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View from the Window at Le Gras
View from the Window at Le Gras
View from the Window at Le Gras
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A faint image on a metal (pewter) backing. The metal is scuffed, but some rooftops, the top of a tree and the horizon are visible.
The original plate, showing rooftops visible from a second-story bedroom window[1]

View from the Window at Le Gras[2] (French: Point de vue du Gras) is the oldest surviving photograph. It was created by French inventor Nicéphore Niépce sometime between 1826 and 1827[a] in Saint-Loup-de-Varennes, France, and shows parts of the buildings and surrounding countryside of his estate, Le Gras [fr], as seen from a high window. The image was created by heliography, a process which Niépce had invented around 1822, and which uses the hardening of bitumen in light to record an image after washing off the remaining unhardened material.

Creation

[edit]
Demonstration of camera obscura. The original image gets rotated and reversed through a small hole onto an opposite surface.

Niépce captured the scene with a camera obscura projected onto a 16.2 cm × 20.2 cm (6.4 in × 8.0 in) pewter plate thinly coated with bitumen of Judea, a naturally occurring asphalt.[9] The bitumen hardened in the brightly lit areas, but in the dimly lit areas it remained soluble and could be washed away with a mixture of oil of lavender and white petroleum.[9]

A very long exposure in the camera was required. Sunlight strikes the buildings on opposite sides, suggesting an exposure that lasted about eight hours, which has become the traditional estimate; however, a modern researcher who studied Niépce's notes and recreated his processes found that the exposure must have continued for several days.[10]

Early history

[edit]

In late 1826, Niépce visited the United Kingdom. He showed this and several other specimens of his work to botanical illustrator Francis Bauer. View from the Window at Le Gras was the only example of a camera photograph; the rest were contact-exposed copies of artwork. Bauer encouraged him to present his "heliography" process to the Royal Society. Niépce wrote and submitted a paper but was unwilling to reveal any specific details in it, so the Royal Society rejected it based on a rule that prohibited presentations about undisclosed secret processes. Before returning to France, Niépce gave his paper and the specimens to Bauer. Niépce died suddenly in 1833, due to a stroke.

After the pioneering photographic processes of Louis Daguerre and Henry Fox Talbot were publicly announced in January 1839, Bauer championed Niépce's right to be acknowledged as the first inventor of a process for making permanent photographs. On March 9, 1839, the specimens were finally exhibited at the Royal Society.[11] After Bauer's death in 1840 they passed through several hands and were occasionally exhibited as historical curiosities. View from the Window at Le Gras was last publicly shown in 1905 and then fell into obscurity for nearly fifty years.[12]

Re-emergence

[edit]
Gernsheim's enhanced version
The original plate on display at the Harry Ransom Center in Austin, Texas, in 2004

Historians Helmut Gernsheim and his wife, Alison Gernsheim, tracked down the photograph in 1952 and brought it to prominence, reinforcing the claim that Niépce is the inventor of photography. They had an expert at the Kodak Research Laboratory make a modern photographic copy, but it proved extremely difficult to produce an adequate representation of all that could be seen when inspecting the actual plate.

Helmut Gernsheim heavily retouched[broken anchor] one of the copy prints to clean it up and make the scene more comprehensible, and until the late 1970s he allowed only that enhanced version to be published. It became apparent that at some point in time after the copying in 1952, the plate was disfigured and acquired bumps near three of its corners, which caused light to reflect in ways that interfered with the visibility of those areas and of the image as a whole.

During the 1950s and early 1960s, the Gernsheims toured the photograph to several exhibitions in continental Europe.[13] In 1963, Harry Ransom purchased most of the Gernsheims' photography collection for the University of Texas at Austin. Although it has rarely traveled since then, in 2012–2013 it visited Mannheim, Germany, as part of an exhibition entitled The Birth of Photography—Highlights of the Helmut Gernsheim Collection. It is normally on display in the main lobby of the Harry Ransom Center in Austin, Texas.[9]

In 2003, Life magazine listed View from the Window at Le Gras among their 100 Photographs that Changed the World.[14] In an article for Art on Paper, View from the Window at Le Gras was said to have a "fair claim" as the first photograph.[15]

Scientific analysis and conservation

[edit]

During a study and conservation project in 2002–2003, scientists at the Getty Conservation Institute examined the photograph using X-ray fluorescence spectroscopy, reflectance Fourier transform infrared spectroscopy, and other techniques.[16] They confirmed that the image consists of bitumen and that the metal plate is pewter (tin alloyed with lead, as well as trace amounts of iron, copper, and nickel).[17] The institute also designed and built the elaborate display case system that now houses the artifact in a continuously monitored, stabilized, oxygen-free environment.[18]

In 2007, scientists from the Louvre Museum published an analysis of the photograph using ion beam analysis,[19] with data taken on their 2 MV electrostatic accelerator.[20] This showed the details of the oxidation process that was corroding the image.

