Monroe and Sweet, both born in the 1950s, grew up in that quiet environment, surrounded by a strong Jewish community. After graduating from the MFA program at the University of Colorado, Boulder, in 1977, they moved to their home in Miami and agreed to photograph their city and its peculiar inhabitants every day for 10 years. Many of his subsequent images show people working on the porch and subjects resting on sunbeds, a sense of community ease prevails. "We saw something that I later realized was a precious legacy that was being forgotten, that was disappearing," says Monroe in the film. Although the elders were vivacious, they also approached death.
Despite their shared theme, Monroe and Sweet were distinguished by their divergent styles. Monroe was concerned with form and composition, and his black and white images are grim, even when the content is not. Sixth Street – South Beach, Florida (1978), for example, presents three women and a man walking on a sidewalk. Two of them wheelchairs, while one holds an umbrella over his head to protect himself from the sun. The camera seems more interested in the symmetry and contrast of light and shadow than in the individuals themselves.
On the other hand, the more informal images of Sweet gave priority to the character, as in her portrait of an old woman with curly orange hair wearing a "Happy New Year" headband. (The couple visited several hotels on New Year's Eve, capturing their older subjects who celebrated the pbadage of time). Yellow and red leis intertwine on the woman's shoulders, and she holds a half-full plastic cup in her hand, in her festive belying attire. her tired expression: she has left too much for one night. Illuminated by the flash of Sweet in a dark room, it seems almost angelic. These contrasts contribute to the good humor that the photography and much of the work of Sweet infuses.