as one of a series of eleven collectively titled Panorama of the Plateau of Sebastopol in Eleven Parts in a London exhibition, he assigned the troops'—and Tennyson's—epithet, expanded as The Valley of the Shadow of Death with its deliberate evocation of Psalm 23, to the piece. In 2007 film-maker Errol Morris went to Sevastopol to identify the site of this "first iconic photograph of war". He identified the small valley, shown on a later map as "The Valley of the Shadow of Death", as the place where Fenton had taken his photograph (see right). Two pictures had been taken of this area, one with several cannonballs on the road, the other with an empty road. Hitherto opinions differed concerning which one was taken first but Morris spotted evidence that the photo without the cannonballs was taken first. He remains uncertain about why balls were moved onto the road in the second picture—perhaps, he notes, Fenton deliberately placed them there to enhance the image. The alternative is that soldiers were gathering up cannonballs for reuse and they threw down balls higher up the hill onto the road and ditch for collection later. Other art historians, such as Nigel Spivey of Cambridge University, identify the images as from the nearby Woronzoff Road. In June 1855 illustrator and war correspondent William Simpson produced a watercolour of the Woronzoff Road, but looking downhill, which has cannonballs similarly placed to those shown by Fenton; Simpson's publisher too used the title "The Valley of the Shadow of Death". This is the location accepted by the local tour guides. Despite summer high temperatures, breaking several ribs in a fall, suffering from cholera and also becoming depressed at the carnage he witnessed at Sevastopol, in all Fenton managed to make over 350 usable large-format negatives. An exhibition of 312 prints was soon on show in London, and at various places across the nation in the months that followed. Fenton also showed them to Queen Victoria and Prince Albert and also to Emperor Napoleon III in Paris. Nevertheless, sales were not as good as expected. Post Crimea Despite the lack of commercial success for his Crimean photographs, Fenton later travelled widely over Britain to record landscapes and still life images. However, as time moved on, photography became more accessible to the general public. Many people sought to profit from selling quick portraits to common people. It is likely that