At the entrance to Sara Greenberger Rafferty’s saturated précis on the props of studio photography, two black-framed photographs, each indexing thirty-nine scanned 35-millimeter slide images arranged in a loose grid, hung side by side. The tiny positive images exposed in Slide I and Slide II (University of Michigan Extension) (all works 2018) documented a variety of color-calibration and white-balancing cards, often juxtaposed with a white human hand as a test subject. Evincing Rafferty’s material interest in transparent supports for photographs, these ink-jet prints were transferred onto clear