How do Diana Markosian and Rita Puig-Serra Costa express the notion of family history and relationships in their work?
"If manipulation is the first thing someone thinks of in connection to photography, what does that say about the value of the photograph as a reflection of reality?" (Bright and Van Erp 2019:17)
The notion of family is a subject that has been thoroughly explored by photographers such as Rita Puig-serra Costa and Diana Markosian. My personal study is focused on my family's history; more specifically the story of both my parents and important events in their life which lead to me being where I am today. I have chosen to analyze Markosian because her project "Inventing My Father" contrasts directly with Costa's study "Where Mimosa Bloom" which I will also be referring to throughout this essay. I like the way Markosian explores the absence of her father in her life in such a personal and raw way. In her project she explores the absence of her father, which eventually leads to a reunion which she captured through images. The photographs along with the context she provides into her life, makes this project very interesting. Equally, I think the way Costa explores her family through the use of archival images and objects was very effective as it really conveyed a sense of love and importance of family.I specifically loved how her entire project was an homage to her mother as it further shows how fond she is of her family when paired with carefully photographed objects, a thoughtfully taken portraits. These two photographers were particularly interesting to me as I felt I could personally relate to both bodies of work. Due to my portuguese heritage, family is a of great importance to me and is valued highly in my family’s culture. However, my parents choosing to separate also led to the lack of a parental figure in my life which will be included in the narrative I intend to tell. In this essay I will be discussing the notion of family and relationships, loss and hope in the works of both these artists.
Realism is the concept of capturing things in their natural element. This genre of photography is most useful when trying to capture something such as family history, as documentary photography allows us to be able to see someone's real life situation through a photograph. Photographers such as Dorothea Lange and Paul Strand focused on documenting the effects of urbanization and industrialization on working class Americans. This was something very prominent at the time of this movement, as the great depression in 1929 left a lot of people struggling. We now see this type of photography as realism. I feel as if this movement fits in well with my personal study as it recognizes the importance of capturing raw, documentary style images which I think is important when exploring something as personal as a family’s history, especially when it involves immigration and the struggle surrounding that journey. Images of this sort are characterized by having a wide depth of field and having sharp focus which contradicts the pictorialist style. The movement away from creating a painterly aesthetic ultimately opened the door to a more forensic approach but also one that is open to distortion, manipulation and the notion of narrative. This will ultimately depend on the agenda of the artist, their integrity and skill in delivering a message, story or sequence of events.
Markosian’s “personal exploration” (Fiona Mackdonald 2019) can be seen as a non-traditional method of exploring the family concept. Instead of portraying a sense of happiness and love, which is typically associated with family relationships, Markosian chooses a more raw and honest approach highlighting how she grew up without her father figure and turning that into the foundation that her project is built upon. I believe this makes her work stand out amongst other artists exploring this same theme, since “the camera is an instrument of evidence” (John Tagg:1988) a certain truthfulness radiates from her images which goes against the dominating stereotype that every family is perfect, leading to more contemporary outputs that appeal to modern day people. This view is put across quite skillfully and subtly through the use of black and white images which puts forward a sense of emptiness since the monotone theme is often associated with despair. This means that the audience will be able to feel a sense of coldness and the lack of emotion, while also simultaneously feeling a surge of emotion through the scenes and objects depicted in the images leading to an interesting contrast that is highly effective throughout her work. The use of archival imagery is complementary to Markosian’s photography since by itself it would usually portray a sense of happiness, however with the context, it is instead replaced with a slight sense of resentment, especially the archival image showing her dad cut out
I believe the image above to be one of Markosian's best not just due to its impeccable technicality, but also because it is rich in context. This image shows a suitcase belonging to her father containing things such as undelivered letters, newspaper clippings, and a shirt he was saving for her brother’s wedding. This image is in black and white making it more emotionally detached yet since the objects are sentimental it creates an interesting juxtaposition, as it shows the photographer is conflicted over her feelings.I believe Diana Markosian represents a modern wave of photography where beauty can be found in imperfections, and still appreciated.
