Douglas Gregg, DVMD
New York Landmarks Conservancy
Common Bond Fall, 1990 vol. 6 no. 4

Documentation Projects, Part 1 Photography

Photographs and measured drawings are among the most important materials to include in a property archive because they provide detailed and incontrovertible evidence of a building's appearance at a given point in its history.

For example, at the Church of the Holy Apostles in New York City, which suffered a devastating fire this past April, an extensive collection of interior photographs, combined with a full set of measured drawings made ten years ago, is helping the congregation immensely with the restoration of its church. In "Preserving Institutional Memory:

The Contents of a Property Archive," which was featured in the spring 1989 issue of Common Bond, the materials that should be included in a property archive were discussed. The following will discuss in-house photographic documentation in more detail. Part 11 of this article, to be included in a future issue of Common Bond, will discuss the production of measured drawings.

Photographic Techniques

Large-format and 35mm photography is the two most common formats for documenting historic structures, but their costs differ drastically. Large-format cameras resemble old-fashioned" box cameras of the 19th century, with bellows, individual, 4" x 5" film plates and manually operated aperture openings and shutters. Consequently, this method of photography requires considerable set-up time, and film supplies and development fees are expensive.

When feasible large-format photography is preferable to 35mm because the quality of detail is superior. If a 35mm format is used, make every effort to ensure that the photography is of the highest quality. The use of the proper equipment, such as filters, tripods, flashes, perspective correcting lenses, etc. enhances the quality of the photography. Shutter speeds should be slowed down as much as possible to increase the depth of field.

In documentation projects, it is more important to show as much information as possible in each view rather than to take "artistic" shots which soften the contrast, blur the background or utilize strong shadows. Photographs produced by instamatic or Polaroid snapshot cameras are not suitable for archival purposes.

Black and white film is preferable to color film for most 35mm documentation since it is more archivally stable than color film. Kodak's T-Max 100 has the best contrast and clarity. However, T-Max 400 will compensate for lighting problems and is more versatile for interior photography. These films can be used indoors or out. Check with your local camera shop for other equivalent black and white film products.

Besides black and white prints, many congregations will wish to have a selection of color slides for publicity purposes and for capturing the effect of a building's colorful ornamentation and stained glass.

For slides, daylight Ektachrome or Kodachrome film can be used for exterior views. Ektachrome will tend to enhance the blues of color spectrum while Kodachrome will enhance the warmer colors. Therefore, 200 ASA Ektachrome is a good choice on a sunny summer day while Kodachrome works better for gray, wintry and snowy days. One advantage of Ektachrome is that its processing is more readily available at local stores so it can be developed faster in many locations (one hour in New York City). For interior shots, "tungsten" film is generally recommended to adjust to the tungsten lights on the interior.

Exterior views should be taken as far away from the building as possible to reduce perspective distortion. A building or site covered with dense vegetation is better photographed in the winter, despite adverse physical conditions. (However, extreme cold can reduce the power of camera batteries, and light meters). When practical and feasible, use common objects to help in judging scale. Telescopic surveying rods are good for overall views and a measuring tape is good for details. Occasionally silhouette exposures reveal useful information.

The interiors of many religious buildings are difficult to photograph because of their size and the lack of light. Always use a tripod inside to allow for a greater depth of field. Avoid using a flash as it often creates unwanted glare and generally just isn't needed. It is important to have as much light in the interior as possible, but lighting varies greatly from building to building, so experimentation and bracketing (slight aperture and shutter speed changes) is often warranted. For example, when photographing from the rear loft, turn down the main lights and increase the lighting at the other end of the building for the best effect.

Stained glass windows are difficult to photograph because they rely both on transmitted and reflected light for effect. Stained glass should be photographed with color slide film, in addition to black and white print film, so that there is a record of the window colors. Kodachrome 64 works well for shots to be taken using both transmitted daylight and reflected light from a flash.

The best Ektachrome film for stained glass is probably EPP 100. Another option is to use Fujichrome RDP 100. Tungsten film should be used if the stained glass is back-lit with artificial light, such as is often the case with stained glass skylights when the source of natural light has been sealed off.

Occasionally, in very dark conditions, such as an attic or cellar, a common flash can be used as a "strobe" to increase the light for a time-delayed exposure. A shutter cable release is often helpful, and the flash must have a test switch. Using the dim light available or a flashlight set up the tripod and camera for the desired view.

