This book offers a view, an insight, into the everyday reality of a world that no longer exists. I focused on secondary photos of children and shots that help complete the story of Marian Kusik’s life. They are snapshots that capture moments between “real” shots. I often ask myself what makes good photographs? And I always get the same answer: depends on what you want to say. Are they good? Useful? Bad? Useless? These concepts are fluid and always contingent on the beholder. I find the threshold between shots as interesting as the threshold between childhood and adulthood, past and future. In order to get into Marian’s way of thinking when he took those images, I used some of his stories and observations as captions. Some of the important stories – like the one about his dog, Zuzka – are missing, but nonetheless I hope that the fourfold feeling of elation as he pushed the shutter button on his Pentacon 6 will shine through. The first time when he pushed the button, the second time when he developed the film, the third time when he enlarged an image and the fourth time when he gave it to someone. The selection was made out of images in Marian’s massive archive marked “leftovers”. They are “not right” for all sorts of reasons, be it due to emotions and sensibilities or technical and formal flaws. The moment you don’t have the right so-called “exhibition” moment, or even worse, when the children are assembled in some absurd formation by their parents with everything looking ship shape, the child becomes but an object for the photographer to document.