One Take: The Everyday, A Study

In which we gave a local photographer a Polaroid, eight frames of film, a theme and one take to get the shot.

A LOT OF THE PHOTOGRAPHERS I follow, like Stephen Shore, they were kind of a response to that Ansel Adams movement, where everything had to be this grand beautiful thing. They kind of came back in the ’70s when color photography started, and they were like, No, it can be something mundane, it can be something out of your everyday life that usually goes unnoticed or taken for granted, and trying to find something beautiful in those ordinary scenes. I’m drawn to things that are just kind of out of place—they don’t really have to be pretty to be interesting to me. And with street photography, it’s all over the place. The photos can show a trace of something that someone’s left behind.