 Rhaid i'r ffordd. Fydda'r ffordd y gallwn i ddim yn byw i ddim yn ysgolio i chwarae. Felly byddwch i'n gwybod y byddwch yn ysgolio ar y projeg Ysgolio'r Ysgolio Ildiannau, Egychyddiadau, Egychyddiadau, Panasdyn i'r Ffwrdd. Felly byddwch gynnwys ysgolio ar gyfer y dyfodol. Felly fyddwn i'n gwybod ymddangodd am y bladdwch â'r projeg. yw eich mynd i fyddo i weld mor cyfnod i'r hynod i'r amlwg sydd gyda'r hyn oherwydd ac yn lot i'r pelu'r cwmbr ydych chi'n gwybod am un o'r hyn o dillogau yr ydych chi'n byw'n ddweud i chi bydd ymddangos childe yma a ddysgu'r ddegon o wneud y ddiddor fel fynd yn dweud Felly, ymwneud hynny, mae efallai gynhyrchu'n gweithio'r wych nid oed mae eich gwylliant gw Mi'r carton o'r niwn, rhai o'r prifoedd yng Ngheithgwyd yng Ngheithgwyd yng Ngheithgwyd yng ngheithgwyd nestod i'ch mynd ietai'r cael eu cael ei Rhy risen o'r cael ei phoedd yng Ngheithgwyd yng ngheithgwyd? Mae oedd yn cael ei ffordd yn y Llywydd, mae geni'n chlywio ond o'r Egymdeithasol, ac mae'n mynd i gael i'r wneud yng Ngheithgwyd. Rydyn ni'n meddwl bod yn gweithio i'r eu gafodeg yr image wedi ei wneud o'r cerddog yn y frontaid, yr wymiad wedi cy pixio. Mae'r wymiad yn gallu gweld y gafod ar y llif, chipsio, y gallwn lle'r cerdd, a'r hyffordd am gael lle, efallai yn oed o'r amser, a, mae'r cyntaf mwy o'r ffordd. Mae'r trafnod o'r casun helywch g períodod Heliwg. Yn 2013, mae'r gwaith o ffotograph yn maratydd a mae'n gweithio o'r du o'r perffodus mae'r wneud, mae'n gweithio fod yn gweithio'r aethau o'r rhaglion cyfrwyr, I'r amser o'r blynedd y gondiffyniad, ond ond rydd yn rhaniaid ei ff alternativeu o'r amgylcheddau unrhy lu, ond rydym yn pargyfodol, rydyn ni'n rhaniaid gyda'r amgylcheddau unrhywgol o'r ff Christiansaib yr yndoedd ynghylch yng Nghaerdoedd Iecaethaniaeth yng Nghaerdoeddlus. We'n dweud yna'r informeol, yma'r cyffredinol i'r porf, oherwydd i how vision рydyn ni'n rhaniaid eu rhaniaid i'r ymwneud o'r ff Christiansaib yng Nghaerdoeddlus ynghylcheddau Egypt a'r H attack. Rydym nhw'n tu i'n meddwl y cwpffiradau oherwydd mae'n dweudio eich rhan o'ch gentegol digital a'ch ardaent, oherwydd o'ch cyfeinio ar gyfer tomorrows ac y ffordd y cyfnod, ac mae'n dda chi'n pob gfawr i'r ffobl, ac mae'n gweithio i'r cy individually i'ch gesio a bwdyu'r bwysig, ac mae'n ddïmu'n ein bwysig a dwi'n rhan o'i ei fod yn dweud, ac mae'n dweud eich tro yn ddefnyddio'n ei rhan o'r cyffredigol a'i addysg ar gyfer argofydd o'i dim. yn rhoi'r hollwch ar gyda'r cyffredinol o'r hollwch a'r ddeithasol a'r hollwch ar y gwaith. mae'r hollwch ar y gyfer, mae'r hollwch ar y gyfer o'r hollwch ar gyfer o'r hollwch, fel y galler wneud cyfanol o'r hollwch, mae'r hollwch ar gyfer o'r hollwch ar gyfer o'r hollwch eich hollwch ymlaenol o'r archif, wedi gael i'r gweithio. Yn y gallwn i gyrrau'r hyn, rydyn ni'n achos edrych i'w roodion, Over the last two years, and we've been fortunate to have the opportunity to conduct our road shows at a number of military museums, including Firing Line here in Cardiff, the Regimental Museum of the Royal Welsh of Brecon, and we were recently at the Royal Welsh Fusiliers Regimental Museum at Carnarvon Castle, which was very fortunate because we were able to coincide where they had the poppy display there, the weeping window of the poppy display there. We've also been to the TAC Museum, the Petrie Museum, the Manchester Museum, and we coincided where we were able to visit the T.E. Lawrence Society meeting in Oxford last summer. And then most recently we were at the National Civil War Centre in Newark, and the reason we were at the Civil War Centre was because they were also housing an exhibition of Lawrence of Arabia at the same time, so that was a nice coincidence or we were able to collaborate there. So at these road shows, what we've been doing is inviting people to come along with collections of images from the First World War in Egypt and Palestine, so that gave us an opportunity to meet them, and during those road shows we were making digital copies of those images, so we were either scanning them or we were taking photographs of them. So we're not actually collecting the physical images they remain with their owners, but we are collecting digital copies of them, and then we are processing them in order to make them available online. Because we are funded by the Heritage Lottery Fund, one of the important aspects of our project is to involve volunteers in various different ways. So we've been able to invite volunteers to join us at our road shows to help in the collection of images and the scanning and photography of images. And we've had volunteers from the venues, the various venues we've been to, but also we've had volunteers from the Western Front Association, from Operation Nightingale, which is a charity which helps the recuperation of service personnel who've received injuries during conflict. So we've had volunteers from them, and from student volunteers as well, and interested members of the public. We have some volunteers who have an interest in photography who have been joining us as well. So we have a range of volunteers and they're helping us in the collection of images and the processing of images, but we've also been able to contribute to a series of workshops in schools in the South West region. Our school here at Cardiff University has a programme of workshops going out to schools and giving them a flavour of what it would be like to come to a university and study and think about the disciplines of archaeology, history and religion. So