The above is a selection from the book Portrait and Place and showcases a glass painting, or 'souweres', from Senegal which is surrounds an applied early studio portrait. Glass painting was derived from Tunisia and North Africa and were typically based on an earlier photograph of a political or religious figure which ended up being censored by French colonizers. In this way, souweres became "an important form of resistance to colonial scrutiny." The combination of painting, a much older technique, and photography, a new technology, summarizes the merging of mediums and styles that occurred in the 1920s.

Aperture review of The Met's exhibition In and Out of the Studio: Photographic Portraits from West Africa.