Florestine Marguerite Perrault Collins (January 20, 1895 – April 4, 1988) was a pioneering American photographer who used her lens to challenge racial stereotypes and document the vibrant life of New Orleans' Creole and African-American communities. As one of the few Black female professional photographers of her era, she created a visual archive that reflected "pride, sophistication, and dignity."Life and Career
Born in New Orleans into a strict Catholic Creole family, Florestine was the eldest of six children. Economic necessity forced her to leave school at age six, and by age 14, she began practicing photography to help support her family.
In the early 20th century, the professional landscape was deeply restricted by Jim Crow laws. To gain the necessary training, Florestine initially had to pass as white to work as an assistant for white photographers and for the Eastman Kodak Company.
The Entrepreneurial Spirit:
1920: She began her business in her living room, marketing herself specifically as an African-American female photographer.
1930s: She opened a dedicated studio on South Rampart Street, located in the heart of the Black business district.
Marketing Mastery: She was a savvy marketer who often included her own self-portrait in newspaper advertisements. She believed her female clientele would feel more comfortable with a woman photographer, especially when capturing portraits of children and babies.
Accomplishments & Legacy
A Rare Distinction: According to the 1920 U.S. Census, she was the only Black woman listed as a photographer in New Orleans among only 101 nationwide.
Visual Resistance: Her work was a form of "visual liberation," countering the demeaning caricatures of Black people prevalent in mainstream media.
Historical Documentation: For nearly 30 years, she captured milestones including weddings, First Communions, graduations, and portraits of returning World War II soldiers.
Exhibitions: Her work has been featured posthumously in major exhibitions, including "The New Woman Behind the Camera" at the Metropolitan Museum of Art (2021) and the National Gallery of Art.
Bibliography
The primary scholarly work detailing her life and photography is:
Anthony, Arthé A. Picturing Black New Orleans: A Creole Photographer's View of the Early Twentieth Century. University Press of Florida, 2012. (Written by her great-niece, this book is a vital record of the photographs rescued after Hurricane Katrina).
View on Barnes & Noble
Quotes
"As each new girl came along we had to teach them how to paint... of course, teaching them how to make the pictures wasn't anything because it was all by machine. All they had to do was turn the crank."
— Florestine Perrault Collins (referring to training her studio employees in hand-coloring techniques).
"My people deserve to be remembered with dignity."
— A sentiment attributed to her legacy of resistance through art.
Photographs and Media
Florestine’s photographs are characterized by elegant poses, refined lighting, and sometimes hand-colored details. Notable subjects include:
Self-Portrait (Early 1920s): A sophisticated image used for her own advertising.
McCarthy-Labostrie Wedding Party (1946): A vibrant example of her hand-colored work.
Portrait of a Young Woman and Boy (c. 1920-1928): Held by the Historic New Orleans Collection.
Documentary Feature:
She was featured in the 2014 documentary "Through A Lens Darkly: Black Photographers and the Emergence of a People" by Thomas Allen Harris, which explores how Black photographers used the camera to define their own identity.
Sources
This video provides a concise overview of her life and the importance of her work in portraying her community with dignity.
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