We all have a desire to live on after we have gone. The snapshot aids this ambition and allows for reflection on our lives, the decisions we made, and how we evolved (or not) since the shutter was released. I often work with my family’s film photographs because they are a physical reminder of when they were made and how they were shared. In the past, sharing a photo album was an intimate and revealing act, whereas showing artwork is always a public one, and making these paintings is both. I began inserting my adult self into some paintings to depict a yearning onlooker. This figure usually hovers in the foreground, observing the others from a distance. The viewer identifies with this figure because they are both withdrawn bystanders and have no access to the family portrayed. This identification allows viewers to empathize with the figure’s stirring estrangement. Altering and painting images of my family simultaneously provides me access to wistful feelings while evoking in my viewers the range of emotions that intimate snapshots elicit.