What can the act of taking photographs in a hospice care center reveal about the ethnographic moments of “perceiving and expressing” (Stevenson 2022)? Building on Grøn and Mattingly’s (2022) imagistic approach, this paper reflects on conducting anthropological research in the liminal space of a hospice care ward in China, where imaginaries of good care and good death prevail. In this setting, social workers and medical staff frequently capture moments of care and being cared for, such as the attentiveness of doctors and nurses to patients, communicative interactions, and physical engagements. These photographs are intended to be sent to the patient’s family members, who cannot always be present, serving both as documentation of the final phase of life and as a means to create a form of kinship, suggesting that the medical staff also become "family" to the patient. By examining the ethnographic moments of image production and the imagination of good care for patients at the end of their lives, I describe the routinized picture-taking practices in the hospice care ward as acts of “performing care” and simultaneously rituals of care performances. As a volunteer working in the ward, I was periodically asked to photograph these interactions. In reflecting on the affective and aesthetic labor and ethics of taking these pictures, I would lower the lens to frame the bedridden patient and the doctor as a choreographed duet. This positioning challenges the simplistic caregiver and care recipient relationship, reframing the doctor and patient as a pair. This paper delves not only into the images themselves but also into the aesthetics, politics, and ethics of imagining good care in this liminal space.