“Then we have something in common. If you ever come across something mysterious in a picture, I can take a look.”

She couldn’t decide if his self-confidence was sexy or annoying. In the “personal” section of the page, it was noted that he had been married to “award-winning journalist Emily Cutler” for ten years, and was now divorced. She didn’t read that part aloud.

“I’m renowned? You don’t say.” He shifted closer to her and peered at the screen.

“I don’t. Wikipedia says. Is it accurate?”

“More or less.” He grinned. “I don’t know about the ‘renowned’ part. I’ve never done anything of renown. Maybe choosing this exceptional wine. Cheers.” He touched the rim of his glass to hers and took a sip. “So your father was in the business.”

“He’s an expert. Grew up in the south of France.”

“Then we have something else in common. I’ve been working in France. Teaching at Aix-Marseille University in Aix-en-Provence.”

“Papa was born in that area—a town called Bellerive. It’s in the Var—do you know it?”

“No, but I’ve driven along the river Var, and down to the coast. It’s fantastic, relatively unspoiled by tourists,” he said. “Vineyards, lavender, and sunshine. Do you visit often?”

“I’ve never been.”

“Seriously? You have to go. No one’s life is complete until they’ve gone to the south of France.”

She didn’t want to discuss the matter with him. “Then I’ll have to make sure I live for a very long time.”

“I’ll drink to that.” He surveyed the tall glass case across the room. “You collect cameras?”

“I do. I started taking pictures as soon as I figured out what a camera was, and then I found an old Hasselblad at a flea market that turned out to be a treasure. I taught myself photography with it. That got me interested in the old ones.”

Camille could not remember the first time she’d held a camera in her hands or the first time she’d peered through an eyepiece, but the passion she felt for taking pictures felt new every day. Her passion had died with Jace, and she hadn’t photographed anything since. “I figured out how to restore a camera mostly by trial and error. Lots of error. Lots of late nights bent over a magnifying work lamp, but I love it. Billy’s father worked in the film industry, developing daily rushes, and when we were kids, he showed us the old techniques and equipment to process expired film.”

“So are those pictures your work?” He indicated the two unusual, angular shots of the Bethany Point Light.

“One of them is. I found some old, undeveloped film in a camera, which is pretty much my favorite thing, coaxing images back to life. That shot was taken during a storm in 1924, and I found it so striking that I replicated it myself.” Then she blurted out, “I don’t take pictures anymore. I work in the darkroom on other people’s pictures.”

Her gaze flicked to the vintage Leica in its glass case by the fireplace mantel. It had sat there for five years. No one but Camille remembered the last time she’d used that camera—to take a picture of her husband, moments before he died. She had put the camera away and never touched it again. There was still film in the Leica, a partially exposed roll she had shot that day. Even now, she couldn’t bring herself to develop it.