In the 1850s, as photography took its first steps toward commercial reproducibility, a more intimate use for light-sensitive plates briefly bloomed. It had a few names: heliographic drawing, photographic autography, or, as it is best known today, cliché-verre. Miya Tokumitsu takes us to the towns and forests of France where a group of friends began making marks on photographic plates, and finds their camaraderie cohere in lyrical arrangements of topography and light.