Problem: Given the question: Given the below context:  Farsari and other 19th-century commercial photographers generally concentrated on two types of subject matter: the scenery of Japan and the "manners and customs" of its inhabitants. Such subjects, and the ways in which they were literally and figuratively framed, were chosen to appeal to foreign taste; and the reason for this, apart from the photographer's individual aesthetics, vision and preconceptions, had much to do with economics. Photographs were expensive to make and accordingly expensive to buy. In 1870s Japan, a portrait photograph usually cost half a ryō "per head", about a month's pay for an artisan. Given such pricing, few Japanese could afford photographs and a photographer's clientele was largely drawn from the foreign residents of the European and American enclaves: colonial administrators, missionaries, merchants and the military. By the early 1870s, tourists had joined their number. To appeal to this clientele, photographers often staged and contrived the scenes they photographed, particularly the portraits depicting "manners and customs".In 1885, Charles J. S. Makin used some of Farsari's views to illustrate his travel account Land of the Rising Sun, Being a Short Account of Japan and the Japanese. As photomechanical printing was still in its infancy, it was common for artists and illustrators to create works derived from photographs. For example, Charles Wirgman's numerous engravings for the Illustrated London News were made from views by Wirgman's friend and sometime partner Felice Beato. Occasionally the link between a work of art and its photographic source material was less overt: Louis-Jules Dumoulin's 1888 oil painting Boys' Festival from the Bluff, Yokohama [sic] (now called Carp Banners in Kyoto) draws heavily from Farsari's photograph Gionmachi, Kioto (now often called View of Shijō-dōri, Kyoto); although the painted image strongly resembles the photographic source, the location of the subject has been changed in the title. During the era of the collodion process, before the...  Guess a valid title for it!
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The answer is:
Adolfo Farsari 2


Problem: Given the question: Given the below context:  Hetty was abandoned at the Foundling Hospital as a newborn baby. Children abandoned at the Hospital are in Foster care or fostered until the age of five, at the nearest date when they turn five they will be returned to the hospital to start their education. Hetty spends her earlier life as a foster child under the care of Peg and John Cotton who she knows as her mother and her father. She is very unaware that she will one day have to leave the Cottons. There are other foster children in her home as well as Peg and John's own children. At one point, she attends a circus, where she meets Madame Adeline, whom she believes to be her mother because of her bright red hair, which is similar to Hetty's own. A few weeks later, the time comes for Hetty and Gideon to be sent back to the Foundling Hospital. Everyone in the family is devastated, and Jem and Hetty promise to find each other again. Hetty finds her time in the hospital miserable and oppressive, and often rebels or otherwise talks back in an environment where she's expected to be meek and obedient. This earns her the animosity of the hospital's Matrons, who punish her severely. Despite that, she manages to make friends among fellow foundlings and even staff, including Ida, a kind kitchen maid.  Guess a valid title for it!
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The answer is:
Hetty Feather


Problem: Given the question: Given the below context:  Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Régine Crespin, Plácido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and José van Dam. In concerto recordings, Solti conducted for, among others, András Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.  Guess a valid title for it!
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The answer is:
Georg Solti