“where mimosa bloom” by Costa takes the completely opposite approach into the exploration of family culture. It becomes obvious that the entire project is very thoughtful and the audience can almost feel an overpowering sense of the love Costa has for her family. Although Costa focuses on the positiveness of relationships with family, I believe it is the underlying theme of her mother’s death which makes her work particularly stand out as she alludes to it in a respectful way, while also exploring important people, objects and places that play a significant role in her relationship with her mum making her work more original. This notion is put across carefully through many aspects such as a light colour scheme throughout the book conveying a sense of delicacy through pastel shades and also the metaphorical link to mimosa, a tree that blooms bright, yellow flowers in Spring, in Barcelona, where Costa is from.
This image is one which perhaps conducts the most emotion. In this double page spread we see Costa clutching a premature bird in her hand. Costa said, “When she died, I felt like a bird whose mother had abandoned the nest. I had to learn how to fly on my own,”. The context in combination with the image show a real sense of vulnerability, shown through the bird, that Costa is feeling in relation to not having her mother anymore. I think that using the bird as a medium for her own feelings, further shows how much thought and care was taken into each image as this has deep metaphorical value. I think that Rita's work is a more traditional way of portraying family as she utilises portraiture and archival objects in a positive way. I believe Rita Puig-Serra's work represents positive sentiments towards relationships giving a romantic representation of a typical family unit.This book exudes closeness and sentimentality, a kind of poetic bond between her relatives. However, it has been said “photography is a system of visual editing” (John Szarkowski:1976), which suggests that some work may be refined and tailored in order to portray perfectionism.
To conclude, both Markosian and Costa have created very emotional pieces of work based on their own personal family stories and journeys. Although we do get a sense of love from Markosian's work, I believe this sentiment is often fighting against a feeling of hatred and resentment towards her father, whereas we purely get the feeling of love and closeness from Costa's photo book with hint of sadness due to the loss of her mother. Costa's photo book contains a very unique color palette containing light, delicate, pastel colors which is expected as her images are delicately framed and excrete fondness towards her family. On the other hand, Markosian's body of work contains a lot of black and white images which shows that there is a lot of distance between her and the subject, yet all the things she photographs are of rich sentimental meaning to her. Both photographers also make use of archival images and objects, Costa utilises this to show a deep connection to her mother whereas due to the nature of Markosian's work, her archival objects are used to show her father as being someone she is detached from.
Bibliography:
Bright, S. and Van Erp, H.(2019). Photography Decoded. London: octopus Publishing House
Mackdonald, Fiona (2019).“Diana Markosian: A father cut out of a family album”. BBC culture
Szarkowski, John (1976), William Eggleston’s Guide. New York & Cambridge, MA: The Museum of Modern Art & The MIT Press
Tagg, John (1988). The Burden of Representation. Basingstoke and New York: Palgrave Macmillan
Like Francesca Woodman, I took all my images as self-portraits. This was partly out of convenience, but also to give my images a more personal feel to them. Mental illness is a very individual thing in the sense that everyone experiences it slightly differently. I felt that self- portraits would be a good way to show this. I wanted my images to show a certain ‘madness,’ while also showing the severity of a mental illness such as depression. I want people to see how unpredictable mental illness can make you, which is why the images show a clear darkness, but some also show me having ‘fun.’
Similarly to Woodman, I wanted to show the lack of identity that is often felt by those who suffer from depression, myself included. I remember feeling like I just blended in with everyone else and while people heard me they never really listened. This led to my decision to imitate Woodman by using long exposure times to blur any movements I made whilst in front of the camera. This often gave me a ghostly look that frequently blurred my features, such as my face, resulting in the somewhat removal of my true identity.
Technical:
To capture the images I used a long exposure time of 2 seconds. I set my camera to capture 9 images with 2 seconds between each one.
During editing, I wanted to give my images a ghost-like look. To do this I adjusted to exposure to as high as I could and adjusted the blacks and shadows to make them stand out more and look more harsh. Finally, I made the images black and white. This was again to mimic Woodman’s work, but to also add to the darker tone of the images.
Image One:
Before
After
Context/Concept:
The key feature of this image is the belt wrapped around my wrists. This is to symbolise feeling trapped or imprisoned. More personally it relates to the phrase, ‘my hands are tied.’ This means that a person is unable to act freely due to being restricted by a rule or law. While I was not restricted in this way, I felt that I couldn’t do certain things because my anxiety told me that I couldn’t. I felt that I couldn’t get better because I didn’t know how or felt that I didn’t deserve to. Similarly, I was also exhausted all of time due to lack of sleep which often prevented me from focusing on my school work. This was something that I felt I had no control over.
