A vertical column of five frames of equal height. A wet window pane with one hand flat against it and the street beyond out of focus. A different camera position in every panel — in the first the camera at the far side of a doorway, the subject in the room past it — interiors only, in the second the camera beside the subject as they pass it, moving faster than they do, in the third the camera in profile from the left, the subject looking out of frame — the subject at a clearly different size in each and turned away from the camera in at least one. Black and white throughout, two thirds of the frame in flat true black, the lit forms emerging straight out of the dark with soft edges, going straight from dark to highlight. A keyhole plate multiplied and tiled across the dark as a field, with one invented adult alone, fifties, a weathered handsome face with deep-set eyes, completely still and facing the camera small and lit at its centre. One panel holds a single lit element alone in near-total black. A crossing, the subject arriving somewhere for the first time, with magenta spilling from a doorway against amber from a table lamp somewhere else in the frame. Greyscale only, the lightest value a lit highlight. Fine grain with halation spreading from every lit window and lamp. Rain or snow falling through a lit cone. Dreamlike and surveilled, a silent-era image, beautiful and faintly threatening.