SP: How did you decide on which photographers to include?
BP: The photographers we chose were adept at making portraits but also at fine finishing techniques and different editorial tropes. They’re also very good at making photographs outside of the studio. I wanted to show how those two sides of their practices were inextricable. I also wanted to illustrate that it was happening across the country, in every region and some cities. It gives people a chance to think about what differences existed in different spaces or communities and how the photographic output of these men and women reflected that.
SP: What is the gender breakdown of photographers in the show?
BP: I would have liked to include more women whose names were on the front of the studio. But the work in portrait studios – by Black and white photographers – was often very gendered. Studio portraits involved retouching the negative to mask imperfections and sometimes tinting the prints. Often that work was completed by women. They’re all part of this story, but they don’t necessarily have their names on the studio. One example of a woman-led studio that we have been able to include was Florestine Perrault Collins, here in New Orleans. She ran several successful studios under her name, initially in her home and then in a commercial space. When she opened her studio in 1920, she was the first Black woman photographer in the city and was the only one for quite some time.
SP: How did most of these photographers come to the discipline?
BP: It changed over time, like most things. Augustus Washington took it up when people would go to the optician, order a lens, build their own camera and learn how to make daguerreotypes or have somebody teach them. He learned so that he could support himself through Dartmouth College. James Presley Ball learned from another Black photographer from Boston who came to Virginia and taught him. Then Ball moved around, settled in Cincinnati, taught his brother and Alexander Thomas. Eventually Ball taught his own son and daughter to make photographs. Addison Scurlock learned from photographer Moses Rice then taught his sons, Robert and George. So it would often spread through families, networks and apprenticeships.
As Black photographers began to grow in number, several of them learned from each other. That’s an important story because film technology was not designed to properly render Black people’s skin tones, and that information was not in trade manuals. So Black photographers had to learn from each other and through practice to effectively photograph their customers. After World War Two, several studios started formal education programmes to train Black veterans who had come home to be photographers. It was also a very savvy business move because these veterans were coming home with money from the GI Bill and looking for places to spend it. So it was a way to buoy their studio businesses and create more photographers. Robert Scurlock started the Capital School of Photography in Washington, DC, in 1948, an integrated and co-educational school.
Finally, a number of photographers in the show either learned to be photographers or honed their craft in the armed services. Ernest Withers, for one. Austin Hansen started taking photographs as a young man in the Virgin Islands and then joined the Navy and learned more. Marvin Smith joined the Navy and taught other sailors how to photograph. So that was also a driver of photographic industries in Black communities after the World Wars.