Like the other photographers in the chapter Something and Nothing, Tracey Baran attempts to shift our perception of our daily experiences. She uses elegant lighting and color with objects of the everyday. In Dewy, 2000, she photographs a glass that is wet with moisture in a window sill. It is a classic still life and relies on our knowledge that we’re looking at a composition of a traditional still life. Her work is about finding a known picture form. She gives sensual treatment of a typical environment. It is an iconography of condensation and light, which is a subject of the Something and Nothing theme.
Her photographs are visual journals of her experiences.