calotype – a somewhat unpredictable process imbuing it with a painterly softness, don't you think? A little like catching fleeting moments that evaporate before your eyes. The architecture almost seems to sigh. Tell me, do the people feel posed or accidental in such a setting? Editor: I can see that painterly effect you’re talking about! The figures almost blend into the background, giving me the impression of captured movement in an otherwise fixed landscape. Do you think Hill and Adamson were conscious of this "fleeting moment" quality of photography back then? Curator: Absolutely! They weren't simply documenting; they were, dare I say, *soul-searching* through light and shadow. Edinburgh, even then, was steeped in lore, with these magnificent, gothic monuments being built over generations, often telling of tragedy and resilience of local personalities. By embedding the city itself into these pictures alongside carefully captured people, a dialog forms and gives us much to consider today, as the narrative hasn't disappeared from such places at all. A haunting effect, if I'm being honest. Don’t you agree? Editor: That's a beautiful way to put it - "soul-searching through light and shadow." It gives so much context to this piece! It is really an example of what photography, as art, can capture. Thank you. Curator: My pleasure! May it inspire a life of shadow play!