{"id":3563,"date":"2016-06-10T14:01:28","date_gmt":"2016-06-10T20:01:28","guid":{"rendered":"http:\/\/apps.lib.ua.edu\/blogs\/digitalservices\/?p=3563"},"modified":"2016-06-10T14:01:28","modified_gmt":"2016-06-10T20:01:28","slug":"how-to-shoot-an-american-quilt","status":"publish","type":"post","link":"https:\/\/apps.lib.ua.edu\/blogs\/coolathoole\/2016\/06\/10\/how-to-shoot-an-american-quilt\/","title":{"rendered":"How to Shoot an American Quilt"},"content":{"rendered":"
\"View<\/a>

Our makeshift photography studio<\/p><\/div>\n

When Digital Services was asked to provide images for an upcoming book on longtime donor Wade Hall’s amazing\u00a0array of archival collections, most of the requests were fairly standard: book\u00a0covers, documents, and photos. Even the occasional 8-Track box or daguerreotype\u00a0wasn’t all that far afield from the usual digitization lab fare. What was totally out of our realm of experience, though, was the quilts.<\/p>\n

A couple of weeks ago, Jeremiah and Claire temporarily turned the office into a photo studio in order to capture images of seven very different pieces from the\u00a0the\u00a0Wade Hall and Gregg Swem American Quilts Collection. Jeremiah is our digital photography guru\u00a0and Claire is herself a quilter, so they made a good team. Here’s what they reported about\u00a0the quilts themselves and the process they used to shoot\u00a0them.<\/p>\n

The Quilts<\/h2>\n

As in the case of\u00a0many Wade Hall collections, we don’t have a clear provenance for most of these items, but a lot can be deduced by examining them — if you know what you’re looking at. Luckily, Claire does!<\/p>\n

\"Woman<\/a>

Claire at work<\/p><\/div>\n

\"Red<\/a>

Woven pattern, with visible seam between pieces<\/p><\/div>\n

Technically, all seven blankets they\u00a0photographed aren’t strictly quilts. Two are woven<\/em> textiles. The one in\u00a0red and cream checkerboards and\u00a0stripes (left) was made on a small loom, probably at someone’s home. Claire pointed out that you can see where multiple strips of the woven material\u00a0were sewn together to create the full\u00a0blanket.<\/p>\n

Another woven blanket (in salmon, blue, and teal, above) was apparently made on a larger loom, given that it isn’t pieced from strips. It\u00a0may not have been super mass manufactured, though.\u00a0One corner of the blanket shows\u00a0a name and location, maybe\u00a0that of the weaver or the intended recipient, suggesting that it was done on commission, perhaps even locally to its owner.<\/p>\n

\"Red<\/a>

Applique quilt<\/p><\/div>\n

The other five blankets are definitely quilts. What makes them different? According to Quilting-in-America.com, a quilt is\u00a0“a textile sandwich consisting of two\u00a0pieces of fabric with a filling between them. The upper layer, or top, is decorative. The bottom, or backing, is usually, but not always, rather plain. The filling, or batting, provides the warmth and loft” (source<\/a>). That top generally consists of smaller pieces that have been sewn together.<\/p>\n

However, the first one\u00a0they shot, in red and white (right), employs a lot of\u00a0applique. This is a technique where smaller pieces of fabric are sewn onto a large piece of fabric, rather than cobbled\u00a0together to form the top. It’s easy to see that the red has been done this way, but if you look closely, there are also white elements appliqued to the white background.<\/p>\n

\"Closeup<\/a>

Tied\u00a0crazy quilt<\/p><\/div>\n

Two of the blankets\u00a0are crazy quilts<\/em>, so called\u00a0because they are pieced\u00a0together from irregular scraps and can look\u00a0rather chaotic, a mix of colors, textures, and shapes. One is done in satins and silks, and it has a dagged edge<\/em>, resembling the pointed or leaf-shaped edge you would be most likely to see in medieval costumes.<\/p>\n

While most of the quilts they photographed were quilted in the typical manner, with lines of stitches holding together the top, batting, and backing, one of the crazy quilts (left) is tied<\/em>. In tied quilting, the simplest way of holding the layers together, yarn or thread is pulled through at intervals and knotted. In the case of this particular quilt, the ties are bright red, so Claire said\u00a0they were likely meant to be decorative, not just functional.<\/p>\n

\"Closeup<\/a>

Embroidered name quilt<\/p><\/div>\n

The tied crazy quilt also features embroidery<\/em>, not a quilting technique so much as a general way of using ornamental stitches to add decoration to fabric, in this case the quilt top.\u00a0Embroidery\u00a0is used on several of the blankets, but it’s used to particularly striking\u00a0effect in the hand quilted yellow and white\u00a0name quilt (right). It is made of\u00a030 large squares, nearly identical\u00a0except that each has a different set of\u00a0names embroidered\u00a0into it. This may indicate they were done by\u00a0several different people and combined into one blanket. After all, quilting has traditionally been a type of communal work,\u00a0with many hands contributing to a finished product.<\/p>\n