See also

[edit]

Notes

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

View from the Window at Le Gras

View on Grokipedia
from Grokipedia
View from the Window at Le Gras is the world's earliest surviving photograph made with a camera, created by French inventor Joseph Nicéphore Niépce around 1826–1827. It depicts a view from an upstairs workroom window at Niépce's family estate in Saint-Loup-de-Varennes, France, capturing rooftops of outbuildings, a pear tree, a barn, and a chimney. The image was produced using Niépce's heliographic process, in which a polished pewter plate coated with bitumen of Judea—a naturally occurring asphalt—was exposed in a camera obscura for an estimated eight hours to several days, allowing the sunlight to harden the light-sensitive material and form a positive image. This pioneering work marked a crucial step in the invention of , as Niépce sought a chemical method to permanently capture images from nature, building on earlier experiments with light-sensitive materials. After its creation, Niépce took the photograph to in 1827 to demonstrate his invention, leaving it with botanist Sir Francis Bauer, and it later passed through private collections before being rediscovered in 1952 by Helmut Gernsheim. The plate, often called the Niépce Heliograph, was acquired by the University of Texas at Austin's in 1963 as part of the Gernsheim Collection, where it remains on display as a foundational artifact in the . Despite its faint and grainy appearance due to the long exposure and primitive technique, View from the Window at Le Gras predates later processes like the by over a decade and symbolizes the dawn of photographic imaging.

Background

Inventor and Context

Joseph Nicéphore Niépce was born on March 7, 1765, in , France, to a prosperous family; his father served as a king's counselor and tax collector. After studying physics and chemistry in from 1786 to 1788, Niépce joined the and later the Revolutionary Army, serving from 1792 to 1794. His early career involved managing family enterprises, including an unsuccessful 1807 patent for the and a hydraulic ram pump project that failed commercially between 1807 and 1809, creating financial pressures that motivated his later inventions. These setbacks led him to explore around 1816, a burgeoning printing technique, though his lack of artistic skill prompted him to seek mechanical means of image reproduction to generate income. In the early , European inventors pursued permanent image capture amid growing fascination with the , an optical device projecting inverted scenes onto surfaces, and chemical sensitivities to light. British experimenter Thomas Wedgwood, working in the 1790s and early 1800s, demonstrated that darkened under light exposure, producing fleeting silhouettes and copies of artwork via camera obscura projections, though he could not fix the images permanently; his findings were published in 1802. This context inspired Niépce, who, during a 1797 trip to , conceived the idea of chemically fixing camera obscura images to create durable pictures. Niépce's initial photographic attempts in the 1810s and 1820s involved coating paper with silver salts, such as , known to blacken in daylight, and placing it at the back of a ; his first efforts around 1816 yielded images stable for only about three months before fading. Further trials in 1818 produced slightly more enduring results, but persistent failures with these materials drove him to experiment with other light-sensitive substances through the mid-1820s. Seeking to advance his work, Niépce formed a partnership in 1829 with , a Parisian artist and proprietor, to jointly develop a practical . This collaboration advanced Niépce's existing , his pivotal innovation in permanent .