Visual:
This image is a self portrait in which my face is obscured by my raised hands. This reflects a behaviour often displayed when a person is experiencing an intense emotion. Socially, this behaviour could be to try and cover up the emotion as it can make other people uncomfortable. This is what I wanted to show here. Mental illness is still a somewhat taboo subject and it is undesirable to express the negative emotions that come with it. I remember feeling like I couldn’t talk about it and I had always tried to hind when I’d been upset.
Image Two:
Before
After
Context/Concept:
This image was about escaping. It represents both trying to escape from my negative feelings and making it out the other side the whole thing.
Visual:
In this image I can be seen trying to climb out of a large picture frame. The frame represents a cage that I felt I was trapped in. Overall, the images shows that I am finally escaping that cage. My face is also blurred in this image. Rather than suggesting a lack of identity, this shows a change in identity suggesting that came out the other side as a different person.
Compare how Cindy Sherman and Phoebe Jane Barrett challenge gender stereotypes in their work
“Our familiarity with cinema contributes to the ingrained ideas about beauty and gender in our visual language, so it is not surprising that the medium has influenced so many self-portraits…” (Bright, 2010, 11)
Introduction:
The representation of gender roles and stereotypes has been a popular concept within art and photography throughout the history of both art forms, but it is only recently that artists have begun to directly challenge these stereotypes in their work. The deeply ingrained gender stereotypes found in society, some more subtle than others, have been present throughout history, and alongside how our views on gender has changed. The process of societal change in views and opinions on gender has been slow, however, the turn to focus on gender studies in photography during the 1990’s (heavily influenced by philosopher Judith Butler’s 1990 book, “Gender Trouble: Feminism and the Subversion of Identity”) provided a new outlook on the way people viewed traditional gender roles and stereotypes. Photographers began to turn towards more abstract depictions of gender, with the focus on breaking, rather than adhering to gender roles. The move towards gender identity as a photography focus altered the way in which identity-based art was represented, with “a striking visible popular interest in gender presentation and sexuality in the 1990s [intersecting] with an explosion in the production of art” (Blessing, 1997, 7) .In my personal study I wish to be able to show how these changes and developments in gender stereotypes have changed in the 20th and 21st century, from more traditional gender roles and ideas to our current understanding of the development of many different gender identities. Out of the many artists who explore gender stereotypes in their work, I have chosen to focus on photographers Cindy Sherman and Phoebe Jane Barrett, who both represent gender roles in the 21st century, using different methods and approaches. I have chosen to study these artists, because I believe both Barrett and Sherman convey strong context and meaning through their images, while at the same time producing work that really engages the viewer, and allows for a dialogue to be opened about the way that society and the media portrays versions of both men and women, that are not true to real life, thus forcing people to adopt stereotypical behavior in order to fit in to a social norm. In order to compare these two artists, I will examine both similarities, such as the concept of drawing attention to gender stereotypes and their representation, and differences, such as their different visual portrayals of these stereotypes and the way in which they approach their work. Both artists approach towards challenging historically rigid and strict gender roles and stereotypes can be seen as an attempt to redefine what society sees as acceptable for each gender, and bending the rules in order to allow individuals to express themselves freely without being judged. Phoebe Jane Barrett acknowledges the consequences of these strict barriers to individual expression, and is quoted as saying, “I wish that gender created less of a divide between people” (Barrett, 2019). I intend to respond to the work of Sherman and Barrett by showing both subtle and overt examples of how gender has developed and changed through time, and to do this I will be incorporating strong and obvious examples of breaking gender roles when it comes to stereotypical masculinity, while also using multiple examples of the subtle ways in which femininity is rejected by modern women, choosing instead to follow their own version of identity rather than society’s ideas.