we've been able to contribute then with some of our images from the First World War. And some of those images include postcards, so we're interested in photographs taken by service personnel, but many service personnel at that time wouldn't have had access to cameras so they couldn't take their own pictures, but there were many commercially available postcards at the time that they were able to purchase and to send home, so we're also interested in those as well. Now on the theme of postcards, we introduced those into some of those school workshops and to get the pupils at the schools to think about the images, the postcards, we produced replicas of them and invited them to write their own postcards home to their families. And I don't know if you can read any of the text there, it's actually quite difficult to read, but there's some interesting themes coming through there that they're able to pick up through the workshops and potentially write home. But probably the most interesting thing that we found is how very unfamiliar they were with the whole concept of postcards in the first place. Because obviously today people are more familiar with social media, mobile phones, cell phones and so forth, but the whole idea of sending a postcard was actually something quite new to them and that was something we weren't expecting. And it might be something we might think about exploring in the future. We are going to have an exhibition of these, we're holding a conference a little later in the year connected with this project and we'll have an exhibition of these postcards that the pupils have completed. We've got over 120 postcards so far. So, in order to get these images online, we're working with the Centre for Digital Archaeology, I think you can guess where they come from, where they're based on this image here. And they specialize in creating online digital archives for archaeological projects, so they're very well suited to the kind of thing that we're aiming to do. So, we're working with them and in the first instance they've helped develop a database which will hold the information about our images. So, as I've said, we've been scanning the images, making digital copies of them and then we need information about those images. So, who was the donor who provided them? Who was the person who took the photograph or the postcard, the service person who was out there during the conflict? And then information about what the images are depicting, the date, critically if we can have dates of the images and what might be on the reverse of the images. So, many of them were postcards or they had information written on the bank which gives us further information about what the image is depicting. So, we need to get all of that information into our database. And then we're able to upload it to our website. So, when I showed you those two website links now, the lower of the two was this one here, and the website is just about going online now, so it is accessible. And the people will then be able to search those images. Currently we only have about 125 images up there, but there's more going on on a daily basis. But people will be able to search those images on a range of different themes to do with the type of image, the kind of what the image is depicting, the donor, regiments and things like that, different forms of archaeology as well. And then access to information there, so there's an image, we've seen that one quite a few times now, that's of wounded soldiers who were recuperating in what is now the Mina House Hotel, but it was actually a hospital at the stage of the First World War right next to the Geese of Pyramids. But then we have the information written on the back by the person who was sending that postcard back, which we try and transcribe as best we can. And where we are able, we can add geographical information about those images so that we can, what's known as geotag the images, so they can be searched geographically as well. So if you're interested in a particular area, you can zoom in on that area and find all the images from that location. So that's making the digital archive online, so that's the kind of process we're working through now with our team of volunteers. But just to give you a flavour of what we've been getting, our very first donor in fact, and that's what the number one there refers to, and you'll see that the number and that kind of location on future images, particularly the ones that Paul will show you, refer to our donor. So if you want to find out more about them, remember the number and we can track down the donor and let you know. But our first-ever donor provided us with a whole series, about 50 I think, of images sent home by Horace David Lewis, private Horace David Lewis, who was in, as you can see, the Welsh Regiment, the Army Service Corps and then the Remount Corps. But the great thing about the images that Horace collected and sent home was the fact that he got very precise dates on them so that we can use them to create a sequence and we can create a narrative of his service out there. So we know he was in Alexandria in July 1917. He was in Jerusalem in Christmas 1918 and we see quite, we're getting lots of these kind of commercial postcards but referring to the Holy Land, so references to biblical places, which is a common theme in the images that we're getting. He was in Beirwt but not beyond the Armistice there so April 1919 and we can even track his journey home. He headed home via Marseille and that's August 