\"Closeup<\/a>

Halloween quilt label<\/p><\/div>\n

Even in this day and age, when there’s not the same desperate necessity of shared labor, quilters tend to be\u00a0community oriented.\u00a0One of the most well-known American quilting communities is Gees Bend<\/a>, in Wilcox County, Alabama. Its roots go back generations. A modern\u00a0Gees Bend quilt with a Halloween motif (left) was among the pieces\u00a0they photographed. Like most quilts, it has a label, in this case indicating not only the maker’s\u00a0name but also additional information about where it came from and who it’s\u00a0for. For more on this quilt, check out a classic post<\/a> from our sister blog, Cool@Hoole.<\/p>\n

The\u00a0Photo Shoot<\/h2>\n

While Jeremiah has had to take down the mounted camera and use it to shoot framed objects, he’s never captured any of the collections’\u00a0textiles. Fortunately, the technical aspects of the process were relatively straightforward. The bigger challenge was often in wrangling the quilts themselves.<\/p>\n

\"View<\/a>

Jeremiah at work<\/p><\/div>\n

The setup was deceptively\u00a0simple:\u00a0each\u00a0blanket was draped over a borrowed quilt frame and shot against a black drop cloth. One of our cameras, a\u00a0Canon EOS 5D Mark III,\u00a0got a vacation from its usual downward-facing mounting and was set up on a tripod. Traveling\u00a0along with it were the lights, which had to be rearranged quite a bit to get the right effect.<\/p>\n

To know how to present\u00a0each quilt\u00a0—\u00a0whether as a full piece\u00a0or to focus on some component like a motif, edge,\u00a0or label —\u00a0we needed to know why it was\u00a0chosen. After consulting the book’s rough draft, Jeremiah and Claire worked out what would make the most sense to illustrate the writer’s ideas.\u00a0Still, there were judgment calls. Old textiles can be stained or have holes. Does one photograph the cleanest area\u00a0or the most representative? Sometimes, those aren’t the same thing. Or take this woven piece:<\/p>\n\n

Which is the “right” side — with the cream color as the background, or with the cream color as the contrast?\u00a0In the end, they photographed it both ways.<\/p>\n

\"Closeup<\/a>

Shiny\u00a0crazy quilt with dagged edge<\/p><\/div>\n

There were only a few\u00a0technical challenges. The satin and silk crazy quilt (left) was difficult to properly light\u00a0because it was so shiny, with each fabric piece picking up and reflecting light. Without some intervention, this shine added up to a very bright image. To combat this, Jeremiah adjusted the\u00a0polarizing filter on the lens to block out the light coming from certain directions, bringing the overall image into a proper exposure.<\/p>\n

\"Halloween<\/a>

Bright orange Halloween quilt<\/p><\/div>\n

The Halloween quilt (right) was also challenging, but for a different reason.\u00a0Something about that particular tone\u00a0of bright orange was outside of the camera sensor’s comfort zone. For the wide shot of the blanket, Jeremiah had to make\u00a0a few adjustments in Photoshop to get things under control. For the closeup shot, they were able to use one of our\u00a0everyday mounted camera setups. The\u00a0Canon EOS 6D’s sensor apparently doesn’t mind\u00a0that shade of\u00a0orange.<\/p>\n

Good Results, Sore\u00a0Muscles<\/h2>\n

On the whole, the process was pretty successful, if not a bit tiring. Jeremiah admitted\u00a0that the\u00a0height of the quilt frame was made for display, not for photography, so\u00a0the tripod — and the photographer! — had to be set rather low in order to keep things centered and level. Claire reported that quilts are a lot heavier than they look, especially when you have to handle them all day and sometimes lift them over your head!<\/p>\n

\"A<\/a>

Expert quilt wranglers!<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

When Digital Services was asked to provide images for an upcoming book on longtime donor Wade Hall’s amazing\u00a0array of archival collections, most of the requests were fairly standard: book\u00a0covers, documents, and photos. Even the occasional 8-Track box or daguerreotype\u00a0wasn’t all … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":426,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8540,3700,3736,5117,20596,3737],"tags":[3704,3717],"class_list":["post-3563","post","type-post","status-publish","format-standard","hentry","category-african-american-history","category-cool-collections","category-digitization","category-southern-history","category-textiles","category-work-flow","tag-20th-century","tag-deep-south"],"yoast_head":"\nHow to Shoot an American Quilt - What's Cool at Hoole<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/apps.lib.ua.edu\/blogs\/coolathoole\/2016\/06\/10\/how-to-shoot-an-american-quilt\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How to Shoot an American Quilt - What's Cool at Hoole\" \/>\n<meta property=\"og:description\" content=\"When Digital Services was asked to provide images for an upcoming book on longtime donor Wade Hall’s amazing\u00a0array of archival collections, most of the requests were fairly standard: book\u00a0covers, documents, and photos. 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