Koos Breukel’s studio differs very little from the traditional photographic studios that have sprung up throughout the world during the past 170 years of photography. His studio is a confined space containing a wooden, large format camera on a tripod, and a plain background sheet. Although daylight streams in through the roof, it is mainly artificial light that is being used. Here, as in most studio’s, a wide variety of people come to pose: men, women, the young and the old, students, artists, masters and servants, family, friends and passers-by.
The major difference between other studio photographers and Koos Breukel is that he photographs people because he wants to find out if they have suffered some form of injury as a result of setbacks in their lives, and if they have managed to come to terms with this. The people portrayed in this book have one thing in common: they have all visited the same female ocularist. They did so for all kinds of reasons: because of an illness, an accident or a violent experience. Cosmetic View is not merely about seeing but also about being seen.

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