for both black and white travelers who often spent the night. Owning a large-format camera capable of taking studio quality photographs, the family built a darkroom in the house’s attic and produced portraits of local residents and visiting travelers from various walks of life. The Shackelfords often developed these portraits as “real photo postcards,” which were wildly popular in the United States in the early twentieth century and provided customers with portable images that could be mailed to family and friends throughout the country.
In addition to taking pictures of portrait seekers outside of the family home, the Shackelfords traveled around the region photographing individuals, families, school groups, and civic organizations. In an era when demeaning and stereotypical depictions of African Americans were prevalent in the United States, the Shackelfords provided African Americans in particular with a valuable vehicle for self-representation. The Shackelford photographs reveal how African Americans in the region chose to portray themselves—emphasizing community,
family, education, and religion. As such, the images offer a dynamic and rarely seen depiction of the multitude of African American experiences in rural Alabama and show black people living full and vibrant lives in the face of the racial and socioeconomic oppression of the Jim Crow era.
Individually, each of the Shackelford photographs is noteworthy for its aesthetic beauty and ability to capture a moment in time. As a collection, these images allow us an invaluable glimpse into the lives of these remarkable photographers
and those who stepped in front of the Shackelford’s camera to record their histories and experiences, their unique skills and talents, and their families and communities.