1919. So for quite a few of our donors we've got this whole sequence of images which enable us to track their history and where they've been. A strong theme of what we're doing is to create an online resource which helps to commemorate those that served in that theatre. But we also have archaeological objectives, as I'm sure you've probably gathered. The important thing is having a sequence of dated images which enable us to document change for sites. We get a sense of how they've changed in the last 150 years or so. So here's an image of the Del Air Bachry, which is on the west bank of the Nile opposite Luxor. It's the mortuary temples of Hatshepsut and this is around about 1895, so obviously a little bit before the First World War, but it does show in the Fortwell just behind these figures here, this building here which was Nadel's excavation house at the time. A slightly later image, this is from one of our donors, donor number 24. I have a list here which was, the service personnel was John E Morgan who was out there with the Royal Welsh Fusilius. And this is somewhere between 1917 and 1919, but the important thing to note there if I just go back is the amount of reconstruction that's gone on the site. So Nadel's house has gone, but you'll notice the temple complex itself has been reconstructed with a second tier there, so we can track how these sites have changed and very often that is for the benefit of tourism. And then a more recent photograph you can see has changed very, very significantly. So by gathering these we're creating a resource which will be useful to tracking how these sites have changed. Another example, here we have Carnac and this is the first pylon of Carnac and notice this is half of a stereo view. And this is around about 1895, so they're just excavating, clearing away rubble at the bottom of that first pylon there and just about revealing the sphinxes here, the rows of sphinxes. A slightly later stereo view there, the sphinxes are revealed, but notice now we've got water coming through here. So with the Nile inundation and groundwater rising, that's getting in the area which is previously being excavated, which led to some works on drainage. So now we're, as it says here, probably around about 1903, but no water, but what was subsequently then required was shawing to stabilise the monuments and that's due to the excavation and irrigation, sorry, drainage to prevent water damage. But then we had a picture from one of our donors, donor 42, and that was, the service person that was major book chart, DSO, and we know he was out there sometime after May 1916. And we can see there by that stage they didn't require or the shawing had been removed, I'm assuming it was no longer required, but it had been removed by that stage. So we are able then by having dated images to track that sequence. We've just put this in, it's a nice image in itself, but actually to refer to this person, as I'm sure you're all very well aware, Lawrence of Arabia, previously an archaeologist before he was involved with military intelligence then on to the great Arab revolt. We're not dealing specifically with the activities of Lawrence, but we have been communicating with various people who are, as I said, we've also been previously to the symposium of the Lawrence Society last year. But also Neil Faulkner has a project which is actually doing archaeological work along the Hejaz railway called the Great Arab Revolt. And so we're able to sort of communicate with them. So we have very, in similar areas, but doing slightly different things to raise the profile of this theatre. But the interesting thing here particularly for us is that top image there which shows one of the bridges blown up by Lawrence and colleagues during this part of the Great Arab Revolt. But in our collection from one of our donors we have a very, very similar picture which we think might well be the same bridge and we're trying to work that out. As far as we've discovered so far, that is the first bridge after the Shajara station on the Hejaz railway, which is currently somewhere along the border between modern day Syria and Jordan. But I mentioned earlier about an interactive website and one of the features of it will enable people to make comments. And what we're really hoping is that people might know more information about these images than perhaps we do or the donors do. We're not military historians although some of our volunteers are. But there's lots more information about these images that can potentially be gathered by what's known as citizen science or crowdsourcing. So we're very interested in getting comments and feedback from people which will enhance the value of the resource that we're creating. So that's something by way of an introduction to our project and what our aims and objectives are and how we're going about gathering our resource. But I'll now hand over to Paul who's going to talk to you a little bit more about photography during the First World War and how they fit into some of the themes that were explored. Oh, thank you, Steve. Just to pick up from what Steve was saying earlier, the First World War is a very under-photographed conflict, but that applies especially to the First World War in Egypt and Palestine. One of the reasons for all that is that the British only had throughout the entire duration of the war 16 permanent official photographers and they took about 40,000 official photographs. The best known perhaps of those photographers is Lieutenant