On Monday, May 13, eleven folklorists congregated at the New York Folklore offices in Schenectady to learn the ins and outs of DSLR photography. The two-day workshop was led by Guha Shankar of The American Folklife Center of the Library of Congress, who explained to us the interrelations of aperture, exposure, and ISO, as well as techniques for managing light and flash photography. We also explored the nuances of ethnographic photography, and strategies of photographing tradition bearers in natural settings in a non-intrusive yet engaging way.
The workshop had a healthy mix of instruction, hands-on fieldwork, and review and critique of our efforts with the unfamiliar DSLR cameras. After the initial overview of photography from Guha, we carpooled to Armando & Sons Ironworks, and were treated to a fascinating tour of the shop.
Our goal was to practice photography in a natural ethnographic setting, and develop our own photography skills rather than adjust the environment to pose less challenges for us. I found that the two most challenging aspects of photographing at Armando & Sons were the multitude of light sources (each requiring a separate white balance in order to appear true white) and the fast pace of a metalworker in action. Each photographer experimented with their camera settings in order to compensate for the environmental factors.
Later during the workshop we visited and photographed the Electric City Barn in Schenectady, an impressive space designed to enable a variety of artists (carpenters, studio photographers, theater actors, dancers, textile artists) to practice their craft. Next was Perreca’s, a 105 year old authentic Italian bakery, with its wooden work surfaces covered in flour and texture from decades of nonstop use. Each of these locations provided their own challenges of lighting, space, and motion, to be overcome by the photographers’ wits and camera settings. Each provided an intriguing look behind-the-scenes into the history of the businesses and the stories of the people who run them.
After our photography sessions in the field, all returned to New York Folklore for critique, review, and photograph analysis. We examined how different camera settings were successful or unsuccessful in specific situations, and considered how to improve in future ethnographic photography situations. By the time the workshop wrapped up, we had absorbed lots of information and had taken a great leap ahead in the ongoing process of learning DSLR photography and its application to ethnographic fieldwork.
This photography workshop was sponsored by NYSCA Folk Arts through its Mentoring and Professional Development Program. We are indebted to Guha Shankar and the Library of Congress, and Robert Baron of the Folk Arts Program of the New York State Council on the Arts.