Movies are an alternate reality, a different point of view from which to focus on the world. Each photograph or still taken by Lockhart is the attempt to seek a symbolic depth of field, a personal point upon which to focus the psychological energy of our attention. While examining the possibilities of such a popular medium as an instrument for slowing down reality and its interpreta-tions, the photographer frames sections of a larger narrative, inducing the viewer to create hypothetical scenarios where private fantasies merge with a broader dynamic context. We are questioned through those images: How far can we fill in the blank spots of our dysfunctional imagination?