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Saleh Darwish and his son, Wadi Shkya. I also envisaged these images as a response to nineteenth-century portraiture, the so-called “genre” photography, by allowing the natural setting of the gardens into the frame. Genre portraits of locals, whether taken in the fields against an improvised backdrop, or captured in a studio with props and costumes, severed subjects from the reality of their surroundings. Their contexts were reduced to captions: “dancing girl,” “bedouin,” “sheikh,” “water-carrier,” etc.