Above is an online display presentation of my final photo-book. ‘A Flight of Imagination’ is my photographic book surrounding the narratives of some of the folklore tales in Jersey, Channel Islands. Some of the tales date back hundreds of years and still showcase themselves in ways to the residents and tourists of this island in todays society. The book includes landscapes of the sights surrounding the stories as well as staged tableaux photographs which I went out and produced in order to tell these tales in a way in which showcased them still inhabiting the areas of the island. I split the photo-book in two, focusing on one tale in the beginning of the book and then moving forward to the next as I feel this made the most sense. I began each story with a starting image, heading off and leading into the story, the use of text in my book helped to elevate the stories most I feel, as the photographs need context to help make the narrative make sense so the best way I felt to do this was tell the story throughout the photo-book. For the first story I mainly focused on the landscape that surrounds the tale of Devil’s Hole, as it is something that brings a lot of locals and tourism to this specific point, now having a pub and cliff walk around the hole itself, I tried to create and include a small amount of tableaux photographs in this section however focused heavily on the landscape area. For the second story in my photo-book I mainly used and focused on the staged photographs, taking myself out and putting models in specific costumes to create these photographs, I wanted to tell a specific narrative with these photographs, the story specifically, although also using text to help add context to the photographs I focused on moving from character to character to create the story and narrative with minimal words. The use of the disposable camera in this section I feel adds a different touch to the photographs, they have a mystical hue around them which I feel works well with the subject of the story in telling it. I chose to have my impactful or important photographs larger and on double page or 3/4 page spreads as this makes them stand apart from the others. I decided to use some of the physical prints into the book to add a different effect to showcase the idea of these tales still being really in the island, to have them captured ‘on camera’ makes them seem more real and there I feel. I have ended my second story on a strip of negatives from the disposable camera to add a human, realistic touch, while displaying a subject which does not seem all that real. The essay, my personal investigation, found at the end of the photo-book, gives some context and insight to the lengths and extent that these images are influenced and derive from stories. I chose to place this at the back of my photo-book as I feel it helps to add some substance to my images more, it gives context into the idea of staged and tableaux photography and the idea of fact and fiction and where the lines are blurring of what separate individual people believe and how this also effects the outcome. This design has gone through many experimentation and trials to find the best way to produce and display the photographs, I believe I have successfully been able to produce what I aimed to of a book which displays the idea of stories and folklore tales occupying the island of Jersey, Channel Islands, I feel it has a clear narrative and I have been able to produce photographs that work well together and flow to clearing show meaning and narrative discussion.
How has children’s stories and literature influenced the work of Anna Gaskell and Julia Margaret Cameron?
“…these artists incorporated elements of fantasy, artifice and make-believe into their work.” (Bright . S, 2005 : 78)
Traditionally, throughout the 20th century photography was cantered around capturing the decisive moment, however, we have come to explore the notion of creating this ‘decisive moment’ artificially, constructing scenes made for only the purpose of photography. Tableaux photographs have been made from the beginning of the medium, although Staged Photography emerged as its own known genre in the 1980’s; both ideas involve composing a scene much like a painting, borrowing elements from Pictorialism. Anna Gaskell creates ominous photographs of women, taking themes from literature and children’s’ stories, generating a dream-like narrative in her work. I chose to look at Gaskell due to her staged and tableaux approaches and how she uses her influences to warp them into her own narratives and blurring the lines between fact and fiction. I am going to review the extent to which stories and literature has influenced her work using her imagery for Wonder (1996-97) influenced by Lewis Carroll’s Alice in Wonderland, and Hide(1998) influenced by Brother’s Grimm tale The Magic Donkey. In my own work I intent to explore the stories of the myths and folklore based in my home of Jersey, an island in the Channel Islands Archipelago. Using Gaskell as my influence to explore the notions of the boundaries of a narrative from a literary influence in the visual work and representations of female characters in children’s literature. I plan to explore the narratives with the legendary folktales using tableaux approach set in the real landscape of the island.
