Thousands of glass-negative images preserve earliest scenes of U.S. petroleum industry.
Soon after the first American oil well of 1859 launched the U.S. petroleum industry in northwestern Pennsylvania, a young immigrant from England made his living as a photographer among the wooden derricks and engine houses. John A. Mather would become known as the “Oil Creek Artist.”
Mather set up his first studio in Titusville, Pennsylvania, in October 1860. It was an ideal location for documenting the people and evolving drilling technologies of the new petroleum industry. He would become the oil and natural gas industry’s premier photographer, amassing a more than 20,000 glass plate negatives.
What famed photographers Matthew Brady and James Gardner documented on Civil War battlefields, Mather accomplished in Pennsylvania’s oil region. Like Brady, Mather (1829-1915) abandoned one-of-kind daguerreotypes and ambrotypes in favor of wet plate negatives using collodion – a flammable, syrupy mixture also called “nitrocellulose.” With one plate, many paper copies of an image could be printed and sold.
Preparing, exposing, and developing such glass negatives was difficult and best suited for portraits of motionless subjects in a studio. Mather photographed the newly famous as well as ordinary townspeople and babies.
But unlike others, Mather transported his studio camera and chemicals into the industrial chaos of early Pennsylvania oilfields, where he became known as the “Oil Creek Artist.”
Like most of western Pennsylvanians, Mather also was susceptible to “oil fever,” and he hoped to drill a few successful wells.
Having narrowly missed the opportunity for a one-sixteenth share of the Sherman Well, which would be “best single strike of the year,” Mather and three associates invested in several wells near Pithole Creek. He proved to be better at using a camera,
Mather’s investment in exploratory wells at Pithole Creek did not lead to commercial quantities of oil. He tried again on the Holmden Farm off West Pithole Creek. His unsuccessful effort was among the last wells to be drilled at the infamous oil boom town of Pithole.
Years later, Mather acknowledged that excitement of the Pithole drilling boom was so great that he temporarily “forsook photography for the oil business.”
Mather’s rolling darkroom and floating studio traveled up and down Oil Creek as he produced more than 16,000 glass negatives, later described by the trade magazine Petroleum Age as, “so perfect in finish it stands the test of time.”
Many tried, but few people in the increasingly crowded oil region would rival the wealth of the celebrated “Coal Oil Johnny.”
Floods and Fires: Disaster at Oil Creek
On Sunday morning June 5, 1892, and after weeks of rain, Oil Creek’s overflowing Spartansburg Dam failed at about 2:30 a.m. A wall of water and debris swelled towards Titusville and its oil works, seven miles downstream.
“On rushed the mad waters, tearing away bridge after bridge, carrying away horses, homes and people,” one newspaper reported about the flood’s devastation. Then fire erupted from ruptured benzine and oil storage tanks.
Newspapers all over America carried stories of the disaster. In Montana, the Helena Independent headlines included: “Waters of an Overflowing Creek Become a Rushing Mass of Flames” mourning victims, reported the “Spared by the Deluge Only to Become the Prey of the Fire.”
The Brooklyn Daily Eagle added: “The Waters Subside and The Flames Die Away, Revealing the Full Extent of the Calamity.” Oil City and Titusville were “Nearly Wiped From Off the Earth.” Mather’s studio flooded to a depth of five feet, destroying expensive equipment and most of his life’s work of prints from glass plate negatives.
As the fires and flood continued, Mather set up his camera and photographed the disaster in progress with his bulky equipment, which already was being rendered obsolete by new imaging technologies.
Just a few years before the Titusville flood, George Eastman of Rochester, New York, introduced celluloid roll film and created an entirely new market: amateur snapshot photography. Expertise in preparing fragile glass plates and dangerous chemicals were no longer required. Instead, Kodak offered, “You Press the Button, We Do the Rest.”
As oil booms moved to discoveries in other states, including the massive 1901 “Lucas Gusher” in Texas, Mather worked little in his later years. His financial circumstances diminished with age and illness. The artist of Oil Creek died poor and without fanfare on August 23, 1915, in Titusville. His death certificate reported the cause as cerebral hemorrhage, “complicated by suppression of urine.”
To preserve John A. Mather’s petroleum industry legacy, the Drake Well Memorial Association would purchase 3,274 surviving glass negatives for about 30 cents each. Today, the Drake Well Museum and surrounding park allow visitors to see rare artifacts and a visual record of the early U.S. oil and natural industry. Visit it and other Pennsylvania petroleum museums.
More John A. Mather Resources
“Virtually unknown, certainly unheralded, and completely unappreciated — in these few words is a description of John Aked Mather, pioneer photographer, whose skill, devotion, and energy endowed the petroleum industry with one of the finest pictorial records of growth and development of any early all-American industry,” proclaimed Ernest C. Miller and T.K.Stratton in their January 1972 article, “Oildon’s Photographic Historian,” in The Western Pennsylvania Historical Magazine (Volume 55, Number 1).
“Born in 1829 in Heapford Bury, England, the son of an English paper-mill superintendent, Mather followed his two brothers to America in 1856. His brother Robert was looking to open a paper mill in Tennessee, but John was not ready to settle down, too transfixed by the beauty of the Pennsylvania and Eastern Ohio regions,” explain Stephanie David and Brennen French in “John A. Mather’s Photographic Studio” for NWPaHeritage, documenting the history of Northwestern Pennsylvania.
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Citation Information – Article Title: “Oilfield Photographer John Mather.” Author: Aoghs.org Editors. Website Name: American Oil & Gas Historical Society. URL: https://aoghs.org/petroleum-art/oilfield-photographer-john-mather. Last Updated: June 1, 2020. Original Published Date: March 11, 2005.