If there is not enough light to focus the camera, rely on the designated feet inscribed on the lens. Using the cable release, lock the shutter open and move to the farthest wall. With the flash in hand, strobes the darkest comers moving back towards the camera, try to stay out of the field of view and always flash away from the camera. Flash the whole area from behind the camera at least once. This technique of

Photographing a dark space is never guaranteed to produce good results, and "ghosts" are often created as the film exposes transparent images of anything moving (you and the strobe). It is beneficial to have a slow film in this situation (such as Kodachrome 64); a good exposure can require anywhere from 3-10 flashes.

Although videotape, as a medium, is not yet archivally stable, its technology is improving rapidly. Many religious properties may find it worthwhile to make a video recording of the building. Develop a "visual script" for the videotape ahead of time so there is some rhyme and reason to the footage. Sound can always be dubbed in at a later time. In the event of a disaster, videotape could do wonders for soliciting contributions to restore the building.

Views

By establishing a Professional format and guidelines, the quality of a photographic documentation project can be greatly increased. For example, because the front elevation of

A building is typically the most photogenic. Many religious institutions have had numerous shots of the front facade taken over the years. However, the rear facade of the building, which may have been extensively altered over time and actually tells more about the building's history, often lacks any visual record of its past appearance. Every effort should be made to avoid this ongoing neglect of secondary facades.

The project should include views that depict the building in relationship to its neighborhood and grounds. Views of all the exterior facades (as adjacent buildings and obstacles permit); exterior details, such as the main entrance, a typical window and intricately carved elements; interior views which include the front, back, side walls, etc. and a view from the choir loft or galleries.

When applicable; interior detail shots showing wall, floor and ceiling finishes, carved details, murals and statues; views of each stained glass window from the interior in both transmitted light (no flash) and reflected light (flash); and structural details (when possible) such as the framing for the roof and steeple, etc. (See sidebar for a more detailed list of photographic images that should be recorded in a photo-documentation project.)

Photographers

Before undertaking a photographic documentation project, try to determine whether the congregation has the tools and talents to carry it out in-house. Professional photographers can always be hired, of course, but when the mechanical systems are in poor condition and the roof leaks, the cost of a professional photographer may seem to be a luxury most congregations cannot afford.

A few creative efforts in soliciting talented photographers may produce high quality results with a smaller outlay of money. Some congregations may be lucky enough to have a professional photographer among their membership who will either donate his or her services or charge the congregation a below-market rate. Even small congregations often have a talented individual who possesses both good amateur photography skills and 35mm equipment. If a photographer is not available within the congregation, try soliciting help from a local camera club.

Another option is to organize a local competition. The prize money could be subsidized through a small application fee, a special gift or from the institution's general fund. Have the congregation provide film and cover development costs, and have all competitors sign liability waivers in order to gain access to towers and roofs or to use ladders and scaffolding. Encourage the use of all 35 mm equipment including filters, tripods, flashes, perspective correcting lenses etc.

Judge the entries on clarity, depth of field, perspective and contrast. Require that all material be submitted in clear print-holder sheets in a three ring binder, that all negatives are stored in archival stable holders and that all images be properly identified. A photograph record sheet that provides ample space to identify the image in each frame should accompany each set of negatives. Print presentation-size photos (11"x 17") for the winner.

The best set of photos could be exhibited on site and promoted in local papers to the benefit of both the photographer and the institution. The large collection of photos produced from this event could become the property of the institution as part of the competition. If desirable and feasible, a separate competition could be held for large-format photography provided there are enough interested professional photographers in the area.

Summary

The importance of thoroughly documenting an older religious structure with photographs cannot be underestimated. Photo -documentation serves to preserve a building's institutional memory and produces an invaluable record for insurance purposes and reconstruction if the building is badly damaged in a disaster, such as a fire or earthquake.

All photo-documentation projects should, at the minimum, include the following images:

1. Four shots that depict the church, synagogue or meeting house in relationship to its surrounding neighborhood;

2. A minimum of eight exteriors shots including straight-on views of each facade.

3. A minimum of 12 exterior details, including the main entrance, a typical window, carved elements, the spire and the wall materials.

4. A minimum of six interior views that includes the front, back, sidewall, transepts and the entry vestibule.

5. An overall interior view taken from the rear gallery.

6. A minimum of eight interior detail views showing wall, floor and ceiling finishes carved elements, murals and statues.

7. Views of each stained glass window from the interior using both transmitted light (no flash) and reflected light (flash).

8.Structural details, including the roof framing and the tower interior.

9. A detail that best represents the building's character and use.

10. One view that best represents the building's construction, materials or architectural style.