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When Matlala and Matom first began photographing their respective worlds in the 1980s, demand for political images of apartheid overshadowed quotidian concerns. Since then, a shift away from the political to the personal in South African photography has offered a space of reflection for the kinds of images that they sought to make. This paper focuses on the historical, social and political aspects of these two photographers' photo-archives. It attempts to place their work and photographic concerns within the broader archive of South African photography and to demonstrate continuities and ruptures between the past and the present.Photographs are first and foremost, records, and markers of time. Although photographs might be seen to be of their time, of everyday occurrences, they also transcend time. Thus, their relationship to time is necessarily complex, and requires interpretation and analysis within a disciplinary and discursive frame, which in this paper is work and the everyday. [ABSTRACT FROM AUTHOR]