How photography shaped America's national parks
How photography shaped America's national parks Glacier Park Hotel Co., Going to the Sun Chalets, St. Mary Lake, Glacier National Park, ca. 1935 (George Eastman Museum, Gift of 3M Foundation, ex-collection of Louis Walton Sipley)
How photography shaped America's national parks
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Have you ever gotten a postcard from a national park? Chances are the picture that comes to mind is the powerful eruption of Old Faithful spouting up in Yellowstone.
There's a reason for that. The idea of America's national parks that's rooted in our minds has been shaped through more than 150 years of photographing them. This is according to Jamie Allen. She has written a new book. It is called, "Picturing America's Parks."
You might be surprised by just how important a role photography played. The photos helped to build what America thinks of as national parks today. Allen is an associate curator at the George Eastman Museum. It is in Rochester, N.Y.  She critically explores the forces behind those now-iconic images.
National parks were created to preserve the country's natural heritage. They were also created to allow any person to experience their beauty. But few citizens were able to see them in person until the mid 20th century. Improved roads and more accessible travel allowed tourists to experience the images. Early stereographs and photography helped justify the original national parks. But they also shaped how they were viewed by the public.
By the 1930s, people began to make road trips to the parks. The visitors arrived in droves. Advances in photographic technology made the parks seem even more accessible. The National Park Service used color postcards to highlight park amenities. The cards were a way to encourage more tourism. Those funds also helped pay for conservation efforts.
These images of the parks continued to be recycled and reconstructed through new lenses. This was as people explored and examined the parks' legacy. Today, these same images show up as seen through a modern eye. We can question and personalize these iconic views once again.
Allen discusses the motives of conservation and consumerism at work in her book and exhibition on National Park photography. It is at the George Eastman Museum, on view until Oct. 2, on
How did you get the idea to create "Picturing America's Parks"?
We were kicking around ideas for exhibitions (at the George Eastman Museum). I brought up an idea of doing an exhibit on photography in the American West. (That's) because I'm from there. Lisa Hostetler, our curator in charge, said, "Hey, the national parks anniversary is coming up. Is there something we could do in tandem with that?" So I looked into it. And we went in that direction.
Where did you start with your research?
I realized it was really about this journey of exploring these spaces in the 19th century. Which then leads (to) them becoming tourist spots. And tourism really drives the understanding of what these spaces are. (Then) preservation comes into being. And photographers like Ansel Adams and Eliot Porter start to look at how we can promote these spaces through photography and make them known so that people want to preserve them. All of that, of course, is coupled with art photography all along the way.

Were there any photo trends that surprised you?
Places like Yosemite, Yellowstone and the Grand Canyon really were established through photography and art. I add art in there because Thomas Moran made a very famous painting of Yellowstone National Park. (That) helped solidify it becoming a national park. It was hung in Congress and people got to understand the color and space and what that area was. As we put images out into the public, we see them proliferate themselves. They get repeated over and over again. Those become the established views that we see. That really shapes the way that we understand these spaces.
There are far fewer images of (newer) spaces (like Pinnacles National Park). Ansel Adams made images, but they are not as well-known because that park is much newer. So I think as we establish these spaces and set them aside, that's when we see these images come into our collective consciousness.

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Why did postcards play such an important role in constructing our national parks?
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