Outside Scott Galloway’s bedroom hangs a photograph. He stops at it for ten seconds every morning and every evening.
The photograph was taken on 3 May 1960 by Arnold Newman, one of the great portrait photographers of the twentieth century. Newman later said it was the saddest image he ever made. The subject is Otto Frank—father of Anne Frank—standing alone in the attic of a narrow canal house in Amsterdam. That attic was the Secret Annex, where Otto, his family, and four others spent more than two years hiding from the Nazis.
The photograph was taken the day the building opened as a museum. It was Otto’s first return since being dragged out sixteen years earlier. Newman couldn’t bring himself to direct the shot. He waited. Otto fell into silence, and the shutter was released.
Otto was the only one of the eight to survive. His wife and both daughters did not. After the war, he spent the rest of his life answering letters from children moved by Anne’s diary. Thousands of them. By hand. For decades. He turned the worst thing that can happen to a person into a sustained act of generosity toward strangers he would never meet.
Galloway, host of the Prof G Pod, describes stopping at the photograph and trying to imagine what was going through Otto’s mind—standing in the room where everything was lost, sixteen years on, still standing. Whatever Galloway is facing that day doesn’t qualify as a problem.
I think about that framing a lot. Not the photograph specifically, but the structure of what Galloway built around it.
Perspective Is Not Inherited; It Must Be Rehearsed
Marcus Aurelius ran Rome at its height. During the Marcomannic Wars, camped on the northern frontier, he sat down every day to write in a private journal. He asked that it be destroyed after his death. It survived because whoever held it last couldn’t follow that instruction. We know it today as Meditations.
It isn’t a book of new ideas. Aurelius already knew what he believed. Meditations is the same few things written over and over: you will die, your problems are small, be useful, stop complaining. The repetition was the whole point. A principle you’ve encountered once isn’t a principle you can access when things go sideways. It has to be worn in.
A photograph instead of a journal, but the same architecture: a fixed moment, a physical anchor, before the noise of the day begins. Neither man was discovering anything. Both were building a structure to stop themselves from forgetting what they already knew.
Success Doesn’t Grant Perspective. It Can Destroy It.
Here’s the thing that most writing on perspective gets wrong: it assumes the habit becomes unnecessary once you’ve achieved something. That difficulty grants wisdom and success consolidates it. The evidence runs the other way.
The brain adapts to comfort fast. Psychologists call it hedonic adaptation—every improvement gets absorbed, the baseline shifts, and the mind finds new things to be dissatisfied about. The stakes of what counts as a problem don’t shrink as your circumstances improve. They expand, because there’s more to protect. Stress doesn’t go away; it just recalibrates upward to match whatever you now have to lose.
A hard life reminds you constantly of what matters. Comfort just… doesn’t. Quietly, without announcement, the drift happens. By the time you notice, it already has.
This is why Galloway does this because of his success, not despite it. Aurelius commanded the most powerful military in the known world and still felt compelled to write “you have power over your mind, not outside events” in a journal he expected to be burned. That wasn’t performance. It was maintenance—a daily correction against a distortion he knew would keep returning if he stopped correcting for it.
The Anchor Isn’t About Suffering. It’s About Agency.
Most advice about keeping perspective tells you to think about people who have it worse. Count your blessings. Feel grateful by comparison. This is well-intentioned and mostly useless.
Galloway didn’t put a photograph of suffering on his wall. He put a photograph of a specific man making a specific choice. Otto Frank lost everything—and then decided, for the remainder of his life, to respond with generosity rather than bitterness. The letters weren’t an obligation. Nobody required them. They were a chosen act, sustained across decades, in full knowledge of what had been taken. That’s not a misery index. That’s a model for how to behave.
Otto’s loss cannot be undone. Aurelius’s death cannot be negotiated away. Both anchors point at things that simply are—permanent, beyond managing or fixing. Most modern frustration runs on the assumption that every obstacle is temporary, every problem solvable with enough effort. These anchors work because they don’t. Against that, the irritations of a comfortable life fall into something closer to their actual size.
What gets rehearsed isn’t guilt. It’s the reminder that the response to difficulty is always, still, a choice.
Idea for Impact: Design for Discipline When Willpower Isn’t Enough
The photograph isn’t there for inspiration. It’s in Galloway’s path so that perspective isn’t something he gets around to when he remembers—it’s something the structure of his day makes unavoidable. Inspiration is unreliable. It shows up when things are already going well and disappears exactly when you need it. A physical object in a fixed location doesn’t negotiate with your mood.
But there’s something more specific about a photograph versus a quote, and I think it matters. A quote makes an argument. On a bad day, the mind can argue back—discount it, find the exception, decide it doesn’t apply right now. A photograph just exists. It makes no claim. The meaning has to be reconstructed every time you stop in front of it. Which means the practice stays alive rather than becoming wallpaper. Galloway isn’t reading a reminder. He’s doing a small act of interpretation, twice a day, that the image quietly demands of him.
Behavioral economists call this a commitment device: something arranged in a clear-headed moment that keeps future behavior honest without requiring ongoing willpower. The photograph costs nothing. It takes ten seconds. It doesn’t ask for motivation or the right mood or a good week.
It just asks that you stop.
Nudge yourself. Every day.
Last weekend’s 
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