Afternoon light enters Grand Central Terminal through the arched south windows and falls across the concourse in long diagonal shafts, catching the movement of commuters and the gold-painted constellations of the ceiling in the same breath. No tripod is permitted inside the terminal, which makes every image a negotiation between available light and the patience to wait for a composition to clear. The Leica M11 — a rangefinder camera as old in concept as photography itself — is ideally suited to exactly this kind of available-light architectural work, quiet and inconspicuous in a crowd. The terminal has been photographed ten thousand times; this image finds its own angle in the quality of the light.