NOELLE TRENT: I think there are several things at work.
I think part of it was Douglass' fascination with the medium of photography.
Today, photography is very mundane for us because we all have cell phones.
You want to take a picture, you just pull out your cell phone, snap it, you share it,
it goes everywhere.
Back then, photography is very new, and it's quite cumbersome to get a photograph taken.
You've got to imagine that there are these big boxes.
You have to hold a pose.
It's a lot of work to do, and it was a lot of work
for folks to get the photographs of soldiers on the field during the Civil War.
So this is not an easy thing to do, but there's a fascination
with the ability to get realism introduced to someone, that it's not
an artistic interpretation.
You see somebody as they are, and I think what's an important context
to consider is how African-Americans were imagined
during that time, the imagery that exists.
This is when minstrelsy is very popular.
So white actors in blackface, exaggerated lips and noses
are part of advertisement, from everything from soap to food products,
to cigarettes on posters, and so there are these stereotypes
that are part of American pop culture, for lack of better phrasing,
that are part of the visuals that help inform people's perspectives of what African-Americans
look like and, ultimately, who they are based off of those presentations.
What photography does is photography changes that notion.
It flips that notion on its head because you see them as they are.
All of Douglass' photographs--
he has dignity to him.
He's not afraid to look into the lens.
And remember that you have to hold a pose for a period of time.
This is not just an easy snapshot.
So for Douglass to be able to strike a pose and hold it there for the length of time
it would take for the image to be captured, and it has this humanity to it,
he understands that his photograph is directly contradicting the stereotypical notions that
are out there in American society.
It is showing his humanity.
It is showing a realism.
It is showing what a Black person looks like, and that's incredibly powerful.
I also think for the photographers who are capturing Douglass,
there's an interest in, number one, they're just experimenting.
And if you talk to any photographer, capturing African-Americans' skin color, skin tone,
even in black and white film, is a challenge.
So there's that interest in that.
But there's also this fascination with Douglass as a curiosity, for lack of a better phrasing.
And I think that that's the other interest in him as a photo subject.
It's not an interest, I think, a lot of people are willing to state explicitly,
but just as people were fascinated as to how do Black people live
and what do they eat, what do they do, there is this fascination
of what does he really look like, how do I capture this.
And so that's the challenge for the photographers.
So there are these competing notions that are happening as his image is being captured,
and it's going out there.
But it's also, not everything is a portrait.
Primarily, they're a portrait, but there is also a few shots of Douglass traveling.
There are some photographs of him with his second wife on their honeymoon in Italy,
in Egypt, and that's incredibly important to show
that there's an African-American man in the 19th century traveling.
And there's something that a photo does that words cannot do.
It's one thing if we find the letters that say, from Frederick Douglass, Cairo, Egypt, 1880
whatever.
Completely different when you see the photograph.
And I think the other thing that photographs do is, particularly for those of us
now in the 21st century, it makes it relatable.
He feels like somebody you know.
It's less of this man on a pedestal than, OK, that
could be the guy I see walking down the street.
There's a realism to it, and it's interesting for Douglass--
he was the most photographed man, even to his death.
So there were photographs taken of Douglass on his deathbed after he passed away.