‘Hide’, Anna Gaskell
‘Untitled Film’, Cindy Sherman
Historical Context
The shift from photography being used to produce purely scientific and representational images happened from the 1850s onwards when advocates such as English painter William John Newton suggested that photography could also be artistic. Although initially originating in Britain, Pictorialism spread to be a worldwide movement in photography, seen as the first international art movement in photography. Despite it’s important role in photographic history according to David Bates, Pictorialism is still shown in negative terms due to ‘attracting little or no contemporary critical discussion’ (Bates. D, 2015 : 31), being dominated heavily by imagery of pious sentiment and romantic metaphor. Pictorialism requires time from the viewer due to its use of narrative as well as an understanding of the language of film and culture. In an chapter of ‘Art Photography Now’ this is described to be ‘the mise-en-scene and the dramatic lighting all borrow from the filmic tradition and share seductive qualities of the silver screen’ (Bright. S, 2005 : 78). Pictorialism began to rely heavily on narrative and like Bright discusses, share qualities and traits with the silver screen, some contemporary artists that used this idea is Cindy Sherman who took a post-modern approach in referencing specific cinematic tropes to generate parody and pastiche. Narrative photography, however, relies also on vital sources that veer away from cinema, such as painting, fashion, theatre and literature. Victorian photographer Julia Margaret Cameron referenced popular poems and literature in her photography in elaborate ‘tableaux vivants’, one example of this is Margaret Cameron’s Mountain Nymph Sweet Liberty, where an asserting model stares directly down the middle of the camera, due to this she is also looking directly towards the viewer as she fills the frame of the photograph, this image takes its title from John Milton’s poem L’Allegro, a celebration of life’s pleasures.
‘Mountain Nymph Sweet Liberty’, Julia Margaret Cameron
‘Untitled #47’, Wonder, Anna Gaskell
Anna Gaskell
Anna Gaskell is a contemporary American artist known for creating contemporary work exploring themes from literature and children’s stories. Gaskell creates ominous images of women that nod to familiar or historic narratives. She explains her process of an attempt “to combine fiction, fact, and my own personal mishmash of life into something new… “(Cascone.S 2017), Gaskell is creating imagery by merging together reality, fiction and her own personal touches of the two warping and blurring the lines between the well-known stories and her own interpretation on them. Creating photographs that depict narratives from literature, Gaskell takes her influences and translates them into her own, stretching the boundaries of the narrative of the stories and literature that has influenced her work. Gaskell’s work dips into the tradition of Pictorialism, using tableaux methods to generate her photographs. Gaskell’s photo series “Wonder” is influenced off Lewis Carroll’s Alice in Wonderland, the work is produced off the back of the idea of isolating dramatic moments from the larger plots. The photographs are staged and planned in the style of ‘narrative photography’, the scenes are artificial, produced and only exist to be photographed.
‘Hide, Anna Gaskell
‘Hide’, Anna Gaskell
I have chosen to look closer at ‘Untitled #47’ from Anna Gaskell’s series Wonder, the photograph depicts two young girls both dressed identically interacting with each other with a sense of urgency, one towering over the other holding their neck and nose. Although interacting with each other they do not represent individuals, but instead, act out the contradictions and desires of a single psyche, Gaskell’s use of twins for the representation of Alice builds a connection and visual link of identicalness for in which we know they are being represented together rather than individually, while their unity is represented by their identical clothing and looks. Gaskell has staged the photographs to create her own striking visual reinterpretation of Wonderland through the moments of Alice’s physical transformation, the mysterious and often cruel rituals they act out upon each other may be metaphors for disorientation and mental illness. Gaskell’s work has no clear beginning or end containing ambiguous narratives, adding to the emphasis of the unknown and disorientation. This idea is striking in comparison to Alice in Wonderland as the narrative can be originally taken as Alice’s own dreams taken from stories, the character collectively evoked is Alice, perhaps lost in the Wonderland of her own mind, unable to determine whether the bizarre things happening to her are real or the result of her imagination. Gaskell has created a alternative narrative one in which the audience is familiar with, generating a post-modern effect of a simulacra to entice her audience.
In comparison to her series Wonder it is clear Gaskell has been influenced by other stories and pieces of literature which is clear to see in her later series Hide based off Brothers’ Grimm tale The Magic Donkey, this series has been suggested to be her most radical and abstract to date, the title of the series can be linked in reference to the children’s game ‘hide and seek’. In this series Gaskell has again cast young girls as her forefront protagonists, placing them in photographs that emit a sense of nightmarish foreboding and thinly veiled violence. Gaskell’s reference to the Brother’s Grimm story is brought out in the sense of anxiety that she creates with the dramatic lighting and camera angles.
