New York Landmarks Conservancy
Common Bond Volume 15, No. 1
Spring-Summer 1999

Interview: A Picture is Worth a Thousand Words - Talking with Larry Racioppo

Photographing ecclesiastical structures is an art. This fall, the Landmarks Conservancy in conjunction with the Waldbaum's, Food Emporium, and A & P grocery chain, have published a Year 2000/5760 Jewish calendar featuring photographs of historic synagogues entitled: Temples: A Celebration of the Jewish Faith Through the Creativity of Architecture.

New York photographer Larry Racioppo was commissioned by the Conservancy to photograph the seven synagogues featured in the calendar. Mr. Racioppo has worked with the Conservancy before, most recently on the project "Forgotten Gateway: the Abandoned Buildings of Ellis Island," currently on exhibit at the Museum of the City of New York (for more information call 212-534-1672).

Though Larry has photographed churches Derech Emunoh extensively, the calendar is the first time he Synagogue, Queens has focused on synagogues. Common Bond caught up with him following the completion of the calender.


What do you find compelling about photographing shingle-sided synagogue synagogues and churches?

They are so monumentally beautiful. Architects needs of the steadily of religious structures really had a grand growing Jewish vision for these places. Many formerly upper community nearby. middle-class, now economically depressed, neighborhoods still have these beautiful structures remaining. There is very little of that quality being built today.

I always consider it a great opportunity when I am allowed to photograph the interior of a religious structure. It can be strange to call out to someone to turn on lights and just to work in a house of worship since I'm so used to going to churches and being quiet and well-behaved.

Because I am fascinated by these structures that are often closed to the public, I ask permission to photograph the inside of the buildings and in exchange give the congregation a few copies of the results.

This arrangement once led to my being locked alone inside an abandoned church for six hours. The priest agreed to let me photograph the building, but the maintenance man didn't want to wait around for me all day while I took my shots. I volunteered to be locked in the place until 5:00 p.m., when the maintenance man let me out again.

How does your approach to photographing was religious structures differ from that used for designed in the non-religious structures?

Because I mainly photograph buildings built on and is the oldest known a grand scale, I usually approach religious and synagogue on Long non-religious buildings the same way. Island. The elaborate wooden carving is above

The non-religious structures that I photograph the Torah ark. tend to be great buildings like old movie theaters, banks, and courthouses. They are meant to glorify something much the same way that religious structures are. You go in and something happens to you. They are built for beauty, detail, and majestic scale.

When I started as a photographer, most of my subjects were people. Then I worked for ten years as a carpenter. So, I can appreciate the work that went into these structures.

How do you see photographs helping to foster the value of an historic house of worship?

Photos are great tools. They are essential when designed in the Beaux applying for landmark status, or when looking Arts style with a for funding. Including good photographs of your diagonal corner buildings in the fundraising packet or grant entrance. The application can be a great help.

I have also worked with churches to make postcards and Christmas cards of the building that they can sell or give away.

Can you give advice to amateur photographers using a 35 mm camera on ways to capture the great beauty of religious structures?

I use 35 mm cameras as a sketchbook. With a 35 mm, I can take a lot of photos and figure out how the light will look when I come back with the larger view camera. But a 35 mm is more than adequate, and with a tripod you can take long exposure photos.

For long exposures, try bracketing -- which is just taking several photos at slightly different exposures above and below what you think is right -- to make sure you get the proper exposure.

And pay attention to the light and how you frame the image. Depending on which direction your building faces, you may only be able to photograph the facade early in the morning. A time that is good for exterior light may be bad for interior lighting.

If you spend some time observing how the light falls, the rewards in the final product will be well worth it. When you'rre having problems getting good light or if the structure is basically monochromatic, try using black and white film.

In terms of approaching the subject, I like to create establishing shots. I take photos of the big view and then zoom in on the details of the architecture: the whole building, the cornice, and then a cross or star within the cornice.

What is the best way to store photos to prevent damage?

Negatives and prints must be stored with could become a acid-free materials. So put negatives and beautiful public slides in archival plastic sleeves, and greenspace.

One good place to mail order acid-free materials is Light Impressions ((800) 828-6216, www.lightimpressionsdirect.com).

If you are concerned about maintaining an archival record, black and white photos usually last longer than color photos because of the dyes used in the color process. And two sets should be made, with one stored off-site. Take a set of color prints for presentations and a black and white set for your archival records.

Where might a congregation go to find old photos of its religious structure?

The more obvious places in New York City include the Public Library, the Municipal Archives, and the borough historian in the Borough President's Office. Another place to start is with the old-time congregants. They may have photographs from 20 or 30 years ago of an event at the church or synagogue and the picture could have a great shot of the building in the background.

Any other advice?

Make sure to put a date on the photographs you take and include any information that may be helpful to someone looking at the photo 100 years from now.

To contact Larry, e-mail him at bjclrr@aol.com.