Historical context:
Julia Margaret Cameron: Image of her Neice, (1867)
Photography as it is currently known was developed in the form of the daguerreotype, by French photographer Louis Daguerre in 1839, in order to scientifically record true to life images as they were in the real world. The daguerreotype paved the way for the advancement of photography, and is revered even in the modern era by photographers such as Adam Fuss as allowing the viewer to “see what has never been in a camera. Life itself is the image” (Fuss, 2010). The daguerreotype also allowed, for the first time, for someone to manipulate the contents of an image in order to suit their ideas. In the words of authors of the book “Photography Decoded“, Susan Bright and Hedy Van Erp, “The daguerreotype had the aspirations to both the realistic and the theatrical, as well as the commercial” (Bright, S. and Van Erp, H. 2019; 17). With the development of technology and the camera becoming a more widespread devise, the development of different movements in art and photography began to occur. An early movement in photography (appearing from 1860 onwards) was Pictorialism, which rejected the use of photography as a way to scientifically record objects realistically, and instead opted to focus on emphasizing the tone, beauty and overall composition of images, presenting them more as an art form than a method of recording data. A key individual who helped to shape the movement was photographer Julia Margaret Cameron, who’s work during the late 18th century was focused around portraying the inner workings of her subjects, often using children looking wide-eyed into the camera to emphasize the focus on exploring the concepts of dream, the unconscious and imagination. Early photographers such as Cameron helped to develop the movement of Pictorialism, and although their work was often rejected by critics of the time due to its unfocused, ambiguous appearance, their work on the movement was essential for the development of the understanding of photography as an art form. The step towards focusing on the beauty and composition of images led to the development of aesthetically focused and decorative images, emphasizing the contextual meaning of the subjects and concepts within the image. The work produced by photographer Phoebe Jane Barrett follows along the ideas and methods of Pictorialism, with her work often displaying a soft focus, and allowing certain areas of the composition to be draw the attention of the viewer the most. The beauty of the subjects in her images are emphasized as the vulnerability and fragility of their masculinity, and is purposely presented as a major part of the concept of the image. Photography continued to develop as an art form through the 19th and 20th century, and during this time the ways in which photographers expressed and portrayed their own opinions on political, social and human issues changed, as it became easier to edit and manipulate images to suit the need of the photographer. A movement that became popular during the latter half of the 20th century was Postmodernism, a movement which incorporated themes from a range of previous movements (including Modernism) and focused on the ideas of surrealism, bricolage and parody to present the ideas and beliefs of the photographer. Postmodernism was originally a response to the modernist movement, popular in the late 19th to mid 20th century. Contrasting Modernism, which focused on the visual elements of an image, praising the photographer for their ability to create beautiful images with their artistic skills, the Postmodernist approach looked more at the concept and context of the image, rather than it’s physical appearance.
John William Waterhouse, “The Siren” (1900) – an example of how the male-gaze was used to depict women in early artwork and media
In Postmodernism, the idea matters more than the work itself, allowing the photographer room for a lot of creative artistic freedom when it comes to the subjects. Postmodernist artwork is often produced for the novelty factor, allowing the viewer to enjoy a visually pleasing experience (incorporating bold colours, shapes, and wild concepts), while subtly hinting at a deeper meaning. Cindy Sherman’s work can be considered to follow the characteristics of Postmodernism, with her bold and colourful self-portraits parodying how society views women and how femininity is represented in the media. The exaggerated appearance of the subjects providing a visually interesting experience to the viewer, while at the same time hinting at the deeper meaning of hiding ones true appearance behind a mask that society would find more socially acceptable. Sherman’s work challenges the representation of women in the media, and forces the viewer to consider the ridiculous way in which many women have their features overplayed and portrayed in social media. Sherman’s work depicts parodies of an important feminist theory that has become popular in modern work, known as the “male-gaze”. The “male-gaze” refers to the way in which women are presented from the perspective of heterosexual, masculine perspectives, as sexual objects that are included in order to please the male viewer. This concept in the art world has remained prominent since medieval paintings, and the term “male-gaze” itself was coined by film critic Laura Mulvey in her essay “Visual Pleasure and Narrative Cinema”(Mulvey, 1989). Mulvey’s essay touches on the concept of the “male gaze” in cinema, describing that, “In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness.” Here, Mulvely gives a perfect definition of how the “male-gaze” influences the display of women in the media; a concept that Sherman is able to hint at in her own work, displaying the characters in her scene as over the top and caricature-like versions of women, highlighting the absurdity of the way women often appear in media. Although “through the male-gaze” has been the most prominent way in which women have been depicted in the media throughout history, in more recent years there has been effort to fight back against this one-sided representation of women, with exhibitions such as the 1995 “Rose is a Rose is a Rose: Gender Performance in Photography” providing an outlet for photographers to break the boundaries of gender norms, as it “offered ways to elude the heterosexist, patriarchal male gaze and speak to more diverse desires” (Blessing, 2017, 98). This move from a sexist, one-sided method of representing women in photography, to a more inclusive, diverse way of incorporating all gender identities and gender expressions, has allowed for modern feminist photographers such as Sherman to break the boundaries of social acceptability and gender norms in their work.
