Todd Hido spent five days with a small group of photographers in Milan, pushing everyone to get out of their own way. His framework was simple: work at night, trust the light, resist the urge to explain what you're photographing. The images here came out of that.

There was no predetermined subject. Some nights it was a petrol station on a quiet corner, or a flower shop window still lit at midnight, or a doorbell panel throwing green light onto a gate. Other times it was a spiral staircase glimpsed through glass, or the way blue neon turned a row of garage shutters into something that looked almost deliberate. Milan has a lot of those accidents.

Working digitally felt right for this: less precious, faster, closer to the way Hido actually moves through a place. The colour does things film might not have let through. The work isn't really about Milan. It's about what happens when you slow down in a city you think you know and start noticing what it looks like after dark.