Ernest Brooks, who was one of the first appointed and whose views of the Western Front are particularly well known. The camera he is holding there is a press camera at the time, German made. Both sides used German cameras. They were considered to be the best equipment. I'm not quite clear what you did for spare parts if you were on the Allied side. The German side encouraged photography both at official and unofficial level. A number of court photographers were pointed from the outset of the war. Soldier photography was very much promoted. Photographs sent by German soldiers were made into postcards for sale to help raise money for the war effort and so on. That was not the case officially for the British and Allied forces. From December 1914 photography was officially prohibited, at least on the Western Front, by General Order 464. That order was repeated again at various times throughout the war. As you can see this is a later example of that order. The official photographers took only 600 photographs of the Egypt-Palestine theatre, so it is not very well covered at all. As a result, many of the images that you see in histories of the First World War were actually taken by soldiers themselves. A measure of how many of those images are around and unpublished is perhaps the fact that our project has so far collected about 2,000 images, the great majority of which are soldiers' own photographs rather than postcards, though we have a large number of those as well. Although photography was, at least on the Western Front, officially prohibited, here we have an order on the official military order paper. This is the copy of it from H.J. Butchard writing from campaign back to Cairo to the photographic dealers to have six spools of six exposures each for a number 1A autographic Kodak Junior sent up to the front for his personal photography. These cameras, the Kodak Autographic particularly and a slightly earlier model, became known as the Soldiers Camera, marketed from 1912, but from 1915 it was realised that lots of soldiers had started to carry these, albeit illegally. They were then marketed as the Soldiers Kodak. Despite the bang on photography, it took a little while to filter through and amateur photographer in March 1915 publishes an article by someone who signs himself a medical, presumably someone who had been sent home to recover from injury. He gives some practical notes from one who has been there. Don't flourish your camera about in the face of generals. Don't take pictures that could possibly be of the smallest assistance to the enemy. Don't ever photograph the horrible, such as the execution of a spy. You will find war quite horrible enough without perpetuating the seeming side of it. As I said, this article actually appeared after the bang on photography had been issued. But some of the tips which he goes on to give are perhaps picked up by those who were stationed in other theatres. Photographs of the First World War have really only started to be studied seriously relatively recently. Richard Van Ender has attempted to divide them up into several groups. Those which show friends and comrades, the latest equipment and weapons and the destruction of landscapes and the surreal landscapes that are left as a result of the conflict. We can put some of our photographs from the Egypt and Palestine campaign into that context. Those headings were devised for the western front. Friends and comrades, some of these are very imaginatively staged. Some of them with a huge amount of detail. This again is from Major Butchart's album. He was meticulous about recording everyone in the images and where they were. Some of them are also dated fairly closely. We hope that when these are put onto the website, these will prove to be a very useful resource for military historians and help to identify individuals in other images in private collections and elsewhere. We've seen the 63 wounded soldiers from the Mina House already closely dated image. And photographs taken in front of the Spinks and the Pyramids were very much a feature of the campaign, as you'd expect, since there were large military camps around it. From the point of view of the history of photography, we can get a little bit of information about what's going on with some of these. We're even starting to be able to recognise some of the local guides who will come and pose with the groups being photographed. You can see there, there's a number 93 at the bottom. The local photographer would then take the processed images to camp and be able to sell them to the soldiers until, very recently, the same sort of thing was going on in the Valley of the Kings. If you went with a tour group, you would be photographed and someone would turn up later on to sell you the image. The same thing is clearly going on during the war. Some photographers made a point of visiting the camps and taking rather less formal images. Here we've got a group and a very simple rubber stamp used to mark it up as a souvenir of Egypt 1950. Groups of individuals, as you would expect, very popular. This one, a group of signallers with their heliograph in an album which belonged to Herbert's Standard. But his album is also very useful in not only showing us a view of one of the camps looking onto the pyramids, but you can see an X marked on the side of the pyramid. That is where the heliograph station was positioned so that you could receive the daily communique from the residence in Cairo, which was, I think, something like 12 miles