Cindy Sherman:
Cindy Sherman: Untitled (self-portrait with sun-tan) 2003
Cindy Sherman’s approach to photography did not begin with the boldness and daring as her more current work. Sherman originally took part in creating film stills during the 1970s and 80s, with her work involving black and white self portraits, where she depicts different ideas and concept of women of the time. Her work then became progressively more bold, with her project Centerfold, (1981), in which she produced one of her most recognizable pieces of work, Untitled #96. Throughout all of her work, Sherman has focused on the theme of personal and individual identity, with the overarching idea of her work being the way that we as individuals project and present our identities to the outside world. Her work has been met with praise from many critiques, applauding her use of self-portraits to convey a number of identities which are all based in the same theme of hiding and exploring female stereotypes. Popular opinion of Sherman’s work can be summed up in the words of art critique Laura Cummings; “Sherman has by now invented more than 600 personae; every one of them is a recognizable type, to some extent, and yet also an individual” (Cumming, 2019). Her work reflects the vulnerability of the subject within the images, with her piece Untitled #92 reflecting a distressed and scared self portrait of herself in a vulnerable position. Her work reflects the vulnerability of those who express their individual identity, and by taking self portraits, Sherman is able to both remove herself from her work through hiding her identity, while also remaining very much involved in the practicalities of her photography. Sherman herself believes “I feel I’m anonymous in my work. When I look at the pictures, I never see myself; they aren’t self-portraits. Sometimes I disappear.” (Sherman, 1990). Her current work revolves around making extremely eye-catching and striking images, while at the same time providing a narrative behind the image which helps to engage the viewer, and forces them to realize the contextual and conceptual realities of the image. Sherman herself believes that “people are more apt to believe photographs, especially if it’s something fantastic. They’re willing to be more gullible. Sometimes they want fantasy” (Sherman, 1985), which allows for the explanation as to why she decides to make such expressive images. In the above image, (which remains untitled but is often refereed to by Untitled (self-portrait of sun-tan 2003)) Sherman is focusing on drawing the viewer in using bright and eye-catching colours, making use of deep oranges and an extreme layer of orange sun tan across the body of the subject in order to create an incredibly dramatic, satirical example of a tourist woman. The colours in this image are what draw the eye initially, however the concept behind the image revolves around portraying the way in which women (in this case, a tourist) in the modern era are portrayed in such an extreme way in the media. Rather than using overt examples of the unrealistic standards of women in the media, (and the struggle of maintaining and developing ones identity in general), Sherman focuses on leaving her images very open to the interpretation of the viewer, allowing the viewer to decide what the image represents in terms of female identity and the way we are perceived in general. Sherman’s goal was for there to be “hints of narrative everywhere in the image so that people can make up their own stories about them”(Sherman 2016), allowing the viewer to develop their own understanding of the concept of identity and gender with guidance from the image.
