The next to the last chapter in Pastoral and Monumental: Dams, Postcards, and the American Landscape delves into the decline of the postcard in American life. Donald Jackson concluded that it was a form of communication that competed with new technologies:
Postcard culture did not end in cataclysmic collapse. It slowly shrank as a distinctive feature of modern life, ceding ground to mass media as well as to amateur photography, slide projectors, and super 8 home movie footage. With the ascent of personal video cameras and recorders in the late 1970s, the creation and consumption of images became ever more integrated into American’s social fabric. Digital technology of the twenty-first century with every cell phone and PDA serving as a camera has only further entrenched images into the social media that connects people through a flourishing Internet. A century ago, there was no Internet. Instead, a burgeoning mail system provided a mechanism for the sharing of visual imagery on a scale that someone at the beginning of the nineteenth century—before the invention of photography—would have found astonishing, if not beyond belief. Picture postcards of the early twentieth century represented an amazing cultural construct, one involving a tremendous range of participants and devotees.
(click on image to enlarge)
Dr. Jackson observed that in addition to commercially produced imagery of dams, the public created their own pictures when inexpensive cameras became available:
Dams are well represented in this snapshot culture. As captured in a multitude of personal photographs, people visited, posed in front of, and relaxed at dams and reservoirs throughout the United States. From the 1920s on, the settings for such snapshots came to be dominated by monumental structures.
Mixed in with amateur-produced postcards in the book are a few snapshots.
Amateurs often copy the look of professional artists, at least to the limits of their ability and equipment. In the case of snapshots that practice has been reversed. A number of art photographers shoot snapshot style, incorporating the off-handed mannerisms of amateurs. These professionals are often collectors of images by the public. From the baskets full of anonymous family snapshots found in flea markets, they’ve pulled expressive, amusing, and the unintentionally arty image for inspiration. Like Walker Evans, some contemporary pros acquire all genres of vintage photographs.
Visitation of dams is very popular and hundreds or thousands of family snapshots memorializing these outings. Many do not identify the dam in the picture.(click on image to enlarge)
Boots and Danny did ink the back of their snaps, identifying Hanson’s big sculpture as a “winged statue—Boulder Dam, 10-9-54.” (click on image to enlarge)
Photography arrived without a stylistic tradition. Its esthetics evolved with more vernacular input than painting, which evolved over centuries of academic study. Camera imagery was often not considered art or suitable for museum display. Its documentary value was recognized from its earliest days.