‘Wonder’, Anna Gaskell
‘Im Garten’, Julia Margaret Cameron
Anna Gaskell and Margaret Cameron both have been inspired by that of Lewis Carroll, equally from his literature and his photography. With almost over 100 years difference between the two photographs they have contrasting ways in which they use staged Pictorialism photography. Gaskell has taken on the darker side of the literary influences, taking a high contrast, menacing point of view in her photographs, whereas Cameron’s photographs are lighter and less intense, the figures in Cameron’s imagery show a sweet and kind aura compared to the sinister persona’s depicted in Gaskell’s imagery. Fairy-tales can often be gruesome, Brother’s Grimm tales were never often sweet and innocent, but rather threatening and perverse, Gaskell has explored this side of fairy-tales in her work rather than a ‘cinematic’ ending. Films and cinema commonly end on a high, Cameron’s work could be seen as taking this pleasant side of literature into account in her photography.
In my own work I explored tableaux techniques as responses to the folklore of Jersey. Using the landscapes of the island where the stories are set I planned my photoshoots to include stage tableaux photographs as well as landscape imagery to represent the legends. While planning my shoots I researched the individual stories, using the documentation, The Channel Island: Les Petits Faîtchieaux, I was able to develop the fairytales of Jersey. The fairies are strongly associated with prehistoric sights; MacCulloch, art historian and academic, notes it was best believed that the fairies inhibited the island before the people who are here now and ‘that the cromlechs were erected by them for dwelling places’ (MacCulloch : 2). It is said people who interfered with the ancient sights would be punished by the fairies. One tale tells of Mr Hocart who broke up the ancient One tale tells of Mr Hocart who broke up the ancient stones of La Roque Qui Sonne for building material who soon after became cursed. Tales are also told of men being blinded by the fairies for disrupting the lands and sights. From tales like this I began to take a cinematic approach to my photographs, having my models staging the tales in chronological order of a story, adding a narrative to the photographs. I edited my photographs so that the colours were enhanced and higher contrast. I did this to add to the other-worldly type effect to enhance the idea of these being folklore and alienated from reality.
‘Beatrice’, Julia Margaret Cameron
‘Wonder’, Anna Gaskell
My own work has similar attributes to Anna Gaskell’s work and slightly contrast with that of Margaret Cameron’s. I have also chosen to take on a slightly darker side of the fairy-tale with looking at the side of the story that includes curses and the act of blinding. This links to Gaskell’s work which also takes on a darker approach to stories, as well as using the cinematic style of mid-action (photographs compared to Cameron’s images which generally showcase still, gentle figures.) Taking the idea of stillness, I also produced portraits of my models surrounded with a sense of tranquility. I felt this added effect to my narratives to have them posed still and silent juxtaposing my other images. I have connected more to Gaskell’s work with creating a sinister sense of suspense through my photographs with the use of cinematic shots as well as the angles and mise-en-scene I have used.
To conclude, literature has had a large effect on Anna Gaskell as well as Julia Margaret Cameron which has in turn influenced me. Both photographers have taken on two different approaches to interpreting children’s stories and literature, while staying connected by taking on conventions of Pictorialism using tableaux staged photography. Gaskell takes the approach of the darker, more menacing approach, with Cameron representing the lighter, softer side of the stories. Both represent and visually show their influences from literature but in two different ways. In my own work I have also used staged photographs, mixing in the menacing side of the Jersey folklore with the bright high contrast colours adding an alienation to the photographs in order to separate them from the daily life that rests in the landscapes today.
Here I have my final layouts for the print work I produced at the end of the personal investigation in relation to Occupation and Liberation. I chose and finalised on the specific layouts I did as I feel they all enhance and showcase the work well. Choosing to single out one large photograph against the black I feel works well with the particular image due to the colours and the forms in the image works well by itself as I do not have many like it. For my other photographs I chose them together as they work well in a sequence, telling a narrative together to create a larger picture to take from.
As well as producing my photo-book I have printed some of my other photographs which I took and edited digitally but did nor fo onto using in my photo-book, I plan to explore different layouts for mounting them either on foam board or using a window mount.
Below shows the images I have chosen to print and also what size I have chosen to print them in, over the course of having them I will experiment with the different layouts of them of how they can fit together as photographs.