Invention of Heliography

, coined by Joseph Nicéphore Niépce from the Greek words for "sun" and "writing," represents the first known photomechanical reproduction process, enabling the creation of permanent images through the action of on light-sensitive materials. Developed in the early , this technique involved coating metal plates, such as or , with —a naturally occurring asphalt-like substance known for its photosensitive properties—and exposing them to . The would harden proportionally to the light intensity it received, while unexposed areas remained soluble and could be dissolved using solvents like oil of lavender, revealing a positive image suitable for or direct viewing. Niépce's key experiments built on his prior work in , where he sought a chemical means to transfer images without manual . By , he achieved a major milestone with the successful production of heliographs by copying : he placed a translucent engraving in contact with a bitumen-coated plate and exposed it to for several hours, allowing the to pass through the transparent parts of the engraving and harden the underlying selectively. The unhardened portions were then washed away with , leaving a faithful reproduction that could be etched into the plate for . This contact-printing method marked the transition from manual to light-based image reproduction, demonstrating heliography's potential as a photomechanical process. Further evolution involved shifting from copying engravings to direct image capture using a , where the bitumen-coated plate served as the recording medium inside the device. However, this progression faced significant challenges, including the low light sensitivity of , which necessitated exposure times of several hours or even days under direct to achieve sufficient hardening. Initially, there was no reliable fixing method, causing images to fade gradually upon further exposure as residual soluble degraded, which limited the durability and practicality of the .

Creation

Technique and Materials

The View from the Window at Le Gras was created using , Niépce's pioneering photomechanical process that relied on the light-hardening properties of . The primary material was a polished plate, measuring approximately 16.7 by 20.3 cm and 0.15 cm thick, which served as the support for the image. Niépce coated the plate evenly with a thin layer of —a naturally occurring asphalt—dissolved in to create a light-sensitive . For the exposure, Niépce positioned the coated plate inside a simple , a light-tight sliding box constructed primarily from wood, with a small to project the scene onto the plate. The setup was placed at the window of his workroom, where it received direct for an extended period estimated at about eight hours by some sources or several days by others, on clear summer days, allowing the light to selectively harden the in the brighter areas of the projected image. After exposure, no additional development beyond a wash was applied; Niépce gently rinsed the plate with a mixture of and white (or a similar ) to dissolve the unexposed, softened , revealing a direct positive image fixed on the metal surface without the need for a lens filter or further chemical processing. This straightforward method produced a unique, one-of-a-kind , as the process did not allow for reproduction.

Date and Circumstances

The View from the Window at Le Gras was produced sometime between and , though no precise day is documented and the exact year remains debated among scholars, with the dating derived from Joseph Nicéphore Niépce's personal correspondence detailing his heliographic experiments. The image was captured from the second-story window of Niépce's family estate, Le Gras, located in the commune of Saint-Loup-de-Varennes near in the region of . This rural setting provided an ideal south-facing vantage for testing light-sensitive processes, as the estate's workroom overlooked the surrounding landscape. Niépce undertook the creation amid a phase of dedicated experimentation at Le Gras, driven by his goal to demonstrate the potential of capturing scenes directly from via light action, bypassing traditional or methods. The setup involved a positioned at the window, but success hinged on favorable weather, as exposures required prolonged sunlight—often spanning eight hours or more—to form a stable image, limiting attempts to clear, sunny periods. The dating is supported by Niépce's 1827 correspondence detailing his heliographic experiments, including a letter to his son from between early June and mid-July 1827, which underscores the photograph's role as a proof-of-concept during Niépce's intensive summer work at the estate.

Description

Subject and Composition

View from the Window at Le Gras captures a serene rural vista from a second-story window of Joseph Nicéphore Niépce's country house in Le Gras, , overlooking a enclosed by outbuildings, rooftops, a , a bakery , a pigeon-house, pear trees, and distant structures. The scene emphasizes the quiet domestic environment of Niépce's estate, with no human figures present to underscore a sense of timeless stillness. The composition adopts a horizontal orientation, presenting the south-facing view in a straightforward, documentary manner that records the everyday rural landscape without contrived artistic arrangement. Central focus falls on the barn roof and adjacent chimney, flanked by architectural elements and foliage on either side, creating a balanced yet asymmetrical layout that draws the eye across the . Soft tonal gradients emerge from the light exposure, highlighting subtle contrasts between sunlit surfaces and shadowed areas, while the primitive optics result in a lack of sharp detail, lending an ethereal, impressionistic quality to the forms. Artistically, the image achieves an accidental through its grainy resolution and diffused edges, prioritizing the play of and shadow over precise representation to evoke a contemplative mood. The absence of dynamic elements reinforces the photograph's inherent stillness, capturing a frozen moment from the natural continuum and reflecting Niépce's intimate connection to his rural surroundings. The long exposure time contributes to minor motion blur in foliage and shifting shadows, enhancing the overall sense of temporal suspension.

