Because, more than in any other fictional world, the complexity of the relations between narrative elements – characters, facts, places, objects, etc – forms the very node of the narrative, the noir genre imposed itself on Mac Adams in his earliest photographs as a favourite field of investigation. His works are often organised in two- or three-image sequences and show us narrative snippets in which the main action is invariably absent, relegated to the space between images, into the temporal or off-screen ellipsis. Mac Adams defines this approach with the term “narrative void”. The image becomes a network of clues that the spectator is invited to go through in the manner of an inquiry, shedding light on the mechanisms and mainsprings of the plot itself at the same time as it proposes an open reading.