Cindy Sherman, Untitled #92 (1983)
Phoebe-Jane Barrett:
Phoebe Jane Barrett: (2018)
While Sherman takes a direct approach towards highlighting the distorted way in which women are portrayed in the media, in order to elicit a strong emotional response of shock or intrigue from the viewer, Barrett instead takes a much more subtle and soft approach towards her representation of male vulnerability. Barrett’s work has an overarching sense of humanity to it, with her photography often depicting the intimacy of human relationships and connection, focusing on presenting societies more hidden and controversial topics. Barrett found photography as a way to express her own opinions on social situations, as it allowed her to “challenge myself and push myself forward, collaborate more and focus on a variety of subjects and genres.” (Barrett, 2019). A more controversial topic that Barrett approaches in her work, is the concept of male vulnerability, and the reality that “the stereotypes around masculinity are damaging to men, women, and to society as a whole.” (Barrett, 2019 (2)). In order to portray this topic, Barrett took a delicate approach, using male subjects in vulnerable and stereotypically feminine poses and situations to highlight the truth that men experience vulnerability and emotion the same way as women, yet are expected to hide this in order to meet society’s definition of “masculinity”. The above image depicts a stereotypically masculine-presenting male subject, with his facial hair and low brow presented as the centre of the image, drawing the viewers full attention to the fact that the subject is male. However, this presentation is contrasted with the situation the subject finds himself in, lying on the lap of an unidentified subject, who holds the man comfortingly. The male subjects blank, glazed over expression gives away very little personal emotion, therefore forcing the viewer to gain all of their contextual information from the visuals of the scene around him. The subjects position reflects that of a small child seeking comfort from his mother, or a stereotypically feminine woman looking for protection from her partner; however, these stereotypes are tipped on their head by Barrett’s image, as the viewer instead sees a male in this vulnerable position. The technicalities of the image also serve to add to the overall gentle feel of the photograph, with the monotone colouring of the image presenting enough contrast to make out the different shapes and textures within the image, while still remaining soft enough for these shapes and edges to blend into, rather than harshly contrast, one another, therefore adding to the overall delicate and gentle atmosphere of the image. Barrett has successfully presented a response to the controversial concept of vulnerable masculinity, and her belief that “photography has always had the incredible power to challenge and redefine societal norms…” (Barrett, 2019 (3)) has allowed her to present this topic in such a way as to spark conversation between viewers about the harmful consequences of toxic masculinity on society.
Conclusion:
When it comes to the way both Sherman and Barrett present their work, they appear to take very different visual routes, while still sharing the overarching concept that gender should not be the defining aspect of an individual, and the strict rules and stereotypes held by society is damaging not only for the people they are targeted at, but for everyone. Barrett’s gentle approach to the idea of vulnerable masculinity presents the idea that men experience emotion and vulnerability just as much as women, and yet seeing men in vulnerable situations elicits a different response from the viewer, because of how out of the ordinary and contrast to normality it is. In the same way, Sherman touches on presenting an exaggerated idea of a female character, meant to reflect the outrageous standards placed on women in the media, eliciting a shocked response from the viewer. A more subtle similarity between Barrett and Sherman is their shared respect for self-portraiture as a means of self-reflection and representation of identity. Sherman’s work as a whole is heavily focused on self-portraiture, as it allows her to explore the identity of herself while creating and presenting a character, while for Barrett,”self-portraiture was a way of examining and almost verifying my own existence, I guess as a form of self-analysis and self-reflection”. (Barrett, 2019 (4)). In my own work, I have also made attempts to follow both the obvious and subtle approach to showing and braking strict gender roles. I have focused on showing stark contrast between reality and the gender stereotypes that people develop due to society’s influence, and to do this I have focused on presenting male subjects in feminine situations and environments (highlighting the contrast between the reality of gender expression, and the prejudice held by the viewer), and presenting female subjects in situations which reflect their dislike of adhering to strict feminine gender stereotypes and social norms. When it comes to my work with male subjects, I take inspiration from Cindy Sherman, and her method of presenting bold, intrusive work which draws the full attention of the viewer, and demands that they confront their own personal prejudice towards the image, while I also take inspiration from Phoebe Jane Barrett when it comes to my use of female subjects, using more subtle references to rebel against the right restraints of feminine gender stereotypes and roles.
Here, I have taken inspiration from Cindy Sherman’s bold approach to her photography in which she redefines and breaks gender roles and stereotypes in an almost satirical way. Here, I have used a very bold and eye-catching subject in order to draw the viewers attention to the underlying meaning
I have also used more subtle hints of the issues people face when adhering to or challenging gender norms. In this case I focus on the emotion that the subject can convey to the viewer, taking inspiration for Barrett’s more subtle, soft and emotional imagery.
Bibliography:
Bright, S. and Van Erp, H. (2019), Photography Decoded. London: Octopus Publishing House
This website has lists of weaponary used within Batterie Lothringen. This could be useful for anotating my book and showing the importance of the bunkers at Batterie Lothringen during the occupation. These weapons were mostly used to take down planes during the war. Information about the command bunker is also shown. Mostly shows the information of things such as location rather than historical information.
This website has scans of the inside of lots of bunkers within Jersey. I may be able to use these within my photo book to show what they were used for and what they look like more closely.
