To My Father also includes works from another series, Defining You, hand-woven intricate images where the warp is a studio portrait and the weft is a collage of images selected from the subject's childhood photo albums—images that speak to formative experiences or simply conjure up memories they'd like to relive.
Chandoha's images are striking not only for their singular charm, but also for having established a vocabulary of the animal studio portrait with a signature look--clean, brightly colored backdrops and high-key "glamour" backlighting of the subjects.
But compare it to the stilted girls-in-pearls studio portrait at the start of the film and you can understand why Bailey's editor Lady Clare Rendlesham (Helen McCrory) is tearing her Anna Wintour-ish bob out in frustration at this working class oik.
Instead, we encounter an 1874 studio portrait of one of the Chinese cobblers, whose black and white image has been manipulated to include gold leaf on his slippers and buttons, and a "dollop of red to top the pompom on his hat." With one leg crossed, the portrait offered an identity that "was wholly fabricated ...