Physical Properties

The View from the Window at Le Gras is a produced on a polished plate measuring 16.7 × 20.3 cm, coated with a thin layer of light-sensitive dissolved in , leaving a residue that forms the image after processing. The resulting image displays low resolution characterized by a grainy, hazy appearance with limited detail, often described as ghost-like due to the faint and fleeting impression it conveys, viewable best from oblique angles to minimize reflections on the metallic surface. Its tonal range is constrained to subtle gradients from to dark, functioning as a direct positive without negative-to-positive inversion, as the hardened proportionally to light exposure while unexposed areas were dissolved away. The fragile coating renders the artifact highly susceptible to scratching and , necessitating storage in an inert atmosphere to halt further decay; uneven application of the coating contributes to visible artifacts, such as inconsistencies in image density. is supported by an inscription on the reverse of the plate, written by microscopist Francis Bauer in , confirming its origin as Niépce's "point de vue" (point of view) .

Historical Trajectory

Early Ownership and Loss

In 1827, shortly after its creation around 1826 or 1827, Joseph Nicéphore Niépce took View from the Window at Le Gras to England to demonstrate his heliographic process to the Royal Society. Unable to present it formally, he left the pewter plate in the care of botanist and microscopist Francis Bauer, who examined the image and inscribed a note on the reverse describing it as Niépce's "first successful attempt" at heliography. After Niépce's death on July 5, 1833, the plate remained in . Following Bauer's death in 1840, it passed through various private hands. In 1884, it was acquired by photography enthusiast Henry Baden Pritchard, editor of Photographic News, along with Niépce's memoir and a contact print of the image. The plate was occasionally exhibited, including at the Royal Photographic Society in 1890, but after Pritchard's death, it passed to his widow Mary, who stored it in a trunk in a warehouse following her death in 1917. By the early , the faint image had led to it being largely overlooked and forgotten, with no public exhibitions after 1905. Early accounts sometimes dismissed it as a mere or print from an rather than a unique camera .

Rediscovery and Authentication

In 1952, the photograph was rediscovered by photo historians and Alison Gernsheim. Responding to an appeal in newspaper, they located the trunk in the possession of the Pritchard family and were gifted the plate by a relative of the original owner. Despite its obscurity and faint appearance, the Gernsheims immediately recognized its significance as the earliest surviving camera photograph. Authentication proceeded rapidly, with the Gernsheims collaborating with Beaumont Newhall to confirm the plate's through Bauer's inscription and Niépce's correspondence from 1827–1829 describing his experiments. Further verification came from examination at the Research Laboratories, which created enhanced reproductions confirming it as a genuine from a camera obscura rather than a or . The plate received its first public exhibition in over a century in 1952 at the in , displaying the Kodak reproduction to widespread acclaim. By the mid-1950s, it was universally acknowledged as the world's oldest surviving photograph, reshaping narratives of photography's invention and affirming Niépce's foundational role. In 1963, as part of the Gernsheims' donation of their photography collection to the , Helmut Gernsheim gifted the original plate to the , where it has been preserved and studied since.

Examination and Preservation

Scientific Analysis

Following its rediscovery, the View from the Window at Le Gras underwent detailed scientific examination in the early through a collaborative project between the (HRC) and the Getty Conservation Institute (GCI). This marked the first comprehensive non-invasive analysis of the , employing techniques such as (XRF) to identify elemental composition, (FTIR) and visible reflectance to characterize surface layers, and to detect degradation patterns. These methods, conducted in 2002, allowed researchers to map the plate's surface without physical alteration, confirming its dimensions as roughly 16.7 cm × 20.3 cm. Key findings validated the use of a plate (a tin-lead with trace elements of , iron, and ) coated with , a light-sensitive asphalt , as the primary materials in Niépce's heliographic process. XRF analysis ruled out alternative substrates like pure tin or , while spectroscopic examination of the layer revealed its hardening under prolonged light exposure, consistent with the image's formation. Exposure time was estimated at 7 to 8 hours based on the 's sensitivity and historical recreations, during which sunlight projected the scene through a onto the plate. The studies also identified significant challenges, including oxidation of the layer and accumulation of environmental contaminants from prolonged air exposure after the original sealed case deteriorated. highlighted these degradation layers, which have caused darkening and faintness in the image over time, complicating interpretation of fine details like rooflines and textures. These insights, detailed in reports by GCI scientists Dusan Stulik and colleagues, established a baseline for understanding Niépce's technique and its material vulnerabilities.

