Ten years ago, David Simon’s iconic TV series The Wire portrayed contemporary Baltimore as wracked by illegal drug use, violent crime and failing institutions. But underneath the symptoms were the structures of political economy. As the show’s tagline had it, “everything is connected”.

At the word treats, Jelly Bean jerked up her head and a sub-woofer wuffle fluttered her nostrils.

The black-and-white portraits and landscapes […] fall somewhere between photojournalism and pictorialism.

This will tend to break up the clumps without drawing attention to yourself with the mana weave.