Photography has repeatedly been described as an extension of vision, as a 'school of perception.' It therefore seems logical to integrate photography into the methodological toolkit of cultural studies field research. However, the current ethnographic practice in folklore is extremely skeptical towards the medium. The contemporary folkloristic engagement with photography, which has experienced a significant boom in the field since the 1990s, can primarily be characterized as a discourse about photography. The focus is on public, private, and not least, historical photography, which must be explored both through image-analytical methods as a source-critical contemporary document and in its individual and societal usage. This is a discourse with photography, thus a photographic discourse.