For years, Iñaki Bonillas has been working with the archives of his maternal grandfather and amateur photographer, José María Rodríguez Plaza, who was exiled in Mexico when he was twenty years old and never returned. In one of the albums in this archive he found a photographic portrait of his great-grandmother Pilar. The picture, signed by his uncle Carlos Somonte in 1982, indicated that this was copy number two of five. Bonillas decided to trace the fate of the four remaining copies, pursuing the various lives of the same image on the understanding that, in photography, the reality of the negative is always spectral.