Photographers often talk about making pictures rather than taking them: constructing something from the scene in front of the camera that is related to it but not subordinate to it. A photo of a tree or a soldier has a life independent of its subject.

Bruce Polin began making these images in Brooklyn’s Prospect Park around the time of the last presidential campaign. He had been shooting mostly in his home studio, but when the divisive rhetoric of the election heated up, he felt the need to get out among strangers, from all cultures he could find. The park was ideal.

The camera was big.