On the beach in southern France with photographer Peter Lindbergh, Donata Wenders records a scene of models embroiled in the gentle commotion that is a temporary plein air photo shoot. Slightly apart from the scene, the photographer captures a heady mix “of the fragrance of the sea, the sand, the salt, the sweat and some perfume.” Wenders’ image, In The Wind (2009), is unconventional for its split narrative. The sand and seascape are pierced by two minute figures in the background, who through their distance are entirely divorced from Lindbergh’s lens; in the foreground, Wenders’ female figure appears entirely unaware of the artist’s presence as the latter stands at the shoulder of her lead character as she moves in and out of shot. In the act of capturing the scene, the blackened costume of the retreating figure becomes the defining detail in the visual interplay the landscape and the unravelling fabric covering her body and upturned hair.