There were the landscapes, seascapes and rockscapes; the grills and chairs and vistas; the parks and gardens in winter (picture, top); the children at play, the Tibetan young and the Tibetan old smiling, knocking their heads together and cohabiting peacefully with the gentle birds; the artists, photographers, ballerinas and theatrinas; the picnics by the river, the elderly on Armistice Day, the frozen leaps and the lovers among the tombstones. Everywhere, the “decisive moment” beautifully caught, and the Magnum photo-features chronicling the world, interpreting its “people, events, issues and personalities” (as the Magnum website puts it).

Yet photography as Art has moved on, beyond Magnum and the Decisive Moment, and Franck must have her own reasons for choosing not to go there. Only three images stood out from the rest. First, a portrait of Nehru with a striking pattern of lights behind him. On a closer look, it is a French actor playing Nehru in a French play. Second, the Parc de Sceaux in winter, the topiary darkly geometric against the snow, and so L’Année Dernière à Marienbad. Third, a portrait of the photographer, Sarah Moon (picture, bottom). But who are the girls to her left? Are they twins? Or is it just one girl in front of a strange mirror? A genuinely mysterious image.