Sir Edward Henry Carson c. 1890 - 1910

Editor: This is a photograph, a gelatin-silver print from around 1890-1910, a portrait of Sir Edward Henry Carson by Russell & Sons. The monochrome really emphasizes his severe profile. What strikes you most about it? Curator: For me, it's about the labour involved, both visible and invisible. We see the obvious – the photographer's darkroom work and the printing process. But it is crucial to recognize how the subject's social position – as a figure of political power, allowed the photograph to exist and circulate in a very specific cultural context. The consumption of this image also becomes part of the story. How do you see this gelatin silver print fitting into mass-produced media culture? Editor: I hadn't thought about how the image's existence is related to Carson’s position. Do you think the relatively accessible photographic technology played a part in circulating political images? Curator: Absolutely. The shift to gelatin silver prints coincides with a burgeoning visual culture and expanding middle classes. Portrait studios like Russell & Sons offered relatively affordable access to image-making, further cementing the photographic portrait’s role in constructing and communicating social identity. The materiality of the print – its texture, its permanence – contributes to a sense of authority. And what about the paper it is printed on, and the card? They carry their own historical value. Editor: That is interesting to consider how each element of material matters, and brings context to it. Curator: Exactly. The portrait exists not just as a representation of an individual, but as a product of intertwined economic, technological, and social forces, wouldn't you agree? Editor: Definitely, seeing the image through that lens is eye-opening! Thanks!