I purchased “A lot of 1000+ vacation slides” on eBay, all from one family and dating from the mid-1940s to the early 1970s, the era of the nuclear family to the era of divorce. I became interested in the similarities and differences between their memories and my own, as well as how the camera technology of that period affects the visual aesthetic of those memories. By digitally masking parts of the images, I am able to isolate specific details, selected based on both personal and collective memory, to emphasize the image’s potential punctum, or the direct relationship a viewer may have with those details. As mnemonic devices, family photographs also allow for associations that conflict with what is being presented and offer a way to make sense of our own complex family narratives. I am most interested in the relationship between an image, the story that it triggers, and the often-conflicting remembered experience. It is about our (dis)connection to images that are not our own.