away, according to his notes. Messages were being sent to and from the Giza Plateau in Cairo by heliograph. One of that evidence, other categories, is the latest equipment and weapons of war, and of course the epitome of that really is the development of the tank. Tanks were widely used on the western front, but about eight of them I think were sent to the Egypt and Palestine campaigns. Usually one sees photographs of these after their destruction. Quite unusual to see them in this sort of condition being prepared ready for battle. All the tanks were given names. The one at the front is just about recognisable, I think, as Sir Archibald. This one are very clearly marked, HMLS. And then we struggled a little bit with the name, whether it was of Tarzol. It is in fact Otto's El, which it probably would be if you were inside the tank at the time. Old looking here with an annotation from the album, Tank under repairs after the second attack on Gaza, lying in the Wadi Gazi Palestine. So we've got good geographical information for some of these images as well. That same album includes photographs of two of the three pontoons, which were used by Ottoman forces to attempt to cross the Suez Canal in 1950, captured and put on display. I think we actually have in the collection pictures of all three of these pontoons, but these two in this particular image. Lewis Gunners in this case doing anti-aircraft practice and aircraft themselves still a new weapon of war. These are repairs being undertaken to an aircraft engine in January 1917. On the outskirts of Cairo, where there were large workshops for aircraft repair. Also in Cairo, one of the great bombers of the time, the Hanley page here next to a smaller, soft with pup aircraft. What turns out we think to be significant about this particular image is that it seems to be this aircraft making a stopover in Egypt before going to join the Arab Revolt forces in the Hejaz. So this was an aircraft being used to support lots of Arabia and the Arab Revolt. Landscapes from the conflict. We have quite a number of images like this, which we have tracked down. We think to Coelfer. This one is labelled very helpfully the destruction of a transport convoy and memorials. Here a memorial cross Ramallah for the 53rd division, the Welsh division. This crops up a great deal in soldiers albums. It's something that virtually everyone I think who passed through and had a camera recorded. We also have a number of views showing the temporary graves of fallen British and Commonwealth soldiers like these. Often taken so that they could be shown to the family of the deceased person. And also in the knowledge that some of these places were too remote for families to ever visit after the war. They also seem to be contrasted with images of the dead. Here an image of an Ottoman soldier. We've had several similar images come in. Clearly people were not respecting the advice given by Ledicol that the Sydney side, the horrible side of war should not be photographed. This individual has had his boots and equipment removed, which seems to have been a common practice scavenging. It was something which was being attributed largely to the local tribesmen. We then come to an area which is rather different than the kind of photographs which we're used to seeing on the western front. And that is looking at local colour, looking at, if you like, the customs and traditions of the people of Egypt and Palestine. And also the archaeological science. One of the interesting things about these images is that it's very obvious that those who are taking the photographs are often emulating postcard images. So you see the same sorts of scenes being repeated by amateur photographers and by commercial photographers. The local police feature very prominently in both postcard and amateur views. Views of veiled ladies, ladies with traditional jewellery and so on also feature very commonly. There are lots of scenes of street barbers, street vendors and local funerals, which seem to have been a particularly popular subject both commercially and amongst amateur photographers. Days out here someone from the Royal Flying Corps at what is labelled up as the City of the Dead on the outskirts of modern Cairo. There is a particular awareness amongst the soldiers' service personnel in the Egypt and Palestine campaign that they are in the lands of the Bible. And that's very different to what's happening on the western front, for example. This is from one of the donor's albums, and you can probably read underneath the old caravan route across Sinai, used by traders between Asia and Africa since the beginning of time. Just a chain of OACs in the desert, it has been trodden by the armies of the pharaohs, the Assyrians, Alexander and Napoleon, and last of all by the British Army. And there are photographs at some of these points along the route. There is a real awareness in the kinds of photographs that are taken and in the postcards that are sent back that this is an area of real historical importance. And it's not surprising, therefore, to find that soldiers of all ranks visit some of the great monuments in Egypt. Here we've got from major book charts album again, the same person who was requesting film from Kodak and who provided those very detailed views of his fellow officers. The great forecourt of the great temple, a view of the great temple looking southeast. He's managed to climb up onto the buildings within the courtyard of the pile on to be able to take some of these