In the Library of Congress there is a colour print of the Rhône Glacier from around 1900. The Hôtel Belvédère sits on its hairpin bend on the Furka road, and the glacier fills the valley just below it, a broad tongue of ice close enough that guests could walk out to it after breakfast. The people who bought that print as a souvenir were not documenting anything; they likely just wanted a pretty picture of a holiday in the Alps. Now that picture serves as a measurement.
Stand at that same bend today and the ice is gone from the frame. The Rhône has pulled back roughly 1,300 metres up its valley over the last century, and lost around 60 percent of its volume since 1850 (Swiss glacier monitoring). The hotel closed years ago. The tongue (frontmost tip of a glacier) that once filled the postcard now sits far up the slope, and in summer the Swiss partly wrapped the glacier white blankets to slow the melt.
Almost none of the great historic glacier photographs were taken as science. They were postcards, tourist snapshots at the ice grotto, mountaineering trophies, the occasional survey plate. A century later they have become the most honest long-term visual record of the ice we have, and repeat photography is the tool that turns them back into data.
The Alps hold one of the longest photographic glacier records anywhere. The Rhône was easy to reach and drew tourists from the 1870s. The Mer de Glace above Chamonix and the glaciers of Mont Blanc were sketched, painted, and then photographed from the middle of the 18th century onward. Those scattered images have since been pulled together into real archives. The Glacier Photograph Collection alone holds something like 25,000 images, some dating to the mid-1800s (NSIDC). This is not a fringe method, either. The US Geological Survey has been re-photographing Glacier National Park since 1997, matching modern frames to originals shot between 1887 and 1943, and the resulting pairs became some of the most widely shared climate images in the country (USGS).
The history and the exercise we are undergoing on this sabbatical reveal an additional manmade twist on capturing and sharing these glaciers - copyright law. The photographs we can freely use are the old ones. In the United States that now means roughly anything published before 1931, and across the Alps copyright usually runs until seventy years after the photographer dies. That leaves a gap right where it hurts, across much of the twentieth century, including the decades when the melt truly began to accelerate. To use those images, an independent researcher, a teacher, or a curious student often has to track down the rights holder, ask permission, sometimes pay, and sometimes just be told no (if you can get a hold of the owner at all). It is a strange barrier to build around a shared record of a shared loss, and a big reason we wanted our archive to live in the public domain from the start.
A historic image is only useful if you can pin down three things: when it was taken, exactly what it shows, and where the camera sat (Euro-Climhist, University of Bern). That last one is the real hunt. Vantage points do not stay put. A spot that was open pasture in 1900 is now forest. A hotel terrace becomes a car park. And sometimes the original photographer was standing on the glacier itself, which means you need a drone to suspend the camera in the air. A classic photo of Robert F. Kennedy taken on the Rhone glacier in 1938 with the massif towering in the background is just such a photo, unrepeatable without a drone to suspend the camera 30+ feet in the air. I'd love to share it here, but as mentioned using this photo requires express permission to reproduce online... so I'll just share the link while I wait to hear back from the JFK Library on permission to reshare it here. (https://jfk.blogs.archives.gov/2017/09/08/the-rhone-glacier-evidential-value-of-a-kennedy-family-photograph/)
A couple of the images on our shortlist show why the numbers land harder as pictures. The Rhône is the obvious one. That Belvédère viewpoint gives a clean before and after, more than a century apart, from almost the same patch of road.
The Mer de Glace gives you something even more literal. Every year a crew carves an ice cave into the glacier for visitors, and every year the staircase down to it has to grow longer, because the ice keeps dropping away beneath it. It reached 580 steps by the early 2020s. Here is what those steps are measuring: beneath the Montenvers station the ice was about 250 metres thick around 1915, and at cave level in 2023 it was roughly 30 (Luc Moreau, Train du Montenvers). Each new flight is an accidental ruler, bolted on one summer at a time. The glacier has also given up close to two kilometres of its length since 1850.
So over the next few weeks, that is the work. Pull the best historic frames we can find for "then," work out where the camera stood, then go stand there and shoot "now." Some of those old vantage points will have vanished, and we will have to get as close as the changed ground allows. That gap, between where they stood and where we can, is part of the record too.
PS. It has been really fun practicing German, French, and Italian (and even using a little bit of Spanish) while traveling around Switzerland on this project.