Conservation and Display

Following its acquisition by the Harry Ransom Center at the University of Texas at Austin in 1963 as part of the Helmut and Alison Gernsheim Collection, the heliograph has undergone regular monitoring for signs of bitumen degradation, a process initiated upon its arrival to assess the stability of the light-sensitive coating. In 2002, the Center collaborated with scientists from the Getty Conservation Institute to develop an oxygen-free preservation system, culminating in 2003 with the creation of a hermetically sealed encasement filled with argon gas to inhibit oxidation and deterioration of the pewter plate and bitumen layer. This stabilization effort incorporated humidity-conditioned silica gel and activated charcoal filters to maintain optimal environmental conditions within the case, with the system designed to require minimal intervention for up to a decade. In 2019, the environmental monitoring was upgraded with advanced sensors for oxygen, temperature, humidity, and pressure, connected to a datalogger that provides real-time alerts for any deviations. The artifact is displayed in a custom, climate-controlled case on the Center's first floor, where low light levels minimize further exposure to potentially damaging and visible radiation, while the argon atmosphere shields it from atmospheric pollutants and oxygen. For traveling exhibitions, high-fidelity replicas—such as photographic prints or enhanced reproductions—have been employed to represent the original without risking the fragile plate, as seen in 2012 when a modern print by artist Adam Schreiber substituted during the heliograph's loan abroad. Preservation challenges stem from the heliograph's inherent vulnerabilities, including high sensitivity to fluctuations in , which can cause expansion or contraction of the substrate, and to airborne pollutants that accelerate breakdown; the material's friable nature precludes any cleaning or invasive treatments without irreversible damage. Today, the piece remains housed permanently at the , with occasional loans approved under strict protocols, such as its 2012 journey to the FoMu Foto Museum in —the first trip to in over 50 years—facilitating broader public access while prioritizing long-term stability.

Significance

Role in Photography's History

View from the Window at Le Gras holds a pivotal role in photography's history as the earliest known surviving permanent , created by Joseph Nicéphore Niépce around 1826 or 1827 using his heliographic process. This image predates the public announcement of the process by Louis-Jacques-Mandé Daguerre in and the calotype process by William Henry Fox Talbot in 1841, marking it as a foundational milestone that proved the viability of capturing and fixing images through light exposure on a sensitized surface. The photograph's creation demonstrated the practical feasibility of light-based imaging, inspiring Niépce to form a with Daguerre in , during which he shared details of his heliographic technique to advance their joint efforts in developing reproducible photographic methods. This collaboration ultimately contributed to the refinement of early photographic processes, though Niépce died in before the daguerreotype's full realization. By providing tangible evidence of permanent image fixation, the work laid essential groundwork for the rapid evolution of as a reproducible medium in the . Debates persist regarding its status as the absolute "first" photograph, as earlier experiments by Thomas Wedgwood in the early 1800s produced transient images using silver salts, though these faded quickly and lacked permanence. Niépce's achievement is distinguished by its enduring fixity, resolving prior challenges in stabilizing light-sensitive materials and establishing the benchmark for subsequent photographic innovations.

Modern Interpretations and Reproductions

In criticism, View from the Window at Le Gras has been interpreted as a proto-modernist work due to its abstract, blurred forms that prefigure later photographic experiments with light and shadow, evoking the reductive compositions of 20th-century . This perspective gained prominence through Helmut Gernsheim's influential 1950s publications, where he featured an enhanced reproduction of the image in his book Creative Photography: Aesthetic Trends in the 19th Century (1952), emphasizing its innovative visual qualities beyond mere documentation. Digital reproductions have advanced scholarly access to the original . In 2002, the collaborated with the Getty Conservation Institute for non-invasive scientific examination, resulting in a high-resolution digital scan that captured fine details of the plate without alteration, enabling broader study and virtual dissemination. More recently, in 2025, AI-driven enhancements emerged, with tools like those tested via attempting to clarify obscured elements such as rooftops, trees, and distant buildings; however, these efforts often produced artifact-heavy results, sparking debates on the of algorithmic "restoration" for irreplaceable artifacts. Modern recreations by artists have sought to revive the image's experiential essence. Swiss duo Jojakim Cortis and Adrian Sonderegger recreated View from the Window at Le Gras in their studio using a miniature model and contemporary techniques to evoke Niépce's original scene and its enduring . Educational simulations, such as 3D reconstructions in , further allow interactive exploration of the original viewpoint, aiding pedagogy on early photographic processes. The holds significant cultural impact as a foundational in museums worldwide. Housed permanently at the , it was loaned for the 2012 exhibition "The First Photograph" at the National Media Museum in , —its first return to in over 50 years—symbolizing the dawn of image-making. Recent AI restoration attempts have fueled discussions on technology's role in historical image recovery, questioning whether such interventions enhance understanding or risk fabricating authenticity in preservation.