I began by researching and looking into different ways that I could trial laying out my photographs on board or in window mounts, as my photographs create and tell one fluid story, narrative I feel I should lay them out in a way which leads the story or highlights important parts of them which I would like to emphasise.
Looking at the photographs I printed out I made three in three different sizes, A4, A3 and A5, I printed out two of each of these sizes to give me some variation in what way I could lay them out. I am still unsure as to whether I place them all collectively together or as separate displays. My photographs are showing two different parts of the story each, one that leads on towards the other, however I am unsure as to whether I should put them all together as one larger narrative or in two separate narratives to keep the two parts separate from each other and as individual stories. This would also allow me to experiment more with my layouts as I could have two different versions rather than one.
Below are four of my trials for display options for my printed photographs, I trialled having my photographs separated onto two different displays and also all together as one collective display, I feel some my photographs might have more of an impact being displayed on foam board and some on window mounts so I want to trail and see how I feel that they would fit and work together, due to having 6 and 3 different sizes I feel that one display may become too crowded which is not what I want to eventually achieve so I feel for this reason I may begin to split up my photographs.
Final Display Plans
Below I have my plans for my final prints, I decided on doing three separate displays due to the types of photographs I had, my middle display I felt is a strong image any itself so decided to keep it singular and in a window mount to keep it in a frame. My left display I felt the photographs worked well together with the repetition of the subjects but also the colour schemes going through the two photographs, I have also decided to window mount these photographs as I feel they will work well with the dark black paper, sunken into the display as the sink into the dark musty green colours of the background I feel works well together. For my last display I paired these three photographs together as they all have very similar colour hues which ascetically work well with each other, as well with the subject matter the close up of the eyes works well in contrast to the action of them being blinded and hidden in my other two photographs which is why I have chosen to place them all together working with each other, I will be displaying this on foam board as I feel they should stand out above the page as well the white I feel will work with the bright blues and purple colours coming through in the photographs.
Text is an important part of my photo-book as my images were telling a story. The photographs tell a narrative themselves however I felt it important to include the written stories I was telling to make more sense for the viewer and to help the narrative of the book flow.
Narrative Text
I began with the narrative text, experimenting with the placing and the images I was going ton put the text to. I put each story down into 3 paragraphs or miniature stories each. I found this work best as a sequence and then wanted to keep each story the same to help with the flow of the book. I also had to trial and experiment with putting the text at the top, bottom and centre of the page. I personally found that in the centre worked best as my images were mainly centred that I was using so it worked on the adjacent page to have the text in a symmetrical position. I placed a subheading at the beginning of each paragraph as I felt this looked better but also gave some context towards the stories and what was going to be told to come.
I began experimenting with the size of text as well as its compression, I started with size 15.4 text and moved it down to the main body of text being size 11 with the heading being size 12, this worked best as in industry production this is the regular size text would be and it won’t look overly large and too big on the A4 size paper that I have. I also began to add a buffer to my text boxes, making the lines shorter but adding the text onto more lines, this worked better than having all of my text stretched out it made it look more clean and put together and neater than having it stretched out, this also helped with the centring of the text on the page.
Essay Text
I personally chose to add my essay into the end of my photo-book as I felt this was an added touch to finish of the whole personal investigation together. I chose to stick to some similar layouts throughout as I felt it looked better with consistency rather than changing it every single page. I tried to make each spread round off and finish in a good place so to make sense and to help the flow, using the size 11 text I felt this was the best size for large bodies of text and then further used size 10 for the image labels and captions so that the did not begin to get too bulky or take up too much room compared to the main large body of text.
Initially I began developing my photo-book by setting out my two stories that I have chosen to display, I began working forwards from the front and then backwards towards the middle with my last photograph, this helped me be able to see them beginning to join together rather than put one in and then another, going from both the front and back helped me personally merge them easier and also helped as I had previously began to choose out my narratives. I have decided to use a mixer of double page spreads and individual images to break up the narratives and help to create a flow.
