Handwriting murmurs in the margins around the photographs: dates, memories, quotes, recipes, anecdotes, stray thoughts on the practice of photography. The images come from an archive of 4×6 machine prints made casually over Michael Schmelling's career, the fragmentary background noise of an itinerant working life, reclaimed as an oblique autobiography: rooms he has inhabited (studios, shoots, apartments), people he has known and everyday specifics. It continues a side project begun in 2008 with The Week of No Computer, which reappears at the centre of the book in revised, condensed form.