References

  1. https://smarthistory.org/joseph-nicephore-niepce-view-from-the-window-at-le-gras/
  2. https://www.hrc.utexas.edu/niepce-heliograph/
  3. https://cool.culturalheritage.org/byorg/abbey/an/an26/an26-3/an26-307.html
  4. https://bicentennial-of-photography.org/life-nicephore-niepce/
  5. https://www.sciencehistory.org/stories/magazine/silver-and-sunlight/
  6. https://bicentennial-of-photography.org/niepce-and-the-invention-of-photography-niepce-s-first-experiments/
  7. https://artsandculture.google.com/story/heliography-a-double-invention-that-revolutionized-the-world-of-images-mus%C3%A9e-nic%C3%A9phore-ni%C3%A9pce/RgUhqRl7dnB3KQ?hl=en
  8. https://www.conservation-wiki.com/wiki/Heliograph_(Niepce)
  9. https://bicentennial-of-photography.org/niepce-invention-photography/
  10. http://precinemahistory.net/1800.htm
  11. https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/enlightenment-revolution/a/early-photography-nipce-talbot-and-muybridge
  12. https://www.latimes.com/archives/la-xpm-2002-jun-27-sci-heliograph27-story.html
  13. https://petapixel.com/the-first-photo/
  14. https://photohistories.org/histories/making-history-the-gernsheims-and-nicephore-niepce
  15. https://epdf.pub/encyclopedia-of-nineteenth-century-photography.html
  16. https://www.npr.org/sections/pictureshow/2010/09/13/129828522/gernsheim
  17. https://www.sciencenews.org/article/photography-crossroads
  18. https://theworldlink.com/oldest-known-photograph-to-undergo-scientific-analysis/article_dc662bc5-c78c-5a40-adf2-452c4b501538.html
  19. https://www.getty.edu/conservation/our_projects/science/photocon/alt_processes.pdf
  20. https://cool.culturalheritage.org/byorg/abbey/an/an26/an26-3/an26-308.html
  21. https://www.researchgate.net/publication/272310501_The_first_scientific_investigation_of_Niepce%27s_images_from_UK_and_US_collections_Image_layer_and_image_formation
  22. https://www.archives.gov/files/preservation/heritage-science/timeline-examples-for-encasements-final.pdf
  23. https://sites.utexas.edu/ransomcentermagazine/2019/10/15/preserving-one-of-the-centers-most-celebrated-objects/
  24. https://sites.utexas.edu/ransomcentermagazine/2012/06/26/first-photograph-50/
  25. https://blog.scienceandmediamuseum.org.uk/a-z-of-photography-joseph-nicephore-niepce-first-photograph/
  26. https://thefrailestgesture.com/wedgwood-beyond-the-porcelain/
  27. https://fiveable.me/history-of-photography/unit-2/joseph-nicephore-niepce/study-guide/4a08z0cMEBjpuXnV
  28. https://oboe.fyi/courses/british-photography-reshaping-the-canvas-of-modern-art-gm8a7opz/deepdive
  29. https://www.digitalcameraworld.com/tech/artificial-intelligence/ai-attempted-to-restore-the-worlds-oldest-photograph-failed-epically-and-now-i-cant-stop-laughing-at-the-results
  30. https://jeudepaume.org/en/palm/palm-tuto-cortis-et-sonderegger-buro-by-thomas-demand/
  31. https://www.artstation.com/artwork/48rEzk
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