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The title preserves the default filename convention of Sony digital cameras, indicating the print derives from or incorporates a photographic source. This direct retention of the camera's automatic numbering aligns with Bouman's archaeological approach to image-making, where the apparatus of documentation becomes part of the work itself rather than being concealed beneath an interpretive title. The translation from photograph to woodblock print necessarily involves reduction — the continuous tonal range of digital capture must be resolved into the carved language of relief printing, where gradations are achieved through hatching, stippling, or the overprinting of separate blocks rather than through photographic continuous tone. Bouman's practice of merging found imagery with personal observation suggests this photograph likely originated either from her own travels, consistent with the nomadic working pattern that characterizes her wider output, or from an archival source she has appropriated. The graphic flattening enforced by the medium transforms the photograph from evidentiary document into illustrative composition, a process central to her stated interest in how historical traces are reframed through visual translation.