Narrative Beginnings:
As I have two stories I had to find a way in which to show the beginning of my stories, I chose to do this with a centred photograph and a small caption underneath, I didn’t do any other photographs with this writing and positioning combination as to have them stand out and be noticeable from my other page spreads. For my first story I chose to use an archival image for my starting photograph, this is because the sight itself has a lot of tourism and history around it, the story brought a lot of news and tales so there was a lot of content which I found interesting, I personally chose to use a postcard looking directly through the Devil’s Hole cave, I chose this photograph as I feel it fitting for the beginning of a tale as it looks through into the story like a walkway. For my second story I began trying to also use an archival image to match and connect with the previous one, I decided against this as the sight I had visited for the shoot was badly excavated the first time so was no good documentation of the sight, I eventually chose to use one of my own photographs I had taken on sight which I did not plan to use in my narrative however I felt was one of my strongest photographs, the collection of hands which high contrast and bright intense colours stand out and the jarring angles work to entice and suggest the outer worldly sense of something abnormal.
Page Layout Experiments:
Setting out my photographs I found my narrative working best with a mixture of double page spread and individual photographs, I began to experiment and trial having my photographs in three quarter spreads as well, this is due to some of my photographs being I feel stronger when large however had an important figure going through the seam which would not work so I worked with three-quarter spreads instead as I feel this gave off a better effect than the smaller photographs but solved the issue I was having with double page spreads. Any double page spreads I did create I chose to do with my landscape photographs, this is because there was no disruption due to the seam and they worked well in breaking up the narrative to help make the narrative and the story flow better. I chose to go through with a flow of every double page or three page spreads I have a full bleed photograph to create a narrative and a good sequence ing of my photographs which I feel worked better than just having one or two double page full bleeds throughout my book.
Physical Photograph Use:
As I had worked on a disposable camera for some of my project I felt I wanted to find a way to incorporate them into my photo-book, I plan to by some photo-corners and stick them in once I finally have my photo-book printed as I feel this will present them nicely while still having the effect of the physical photographs. I began trailing and experimenting with which photographs I wanted to have a physical and which as digital images printed in the photographs. I began trialing this with some images that I had side by side and was using together. I eventually decided on keeping these as digital photographs as I didn’t want to overload my photo-book and I feel that they worked better with two digitally as I could get them aligned directly. I chose to use the photographs I was going to place individually physically as I feel it will be more impactful not the narrative and the book as a whole.
I plan on inserting strip of my negative films into the photo-book right at the very end for a personal touch and effect, I plan to only insert one strip with my best or most important photographs on. I feel this adds a good effect from the narrative of my photo-book as it is showing a sense of the taking of the photographs and the idea of these beings being in the island and the occupation they have on the island as a whole and them being real and here.
When developing the narrative of the photobook I began to do this with the physical prints of photographs that I had as I found it more useful to be able to move them and discard them in front of me physically, beginning with all of the photographs in front of me I went through the photographs and grouped them together based on situations and tells, the action photographs, scene setting and others, once I had them grouped I began to be able to build a narrative, moving from creating and setting the area, and developing a sense of character, using the photographs of just the girls themselves, showing them interacting with the scenery. I further moved onto the ‘action’ photographs, showing the contents of the story, ones with the hands across the males face and the crowding ones, this then would allow me to lead onto a ‘resolution’, using the more ominous photographs towards the end, the slightly out of focus and also the half exposed landscape photographs.
This act of laying the photographs helped me to develop this narrative, below I have my final groupings of a narrative in a ‘beginning, middle and end’ style as to help my design process. In Lightroom I will now be able to narrow down my photographs further however I have been able to create a starting base for myself to see what works in the photobook and the actual layout.
How has stories and literature influenced the work of Anna Gaksell?
Traditionally, throughout the 20th century photography was centered around capturing the decisive moment, however, we have come to explore the notion of creating this ‘decisive moment’ artificially, constructing scenes made for only the purpose of photography. Tableaux photographs have been made from the beginning of the medium, although Staged photography emerged as its own known genre in the 1980’s; both ideas involve composing a scene much like a painting, creating elements of Pictorialism. Anna Gaskell creates ominous photographs of women, taking themes from literature and stories, generating a dream-like narrative in her work. I chose to look at Gaskell due to her staged and tableaux approaches and how she uses her influences to warp them into her own narratives and blurring the lines between fact and fiction. I am going to review the extent to which stories and literature has influenced her work using her imagery for Wonder (1996-97) influenced by Lewis Carroll’s Alice in Wonderland, and Hide(1998) influenced by Brother’s Grimm tale The Magic Donkey. In my own work I intent to explore the stories of the myths and folklore based in my home of Jersey. Using Gaskell as my influence to explore the notions of the boundaries of a narrative from a literacy influence in the visual work and representations. I plan to explore these notions with the narrative of the legends, through tableaux and landscape the reality of these stories and their occupation of the island.
