The camera is standing in shade, in a narrow lane in Vienna’s first district, looking east at a square full of flat grey daylight. Everything close to the lens is dark. Everything at the end of the lane is bright. That gap is the whole picture. The left wall of the frame is a run of ochre plaster, five storeys of it, cut off by the top edge. The windows are tall and narrow with heavy sills and small carved brackets under them, and the glass on the upper floors is doing most of the work in that part of the picture: it is throwing back a mirrored, slightly warped copy of the building on the other side of the lane, so the left third of the image is a facade and a reflection of a facade at the same time.