A vertical column of three frames of equal height. Wide, medium close, wide, extreme close. A different camera position in every panel — in the first the camera holding on the place a moment after the subject has left it — stacks only, in the second the camera three-quarters behind, the subject's head tipped back, in the third the camera high above and looking down, the subject small on the floor of the 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 in a costume that is the point of the picture — feather wings, a one-piece racing suit and a helmet, a sequinned dress, a uniform small and lit at its centre. One panel holds a single lit element alone in near-total black. A dog running loose across the ground, with a blue window and an orange fire in the same room somewhere else in the frame. Greyscale only, the lightest value a lit highlight. Clean, the darks smooth and unbroken, the grain structure invisible. A reflection carrying a whole second scene inside a small bright surface. Dreamlike and surveilled, a silent-era image, beautiful and faintly threatening.