Photographers like Sally Mann and Myra Greene, who are exploring older photographic processes—daguerreotypes, ambrotypes—those are by their very nature unique objects. Then there are also people like Vera Lutter and Chris McCaw who are making in a sense direct positives. Vera Lutter photographs directly onto large sheets of paper for her camera obscura images and then not making prints from them. That was a very conscious decision on her part: She wanted to capture the direct image that is in the back of the camera obscura, so she doesn’t make prints. Chris McCaw also photographs directly onto photographic paper, not negative film because he’s using such high-powered lenses and found that the intensity of the sun was so strong that it would burn through the photographic paper and he wanted to have that actual mark of the sun on his images. So for them it is part and parcel of the process. For me, though, as a curator, it speaks to the fact that we were so lucky to be able to get these works now. If we didn’t get them now, chances are that we wouldn’t have had that second chance to get them later on because they are unique works and there aren’t multiple prints out there.