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Illustrative Circle example

Rosa and Femi, Trani 1987.

One Circle, followed the whole way through, so the shape of the thing is visible in one place rather than a feature at a time. This is the study that uses everything.

This is a fictional story

This is a fictional story inspired by real events. The people, names and identifying details have been created to demonstrate how a Circle can be built. Nothing on this page is a customer, and none of the pictures shows real people. Real customer studies will be published separately and labelled distinctly.
A 1987 wedding invitation on heavy cream card, foxed and creased at one corner.

It started with the invitation.

A wedding in Trani in September 1987, with guests who travelled from Lagos, London and Milan. Rosa created the Circle nearly forty years later, and the first thing she put in it was the invitation she had kept in a drawer.

A Circle can begin with one person and one thing. This one grew when she invited the people who were there.

Six members, and not one of them can do everything.

What each person can do was set by Rosa, who owns the Circle. Grazia, who helped at the venue and was invited nearly forty years later, can look, listen and comment, and add nothing.

  1. Rosa

    The bride. Created the Circle, and is its owner.

    Owner

  2. Femi

    The groom. Brought his family’s photos from Lagos.

    Contributor

  3. Elide

    Rosa’s grandmother, 71. Names people nobody else can.

    Viewer

  4. Chiara

    Rosa’s sister. Had a compact camera that night.

    Contributor

  5. Tunde

    Femi’s brother, who flew from Lagos.

    Contributor

  6. Grazia

    Helped at the venue. Invited years later.

    Viewer

Nobody had the whole evening. Between them, they did.

The official album is square and tripod-steady. Everything else is a different camera, a different height and a different half of the night.

A bride and groom at the altar of a small stone church, seen from a few rows back.

The official album

Square, even, everyone facing the camera. Paid for, and complete.

A bride and groom dancing on a terracotta floor under strings of bulbs, hands blurred with movement.

A guest from London

Available light, off-centre, blurred. The frame everyone asks for.

A white-haired woman in black standing to speak at a long table at night, faces lit hard by a camera flash.

Chiara

Flash on a compact camera. Elide speaking, and nobody else has this.

Two brothers laughing at a wedding table, lit by hard direct flash.

Tunde

Too close, too much flash, the top of a head cut off. Kept anyway.

A seafront courtyard with limestone arches and long laid tables, taken before any guests arrived.

Grazia

The room before anyone arrived. The only photo of it empty.

Two people, four minutes, and they do not agree.

Elide recorded hers in her own voice. Chiara wrote hers down. Both are kept, each credited to the person who gave it, because the disagreement is the part worth having.

  1. Voice story2 min 14 s
    “I had not planned to say anything. I got up because nobody else was going to, and then I could not stop. I said the thing about her grandfather and half the table went quiet.”

    Elide, 71

  2. Written story
    “Nonna spoke for about four minutes. Nobody recorded it, which is the single thing about that day I would change.”

    Chiara, 61

One person, followed through her ages.

Reference views of Rosa at three points in her life, added by three different members. The same eyebrows, the same mole on the left cheek, forty years apart.

  1. Rosa Marchetti in 1987, seen from three angles against the same plain backdrop.
    1987The wedding. Twenty-six.
  2. Rosa Marchetti in 2004, seen from three angles against the same plain backdrop.
    2004Added by her sister.
  3. Rosa Marchetti in Now, seen from three angles against the same plain backdrop.
    NowAdded by her daughter.

A reviewed Likeness of Rosa at twenty-six is what keeps the restoration below from inventing somebody. It reduces guesswork; it does not promise accuracy, and it is only used where the Circle has consent to use it.

A damaged print, mended and prepared for a wall.

Drag the handle. The original is on one side and the restored version on the other, and both are in the Circle. The source is never replaced by what is made from it.

The same photo with the crease, the tear and the colour shift mended.
A badly aged square print from 1987: heavy colour shift, a long crease, a torn corner and emulsion loss along one edge.
OriginalRestored
The same photo prepared at three different aspect ratios and laid side by side.
Reframed at the proportions the frame needs, by adding context around the photo rather than cropping somebody out of the edge of it.
The finished print in a plain oak frame with a wide mount, hanging on a pale wall at home.
The point of the whole sequence: a version prepared for one specific physical use, with the source still intact behind it.

The courtyard, rebuilt from four views of it.

Two members took pictures of the same place from different corners on the same afternoon. Together they make a scene that can be looked around.

Built from these four

  1. From inside the entrance arch
    Grazia · From inside the entrance arch
  2. Down the length of the tables
    Grazia · Down the length of the tables
  3. Along the shaded colonnade
    Chiara · Along the shaded colonnade
  4. Back towards the entrance
    Chiara · Back towards the entrance

The scene is a created interpretation of the place. It is kept alongside the photos it was made from, labelled as created, and never presented as one of them.

Privacy and permission, in this Circle.

A wedding Circle holds pictures of a hundred and forty people, most of whom are not in it, and a Likeness of a woman who is still alive.

  • Rosa is the only owner. Grazia was invited thirty-two years after the wedding as a viewer, and viewing is the whole of what she can do.
  • Rosa’s Likeness exists because Rosa agreed to it, specifically, and the record of that agreement names her and the wording she agreed to. She can withdraw it, and withdrawing it does not withdraw anything else.
  • Femi’s Likeness covers 1987 only. A photo of him at sixty would need its own, and his family decides whether that exists at all.
  • Every created version on this page is kept identified as created and linked to the source it came from. The damaged print is still in the Circle, damaged.
How roles, consent and privacy work in full

Start the one you have been meaning to start.

Most people arrive here with one damaged photo and the feeling that somebody should write down what the people in it were called. That is the whole beginning of a Circle.

Start with a free trial. Invitees do not need a subscription of their own.