Artist Nolan Streitberger has meticulously retraced Oregon’s tragic 1856 ‘Trail of Tears,’ using the authentic wet plate collodion photography of that era to create haunting images that connect modern landscapes with the profound suffering of indigenous people forced from their homes.
In a powerful intersection of history and art, photographer and digital artist Nolan Streitberger has embarked on a deeply resonant project, meticulously documenting Oregon’s tragic 1856 “Trail of Tears.” His work is not merely a recounting of history but an immersive experience, utilizing the very photographic process of that era to cast a haunting light on a seldom-told narrative.
Streitberger’s project centers on the forced removal of several hundred indigenous men, women, and children from their ancestral lands in Southern Oregon. On February 22, 1856, under orders from General Joel Palmer, U.S. Indian Agent George H. Ambrose began a 263-mile, thirty-two-day march to a reservation in the Mid-Willamette Valley. This journey was tragically marked by deceit, suffering, and death.
Retracing a Path of Sorrow
The groundwork for this ambitious undertaking involved years of preparation and extensive research. Streitberger delved into thousands of historical letters, scrutinized old survey maps from the 1850s, and even employed modern satellite imagery to accurately retrace the entire historical route. This dedication allowed him to locate forgotten roads and follow paths still in use today, bridging centuries with a singular focus.
His commitment to historical authenticity extends to his photographic methods. Streitberger uses an antique wooden view camera and the wet plate collodion photo process, popular in the 1850s. This challenging technique requires a mobile darkroom to prepare, expose, and develop each photograph on location, ensuring every image is infused with the spirit of the period it depicts.
The resulting landscape photographs are paired with daily journal entries written by George H. Ambrose during the expedition. These “imperfect photos,” with their serendipitous technical flaws, create ghostly images that powerfully echo the grim history of the past. They serve to capture the forgotten and seldom-told story of Oregon’s “Trail of Tears” with a unique visual language, offering a profound connection to the harrowing experiences endured by the indigenous communities involved, as detailed by the Oregon Encyclopedia.
A Glimpse into the Fateful Journey
The journey began at Fort Lane, a U.S. Army post used during the Rogue River Wars to confine Native people. On February 22, 1856, the expedition departed with:
- 395 Native Americans (34 disabled by sickness)
- 6 Wagons and 2 Carts
- 24 Toke of Cattle
- 80 Horses belonging to the Natives
- Roughly 100 troops
Ambrose quickly noted the insufficiency of manpower and teams for the task ahead.
The daily journal entries reveal a continuous struggle against harsh conditions and an increasingly hostile environment. On February 28th, near Jumpoff Joe Creek, a chilling entry records the murder of an Indian who had wandered from camp, highlighting the constant threat faced by the Native Americans. Ambrose wrote, “This morning, while about preparing to leave camp some person killed an Indian… which caused some considerable excitement among the Indians, as it went to prove the statement previously made by some evil-disposed persons, to wit: that they would be killed by the way.”
The journey was riddled with physical and emotional tolls. On March 1st, near Smith Hill, Ambrose detailed “horrible” roads and the continued threat from individuals like Timoleon Love, who had killed the Indian on February 28th and was later arrested. Days were often consumed by dealing with lost cattle, repairing broken wagons, and enduring muddy, rocky terrain. The health of the Native Americans was a constant concern, with numerous sick and infirm needing conveyance.
Deaths were a grim reality of the march. Ambrose noted an “Indian to die, the first by diseases on the road” on February 29th, and an “Indian girl died this evening” on March 5th. On March 7th, another “Indian woman died.” Despite the hardships, including 8 deaths, the group also experienced 8 births, ending the journey with the same initial number of 395 Native Americans. The destination, the Grand Ronde Reservation, was finally reached on March 25, 1856, after a grueling thirty-three days.
The Art of Wet Plate Collodion: A Window to the Past
Streitberger’s choice of the wet plate collodion process is crucial to the project’s impact. This 1850s technique, which produces unique, often haunting images, involves coating a glass or metal plate with collodion (a viscous solution of nitrocellulose in ether and alcohol) that contains light-sensitive salts. The plate must be exposed and developed while still wet, demanding significant skill and a mobile darkroom on location, as explained by The Metropolitan Museum of Art.
His equipment includes a 5×7 inch view camera from the early 1900s and brass lenses dating from the mid to late 1800s, further cementing the period-correct aesthetic. The inherent imperfections of the process—streaks, bubbles, and varying tones—lend themselves perfectly to the historical gravity of the subject matter, creating visuals that feel unearthed from the past rather than merely depicting it.
Nolan is no stranger to challenging photographic mediums. An artist living in Albany, Oregon, he learned photography at Oregon State University’s Jumpstart program. He works with digital, film, and various alternative processes, including darkroom paper and ortho litho film, showcasing a versatile and experimental approach to his craft.
Nolan Streitberger: An Artist’s Dedication to Truth
Streitberger’s broader portfolio reflects his commitment to authentic, unfiltered storytelling. He is a 2023 Critical Mass finalist and has received recognition from the Smithsonian Photography Awards and the Palm Springs Photo Festival. His work has been featured in prestigious publications such as Der Spiegel and Edge of Humanity magazine, and exhibited internationally.
He’s known for projects like “My daughter breaks all the girl stereotypes,” where he captures his daughter’s genuine expressions, eschewing “canned smiles” in favor of true emotion. He explicitly states, “I don’t always like the over exaggerated smile. Not in art. if it is a real genuine smile it may work.” This philosophy underpins his approach to the “Trail of Tears” project, prioritizing raw, historical truth over idealized portrayals.
When faced with critiques about modern elements appearing in his historical photos, Streitberger defended his artistic choice: “I’m sorry if you don’t like the modern locations, but these are shot at the actual locations, I cannot pick up and remove parking lots or McDonalds signs. They are there now, standing in the same places that these people stepped and slept.” This statement underscores his dedication to presenting the present-day reality of these historical sites, reinforcing the tangible connection between past and present.
Streitberger’s work on Oregon’s “Trail of Tears” is more than a photography project; it is an act of historical preservation and a powerful reminder of events that shaped the region. By meticulously recreating the visual aesthetics of the 1850s, he invites viewers to confront a difficult past, ensuring that the suffering and resilience of the indigenous people are neither forgotten nor silenced.
