The present paper is a response to Curtis’s essay reflecting on the phenomenon of patients presenting childhood photographs and other images. In response to Curtis’s moving accounts of the images her and her patients bring up, I offer four vignettes written with poetic prose to facilitate deeper reflection on “unformulated” (“unframed”) experiences related to the intersections of gender, sexuality, and race. I also offer highlights on dyadic relationships portrayed on photographs between the photographer and the subject (object–subject, and vice versa) that comes alive in the consulting room, and in Curtis’s and, potentially, readers’ “head cinema.’’