Historical Context:
The movement that took the medium of photography and reinvented it into an art form is known to be Pictorialism. Pictorialists wanted to make the photographs look like painting and drawings to penetrate the art work, this eventually would happen and go on to juxtapose the original purpose of photographs. In 1839 photography was first used in order to objectively present subjects scientifically, images were highly scientific, fixing the point on objects, and was not considered an art form; that is until pictorialism was presented. The shift from photography being used to produce purely scientific and representational images happened from the 1850s when advocates such as the English painter Willian John Newton suggested that photography could also be artistic. Although it can be traced back to these early ideas, the Pictorialist movement was most active during the 1880s and 1915, during its peak it had an international reach with centers in England, France and the USA. Pictorialists were the first to begin to try and class photography as an art form, by doing so they spoke about the artistic value of photography as well as a debate surrounding the manipulation of photographs and the social role that eventually holds. Pictorialist photographers used a range of darkroom techniques that allow the photographers to express themselves creatively using it as a medium to tell stories.
Anna Gaskell:
Anna Gaskell is a contemporary American artist known for creating contemporary work exploring themes from literature and stories. Gaskell creates ominous images of women that nod to familiar or historic narratives, she explains her process of an attempt “to combine fiction, fact, and my own personal mishmash of life into something new is how I make my work.”, Gaskell is creating imagery by merging together reality, fiction and her own personal touches of the two warping and blurring the lines between the known stories and her own twist on them. Creating photographs that depict narratives from literature that may not be the original people know, Gaskell takes her influences and warps them into her own, stretching the boundaries of the narrative of the stories and literature that has influenced her work. Gaskell’s work dips into the notion of Pictorialism, using tableaux methods to generate her photographs. Gaskell’s photo series “Wonder” is influenced off Lewis Carroll’s Alice in Wonderland, the work is produced off the back of the idea of isolating dramatic moments from the larger plots. The photographs are staged and planned in the style of ‘narrative photography’, the scenes are artificial, produced and only exist to be photographed.
I have chosen to look closer at Untitled #47 from Anna Gaskell’s series Wonder, the photograph depicts two young girls both dressed identically interacting with each other with a sense of urgency, one towering over the other holding their neck and nose. Although interacting with each other they do not represent individuals, but instead, act out the contradictions and desires of a single psyche, Gaskell’s use of twins for the representation of Alice builds a connection and visual link of identicalness for in which we know they are being represented together rather than individually, while their unity is represented by their identical clothing and looks. Gaskell has staged the photographs to create her own striking visual reinterpretation of Wonderland through the moments of Alice’s physical transformation, the mysterious and often cruel rituals they act out upon each other may be metaphors for disorientation and mental illness. Gaskell’s work has no clear beginning or end containing ambiguous narratives, adding to the emphasis of the unknown and disorientation. This idea is striking in comparison to Alice in Wonderland as the narrative can be originally taken as Alice’s own dreams taken from stories, the character collectively evoked is Alice, perhaps lost in the Wonderland of her own mind, unable to determine whether the bizarre things happening to her are real or the result of her imagination. Gaskell has created a alternative narrative one in which the audience is familiar with, generating a post-modern effect of a simulacra to entice her audience.
In comparison to her series Wonderit is clear Gaskell has been influenced by other stories and pieces of literature which is clear to see in her later series Hide based off Brothers’ Grimm tale The Magic Donkey, this series has been suggested to be her most radical and abstract to date, the title of the series can be linked in reference to the children’s game ‘hide and seek’. In this series Gaskell has again cast young girls as her forefront protagonists, placing them in photographs that emit a sense of nightmarish foreboding and thinly veiled violence. Gaskell’s reference to the Brother’s Grimm story is brought out in the sense of anxiety that she creates with the dramatic lighting and camera angles.
I have looked into using some archival material for my photo-book, exploring the Jersey archives I have found that the Dolmens I have visited were badly excavated int the 19th century and do not have good recorded documents of the sights so I will be unable to use them. Devil’s Hole however was and still is a tourism sight and had made a lot of news around them so there were a lot of postcards on it I have chosen the ones I did specifically as one matches a picture I have myself and the other I feel works well as the entrance of a story.
