Heightened by Donata Wenders’ anticipation of capturing the image, her impressive picture, Triad (2000), perfectly frames three minute figures ascending an infinite body of stairs as they are evenly lit by the late afternoon sun in Paris. Recalling the Odessa steps from Russian filmmaker S. M. Eisenstein’s film, Battleship Potemkin (1925), Wenders’ captures the dimensional playfulness of this architectonic swell of stairs, as her figures are neither resting nor entirely in motion. In a moment of unrehearsed magic a lone pigeon flies into shot and consequently becomes the focal point for the men moving away from the centre of the image and closer to the concrete landing, and the audience alike. As for Wenders such a chance encounter is described as “a moment clearly filled with music”.