views. From the point of view of archaeology and restoration, this site looks now very different. And to have a dated series of images is one of the things that we are particularly keen to do with this project. Our hope is that we'll be able to expand this in future and go back particularly for Egypt to look from the beginnings of photography through to perhaps the 1970s or 1980s and build up a dated series of images. As Steve said, a great deal of restoration and excavation has taken place since the First World War and it's not always well recorded. Here in the album, rather less detail it's labelled up as the Temple of Comombo, the one on the left is. The other is the Temple of Medinatabu in Thebes. Presum that these haven't been labelled at the time and his memory for which site was which had slipped with a number of views which are mislabelled. Here at the Temple of Isis at Fili, many of you will remember these monuments along with the great Temple of Ramesses II at Abysinbell being moved in the 1960s in advance of the construction of the Aswan High Dam. The first Aswan Dam begun in 1899. Initially led to flooding but the water level was kept artificially low. It was then decided that the water level should be raised and that meant that between about December and March of each year the monuments were flooded and the only way that they could be visited was by boat. Here you see a group of officers taking a boat trip around the site. We've also had courtesy of our colleagues at the Egypt Centre in Swansea. The donation of some images that were taken by a military sergeant who was very interested in the archaeological site and who took a whole series of views here during the dry period of the year. You can see on the pylons at the Temple where the water level sometimes reached up to. These monuments have now been completely removed from this original location and resided on a separate island. More usual views are the ones that are taken around Cairo and around Alexandria. Here the interior of the temples at the Hermes, the Temple of Kufu or Keops, are taken in 1917. The so-called alabaster sphinx, Memphis, not very far from Saqqara. The alabaster sphinx has been much moved around for conservation and tourism purposes. You can see here that it's sitting in a hollow raised up on blocks to protect it from fluctuating water levels. It's now considerably higher and has a wall around it. It's labelled in the album as being Saqqara, the Dead City Cairo. There's a little bit of confusion about where it actually is. Presumably this is because the visitor went to Saqqara first and then down to Memphis. The Cairo Museum, which had only opened in its present site. This is on what's now Tafria Square in the centre of modern Cairo. It had only opened in this location in 1902 so the displays were still relatively new. Quite unusual for us to have interior photographs of monuments or indeed museums. This is an unusual one. The gallery that you're looking at is full of heavy sculpture by and large. Some of that has since been moved around. It's quite a useful exercise to see the museum as it was originally laid out. Moving into Palestine, we also have some scenes of destruction. This is the Great Mosque at Gaza. The official historian for the campaign makes a great point that the British were keen to avoid damage to monuments. Clearly it wasn't always possible in the conflict to avoid damage. This building was later restored in the 1920s. I think though what these photographs help to do is to show the desirability of having dated images of monuments. Because as we know they are still being destroyed in conflicts around the world. In recent, in the last year or two, a great deal of attention has been paid to trying to reconstruct monuments from early photographs. A series like these will be, I think, very valuable in the future. Overall, our project has yielded more than twice the number of official photographs which are available in the Imperial War Museums. It's clear that that ban on photography was not widely observed and that at least in the Egypt-Palestine campaign people were quite openly using cameras to record not only images around the conflict, but also the ancient monuments that they came across. It's quite a difference, I think, between what's going on in Egypt and Palestine and what's going on in the Western Front in terms of this awareness that one army is following the footsteps of previous armies, that they are going to the holy sites in some cases. We've got lots of images of the monuments of Jerusalem, for example, and that they are sending these things back home. They are recording their observations and their feelings about visiting these sites in a conflict situation. That idea that these are antique lands and should be treated respectfully is something that's coming out as a very clear theme through these photographs. They are rather different to some of the tourist postcards which are being sent back from the Western Front. Finally, we should acknowledge the generous support of the Heritage Lottery Fund and our project volunteers who have allowed this project to operate in the way that it has. Various institutions, who Steve has already mentioned, provided facilities for our roadshows. They hosted them for us. Last but not least, to Cardiff University, the School of History, Archaeology and Religion, for providing a permanent base for the project. With that, you've probably suffered enough. I've told them it's a one-section available service.